Adventure of a Simple Circle(in the jungle of my mind)

14th Annual Bridges Conference

Evangelina Sousa

Others  :  http://bridgesmathart.org/2011/cdrom/proceedings/128/paper_128.pdf
PID  :  53316

来源: CEUR

【 摘 要 】

Although the use of computers and graphic software is no longer contested as a valid tool in the creative process ofart making, the use of code can still be seen as obstructive of creativity, considered to be the ultimate expression ofsubjectivity and intuition. This paper is an attempt to demonstrate that code writing is an option for art making, aspliant and expressive as paint and brush. The creative steps, aesthetic choices and experimental processes involvedin the development of a piece of code art will be discussed, taking into account that the final product is intended tobe a work of visual expression in its own right, representative of the author’s aesthetic vision even if in a simplifiedway. The code delivers a simple geometric pattern, obtained through the progressive modification of the 2Dcoordinates of each of the points that makes up a circle, creating organic forms that populates the space in asimultaneously ordered and chaotic way. Since the connection with natural environments and the colors of natureplay an important role on the author’s personal visual language, the improbable connections between naturallandscape’s light and color and the geometric pattern delivered by this code will be analyzed. “I would like to paint as the bird sings”MonetIt is not natural for the visual artist to analyze the ongoing creative process while developing a piece of artwork. Actually, one may think that this analysis would prevent the normal development of the creativeaction. But it cannot be denied that, due to his/her privileged point of view in relation to an art work in themaking, the art practitioner is the ideal observer of the creative process (specially his own). The creative process has been researched before, in relation with every area of human activity,including art making, but this research is normally undergone by “outsiders”, and/or non artists related tothe field of art: psychologists, art historians, art critiques. There is sound research done in this area thatdescribes the creative process in general terms, in relation to more conventional fields of art making:painting, sculpture, photography, film, and so on. [1] The model can easily and appropriately be applied toart making using a computer and graphic software. Since most graphic software provides tools andfeatures that are electronic versions of the conventional ones, there is no objection and no doubts about itsuse for creative production. These tools and means (the material ones and their electronic counterparts) areused and manipulated by every artist in his own way, and this individual manipulation and use of tools,materials and means is one of the factors that gives rise to every artist’s personal visual language, hisunique visual “words” and “sentences” with which he communicates aesthetic ideas. But what happens when, instead of these well known and well accepted tools and means, thepractitioner uses a piece of