El Huracán de Dorothy
Description: “Dorothy’s Hurricane” is a generative work that depends on the interaction of the viewer. The mixture of optical illusions in motion with the creation of fractal images presents a customizable and dynamic work that lends itself to playing with its possibilities. The basis of “Dorothy’s Hurricane” are four squares located in each corner, which repeat and rotate in an orderly manner towards the center.
-Press P to pause, R to resume. -Hold 1 and use the mouse to move the canvas. -Press + to add items, - to subtract them. -Press 9 to add positive speed, 8 for negative. -Press S to use spectral mode, N for normal mode. -Press B to remove the stroke, T to activate it. -Press 0 to reset.
Development: It is inspired by generative works of a geometric nature, such as fractal art in this case. This movement is based on the repetition of equal figures that come to form a more complex whole, it is feels the loss of the unitary meaning of each figure and a composite form is created. Artists like Jared Tarbell and Lillian Schwartz use a lot of geometric art, with the philosophy of compose or generate a visually complex piece using simple figures.
Another point to emphasize is the use of optical illusions, the circular movement of spirals when seen from the a while causes the brain to continue seeing this movement for a while. Another effect used is Union of equal figures in movement with light-dark contrast makes the brain perceive colors where there are none.
This work is a series of mathematical formulas, it has no artistic value other than “playing” with the work I may have, or the aesthetic decision of what gray scale I used, the point of the work is provide a canvas and a figure to the viewer, a figure calibrated and calculated to be pleasing to the eye. The key point is interaction, making each one an interpreter.
A work of a generative nature like this does not make sense as an original or collectible piece. How do you appropriate something that will always be changing?; What defines the work, the visual or the part text of the code?; Is a mathematical function artistic? The most key thing in a work like this is the amazement that comes from seeing a medium we know act in personal ways. Of In some way we feel it close and ours because of the 1:1 relationship we have with it, the work IS by us, and we appreciate it as unique for its possibilities of interaction. It is different from a song, which is open to the personal interpretation of each one, it is a experience that each one will “create” by witnessing it.
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.
https://prostheticknowledge.tumblr.com/post/67302049473/lillian-f-schwartz-new-works