Hastio

The work consists of a continuous repetition of primitive three-dimensional geometric shapes aligned in a row, occupying all the space on a black background, while each one rotates on its own axis.

Technical, aesthetic and conceptual development

The technical development of the piece is based on the deliberate construction of a feeling of repetition and boredom. To achieve this effect, I arranged the 3D primitives in long rows that completely fill the visual space, creating an uninterrupted pattern that reinforces the idea of ​​monotony. The black background functions as a neutral void that intensifies the mechanical presence of the forms and eliminates any distraction that could soften the viewer’s perceptual experience. The monotonous sound from a beep without variation complements this repetitive atmosphere by introducing an auditory component that insists on the same logic of wear and sensory saturation. Added to this is the neon aesthetic, used intentionally to generate a cold and artificial contrast. Its rigid brightness evokes nocturnal urban environments where visual and sound repetition becomes an everyday condition.

My work can be understood as an example of illocutionary software because the insistent repetition of shapes not only represents fatigue, but executes it directly into the viewer’s experience. Visual accumulation works like a silent command: it forces you to try to modify the pattern, to look for a change that never comes, thus revealing the user’s helplessness in the face of a closed system. At the same time, the piece also operates in a perlocutionary manner, since the constant interaction with the sound and visual environment generates subsequent effects in whoever experiences it. It is very likely that the sound, persistent and uniform, will end up eroding the viewer’s patience, causing discomfort, irritation or even rejection.

This approach is part of a contemporary understanding of software that is not limited to its technical capacity to produce objects or images, but also pays attention to its performativity. Following J. L. Austin, speech act theory reminds us that language—and, by extension, code—not only describes the world, but also transforms it. Austin distinguishes three types of acts: locutionary acts, which refer to propositional content; illocutionary, in which the act is performed by saying something; and perlocutionary ones, which generate subsequent effects, such as persuading or provoking.

Literature

ARNS, Inke. (2005). “El código como acto de habla performativo”. En Revista Artnodes, Julio de 2005