{"id":303,"date":"2026-09-25T11:07:48","date_gmt":"2026-09-25T09:07:48","guid":{"rendered":"https:\/\/garcia-franco.com\/?page_id=303"},"modified":"2026-09-25T11:36:45","modified_gmt":"2026-09-25T09:36:45","slug":"case-03-licencia-de-autora-an-authors-licence","status":"publish","type":"page","link":"https:\/\/garcia-franco.com\/?page_id=303&lang=en","title":{"rendered":"CASE 03 \u2014 Licencia de autora (An Author\u2019s Licence)"},"content":{"rendered":"\n

El silencio est\u00e1 ocupado<\/em> (Silence Is Occupied) \u00b7 Three in the Studio<\/p>\n\n\n\n

A correction that made the work worse<\/h2>\n\n\n\n

The edit of El silencio est\u00e1 ocupado (Silence Is Occupied) was well advanced. At one point, the dark green field gave way to a brighter image of burgundy and ochre. The cut was visible, although there was no black frame or export error.<\/p>\n\n\n\n

\"Premiere
Cut in the edit at 01:16:00, retained in the approved version.<\/figcaption><\/figure>\n\n\n\n

The AI suggested extending a green layer to soften it. The idea was reasonable: it respected the palette and followed the logic of superimposition we had used to build the piece. I decided to try it.<\/p>\n\n\n\n

The colours flowed together more smoothly, but the work lost its strength. The spatial planes did not align; the cut was still there, only weakened. Extending the green also blurred the distinction between the end of one area of the work and the beginning of another. I removed the trial layer and restored the previous edit.<\/p>\n\n\n\n

\"Premiere
Rejected test: extension of the green layer on an upper track of the edit.<\/figcaption><\/figure>\n\n\n\n

What I had seen<\/h2>\n\n\n\n

The AI’s suggestion addressed a local problem: making a transition less abrupt. My objection concerned the work as a whole. That break marked a change of territory and prepared the return. Softening it made the journey more uniform and harder to read.<\/p>\n\n\n\n

I could not put all of this into words before trying it. First I sensed that the work had become worse; only afterwards could I explain that the continuity of colour was erasing a necessary spatial and narrative distinction. In an abstract painting, this sense of orientation does not depend on depicting a place. It can emerge from the relationships between areas, movements, entrances and returns.<\/p>\n\n\n\n

The test was useful precisely because it could be undone. The AI helped turn a doubt into a concrete operation; when I saw it in place, I decided that the operation did not belong in the work. We also kept a record of why it was rejected, so that the same correction would not reappear as unfinished business when we returned to the project.<\/p>\n\n\n\n

Choosing also means removing<\/h2>\n\n\n\n

In this episode, the most important decision was not to add something. It was to recognise that a technically defensible solution weakened the work, and to go back.<\/p>\n\n\n\n

That distinction matters to me when I work with AI. It can make suggestions, compare options and help me carry out tests. The work, however, calls for a judgement that takes shape as I look at it and work on it. Sometimes that judgement first appears as a refusal and only later finds words.<\/p>\n\n\n\n

This episode is part of a practice that continues to change. What I keep is the test, the decision to remove it, and a question that may return with another work: when does a transition need to be softened, and when does it need to remain a cut?<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\u2191 BACK TO THREE IN THE STUDIO<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

El silencio est\u00e1 ocupado (Silence Is Occupied) \u00b7 Three in the Studio A correction that made the work worse The edit of El silencio est\u00e1 ocupado (Silence Is Occupied) was well advanced. At one point, the dark green field gave way to a brighter image of burgundy and ochre. The cut was visible, although there […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"pages-en","meta":{"footnotes":""},"class_list":["post-303","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/garcia-franco.com\/index.php?rest_route=\/wp\/v2\/pages\/303","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/garcia-franco.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/garcia-franco.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/garcia-franco.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/garcia-franco.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=303"}],"version-history":[{"count":3,"href":"https:\/\/garcia-franco.com\/index.php?rest_route=\/wp\/v2\/pages\/303\/revisions"}],"predecessor-version":[{"id":314,"href":"https:\/\/garcia-franco.com\/index.php?rest_route=\/wp\/v2\/pages\/303\/revisions\/314"}],"wp:attachment":[{"href":"https:\/\/garcia-franco.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=303"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}