Ciclo

My representation of life and us as what we are with our times, our darkness, our light. Sometimes we expand, other times we shrink but always having something in common: the world that does not interfere, just follows its constant rhythm.

Technical, aesthetic and conceptual development

This work was created through algorithmic indications generating geometric figures in constant movement. “Cycle” is not a fixed image, but a process that is constantly executed and transformed, an abstract and mathematical demonstration. The system consists of seven squares that pulse and change size in an infinite loop, accompanied by a central circle that varies its radius according to functions.

The circle behind with its back-and-forth movements, scaled in reference to a heartbeat with the idea that the system breathes. We stop being the ones who control absolutely everything, we can propose a certain structure, a framework of rules, but the final result arises from the interaction between the code and the machine, giving it life as a co-creator, an autonomous system part of our world.

Following Brea’s perspective, this work is part of a redefined artistic practice: it does not produce a single object, but rather a variable, reproducible experience dependent on a digital medium that operates as an interface. Finally, Ciclo connects with the tradition of pioneering algorithmic art by Frieder Nake, who understood code not only as a tool but as creative material and the computer as co-author.

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.