Oscillon-H

Taking the idea of Ben F. Laposky that he used electric currents and wave generators to create his Oscillons (abstractions of light in motion), this production takes the same logic but replaces circuits with movement. Trying to show the fluidity and sensuousness that movement can represent.

Technical, aesthetic, and conceptual development

The oscillatory and repetitive movement generates a visual volume from the density and spacing between the lines, creating the presence of an ephemeral body. A volume that does not exist as a fixed image, but is built and fades at the same time, perceived only through the passage of time over space.

In an environment where technology advances, it completely changes the way we see and make art. As Brea puts it in the term “New-media art”, the new artist is one who is specifically created to exist on a similar network that allows public access. It is not just art that “goes up” on the net, but art that is born and lives there. This breaks directly with the traditional concepts of artistic production, because, as he says himself in the text Redefinition of artistic practices SXXI “there are no more “artists”, as such. There are only producers, people who produce. Nor are there properly “authors,” any idea of authorship has been overwhelmed by the logic of circulation of ideas in contemporary societies.” (Brea, 2008, p. 106)

This allows us to recreate or transport the experience / production we have created because, as Paul Valéry says, “The works will acquire a kind of ubiquity. His immediate presence or his restitution at any time shall obey a call from us. They will no longer be only in themselves, but all where there is someone and an apparatus. They will no longer be but various types of source or origin, and their full benefits will be found or refound wherever one wishes. “(Valéry, 1928,p131)

Bibliography

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

Brief resume

Joel Ledezma, born in Buenos Aires, Argentina (2004). Graduated from the Multimedia Graphic Design course, he has gone through multiple disciplines of graphic and visual arts such as screen printing and 3D printing. His interest in the exploration of visual arts and sound led him to deepen his work within the course of Multimedia Arts at UNA.