Particles Are Not Angels. Dealing with algorithms and the meaning of an artistic practice.
If you are familiar with computing and programming
you know algorithms are logically described step-by step procedures.
It’s the way we communicate with machines, with computers.
In fact, in a deep level, this is called machine language.
It’s the kingdom of zeros and ones,
The kingdom of protocols and mathematical functions.
Artistic thinking appears to be governed by other mental processes,
sometimes even totally away from a logical access,
but always linked to a creative and critical thinking.
what happens when we talk about technological art?,
About art made by machines?,
About art made through machines?
Is an artistic algorithm possible?
Is it possible to explain the artistic thought from a logical approach?
We have built a hundred times the rational explanation
of the world with systematic strategies.
And every time,
we have hacked these explanations with uncontrollable fantasies.
As technological artists I work with the chaos of creativity
and the rules of algorithms,
in a real coproduction,
as reversible routes,
as universal joints between humans and machines,
between knowledge and disciplines.
Serres said, to each discipline its own disorder, until the limit of any kind of order.
Algorithms are not angels.
They’re not abstract structures without body.
Even as software entities,
they need a context,
they need to be balanced in a global system.
We need to understand the wider ecology of this system,
between logical explanations
and poetic insights.
the world escapes,
When Gerasimenko comet came (2014)
in its periodical approaching to the Sun.
we put on their surface the Rosetta ship.
In that moment, I was working in a particle system,
wondering about forces of attraction,
repulsion and gravities.
This particle system had the peculiarity that these forces
worked very weakly between each other,
allowing the system to create different possibilities
to be inhabited,
to be explained.
Then, the construction of worlds has to do
with the strict construction of some limits
and some possibilities.
And that’s why these worlds will enable events to happen.
We program the world’s boundaries,
no the events are going to happen inside.
To do that I had to go far away, like a comet.
…and I ran into an old theory,
a scientific model nowadays rejected,
but a model that continued for years in force beyond its scientific validity
… because this system had room
for mythical explanations, (stars constellations),
and for God and Hell, (the religious and spiritual engine of this machine).
In order to explain the reality,
or as a method of calculation,
or as an ordered set of beliefs ,
Tolomey put the earth in the center of the universe,
and all planets including the Sun,
rotated around it attached to glass spheres.
Bruno felt prisoner in these jails made of crystal.
He needed something more than a pure, concentric and perfect system.
“The center of the universe is everywhere and the circumference nowhere”
No center anymore,
No any special place for God,
No for Hell neither.
In the late 16th century Giordano Bruno was burned at the stake in Roma.
Now, the current scientific explanation of this system,
tells us we have an enormous spherical cloud
surrounding our solar system,
that contains many millions of objects of different sizes;
objects that, potentially, can become comets.
And it’s interesting because, as before,
there is no direct evidence,
for the existence of this cloud.
This may be our last boundary,
a delicate boundary,
or our first interface with the deep space.
In any case, this interface is too far from us to interact with it…
if we let the computer working itself,
in its technological solitude,
but in this context,
maybe we can speculate with other entities,
In a digital culture of apparent,
virtual and intangibles realities,
of artifacts without soul and disembodied thoughts,
Tribute to Giordano art work series can be understood
as software entities located in the unlikely boundary
between a spiritual dimension and other purely technological,
speculating in this human-machine dialogue,
in this strangely real virtuality.
Sound and visual installation, 2015
Astronomers assume that The Oort Cloud is a space beyond the confines of the solar system where (they believe) the comets are born. However, when the Earth was the center of the universe, the medieval astronomers saw the planets attached to perfect crystal-like spheres, and they believed to hear the sound of their motion. Oort _Mutants is a generative audiovisual work in real time that speculates with the plasticity of a computing environment, decision making, information transfer and contagion, between the poetics of an interface and the management of the unknown.
Software Entity, 2015
Variations is an indeterminate number of sessions of interaction with a software entity, where the projected image and sound are the result of the activity of a particle system subject to forces of attraction and repulsion. The disembodied and abstract nature of this system, if manipulated, shines different configurations/constellations, whose tempo and form, are marked by mutual contagion of internal generative processes and decisions of the interpreter.
Sound and visual installation, 2015
If a cyborg is a cybernetic organism result of hybridization between a machine and a body, tell me, how do you imagine the hybridization combining the meaning of the notion of spirit with a technological genesis of 0s and 1s?