Demiurgo por un ratito
The code generates “organized chaos” through multiple curvilinear figures in orbital movement, deformed and influenced by the mouse, with trails and variations that create a dynamic and hypnotic composition.
Technical, aesthetic and conceptual development
Inspired by the figure of the Demiurge, the work proposes a journey that can be started from any point: follow the slow process from the origin or break into another axis to discover how chaos unfolds and reorganizes. When leaving, neither the work nor the observer are the same, replicating the transformation of consciousness after an immersive experience.
It is configured as a torus, a vortex of energy that, like galaxies, contains a black hole in its center. This core absorbs and expels energy infinitely, remembering that change is inevitable: each interaction alters the work and, consequently, those who observe it.
The figures emerge, distort and reconfigure, generating a pattern of lines and curves that evoke flows of matter and energy in rotation, a space where the micro and the macro merge. Repetition never generates monotony, but rather incessant variations that keep the composition alive.
The work dialogues with the work of Charles Csuri, whose style explores unpredictability and controlled chaos, and with Herbert W. Franke, who conceives the viewer as an active co-creator. It also includes what was stated by José Luis Brea, for whom the art of the 21st century “will not be exhibited, it will be produced and distributed.” As also indicated in The postmedia era, electronic art allows interactive communication where the user “actively participates in the creation of meaning through their interaction with the work” (Brea, 2002).
Literature
BREA, José Luis. (2008). “Redefinición de las prácticas artísticas (s. 21)” en *El tercer umbral. Estatuto de las prácticas artísticas en la era del capitalismo cultural. Murcia: CENDEAC, pp. 106-113.
BREA, José Luis. (2002). “Breve (y desordenado) antiglosario –o diccionario de tópicos– sobre el arte electrónico” en La era postmedia. Acción comunicativa, prácticas (post)artísticas y dispositivos neomediales. Salamanca: CASA Editorial, pp. 4-8.