Pensamiento Creativo I (Ideas)
The attached work called “Creative Thinking I (Ideas)” shows an initial line together with secondary lines that expand randomly along an established margin, generating multiple directions and visual overlaps as time progresses. A su vez, si dirigimos el mouse al centro de la imagen se produce un cambio visual con el cual el usuario puede interactuar.
Technical, aesthetic and conceptual development ”Creative Thinking I (Ideas)” was created using as a tool one of the many code languages that currently exist with pre-established parameters of use such as, for example, the margins of the space to be worked on and the color scale used. In the aesthetic framework, I took as reference the work ‘Venation’ (2019) created by Jared Tarbell and ‘Lettres à ma mère’ (1991) by Vera Molnár where I took the concept of the transformation of a line over time.
Véase que al hablar de este proyecto que hoy comparto no menciono la palabra ’obra de arte’ o siquiera ‘obra’. What I am looking for with this is to link concepts discussed by Jose Luis Brea in his texts ‘Redefinitions of artistic practices (s21)’ and ‘Brief (and disorderly) antiglossary - or dictionary of topics - on electronic art’. I believe that this work, truly, passes more for an artistic practice than for a ‘work of art’, not only because it is not being exhibited as a ‘specific object’ but because of the process in which the practice was carried out and the very place where it is disseminated.
Now, although I agree that the concept ‘work of art’ must be expanded and found within the means of distribution and dissemination that we have today, I consider that art continues to be something that is somewhat ‘inexplicable’ and even ‘niche’ to continue discussing what is art and what is not. Truly, I consider that as a discipline or even as a practice it continues to be something from ‘another world’ no matter how widely it is disseminated, no matter how ‘at hand’ it appears to be. I understand that the scope that we had last century or even fifty or thirty years ago does not compare to the search and linking tools that we have today, but I find it interesting to highlight the following: considering that the support used to carry out this work, for example, is more similar to new media art¹, only people who can access the network and have enough space, time and curiosity to search about these topics will be able to reach and even get involved in the artistic practice with which we deal or even observe almost automatically and unconscious on a daily basis.
I think it is important today, more than the support or the medium or what is art or what is not, the tangible scope of it and above all of artistic practices, which is where thought, criteria and ideas are born.
¹ see in ‘Brief (and messy) antiglossary - or dictionary of topics - on electronic art’ described as: “that which is produced for the Internet network and any other future networks of free public availability produced by the - industrially efficient - combination of computer and telecommunications technologies”
Literature
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.
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.