{"animation_url":"https://1p.infura-ipfs.io/ipfs/QmVhCQxuXddsxNraUS3NxarvwjsXikQL97Quw2ubrgSFZ8/?payload=eyJoYXNoIjoiMHhiMTA1ODM1ZmQyN2U0NGQ3OGZmYTFlZDk4OTlkMDhiN2M2NmYzZTk3ZmNjMWUxMTAzNTZjNTcwMjBhOTA5OTE1IiwiZWRpdGlvbk51bWJlciI6MCwidG90YWxFZGl0aW9ucyI6MCwidXNlcklucHV0IjpudWxsfQ%3D%3D","attributes":[{"trait_type":"Artist","value":"Alejandro Campos"},{"trait_type":"Artwork","value":"Fuga a tientas"}],"description":"“to allow… even to desire that, after that earliest point where the pen touches the \npaper, something unfathomed emerges, something unexpected”\n\nOne of Erik Satie’s infrequent excursions into chamber music, the *Fugue à tâtons* (1913) is \ncontemporary to his humorous piano compositions, and created in a similar spirit. *Fugue à \ntâtons* is a satirical reinvention of Baroque musical forms, enhanced by Satie’s characteristic witty \ntitles and performance directions. A repetitive, childlike theme, a loosely woven fugue initiated by \nthe piano “with silly but convenient naïveté”, and yet a complex and significant musical piece.\n\nCuriously, Spanish architect Enric Miralles used the title *Fuga a tientas* (the Spanish translation of \nErik Satie’s title) in 1987, for the second volume of his doctoral dissertation, a text that was \ndeemed unreadable by the thesis’ panel. Miralles’ essay narrates how sketching can be seen as a \nform of writing, a creative act that happens when thinking moves forward through interruptions, \nwhen it stops at its beginnings, when it is produced by repetition. \n\nThis *Fuga a Tientas* on Verse, 2023, explores how its form of writing, namely “coding”, can \nlikewise be conceived as a form of sketching, or how unexpected shapes and colours emerge \nfrom simple geometric operations when imperfect repetition is celebrated. The artworks are fully \ncomposed by horizontal lines and simple shapes travelling through imperfect flow fields, offering a \ncharacteristically bright and cheerful aesthetic that is homage to both Erik Satie and Enric \nMiralles’s intellectual legacies. *Fuga a Tientas* is the coming-of-age of the Enfantines (fxhash, \n2022) algorithm, still childlike but now a more sophisticated and yet imperfect exploration of form \nand counterform, sound and colour.\n\n“…form emerges at the air of its flight, it is not pursued, nor composed, nor \nconstructed…”\n\nWith two modes that won’t produce the same outputs, *Fuga a tientas* is best experienced twice. \nIn music mode, the code uses Satie’s fugue as a way of taming randomness, the sounds affecting \nthe colours and intensities of the triangles. This is the last stop of the journey, gazing into \nunexplored lands.\n\n“Large de Vue”\n\n*Fuga a tientas* is part of the group exhibition *Imperfections*.","hash":"0xb105835fd27e44d78ffa1ed9899d08b7c66f3e97fcc1e110356c57020a909915","image":"ipfs://QmVG5nHayD4iVhMoLMDmY8M1CiFibrWMpxqn8bEGaUf8Yf","name":"Fuga a tientas #221"}