Seul(e) Alone

Showing posts with label Algorithm. Show all posts
Showing posts with label Algorithm. Show all posts

Monday, 29 July 2019

ABSTRACTION (updated edition)

Completion Text of the Postgraduate Discipline (1st Sem. 2019).
ECA USP Visual Arts: Painting in Question
Subject: CAP5872
Concentration Area: 27159
Responsible Lecturer: Marco Garaude Giannotti


Marcelo Rodrigues Peres

       The Arts over time remain in constant restarts. In the reflection of its actuality, it refers to the past and recreates the present, as reaffirmation or rupture. Among the artistic languages, Painting remains a timeless expression. From its beginnings to the present through its elements, the intention to represent the unseen holds in many ways, with or without scientific foundations. Art and Science are autonomous, but contribute to the understanding of what we can understand as reality. The Renaissance rescued Greco-Roman canons, the Baroque emerged as a break. Neoclassicism, rescued the Renaissance and Greco-Roman concepts, then Impressionism was based on science, and Cubism plus the vanguards of the early twentieth century once again broke with the past and retain branches of their foundations until then.
       Reality as we perceive, feel and represent it is far beyond the possibilities of perception. A multidimensional universe reveals itself with the advances of astronomy, thus contradicting our conception of space and time, amid fragments of fragments that are interconnected by algorithms. In this context of artificial intelligence, what is Art proposed through Painting in this context? Possibly a mere illustration of this virtual reality, where colors are binary codes that give us a certain feel used for a specific purpose on the web.
       A challenge is projected: to determine the artistic function of Painting and Art in the virtual environment. Color no longer as pigments or dyes fixed by binders on supports made of wood, paper or fabric, but as algorithmic codes, which in origin are abstractions. The Work of Art is subject to electronic and digital devices as a support or mechanism of advertising projections in mobile shop windows.
     Perception is the main phenomenon that determines senses and meanings whether reality is scientific or not. Among the artistic languages, Painting, due to its traditional practice, stars in this analysis, to which I refer myself to Leonardo da Vinci, in his Treatise on Painting, in which, amid the Renaissance canons, he affirms that a person looking at a surface like a Rock and visualize a battle scene is an Artist. This brought me to abstraction, or a sense of abstraction amid the concepts of the time. In my view, formulating images and shapes across a surface that apparently forms at random from nature determines an artistic sense promoted by mechanisms of perception, such as Gestalt. In the twentieth century, after centuries of aesthetic debate, Merleau-Ponty states that we are not the ones who look at Art, but the Art that looks at us. This is another phenomenon of perception which, connected with Leonardo's statement, reveals that a priori, Art as a sense that materializes through the Work, therefore an Abstraction itself with certain forms.
Throughout the ages, technologies, processes and materials have been developed to make visible artistic concepts and conceptions through different world languages, specific to each era and sociocultural contexts. To this end, an intrinsic "sense" expands and provides symbolic meanings or not. Thus configures the Poetic phenomenon, which surpasses the material representation, ie the phenomenon of perception.
     In the Work below, prepared by Sequences performed by repeated gestures from reflections on the possibilities of connection forms. The straight line as a geometric expression is intended as an interpretative representation, filling spaces through compositions that suggest hatches to determine color planes and provide movement of the look or retina in order to achieve set synthesis. A graphical representation of defragmentation, in the face of the tangle of information and fragments contained and stored in the Web system. The starting point is a random straight line in space, which, because it does not exist in nature, suggests something that I define as fictionality. starting point for an undetermined composition that suggests itself during development. The geometric forms emerged as a challenge, as it contrasts with the frantic gestures of abstract expressionism, as well as the possibility of representing the mathematical content of the digital languages ​​that contextualize the present. The color, in view of its optical nature in the scientific field and its semantic use, in the midst of the development of the artistic process, assumes the foreground position in the composition, because lines or strokes build the color set. From the apparent disorder of the traces, the color organizes the pictorial elements, a unifying element, link in the expression of the whole of the Work.

Marcelo Peres.
Title: Sequence IV.
Technique: Acrylic without screen.
95x66 Cms.
Year: 2018
       Art demands for itself an existence through its elements and conceptual autonomy, needs to materialize, to become visible through the matter that has been determining the 21st century: Mathematical binary codes.
     In contemporary times the digital universe contextualizes artistic productions. Computer resources are introduced into artistic poetics more frequently as robotics and artificial intelligence technologies develop. Given this finding, electronic devices assume the supporting role of Art regardless of the degree of technical interactivity. The Renaissance window resumes its function in the 21st century with the computer screen and cell phones among others.
     The semantic definitions of Art are self-regulating through social networks without the need for prior knowledge, just the opinion of individual taste in the classification of what is good / bad and right / wrong. Ethical judgments submit to the rhetorical and sophistic power of opinion formation.
     Truths are defined by the number of “followers”, “likes” and “shares” based on individual beliefs without clear confirmations of the information issued. In the meantime, concepts are defined based on the manipulation of data, interpretations without knowledge base and without due care.
     Artistic poetics today are of another nature, are determined by algorithmic commands and are composed full interactivity. They constitute an inverse movement of fragmentation that dominated the twentieth century. The possibilities for reordering are widened and Art becomes accessible and democratized in globalized concepts.

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