Sergio Mora-Díaz is an artist and new media architect from Santiago, Chile. His work focuses on the development of immersive experiences, installations and live performances through the use of interactive media, projections and light, exploring the relationship between physical spaces, digital technologies and human perception.

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Sergio Mora-Diaz es un artista y arquitecto de nuevos medios de Santiago, Chile. Su trabajo se centra en el desarrollo de experiencias inmersivas, instalaciones y actuaciones en vivo mediante el uso de medios interactivos, proyecciones y luz, explorando la relación entre los espacios físicos, las tecnologías digitales y la percepción humana.

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DISCOVERY
Stgo, 2020
Sergio Mora-Díaz
Data displayed digitally

Does the universe have an order or are we just surrounded by random chaos? In this visual work developed from Discovery data, artist Sergio Mora-Díaz invites us to put our faith in order. The work shows us a set of cubic particles that are organized based on their own nature, thus reflecting the data collected during mining processes and their classification through advanced artificial intelligence systems. This allows us to embrace the beauty and complexity of human processes, to enjoy the transition of information from disorder to harmony.

“As human beings we always seek order, to give order to our universe. Everything seeks to help us to give a certain order to our life”.

Interview with Sergio Mora-Díaz
about the work for DISCOVERY.

"We could understand the universe in a chaotic way, where things sometimes seem to happen by chance. But then, if we look closely, we can find structures."

Interview with Sergio Mora-Díaz
about the work for DISCOVERY.

Francisca Olivares: To start I would like to ask you, as always, how was the process of converting universal intelligence data provided by Discovery into a work of art?

Sergio Mora-Díaz: Thank you very much. Well, unlike the others, this work thrives on verbal information. In that sense, this work was a challenge for me. This is a work that tells us about order and chaos. That is, how a set of information that appears to be totally chaotic, that seems to have no established order, is classified as time passes. That classification was given to me by the UNIT team. So we can see how certain words and concepts are categorized. In this case, the categories correspond to risk levels in an operational process in mining.

 

FO: It seems to me that this work has something therapeutic. We have previously spoken that art is capable of healing. Specifically in this work, we can observe how in chaos there are certain orders that begin to unfold on their own. We can even extrapolate this to life. In the work, the one that orders the particles is an algorithm. What role do you see for algorithms in ordering our lives?

 

SGM: Those kinds of things are what I imagine when creating these works. First of all, we are talking about super specific topics: algorithms focused on mining processes. But without a doubt, by taking it to graphic and artistic language, it seeks to take the discussion to certain concepts further. These ideas of chaos and order can be applied to all kinds of processes around us. It is a way of understanding nature and life, where things can be seen with the naked eye very messy, but deep down they have a structure. We could say that nature moves under patterns that are mathematical too, even algorithmic. It is interesting to recognize that to understand the world around us. Algorithms have to do with processes and they give us information about them. That precisely seeks to visually capture this work.

FO: Regarding order and chaos, I would like to know what you think about the universe, is it more order or chaos?

 

SGM: There is always a mixture of the two. As human beings we always seek order, to give order to our universe. How we organize cities, how we organize time, the objects we design. Everything seeks to help us to give a certain order to our life. We humans try to understand patterns and then work with them. It has to do with how we observe nature and are inspired by it.

We could understand the universe in a chaotic way, where all the rules are not understood very well, where things sometimes seem to happen by chance. But then, if we look closely, we can find structures. I am referring to the patterns that govern how living beings grow, how the climate is shared, the compositions of organisms. In all that, there is definitely an order.

 

FO: Then more order …

 

SGM: I believe that there is an order within all chaos. Although sometimes we can’t see it. Linked to the subject of art, much of this has to do with human perception, with ways of understanding what surrounds us. Without a doubt there is an order in the most chaotic elements of nature and I think that order begins to appear as we generate these creations, both from the artistic language and from the mathematical analysis carried out by UNIT. In a way, art and science allow us to reveal all that. This is how we classify and order phenomena that appear to be chaotic or complex.

FO: There is an order in every chaos and technology is a tool that allows us to discover it.

SGM: Exactly. It allows us to measure it, to observe it. Technology certainly allows us to broaden our perception. In this case, thanks to collection and analysis, we can begin to understand the world in new ways.

FO: Chaos is often not very pleasant for humans. We naturally prefer order. This work of art makes chaos super nice for the viewer. It allows you to observe the chaos and enjoy it, without judging it, letting it flow and order itself.

SGM: Of course, these works, as they have these movements and sequences, sometimes seem like living entities, which are being ordered and disordered. As a spectator, you can perfectly get carried away by that.

FO: Based on this liking that exists in the work, I would like to enter into specific aesthetic issues, specifically in the color decisions and the cubic shape of the particles.

SGM: These decisions are being made little by little. I am manipulating the data, I am understanding, reading and graphing it in different ways. Each of the things you see here correspond to real data. Each of these particles corresponds to a set of words, even a phrase. These phrases are ordered based on real logic. These are words that arise from communication in mining processes, which allow us to understand what is happening in the mine. Then, thanks to the algorithm that UNIT works, through artificial intelligence, this is managed. Thus each of these phrases and words assumes a certain classification.

FO: In this case, those classifications are risk levels …

SGM: Exactly. As you can see, different levels, different risk indicators are being generated. Finally, what is sought with this UNIT product is to understand and classify the risks associated with certain mining processes. For example, risks of falls or material detachment that can generate a catastrophe. Then there is a lower level, which has more elements, that is, it could have a better chance of happening.

I decided to do it in layers, so that a unitary figure can be configured, which unfolds in its vertical sense with all these colors. The idea of ​​using different colors is to identify them with a specific risk factor. Therefore, the items are ordered according to color. Then, once they get messy again and become part of the chaos again, they still have that color, that is, they always have that essence.

Regarding working with cubes, it is a decision linked to the final figure, which is a kind of parallelepiped. From there, I found it interesting to work with cubes, as if they were blocks of information. These blocks make up this almost architectural structure.

FO: Let us remember that UNIT’s purpose is to contribute to humanity with the development of all its universal intelligence products. In this work, the order that unfolds thanks to Discovery is not just any order. It is a classification of information that allows saving lives, by way of accident prevention.

SGM: Exactly. In addition, it is a way to sensitize people, even with processes that seem to be so complex.

FO: Thank you very much Sergio.

SGM: Thanks to you, we continue working.

Open call to artists interested in collaborations with data science and advanced mathematics.

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