Prifma is an Argentine artist working in generative art and electronic music, building practice from the convergence of visual and sonic experiment. Working with algorithmic composition and creative coding tools including Processing and p5.js, Prifma produces work in which the rules that generate an image and the rules that generate a sound are versions of the same underlying procedure. The result is a body of work that treats the computer not as a production tool but as a collaborative partner in a rule-governed creative process.
Artistic Practice
Prifma’s practice is grounded in the tradition of generative art — work in which the artist defines a system and the system produces the work. This is not a relinquishing of authorship but a particular kind of authorial control: the decisions that matter are those that constrain and shape the generative process, not those that determine specific outcomes. Each piece begins with a set of parameters, relationships and constraints that the code then explores, often producing results that surprise the artist in their specificity while remaining consistent with the logic of the system as designed.
The relationship between sound and image in Prifma’s work is structural rather than illustrative. Visual output and audio output are not separately conceived and then married in post-production — they emerge from the same algorithmic source. A composition in p5.js might generate both the visual pattern and the synthesis parameters simultaneously, meaning that visual rhythm and sonic rhythm are expressions of a single temporal logic. This coupling is not merely technical; it shapes the aesthetic register of the work, which tends toward a kind of precise abstraction that is more closely related to generative visual art traditions than to conventional music production.
Prifma participates in the Buenos Aires experimental scene that has developed around digital production tools and open-source creative software. This community — connected through artist-run platforms, online sharing and occasional live events — represents one of the more active nodes of Latin American generative practice, and Prifma’s work is situated within its ongoing conversation about what algorithmic authorship means when the tools are openly shared and the methods are transparent.
Tools and Methods
Processing and p5.js form the backbone of Prifma’s technical practice. These Java and JavaScript-based creative coding environments, developed at MIT and through the Processing Foundation, are favoured within generative art communities for their accessibility and for the breadth of work that has been produced within their ecosystems — work that provides a rich contextual frame for understanding new contributions.
For sound, Prifma works with algorithmic composition approaches that treat music generation as a problem of constraint satisfaction and parameter exploration. This may involve direct audio synthesis within p5.js using the p5.sound library, or integration with external audio environments. The specifics of the audio pipeline vary across projects; the constant is the commitment to generation over performance — the work produces itself according to defined rules rather than being executed in real time by a human musician.
Visual synthesis in Prifma’s practice draws on a range of generative techniques: noise functions, cellular automata, recursive structures, particle systems. These produce visual forms that carry the characteristic quality of algorithmic art — precision combined with controlled unpredictability, pattern combined with variation. The palette tends toward restraint, often working with limited colour ranges that allow structural relationships to remain legible.
Selected Works
Prifma’s output includes generative visual series and algorithmic compositions that have been shared within the Buenos Aires digital arts community and through online platforms. Their work represents the kind of sustained personal research practice — iterative, exploratory, resistant to easy categorisation — that characterises the independent generative art scene. Specific releases and exhibitions have connected Prifma to the network of Latin American experimental artists documented within the Amplify DAI programme, which served between 2018 and 2025 as one of the principal frameworks for situating this kind of practice within an international context.
The relationship between Prifma’s visual and sonic experiments is perhaps most clearly demonstrated in documentation of live presentations, where the simultaneity of image and sound generation makes visible what recorded or printed work can only imply: that the two streams are not parallel but identical in their origin.
[EMBED: p5.js sketches / Soundcloud — search Prifma generative]
