Fin(x)

Instructions: Use WASD to move Press E to switch between ENTITY and FREE CAMERA Press SPACE to PROGRESS This world is cubic, when you walk along one edge you will advance to another face Each face has 5 levels of progress, what will happen if they all change?

This work is a continuation of the end, where the isolation of the planet in relation to the primordial reality of the universe is explored, the idea was to show how global problems are self-imposed and exist only within our bubble. In this new version the vision becomes personal. It puts control of the world in the hands of the viewer, with their decision being to leave the planet in its natural state, or induce progress in it and change everything. The first-person view is essential to create personal intention in taking actions. One is anchored to the world and is part of it, and shows how decisions change reality for others. You can also observe, stop being involved in the world and be on the outside, but it takes away the power to change it.

End(x) depends on a data input, of intentions calculated by users. Its identity is like that of a function that depends on a variable, something of artificial creation that responds to approximations of reality. The physicality delivered by interactive works brings feelings and experiences closer to the mind, different from what a film or other media could do. Within the system one is part of it, stops being a spectator and becomes responsible for the actions committed. Executing a generative work already makes the viewer part of its creation, and through interactivity makes it responsible for its direction.

In this sense, the software is experimental and does not fulfill a functionality, but digital support is essential to transmit what is desired. The intention of the work is to transport the viewer to a world in which there are beings inhabiting it, and to put the power to transform it in their hands. It is supported in a present in which it makes sense, and on the outside it lacks. Experimentation also gives meaning, since it depends on actions and experiences will vary.

The reproduction of this work becomes limited, a textual description or images cannot convey what the ludic can. And in this way software art will always be ahead of reproduction, the works take elements from different media and create spaces that cannot be done in other media by definition.

The power of the digital-interactive format is unique in relation to traditional media, and at this moment it is managing to demonstrate the inherent ability to transmit stories, concepts and sensations that are very rich in detail and style. I consider the need to explore the possibilities that experiences, video games, and works can achieve with this approach.

End(x): https://editor.p5js.org/mateovelasco6/sketches/TJ6Cy8geE

Literature:

• AIRA, César. (2013, 2016). “Sobre el arte contemporáneo” en Sobre el arte contemporáneo. Buenos Aires: Literatura Random House, pp. 11-56.
• ARNS, Inke. (2005). “El código como acto de habla performativo”. En Revista Artnodes, Julio de 2005, ISSN 1695-5951

Música: Nine Inch Nails - Ghosts I-IV (2008) / 02 Ghosts I Nine Inch Nails - Ghosts I-IV (2008) / 09 Ghosts I Nine Inch Nails - Ghosts I-IV (2008) / 10 Ghosts II