Codigo sobre codigo

This work, in itself, invites us as users to actively participate in it. Through the act of reproduction and the game format, the piece is revealed to those who experience it, but only if they provoke the action: the appearance of a computer image, symbolizing in itself the materiality by which the image can be generated.

Technical, aesthetic and conceptual development

Under this functionality and conceptualization of the code, we are taking it as an excuse to think about what it means to make “good art,” because art is not art if it is done “well”: art creates new values and breaks what is established. Contemporary art plays precisely with that threshold, showing what is and what is missing, what is visible and what is hidden. My work is partly algorithmic performativity. The user sees the tip of the iceberg of an invisible process, what lines of code would be like. And that is precisely the purpose to which my work refers, taking as a reference Bolognini when he states that “the code acts, produces effects even if it is not visible. What we see is only the result, but the action is in the invisible.”

The user sees only the partial survey of the image; This is not intended to be a craft. The entire experience generates an incomplete, processual and action-based situation, which is where it can be defined as art.

On the other hand, this experience also coexists with the non-done that Aira defines as the utopian secret of Contemporary Art. We are reincorporating the unmade using generative art techniques, where the code is part of a performative art and adds its own concept. However, to be accepted as art, it seems that it must still transport already established and confirmed values, betraying the ultimate mission of art to create and put into circulation new values.

Literature Arns, Inke. (Julio de 2005).”El código como acto de habla performativo”.Editorial Artnodes.

Aira, César. (2010). “Sobre el arte contemporáneo”.Editorial Grijalbo-Mondadori