Untitled - ArtNetLab

KODE IN IDENTITETE
Identiteta posameznika ni le ena, mnogo jih je in neprestano jih menjavamo. Hkrati smo lahko otroci, starši, ljubimci,
bralci, uslužbenci, študentje, meščani ali državljani… Obstajajo identitete, ki si jih nadenemo v intimi in tiste, ki jih
prevzemamo v javnosti. Identiteta nas določa, a nikoli ne zmore razkriti, kdo zares smo. Človek je vedno veliko več kot
zgolj Stanetov sin, Marijin oče, tisti, ki bere Gogolja, prodajalka, Kamničan ali Slovenka. Identiteta je le znak, ki opiše del
našega življenja, pa vendar nas lahko usodno zaznamuje. Novomedijska projekta Brez besed (2005) in Povabilo na
večerjo 20. stoletja (2006) Vanje Merviča raziskujeta raznolikost in omejenost družbenih identitet ter njihovih kodov.
Državni ustroj naše identitete standardizira, jih šifrira in kodira s posebnim jezikom. Naša življenja - skupek preživetih
trenutkov, neizrečenih misli, nežnih dotikov in prelitih solza, so spremenjena v kode, s pomočjo katerih nas država
imenuje, razvršča, prepoznava, razume, nadzira in upravlja z našimi življenji.
Eden izmed sistemov znakov - posebna birokratska koda, ki določa eno izmed naših identitet, je Enotna matična številka
občana (EMŠO). EMŠO, številka, ki je bila v uporabi zgolj na območju bivše SFRJ, je bila občanu dodeljena v trenutku
njegovega rojstva in ga je spremljala vse do smrti. Sestavljena iz šestih delov - dneva, meseca in leta rojstva, številčnega
znaka regije, vrstne številke rojstva v regiji in kontrolne številke, izračunane s pomočjo posebej za EMŠO razvitega
javnega algoritma - predstavlja poseben kodni sistem, jezik, ki nam sporoča določene podatke o občanu.
EMŠO državi in njenim uslužbencem govori o našem spolu, starosti in kraju našega rojstva. Ta skupek števil država
uporablja pri zdravstvenem varstvu in zavarovanju, davkih in carinah, obrambi, urejanju prostora, zaposlovanju in
spremljanju delovne sile, pokojninskem in invalidskem zavarovanju, pravosodju, šolstvu, socialnem varstvu in drugih
statistikah. EMŠO človeka spremeni v številko, ki zabriše njegovo človeškost.
Mervičev projekt kodo izrabi za nastanek poetike podob. Vnos EMŠO v posebno okence ustvari enkratno kombinacijo
video podob na ekranu. Sistematizirana, standardizirana številka sproži nastanek umetniškega dela. To je sintetizirano za
vsakega posameznika, ki vnese pravilno EMŠO kodo. Posamezniku lastna številka, ki, kakor mnogo drugih osebnih
kontrolnih kod s sebi lastnim, matematično ustvarjenim znakovnim jezikom, dodobra kontrolira naša življenja, sproži
edinstveni tok podob, ki ga poleg uporabnika - imetnika EMŠA, spremlja celotno galerijsko občinstvo. Šifra za javno
uporabo, ki naj jo posameznik po naročilu državne oblasti skrbno hrani, saj je dostopna enoznačnemu branju vsakogar, ki
pozna skrivnosti EMŠO jezika, sproži intimen flux podob, ki je prikazan javnosti, a ponuja mnogovrstna branja. Birokratski
jezik, ki našo identiteto omeji na zbir podatkov, je v umetniškem delu razpršen v tisoč možnih pomenov. Umetnost, ki za
svoj medij izbira sodobno tehnologijo v tem in tudi v naslednjem Mervičevem projektu presega svojo medijsko specifiko
in vanjo vnaša poetično izraznost.
Če projekt Brez besed identiteto z uporabo EMŠA omeji na eno samo, ki pa je edinstvena za vsakega imetnika kode,
Povabilo na večerjo 20. stoletja omogoča njeno spreminjanje. Družbenost večerje, posebnega obreda preobloženega s
pomeni, katerega reference prek ključnega prizora krščanske simbolike segajo globoko v mitološko preteklost, je Mervič
v projektu prestavil na konec 20. stoletja. Dogodek, na katerega nas vabi umetnik in vabilu dodaja opozorilo, naj nanj
nikakor ne pridemo prepozno, je že minil. V začetku enaindvajsetega stoletja nas umetnik vabi, da si izberemo eno izmed
stereotipnih identitet, značilnih za površno podobo sveta, ki so nam jo s pomočjo množičnih medijev ustvarili ob koncu
preteklega stoletja. Uporabniki projekta tako v realnem času prisostvujemo preteklosti, ki se za nas predvaja v
sodobnosti.
Fotografija našega obraza zapolni praznino izbrane uniformirane podobe. Za hip lahko postanemo glasbeni zvezdnik,
terorist, heker, znanstvenik, porno diva ali paraplegik. Stereotipna zunanjost je dopolnjena z našo podobo, praznina je
izpolnjena. Toda tudi tako dopolnjena podoba še vedno ostaja zgolj prazen znak. Umetnik nam kaže izpraznjeno sodobno
družbo v kateri videz navidezno določa vsebino. V družbi, v kateri je treba delovati hitro in učinkovito, tipizirani jezik
podob uporabljamo, da ustvarjamo lastno reprezentacijo, s katero družbi kažemo naše želje, moči, strahove, ljubezni,
status in prepričanja, se povezujemo v skupine ali se od njih ločujemo. Izbira prepoznavnih obrazcev je velika, toda kaj
nam zares pove o posamezniku
Petja Grafenauer Krnc
Društvo za povezovanje umetnosti in znanosti ArtNetLab je produkcijsko-organizacijska
entiteta, ki vzpostavlja platformo za nastajanje novomedijskih umetniških projektov
najmlajših generacij umetnikov, tako da nudi organizacijsko podporo sodelovanju med
Akademijo za likovno umetnost in oblikovanje ter Fakulteto za računalništvo in informatiko
Univerze v Ljubljani. Osrednja institucija ArtNetLaba je organiziranje Mednarodnega
festivala računalniških umetnosti, ki omogoča tako realizacijo kot predstavitev del,
obenem pa odpira možnost neposrednega stika novih novomedijskih del z mednarodno
uveljavljenimi projekti s tega področja. Aleš Vaupotič, ArtNetLab
Society for Connecting Art and Science ArtNetLab establishes a platform for production
management of new media art projects by the youngest generations of artists. It offers
organisational support for the collaboration of the Academy of fine art and design and the
Faculty of computer and information science, University of Ljubljana. The key institution of
ArtNetLab is our organization of the International Festival of Computer Arts, making
possible the realization and presentation of the works and at the same time opening up
the possibility of direct contact of the new new media works with internationally
established projects from this field. Aleš Vaupotič, ArtNetLab
Vanja Mervič: Brez besed/Wordless (2005), Povabilo na večerjo 20. stoletja/
An Invitation for a 20th Century Dinner (2006)
Besedila/Texts: Petja Grafenauer Krnc, Vanja Mervič.
Uredili/Edited by: Narvika Bovcon, Aleš Vaupotič.
Založil/Published by: ArtNetLab Društvo za povezovanje umetnosti in znanosti.
ArtNetLab Društvo za povezovanje umetnosti in znanosti/
ArtNetLabSociety for Connecting Art and Science,
Trubarjeva 76a, 1000 Ljubljana
narvika.bovcon@guest.arnes.si
http://black.fri.uni-lj.si/
Zanj/Presented by: Aleš Vaupotič.
Prevod/Translation: Sunčan Stone.
Oblikovanje/Design: LIMB.
Tisk/Print: VZA Logatec.
Naklada/Number of copies: 300.
Leto/Year: 2007.
Zahvale/Thanks to:
FRI, ALU, SNG NOVA GORICA, MULTIMEDIJSKI CENTER MOSTOVNA, VASJA
KOKELJ, JOŠKO MARKIČ, SAMO OBLOKAR, HARLEM UNDERGROUND, MESTNA
OBČINA NOVA GORICA, PETJA GRAFENAUER KRNC, VSEM STATISTOM PRI
VEČERJI 20-EGA STOLETJA/20TH CENTURY DINNER EXTRAS (KATJA ROBIČ,
JURE POŠA, BOGOMIR TRPIN, JASNA PRINČIČ, NINA URŠIČ, ALEKSANDER
MAVRIČ, VASJA PELHAN, DECO, DRAGAN-MACHO MAN, ROMILDO KUMAR, VASJA
DRAŠČIČ, BOŠTJAN KOMEL, MATEJ DOLJAK, LUKA MANOJLOVIČ, PETER
MIGNOZZI, MATJAŽ KRAMAR), ALEKSANDER BLAŽICA, KUD LIMB, HARLEM NOISE
COLLECTIVE, KRISTJAN PUGELJ, LARA JANKOVIČ, ANA FACCHINI, ALFRED DE
LOCATELLI, SERGIO FIGAR, IGOR MAČKOVŠEK, GIUSSEPE ANELLO, HILDA
HANSEN, MOJCA VALIČ, MARJUTA SLAMIČ.
CIP - Kataložni zapis o publikaciji
Narodna in univerzitetna knjižnica, Ljubljana
7(497.4):929Mervič V.
MERVIČ, Vanja
Wordless ; An invitation for a 20th century dinner / Vanja
Mervič ; [besedila Petja Grafenauer Krnc, Vanja Mervič]. -
Ljubljana : ArtNetLab - Društvo za povezovanje umetnosti in
znanosti, 2007
ISBN 978-961-92000-0-1
1. Mervič, Vanja: An invitation for a 20th century dinner
231504128

Vanja Mervič
Rojen 13.12.1973 v Kopru.
Maturiral je na Instituto d´arte Max Fabiani, Gorizia.
Prva dva letnika končal na beneški akademiji, v letu 2001 pa je diplomiral na Accademia di Brera v Milanu.
1999 je bil na študentski izmenjavi na Hoogeshool, 3D-multimedia v Gentu, Belgija.
Vpisan na magistrski študij smer video in novi mediji na ALU Ljubljana, mentor Srečo Dragan.
Born on the 13th of December 1973 in Koper, Slovenia.
He finished his A levels at Instituto d'arte Maks Fabiani in Gorizia, Italy.
For two years he frequented Accademia di Belle Arti Venezia. He transferred to Accademia di Brera in Milano and graduated in 2001.
In 1999 he was as an exchange student at Hoogeshool, 3-D multimedia in Gent, Belgium.
From 2004 he has been attending a post graduate course in video and new media at the ALU, Ljubljana, mentor Srečo Dragan.
DELAVNICE/WORKSHOPS:
-Bloegroup, (Sam Bogart), Kunstcentrum Voruit, Gent, (B), 1999
-"Long pose", Pascal Bass, Hoogeschool, Gent, (B), 1999
-Toonel Fabrik Amsterdam, Kunstcentrum Voruit, Gent, (B), 1999
-"Da cosa nascie cosa", Fondazione Pistoletto, Gorizia,(I)-Nova Gorica, (SLO), 2006
-"Le chiavi di Ichnos tra cielo e terra", Perfugas, Sardinija, (I), 2006
-"Web Jay-ing software", Anne Roquigny and Stephane Kyles, Kiberpipa , Ljubljana, (SLO), 2006
-"Wherever we go - Ovunque andiamo", z Adrian Paci, Via Farini, Milano, (I), 2006
-"Public art", Antoni Muntadas, Via Farini, Milano, (I), 2006
IZBOR SKUPINSKIH RAZSTAV/SELECTED GROUP EXHIBITIONS:
-"Ex Tempore", Piran, (2. nagrada/2nd prize), (SLO), 1996
-"Nuove Figure", Galerija /Gallery Tragetto, Venezia, (I), 1996
-"Linguaggi in diagonale", Lecce, (I), 1997
-"Salon 1", Museo della Permamaente, Milano, (I), 1998
-"Rainbow for dinner", Kunstcentrum Voruit, Gent, (B), 1999
-"Waiting", Kunstcentrum Voruit, Gent, (B), 1999
-"Octavo", ACEK, Gent, (B), 1999
-"Sewing", Film Video monitor, Gorizia, (I), 2000
-"Arte oggetto", Buje, (I), 2001
-"Začasni delavec"/"Part time employee" Galerija/Gallery Alkatraz, Ljubljana, (SLO), 2002
-"12 + 4", razstava ob vstopu Slovenije v EU z Vasjo Kokelj, Ivem Tabarjem/an exhibition with Ive Tabar and Vasja Kokelj for the occasion of
Slovenia entering United Europe, javni prostor/open space, Nova Gorica, (SLO), 2004
-MMMArt Medana, Kulturni dom, Gorizia (I) 2005
-11. mednarodni festival računalniških umetnosti/11th International Festival of Computer Arts, Maribor, (SLO), 2005
-Predstavitev projekta/Presentation of the project "Wordless", net.culture club MAMA, Zagreb, (HR), 2005
-"Wordless", galerija Hodnik - galerija sodobne umetnosti/gallery of Contemporary Art Celje-Hodnik, Celje, (SLO), 2005
-"Arhipelag", javni prostor/open space, Nova Gorica, (SLO), 2005
-"Vissages francofones - vissage de la Slovenie", museum Henri-Martin, Chantrerie, Crenier du Chapitre, Chaors, (FR), 2005
-"Wordless", ArtNetLab production 05, Galerija/Gallery SVC, Ljubljana, (SLO), 2005
-"Wordless", Centro Culturale Candiani Venezia, (I), 2005
-"Panorama 360 - slika v mediju - medij v sliki"/"Panorama 360 - media in the images - images in the media", Tir, Mostovna, (SLO), 2006
-12. mednarodni festival računalniških umetnosti/12th International Festival of Computer Arts, Mestna Galerija Ljubljana, Kiberpipa, Mestna
hiša/Town Hall, Ljubljana, (SLO), 2006
-Predstavitev projekta/Presentation of the project "Invitation for a 20th century dinner", net.culture club MAMA, Zagreb, (HR), 2006
-"DobiaLab festival", Dobbia, (I), 2006
-"XL-ART", posoška državna knjižnica Stara Gorica/State Library, Gorizia, (I), 2006
-Predstavitev projekta/Presentation of the project "Invitation for a 20th century dinner", Galerija/Gallery ESC, Graz, (A), 2006
CODES AND IDENTITIES
There is no single identity of an individual, they are numerous and we constantly change them. At the same time we can be
children, parents, lovers, readers, employees, students, citizens, etc. There are identities that we apply in our intimate moments
and those that we use publicly. The identity defines us, but can never reveal our true self. An individual is always more than
John's son, Mary's father, the one who reads Gogolj, a salesperson, a Londoner or a Slovene. Identity is merely a signifier that
describes a part of our life and yet it can determine us. The new media projects Wordless (2005) and An invitation to a 20th
century dinner (2006) by Vanja Mavrič research the differences and limitations of social identities and their codes.
The state mechanism standardises, codes and sorts our identities with a special language. Our lives - a cluster of experienced
moments, unspoken thoughts, gentle touches and shed tears are changed into codes with which the state names, recognises,
sorts, understands, and monitors us as well as manages our lives.
One of the system signifiers - a special bureaucratic code, which defines one of our identities, is the Citizen's personal
identification number (CPIN). CPIN, a number that was in use only in the territory of the former Socialist Yugoslavia, was
assigned to the citizen at the moment he was born and followed him right until his death. It is composed from six parts - day,
month and year of birth, the numerical sign of the region, the ordination number of the birth within the region and a control
number that was calculated with a specially developed public algorithm - and all of this represents a special code system, a
language that offers us certain information on the citizen.
CPIN tells the state and its employers our gender, age and place of birth. These numbers are used by the state at health care
and insurance, taxes, defence, environment regulation, employment and work force monitoring, pension and disability
insurance, the justice system, education, social care and other statistics. CPIN turns an individual into a number and erases his
individuality.
Mervič' project uses the code to create poetic images. Inputting a CPIN into a special box creates a unique combination of video
images on the screen. The systemised, standardised number triggers the creation of a work of art. This is synthesised for every
individual who enters the CPIN code. The individual's typical number, which, similar to numerous other personal control codes
with their own mathematically created sign language, controls our lives, triggers a unique flow of images, which is followed by
the user - the CPIN holder - and the entire gallery audience. The code for public use, which the user is instructed to carefully
protect by the state, for it can be read (in a unified way) by anyone who knows the mysteries of the CPIN language, triggers an
intimate flux of images that are shown to the public, but offer various readings. In this work of art the bureaucratic language
that limits our identity to a dataset is dispersed into a thousand different meanings. Art that chooses modern technology for its
medium in this and the next project of Mervič overcomes its medium specifics and introduces a poetic expression.
If the project Wordless limits the identity with the use of the CPIN to a single identity that is specific to the code holder, An
invitation to a 20th century dinner enables the changing of the identity. In this project the sociability of the dinner, a special
ritual overburdened with meanings - the references of which reach back into the mythological past through the central scene of
Christian symbolism, was moved to the end of the 20th century. The artist has invited us to an event with an invitation that
includes a warning that we should not be late however the event has already taken place. At the beginning of the 21st century
the artist invites us to choose one of the stereotypical identities typical for the casually assessed image of the world that was
created at the end of the previous century with the aid of mass media. Thus the users of the project attend (in real time) the past
that is played in the present especially for us.
A photograph of our face fills the emptiness of the chosen uniformed image. For a moment we can become a pop star, a
terrorist, a hacker, a scientist, a porn star or a paraplegic. Our image is added to the stereotypical exterior, the void is fulfilled.
But even such a complemented image remains an empty sign. The artist shows us the empty modern society in which
appearance seems to define the contents. In a society that demands fast and efficient operation, we use the typified language
of images to create our own representation with which we show the society our desires, powers, fears, loves, status and beliefs,
we join groups or step out of them. The choice of recognisable forms is great, but what does this truly tell us about the
individual
Naslov/Address: Cesta 15. Septembra 14, 5000 Nova Gorica, Slovenija
Tel.: + 386 (0)31 883 415
e-mail: vanja.mervic@gmail.com
Petja Grafenauer Krnc

VANJA MERVIČ: WORDLESS (BREZ BESED)
Programiranje/Coding:
Kristjan Pugelj, Josip Varga, Primož Skrjanc, Luka Prašnikar,
Tjaša Horvat, Jelena Anastasov
Mentor: Srečo Dragan
Co-mentor: Franc Solina
Spodaj je mirujoča slika videa, kjer so nekatera sedišča in vloge že zasedene.
Aplikacija črpa obraze iz podatkovne baze in jih ciklično predvaja.
Underneath is a still image, where some of the places and characters have already been
taken. The application takes faces from the database and runs them in a loop mode.
V dobi neprekinjenega digitalnega nadzora se je razbohotila selektivnost (ki pa ne producira nujno kvalitete) in kot njena posledica restriktivnost.
Na vsakem koraku nas družba bombardira in posredno tudi označuje z različnimi PIN kodami, ki naj bi vsakodnevnost olajševale ter poskrbele za
varnost pred vdorom v intimnost. Gledalec lahko stopi v odnos samo s kodo, ki je v tem primeru enotna matična številka občana. To pa iz
preprostega razloga, ker jo imamo vsi in je tako rekoč neizogibna in nam je dodeljena ob rojstvu. Na podlagi te dobi gledalec samo njemu
namenjeno umetniško delo.
Gledalec, ki ne predloži matične številke, lahko vidi samo prvotno statično sliko.Vsebinsko so videi konglomerat dogodkov, ki nas obdajajo, vsega
restriktivnega in vsega, kar nam daje fiktivni občutek individualnosti. Danes se v vseh teritorijih gibamo nesvobodno. Naš svet je svet fiktivne
svobode, ki shizofreno sobiva z restrikcijami, ki naj bi svobodo varovale. Zato gledalca prisilim, da uporabi svojo lastno družbeno omejenost in le
preko te lahko sodeluje v odnosu z umetniškim delom. Ta mu ponuja vizualizacijo njegove lastne omejenosti. S tem dobi umetnik položaj
opominjevalca ali analitika. Zaradi restrikcije odnosa gledalec-ustvarjalec pa se prekine vsaka možna komunikacija o delu samem in tako postane
ta odnos to, kar bi moral biti: intimnost.
In the age of constant digital control we witness selectivity in full bloom and restriction as its response. On every step, we are bombarded and
marked by society with different PIN codes, which supposedly make our everyday life easier and safer from intrusions into our intimacy. One can
enter the relationship only by using a PIN code, which in this case is a citizen's personal identity number; purely because it is inevitable and is
given to us at birth. This enables you to get your own artwork. If one refuses to give his personal number, one can only see a static picture.
Videos are a sum of events around us, of everything restrictive and of everything that gives us a fictitious sense of intimacy. Today we are
restricted in movement in all possible territories. Our world is a world of freedom that does not really exist and at the same time schizophrenically
lives hand in hand with restrictions, which supposedly guard our freedom. Using a personal number the viewer is offered a visualisation of his
own restrictedness. Through this the artist becomes a preacher and analyser. Because the relationship itself between the artwork and the viewer
is restricted verbal communication about the work is not possible anymore, the relationship becomes what it should be: intimacy.
Program je napisan v Borland Delphiju 7. Sestavljen je iz dveh form (oken). Prva forma omogoča vnos enotne matične številke občana. Glede na
vneseno EMŠO algoritem po pravilih iz uradnega lista (razdelek 345 - Uredba o načinu določanja osebne identifikacijske številke) preveri, če je
vnesena EMŠO pravilna. Nadalje, algoritem glede na izbrano razdelitev EMŠO izbere video posnetke, ki jih bo druga forma predvajala ter pozicijo
predvajanja videov. V primeru, da EMŠO ni pravilna oz. je prekratka, nas program na to opozori. Po vnosu pravilne EMŠO se nam na zaslonu
izpiše okno, v katerem se odšteva čas do začetka video projekcije. Na voljo imamo devet sekund. Drugo okno sestavlja šest uvoženih ActiveX
komponent Windows Media Player ter ozadje kot statična projekcija. V ActiveX komponentah se predvaja video, omembe vredna sta tretja in peta
komponenta, kjer se po končanem prvem posnetku začne predvajati drugi ter nato še tretji video posnetek.
Razdelitev EMŠO: DAN-MESEC-LETO-REGIJA-SPOL-ZAPOREDNO ŠTEVILO-KONTROLNO ŠTEVILO
The program is written in Bordland Delphi 7, composed with two forms (windows). The first form enables the input of the CPIN number. The
algorithm verifies the given CPIN number trough the regulation from the official paper (classification 345-Decree on the regulation of
determination of the citizen's personal identification number). Further, the algorithm with the reference to the chosen division of the CPIN
number chooses videos, which are produced and put into a position of the projection by the second form.
In the case that the CPIN number is not correct or is too short we are notified by the program. The second window is composed with six ActiveX
components Windows Media Player and a background as a static projection. In the ActiveX components the videos are projected. More
interesting are the third and the fifth component, where three videos are projected one after the other.
The division of the CPIN number: DAY-MONTH-YEAR-REGION-SEX-CONSECUTIVE NUMBER-CONTROL NUMBER
TEHNIČNA ZASNOVA IN IZVEDBA
Za realizacijo smo uporabili web-cam, ki zajame obraz obiskovalca. Obiskovalec
sam se poistoveti z eno izmed oseb, v kateri vidi odsev svoje osebnosti, ali pa izbere
neko pozicijo za mizo, ki predstavlja eno izmed oseb. Slika njegovega obraza se
potem shrani v bazo obrazov te določene osebe. S potrditvijo slike se požene video
virtualne večerje, v katero je vključen tudi ta novi obraz.
Kot programski jezik smo uporabili Javo, ki nudi veliko brezplačnih delovnih okolij
in je z uporabo dodatnih knjižnic odlična za obdelovanje grafike. Uporabili smo dve
delovni okolji in sicer Processing in Eclipse.
TECHNICAL SETTING OF THE PROJECT
For the realisation of the project we have used a web-cam that photographs the
face of the user. The user chooses a character or a certain position at the dinner
table. The photograph of a face is then saved in the face archive of the chosen
character. Confirming the taken photograph the video of the virtual dinner starts
with the new face.
As a programming language we used Java, since it offers many working environments
free of charge and it is excellent for graphic design. We used two working
environments, Processing and Eclipse.

Vabilo na večerjo
dvajsetega stoletja nas vodi
v virtualnost preteklosti in identitete.
Hkrati vstopamo v svet virtualne večerje,
kjer je identiteta historično pogojena, ter v
dejansko, časovno bližnjo preteklost. Na eni
strani nam ponuja avtorefleksijo že doživetega, na
drugi pa zadovoljuje perverznost instinktivnega
vojerizma. Refleksija že po definiciji potrebuje
časovno distanco in danes je refleksija dvajsetega stoletja
možna in nujna. Z udeležbo na virtualni večerji metaforično
poustvarjamo lastno preteklost in vstopamo v fenomen
resničnostnega šova, kjer izrednost zaznavamo skozi princip
vsakdanjosti. Poklici, katerih vloge lahko prevzamemo, so
izbrani ravno glede na izrednost v vsakdanjosti dvajsetega stoletja.
Virtualne večerje se lahko udeleži vsak in s tem odigra aktualno igro,
s katero vzpostavi refleksijo lastne zgodovine. Gledalec ni več
gledalec, temveč postane aktivni udeleženec v ustvarjalnem procesu.
Gibamo se med realnim in virtualnim in mejá med gledalcem,
umetniškim delom in ustvarjalcem ni več.
Začetna statična slika, kjer uporabnik vpiše svojo EMŠO, ta
pa odpre določena polja, kjer se odvrtijo videi, pogojeni s
kodo (slika spodaj). Če uporabnik ne posreduje številke z
določenim algoritmom, ga aplikacija na to opozori in
uporabnik lahko stopi v odnos z avtorjevo EMŠO ter vidi delo
skozi njegove oči ali pa se zadovolji z vpisno sliko.
The first static picture, where the user enters a personal
identity number, which opens certain fields with videos
playing (picture underneath). If the user does not whish or
does not own the CPIN with certain algorithm, the
application warns him and he can enter in relationship with
the author's CPIN and see the work trough his eyes or be
satisfied with the entering picture.
An Invitation to the 20th Century Dinner takes us to the virtuality of
the past and of identity. We are simultaneously entering the world
of the virtual dinner, where the identity is historically conditioned, and
into the actual time based past. Firstly, it offers auto-reflection of the
already experienced and secondly, it satisfies the voyeuristic
perversity. Reflection is only possible, already by definition, if based
in a certain time distance and today it is not only possible but
almost a must. Attending the virtual dinner we are metaphorically
recreating our own past and we are entering the phenomena of
reality shows where exception is perceived through the
principal of ordinary. The professions used are chosen exactly
through the same exception to the common in the 20th Century.
The virtual dinner can be attended by anyone and so
each attendant has a possibility to create a reflection
on his or her history. The spectator is no longer
a spectator as such, but an active element in
the creative process. We are lingering
between real and virtual and the
boundaries between the spectator,
the creation and the creator
no longer exist.
Programiranje/Coding: Boris Kodelja, Matija Mestnik Mentor: Srečo Dragan co-mentor: Franc Solina