Topografía Desconocida

Through the appearance of points, a new topographic pattern is revealed. Shapes converge, as do pixels, time, and behind-the-scenes randomness.

Technical, aesthetic and conceptual development

‘Unknown topography’ is framed within generative art, however, as Luis Brea points out, “the validity of a work as ‘art’ does not reside in its technology or support, but in its ability to explore and question the limits of its own language.” This project proposes a critique of the supposed randomness of generative systems, evidencing how what we understand as chance within the digital is delimited by mathematical structures.

The piece consists of a grid on which random points emerge (false randomness) and lines that connect them, generating organic patterns. Here we can relate to the work of Grace Hertlain, pioneer of digital art, who “subverted the precision and symmetry of the computer, taking her practice towards inaccuracy and disorder.” His works stand out for their focus on natural themes and organic forms, such as ”Automated Forest”. Nowadays we are increasingly crossed by technology, however, the digital representation of natural aesthetic patterns such as waves, fractals, among others; They transmit to us the complexity and calm of the natural world. In this case, the patterns are formed within a rigid grid, this structured repetition also reminds me of the work of Frieder Nake, especially ”Walking through the raster”.

In turn, the concept of hyperconnectivity is present in the lines that generate the points. Canvas elements do not exist in isolation, but are intertwined. The work not only represents connections between graphic elements, but also seeks to metaphorize that in today’s digital ecosystem, everything is connected in a constant and automated way.

Paul Valéry anticipated that new techniques would transform not only the reproduction and ubiquity of works, but also the process of invention itself. In this case, the piece seeks to show itself as a continuous process that could happen at any time and anywhere. César Aira, for his part, said: ”The work becomes a work of art, today, as it takes a step forward towards the possibility of its reproduction.” This code does not produce a definitive image, but rather a series of possibilities.

Literature

VALÉRY, Paul. (1928). “La conquista de la ubicuidad ”

AIRA, César. (2013). “Sobre el arte contemporáneo”

BREA, José Luis. (2008). “Redefinición de las prácticas artísticas”