Terapia Digital

Digital Therapy proposes an immersive experience where simple geometric shapes beat, grow, move and flow in an unpredictable rhythm. The randomly generated movement imitates the undulating nature of the sea, sometimes gentle, sometimes more intense, but never the same as itself. The viewer is faced with an environment that does not demand immediacy or response; on the contrary, it invites you to stop, inhabit the pause and surrender to a visual flow that challenges the speed of contemporary life.

The work does not seek to represent the sea, but rather to evoke its harmony, its breathing, transferred to digital language. In a world governed by algorithms that demand speed and fragmented attention, Digital Therapy is presented as an “oasis”: a space where the unexpected becomes a refuge and disconnection, an experience that reminds us that the unpredictable can also be a refuge.

Technical, aesthetic and conceptual development

Inspired by the kinetic work of Vera Mólnar, this work explores repetition, minimal alteration and displacement of simple geometric figures, to build structures that, as in the artist’s works, seem to tend towards infinity.

Following Claire Bishop in her text “Installation art and its heritage”, the work is conceived as an installation that activates the viewer. It is not just about looking, but about being immersed in a sensory experience that decenters you. Bishop proposes that the installation viewer is initially placed in a “centered” place to then fragment his perception and reveal the instability of his subjectivity. Digital Therapy takes up this idea, but shifts its emphasis. Decentering does not arise from tension or conflict, but from calm, from the rhythm of digital waves that invite you to abandon the logic of control, surrendering to the unpredictable.

In line with what Brea points out in the text “Redefinition of artistic practices” the work is not defined as an object that is exhibited, but as a production of presence. The experience does not lie in possessing an image, but in spending time shared with it. Brea maintains that contemporary art must adapt to new forms of production and circulation, where what is generated are micro-situations and events instead of just fixed pieces. In this framework, the work is situated within this logic since it does not seek a focused narrative or a single meaning, but rather a space-time where the moving image becomes a living event.

In a context saturated with stimuli and urgencies, the work proposes an act of therapy: a flow that reminds us that beauty can also be slow, that the digital pace does not always have to be dizzying and that even in virtuality there can be calm.

Literature

Bishop, C. (2012). El arte de la instalación y su herencia

Brea, J. (2005). Redefinición de las prácticas artísticas

Mólnar, V. Obra cinética