Backroom

“Backroom” is inspired by Georg Nees’ work “Ellipsoide [9] - Dionys in Apoll”, together with the song “Coma” by the band “mun.”, wanting to generate an enveloping and hypnotic From moment zero, the idea of ​​creating an audiovisual work arose. Inquiring about the works by Georg Nees, this was the one that caught my attention the most and I immediately linked it with this song because of the idea that is often associated with the state of coma, a place calm, clear, ancestral and its other side, perhaps finding oneself on the verge of death, like something dark and endless. The main structure of Georg Nees’ work and its celestial symbolism were preserved with which created it. Its title refers to Dionysus (God of impulse, the unpredictable) and Apollo (God of order), reflected in Backroom both in its movements and in formal symmetry, creating a tension between the controlled and the organic.

Technical, aesthetic and conceptual development

From the intersection between sound and generative image, this work proposes an atmosphere transcendental and enveloping. The composition, in sync with the song “Coma” by the banda mun., opens the way to a sensory experience that refers to the unknown: the most there, a state of deep relaxation, without time or end.

The white and perfectly symmetrical room functions as a space of peace, of containment. In contrast, shadow elements and animated distortions represent the abyss: what is not seen, what has no form or limit. The animation of the central “beat”, the blinks and the vibration generate a tension constant between stillness and movement, between light and darkness. In the center, a beating sphere can be read as an energetic core, a figure that It refers to the essential, even to the divine. From a symbolic perspective, it can be understood as a figurative representation of a higher entity, or a source of life.

Conceptually, the work dialogues with “Ellipsoide [9] – Dionys in Apoll” by Georg Nees, pioneer of generative art. Nees worked on the relationship between order and chaos, between control geometric and unpredictable inner energy. In this piece, that duality is maintained in the contrast between the symmetry of the architecture and the dynamic vibration of the central core.

As José Luis Brea (2002) states, electronic art is not defined only by its tools, but for their power to alter experience and reconfigure sensibility. Backroom, in that vein, does not represent a scene: it constructs a threshold. And on that threshold, Each viewer faces his or her own reflection—between light and shadow, between life and that which does not yet have a name.

Perhaps, as in a deep sleep, Backroom is not looking for answers, but simply inhabit that threshold: between the visible and the invisible, between what we are and what we are not yet we remember.

Literature Brea, J. L. (2002). Breve —y desordenado— antiglosario o diccionario de tópicos sobre el arte electrónico.

Brea, J. L. (2008). Redefinición de las prácticas artísticas s21.

Inspiración artística: MUN. (2025). Coma [Canción]. Disponible en: https://www.youtube.com/watch?v=k_70mSU31G4 https://open.spotify.com/intl-es/track/5IxyGPfOJ28fn9NXix2osc?si=bfc459d4fec84229

Nees, G. (1968). Ellipsoide 9, Dionys in Apoll [Obra generativa]. DAM Projects. Disponible en: https://www.mutualart.com/galleries/dam-projects/artworks/georg-nees-ellipsoide-9-dionys-in-apoll-1