Digital Art

These works are a form of approaching digital art from a very specific perspective: the visual exploration of abstract and geometric shapes and its possible deformations through  external forces mediated by a computational/mathematical framework which stand both as a real component in the creative process and as an abstract medium for an aesthetic metaphor. In this way, math and computation is used as a practical tool for developing the pieces and as an abstract support for aesthetic reflexion; math as an aesthetic by itself for the developing of a very specific kind of digital art.

 

These work include animations, digital sculpting and a prototype version of what I have called the new media landscape triad: SenseScape/IntermediaScape/Data. 

 

There is an intensive search and craft in texture, shape (and its mutual relationship) of the visual compositions in order to seek possible ways to develop some kind of computational organicity. Visual imprints as procedural gesture. This is the main statement that surrounds these series.

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The term DataArt usually refers vaguely to any kind of artistic work that involves the use of data for its creation in some way. The type of DataArt that is presented on these works involves a broader conception of the common terms visualization/sonification; data transduction.

This is a term I proposed several years ago (https://www.untref.edu.ar/mundountref/problematicas-y-desafios-en-arte-electronico-y-educacion) and one that I keep using both for academic research and for art production. 

 

Data Transduction stands as a theoretical framework that organizes the practical workflow and aesthetic conception of the use, analysis and mapping of data for aesthetic purposes. It stands as a generalization of the traditional terms “sonification/visualization” as they are traditionally understood within the artistic community. In this sense, data transduction involves data management in any part of the creative process and disrupts the idea of linear and basic mapping of data onto sonic/visual parameters. This disruption comes by supporting the use of data also as a raw material for both metaphor construction and parametric control and by stating also that data can come and be extracted from any source.

 

That is the kind of works that are presented here. Data as a compositional raw material. Data as a flow for parametric control. Data as a computational aesthetic experience.

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These are a series of work that explores the possibilities of procedural 3D modelling/design as a vehicle for the building of metaphors within an aesthetic process of multiple translations between the computer language and the visual experience. 

 

There is a huge interest to turn these works as a search/research for the development of an organic artificiality as an alternative approach to computer art and because of that there is a deep exploration between the relations of shape and material, color and light, staticity and movement.