10.mednarodnifestivalračunalniškihumetnosti - ArtNetLab - Univerza ...

festival
arts
računalniških
festival Maribor
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umetnosti
www.mfru.org
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computer
10. mednarodni
10. international
Maribor, Ljubljana, Zagreb,Graz
IFCA

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- Predgovor (Vilma Štritof Čretnik), Uvodne besede (Dragica Marinič)
- Foreword (Vilma Štritof Čretnik), Intro (Dragica Marinič)
- Novomedijsko umetniško delo (Janez Strehovec)
- English abstract of Janez Strehovec's book Umetnost interneta/The Art
of Internet
- Prihodnost računalniške umetnosti (Marina Gržinić)
- The Future of Computer Arts (Marina Gržinić)
- Selekcija Petra Weibla/Peter Weibel's Selection
- Kolektivi/Collectives (kustos/curated by Simona Vidmar,
izbor/selection: son:DA)
- Izgubljeno s prevodom/Lost in Translation (kustosa/curated by Narvika
Bovcon, Aleš Vaupotič)
22- Video Match: Akademija za likovno umetnost , Univerza v
Ljubljani/Academy of Fine Arts, University of Ljubljana (Prof Srečo
Dragan) vs. Akademija umetnosti, Split/Arts Academy, University of
Split (Prof Vlado Zrnić)
23- Akademija za likovno umetnost in Fakulteta za računalništvo in
informatiko, Univerza v Ljubljani/Academy of Fine Arts and Faculty of
Computer and Information Science, University of Ljubljana (Prof Srečo
Dragan)
27 - Konceptualno (umetniške) prakse t4, Akademija za likovno umetnost,
Dunaj/(Art) Practices at the Academy of Fine Arts Vienna (Prof Marina
Gržinić)
32- Študentski forum: izmenjava konceptov, razmišljanj in delovnih
strategij/Students' Panel Presentastions: Exchange of concepts,
thoughts and works'strategies
34- Davide Grassi, Dominik Olmiah Križan
36- Roboti/Robots (kustos/curated by Jože Slaček)
37 - Marnix de Nijs & Edwin van der Heide (kustos/curated by Jurij Krpan)
38- Narave/Natures (kustos/curated by Miloš Bašin)
40- Magdalena Pederin (kustos/curated by Miloš Bašin)
CIP - Kataložni zapis o publikaciji
Narodna in univerzitetna knjižnica, Ljubljana
7.01:004.946(082)
7.038.53:004
MEDNARODNI festival računalniških umetnosti (10 ; 2004 ; Maribor)
[Deseti]
10. mednarodni festival računalniških umetnosti, Maribor,
Slovenija, 11.-15. 5. 2004 = 10th International Festival of
Computer Arts, Maribor, Slovenia, 11-15 May 2004 / [uredili Narvika Bovcon, Jože
Slaček, Aleš Vaupotič ; prevodi Doris Batelič, Alenka Bergant, Manca Gašperšič]. -
Maribor : ArtNetLab - društvo za povezovanje umetnosti in znanosti : MKC, 2004
ISBN 961-6154-05-2 (MKC)
1. Bovcon, Narvika
213505792

PREDGOVOR
V kontekstu umetniške ustvarjalnosti gre v intermedijski najbrž za najbolj raznoliko in najbolj ekspanzivno umetniško produkcijo v
sodobnem času. Po načinu distribucije in uporabi jezika je univerzalna in v tem smislu primerljiva z glasbo, najbolj univerzalno
izmed vseh umetnosti. Žal pa ji onemogočajo nastanek in dostopnost nujni tehnični pogoji in visoko razvita orodja, ki jih za svoje
delo potrebuje. Tako se prostor intermedijske ustvarjalnosti še zmeraj koncentrira na tehnično razvitejša okolja, temu pogoju pa se
pridružujejo še kultura, jezik in finančne zmogljivosti.
Mladi ustvarjalci na področju intermedije se soočajo s povsem različnimi in še izredno spremenljivimi pogoji. Močnejši in stabilnejši
organizatorji in prireditelji različnih forumov in festivalov imajo možnosti, da pritegnejo k sodelovanju in udeležbi tudi tiste
udeležence, ki ustvarjajo s preprostejšimi tehničnimi orodji in v hi-tech polju niso tako konkurenčni. Hkrati pa sodobne raziskave
zlasti multimedijskega trga kažejo, da razvoj tehnologije rapidno raste in da razvoj vsebin zaostaja za njim. Mladi in ustvarjalni ljudje
pa imajo vedno kaj povedati in izraziti. Prispevajo lahko vitalne premike v tehno kulturi in ustvarjajo nad- in mednacionalne
povezave. Predstavljajo vire inovativnosti, povezane v umetniške platforme, virtualne mreže in raziskovalne laboratorije. To so prav
gotovo ljudje, ki jih ne zadovoljuje zgolj fascinacija nad razvojem in zmogljivostmi sodobne tehnologije. Uporaba vse manjših in
mobilnejših računalnikov, UMTS generacije mobilnih telefonov itd, spreminjajo družbeni kontekst in rišejo drugačen zemljevid
našega planeta. Prav tu pa se kaže absurdna, malone že kar protislovna pozicija intermedijske umetniške ustvarjalnosti: hkrati ko
uporablja najsodobnejša tehnična orodja, se obrača v smeri kritične, ironične distance do družbe in ves čas preizkuša in provocira
njen družben kontekst.
Kje sta torej njena vrednost in njen naboj Najbrž prav tam, kjer ostaja človeško živa: v svoji ostroumnosti, duhovitosti in izvirnosti.
Tam, kjer je lahko osebna v izražanju stališč, kjer lahko pripoveduje zgodbe, kjer je lahko občutljiva in čustvena.
Vilma Štritof Čretnik
Ministrstvo za kulturo
UVODNE BESEDE
Letos praznujemo že 10. obletnico Mednarodnega festivala računalniških umetnosti (MFRU) in z velikim veseljem bi se ob tej
priložnosti rada zahvalila vsem ključnim osebam, ki so bile idejni pobudniki tega mednarodnega dogodka, in so ga vsa ta leta
vztrajno oblikovali ter sočasno preoblikovali njegovo vsebino in odprtost.
Mladinski kulturni center Maribor - MKC Maribor, glavni organizatorji festivala in vsi tisti, ki so ga pomagali oblikovati, smo uspeli
preživeti" vse tehnološke zahteve in potrebe, ki jih tak festival postavlja pred organizatorja, in obenem vsakič v teh desetih uspeli
zbrati še dodatne moči ter finančne vire za samo izvedbo mednarodnega festivala. In če se ozrem nazaj, lahko samo ugotovim, da
smo ravnali pravilno. Naj bo ob tej priložnosti jasno povem, da je mednarodni festival tolikšnih razsežnosti, - organiziran s strani tako
majhne javne ustanove kot je MKC Maribor, ustanovljene s strani Mestne občine Maribor za potrebe izvajanja kulturnih aktivnosti
mladih ter s temu primerno nizkim proračunom, - lahko samo plod dela izjemnih posameznikov, ki imajo svoja imena in obraze. Njim
namenjam vse moje zahvalne misli.
Jože Slaček je tisti, ki je prvi oblikoval idejo o organizaciji mednarodnega festivala, a le ideja brez predanega dela številnih sodelavcev,
selektorjev in svetovalcev, ki so s svojim delom od prvega trenutka dalje sooblikovali program festivala, le-ta nikoli ne bi postal
realnost, ki jo danes označujemo kot zgodovinsko in pionirsko delo na področju umetnosti in tehnologije v Sloveniji.
Vsa zahvala gre torej tudi sledečim sodelavcem festivala: Marina Gržinić, Erkki Huhtamo, Mačiko Kusahara, Meta Gabršek-Prosenc,
Aleksandra Kostić, Peter Tomaž Dobrila, Stelarc, Igor Štromajer, Kathy Rae Huffman, Srečo Dragan, Franc Solina, Jurij Krpan, Eva
Ursprung in Simona Vidmar. Rada bi se zahvalila tudi celotnemu tehničnemu in administrativnemu osebju MKC Maribor, ki je
pomagalo pri organizaciji.
Posebna zahvala gre letošnjemu organizatorju festivala ArtNetLabu, društvu za povezovanje umetnosti in znanosti, ki je letos in bo v
naslednjih dveh letih glavni producent in organizator festivala, skupaj s soorganizatorstvom MKC Maribor. Gre za dolgoletne
sodelavce, ki so se organizirali v društvo, da bi se festival lahko ohranil v pogojih nove kulturne politike. ArtNetLab bo s svežimi
močmi in produktivnim sodelovanjem prispeval k nadaljnjemu vedno bolj kvalitetnemu in obsežnemu festivalskemu dogajanju.
Prav tako so bile v samo organizacijo festivala vključene tudi številne organizacije: Mestna galerija Maribor, MMC Kibla, Študentska
organizacija Univerze v Mariboru, Univerza v Mariboru - Pedagoška fakulteta, Oddelek za likovno umetnost, Fakulteta za
elektrotehniko, računalništvo in informatiko - FERI in še mnoge druge. Tudi vsem njim namenjam zahvalo za njihovo podporo in
sodelovanje. Prav tako se zahvaljujem za sodelovanje vsem našim partnerjem v Ljubljani: Galeriji Kapelica, Maski Ljubljana,
ArtNetLabu in Univerzi v Ljubljani, Akademiji za likovno umetnost - ALU ter Fakulteti za računalništvo in informatiko - Laboratoriju za
računalniški vid. Partnerstvo vseh naštetih organizacij je bilo bistvenega pomena za naše organizacijsko delo.
Zahvaljujem se tudi Mestni občini Maribor, Ministrstvu za kulturo RS, našemu glavnemu sponzorju - časopisni hiši VEČER, sponzorju
Novi KBM, Uradu RS za mladino, ŠOUMu in donatorju KulturKontaktAustria. Zahvalila bi se tudi našim mednarodnim partnerjem:
MaMa, Zagreb, Forum Stadtpark in ESC, Gradec. Zahvaljujem se tudi vsem množičnim medijem, ki so v vseh teh letih spremljali delo
Festivala: Večer, Delo, Dnevnik, Mladina in Radio Televizija Slovenija ter druge TV in radijske postaje.
Rada bi se zahvalila tudi dr. Marini Gržinić za njeno predano uredniško delo pri oblikovanju knjige ob 10. obletnici festivala z
naslovom Prihodnost računalniške umetnosti, kakor tudi sozaložniku knjige Maski iz Ljubljane ter njenemu glavnemu uredniku Emilu
Hrvatinu.
In nenazadnje gre zahvala tudi mednarodni in domači srenji izvrstnih umetnikov, aktivistov, teoretikov in navdušencev sodobne
računalniške in vizualne umetnosti, ki so s svojim sodelovanjem omogočili izvedbo vseh festivalov. Brez njihovega razumevanja,
potrpežljivosti ter seveda izvrstnih in inovativnih projektov festivala ne bi bilo.
Dragica Marinič, univ. dipl. ing.
direktorica MKC Maribor

FOREWORD
The contemporary intermedia world has the most diverse and expansive art productions. The
distribution and a particular use of language make it universal. It can be compared with music, the
most universal of all art expressions. Its development and accessibility is difficult because of
necessary technical equipment and highly developed tools needed in the creative process. That is why
the intermedia creative space is still restricted to more developed countries. An important role is
played by culture, language and financial capacities.
The young intermedia artists work in very different and changeable conditions. The strongest, more
powerful festival and forum organizers have the possibility to attract and invite artists with less
developed technical equipment and are not competitive in the hi-tech field. At the same time the
contemporary research of the multimedia market shows that the development of technology is rapidly
growing and that the contents do not follow its growth. Young, creative people have always something
to say and express. They contribute to techno culture with vital moves and create national and
extra-national connections, introducing innovative sources bound on art platforms, virtual nets and
research laboratories. These are not people satisfied with the fascination of contemporary
technology development and potential. The use of smaller, mobile computers, UMTS generations of
mobile phones etc. change social contexts and draw a different map of our planet. This is where the
absurd, almost contradictory intermedia art creativeness shows itself. It uses the most developed
technical tools, turns to society with a critical, ironic distance, all the time challenging its
very context.
Where are its value and its energy They can be found where it is humanly alive: in its acumen, its
wittiness and originality. It is a place where it can be personal in expressing points of view,
telling stories, where it can be sensitive and emotional.
Vilma Štritof Čretnik
Ministry of Culture
INTRO
This year we are celebrating the 10th anniversary of the Mednarodni festival računalniških umetnosti (MFRU) or The International
Festival of Computer Arts (IFCA) and it is my pleasure to thank the key individuals and organizations that first launched the
International Festival and through all these years kept reshaping and remodeling its content and openness.
The MKC Maribor (Mladinski kulturni center Maribor/The Maribor Youth Cultural Center), which is the main organizational
institution, "survived" through all these years, keeping up with the demanding technological needs of the organization of the
Festival, always finding at the last moment the additional strength and funds to organize the Festival. Looking back, all these
efforts proved to be proper. So it must be clear that an International Festival of such a scale that is organized by a small
public institution, which MKC Maribor is, established by the Municipality of Maribor for youth cultural activities, is always in
the end the result of efforts by distinctive individuals. They bear names and faces and to them goes my sincerest appreciation.
The idea to organize The International Festival of Computer Arts was initiated by Jože Slaček, but it was an idea that came to be
a reality and is today seen as a historical and pioneering project in the field of arts and technology in Slovenia, only and
solely because of the dedicated work, efforts and organizational investments of the numerous collaborators/selectors and advisors
who shaped the program from its first moment on: Marina Gržinić, Erkki Huhtamo, Machiko Kusahara, Meta Gabršek-Prosenc,
Aleksandra Kostić, Peter Tomaž Dobrila, Stelarc, Igor Štromajer, Kathy Rae Huffman, Srečo Dragan, Franc Solina, Jurij Krpan, Eva
Ursprung and Simona Vidmar. I also would like to thank all the MKC Maribor's technical and administrative staff who helped with
the organization.
Special thanks goes to this year's organizer of the festival ArtNetLab, Society for connecting art and science, which is this
year and will be in the following two years the main producer and organizer of the festival, in co-production with MKC. ArtNetLab
are our many years' collaborators that established a society, so the festival could prevail in the conditions of the new cultural
politics. ArtNetLab will contribute to the higher quality and greater amount of the events and participants at the festival.
There are numerous institutions involved in the organization of the festival in Maribor: The Maribor Art Gallery, MMC Kibla, the
Student Organization of University of Maribor (Študentska organizacija Univerze v Mariboru), the University of Maribor: Faculty
of Education, Department of Fine Arts (Univerza v Mariboru, Pedagoška fakulteta, Oddelek za likovno umetnost), The Faculty of
Electrical Engineering and Computer Sciences (Fakulteta za elektrotehniko, računalništvo in informatiko - FERI) and etc, to all
them go my thanks. As well I have to thank partners in Ljubljana: Gallery Kapelica, Maska, ArtNetLab and the University of
Ljubljana: The Academy of Fine Arts (Akademija za likovno umetnost, ALU) and The Faculty of Computer and Information Sciences,
the Computer Vision Laboratory (Fakulteta za računalništvo in informatiko, Laboratorij za računalniški vid), etc. All these
institutions are of key importance, being our partners in organizing the Festival.
My thanks go also to the Municipality of Maribor, the Ministry of Culture of Slovenia and to our main sponsors, VEČER, d.d.
Maribor and Nova KMB, to the Office for Youth (Urad RS za mladino), to ŠOUM (Student Organization of University of Maribor), as
well as to the sponsor KulturKontakt Austria. I would like to thank our international collaborators: MaMa, Zagreb, Forum
Stadtpark and ESC in Graz. I would also like to thank the mass media for their continuous coverage of the International Festival
of Computer Arts: Večer, Delo, Dnevnik, Mladina, Television Slovenia's cultural and news programs and numerous radio programs and
stations in Ljubljana and Maribor.
I would like to thank Dr. Marina Gržinić for her dedicated editorial work while preparing the book about the 10th edition of the
Festival The Future of Computer Arts and as well the co-publisher Maska, Ljubljana and Maska's director, Emil Hrvatin.
Last but not least all my thanks goes to the international and domestic community of excellent artists, activists, theoreticians
and followers of contemporary computer and visual arts that made all the editions of the festival possible. Without their
patience, understanding and excellent and innovative projects, the Festival would never have been possible.
Dragica Marinič,
Director of MKC Maribor

Dr. Janez Strehovec je organizator in moderator simpozija, predstavitev in okrogle mize
z naslovom Umetnost novih medijev na 10. MFRU.
Dr. Janez Strehovec is the organizer and moderator of the symposium, presentations and
the round table with the title The Art of the New Media at the 10th IFCA.
Janez Strehovec: Novomedijsko umetniško delo
Tudi novi mediji (spletna stran, DVD, cederom, virtualna
resničnost, posebni učinki, digitalni kino, hipertekst, računalniške
igre itn.) podobno kot tradicionalni množični mediji (tisk,
fotografija, film, radio, televizija, analogni video, popularna
glasba), vplivajo na nastanek novih umetniških zvrsti in oblik,
med katerimi naj opozorimo predvsem na spletno umetnost,
softversko umetnost, generativno umetnost, digitalne inštalacije,
računalniške igre kot umetnost, hipertekst in druge oblike
tehnoliteratur, tehnoperformance in virtualno arhitekturo.
Novomedijska specifika, povezana z virtualnostjo,
kiberprostorom, teleprezenco, povezljivostjo, imerzivnostjo,
interaktivnostjo in hipertekstnostjo, vpliva na posameznikovo
izkušanje realnega in načine konstruiranje njegove identitete,
skupnosti in utelešenja. Srečujemo se tudi z novimi oblikami
predstavitve sveta in njegovih objektov (in sicer ne več samo na
ravni podob, temveč v obliki potopitvenih trirazsežnostnih
virtualnih okolij, v obliki interaktivne multimedije in virtualne
arhitekture) ter z vzpostavitvijo mrežnih, povezljivih okolij in
mreženja; osnovna enota kulturne dominante ob začetku
21.stoletja ni več izolirani, "atomski" artefakt, temveč umetniška
storitev, proces, izkušnja in mreža. Prav tako pa se z novimi mediji
uveljavljajo novi modeli produkcije, distribucije in konsumpcije
umetniških storitev, ti mediji pa generirajo tudi novo obliko
publike, ki je novomedijsko pismena in sposobna percipiranja
novomedijskih del v okoljih svetovnega spleta in tudi na lokacijah,
ki se ločijo od prizorišč elitne kulture.
Ob novih medijih se odpira tudi vprašanje remediacije
tradicionalnih medijev (izraz avtorjev knjige o tej problematiki
D.J. Bolterja in R. Grusina) v smislu njihovega spreminjanja in
prilagajanja na zahteve novih (digitalnih in omreženih) medijev,
kar vodi k nastanku hibridnih medijev kot so spletna televizija
(video), digitalni kino (film), spletni radio, spletni časopis itn., za
katere je značilna izrazita interaktivnost in spodbujanje tako
vertikalne kot horizontalne komunikacije med producenti in
sprejemniki oz. med sprejemniki samimi (ob uradnih spletnih
straneh novomedijskih ustanov se pojavljajo tudi neodvisne
spletne strani njihovih uporabnikov s klepetalnicami ipd.).
Remediacija tudi relativira novost novih medijev, ki dejansko ne
pomenijo popolnega preloma s tradicionalnimi, ampak pogosto
le s pomočjo novih tehnologij in programske opreme
radikalizirajo tisto, za kar so si prizadevali že umetniki-vizionarji,
dejavni v tradicionalnih medijih, vendar jih je pri uresničevanju
njihovih zamisli ovirala odsotnost naprednih, pametnih
tehnologij.
Pogled na različne usmeritve novomedijske umetnosti nam
pokaže, da je materialni, stabilni aftefakt tudi v njej pod
podobnim pritiskom kot nacionalna država v sodobni politiki,
materialno, otipljivo bogastvo in izdelovanje artefaktov v novi
ekonomiji in t.i. objektivna narava v tehnoznanostih. Tudi v
novomedijski umetnosti gre vedno manj za izgotavljanje
zaključenih izdelkov z naravo "kunstverkov" in vedno bolj za
procese, nematerialne entitete, odnose, uprizoritve, performance,
softver in storitve. Ta premik ni uresničen samo s sodobnimi
umetniškimi projekti, ki niso nobena dela več v tradicionalnem
smislu, ampak "kot-da-dela" (J. Strehovec, The Atmospheres of
Extraordinary in Installation Art, 2000), temveč je dokumentiran
tudi v teoriji (Heidegger, Benjamin, Danto, Groys) in v poetikah
sodobnih ustvarjalcev (recimo Marca Napiera misel o umetnostni
izkušnji, ki nadomešča artefaktsko umetnino). Srečujemo se torej
z umetnostjo, ki se vedno bolj umešča onstran izdelovanja
artefaktov in prehaja na področje, ki ga lahko poimenujemo kot
umetnostna storitev, kar pomeni, da se del sodobne umetnosti
(še posebno novomedijske) premešča na storitveni sektor (nove)
ekonomije poindustrijskih, informacijskih, spektakelskih in
softverskih družb; njene storitve so postavljene ob bok storitvam s
področja izobraževanja, menedžmenta, svetovanja, financ,
politike itn., torej dejavnostim, ki temeljijo na znanju in
profesionalnosti ter so kar se da prilagodljive.
Sodobna, predvsem novomedijska umetnost, artikulirana v
umetnostnih storitvah, nas usmerja k vprašanju, kaj storitev sploh
je Vsekakor to ni artefakt, zaključen izdelek, ampak je v svojem
jedru aktivnost, praksa, proces, intervencija. Lahko se sicer
usmerja tudi k izdelovanju določenih produktov (materialnih ali
nematerialnih), vendar pa se njena narava ne izčrpa v
izdelovanju, ampak je zanjo bolj bistvena določena naloga, ki jo
je treba opraviti (lahko tudi po eksplicitnem naročilu), recimo kot
poseg na stvareh, stanju in procesih. Bolj kot izdelovanje stvari je
storitev proces preoblikovanja stvari, njenega premikanja,
povezovanja in vključevanja v nove odnose, rekombiniranja in
rekontekstualizacije, osmišljanja in klasificiranja. Storitev
predpostavlja nek problem, izziv ali naročilo, ki ga je treba rešiti
oz. izvesti. Konec storitve je zato veliko bolj neka rešitev
problema (ali njegova odstranitev) kot pa izdelava predmeta.
(Koncept "umetnostna storitev" tudi ni izključno domena
novomedijske umetnosti, produktivno lahko deluje tudi v širšem
razumevanju umetnosti; dejavnosti t.i. poustvarjalnih umetnikov
in umetnikov v t.i. uprizoritvenih umetnostih imajo storitveni
značaj. Ne le novomedijski umetniki-programerji, ampak tudi
(baletni) plesalci, glasbeniki in igralci izvajajo med svojimi
nastopi prav posebne storitve; podobno velja tudi za pisce
različnih žanrov, koreografe, skladatelje itn.)
Storitev, razumljena v smislu profesionalnosti, ki jo zahteva
informacijska družba, vedno predpostavlja nek postopek, ki je kar
se da racionalen, ekonomičen, razdeljen na faze, korake in ukaze,
ki so potrebni za njegovo izvedbo. Takšnemu postopku, ki je
eksaktno definiran, načrtovan in izpeljan v ekonomični sekvenci
korakov, se reče algoritem. Slednji že dolgo ni več ekskluzivna
domena matematičnih operacij, ampak je jedro vseh kvalitetno
definiranih postopkov, ki so namenjeni opravljanju določenih
nalog, reševanju problemov, raziskavi stanj stvari itn. Brez
pretiravanja lahko tudi za novomedijske umetnostne storitve
zapišemo, da so po svoji naravi algoritemske; v trenutku, ko se
začne umetnost umeščati onstran estetskega in se usmerja k
nalogam, raziskovanju in razreševanju problemov, je prisiljena v
skrbno izdelavo postopkov in k definiranju ukazov, ki jih je
potrebno izvesti, da se hitro in v ekonomičnih fazah pride do
rešitve. In izrazito algoritemske so še posebno tiste umetnostne
storitve, ki temeljijo na rabi računalniških tehnologij, namenjenih
algoritemskem postopkom.Vrsto projektov novomedijske
umetnosti zato lahko razumemo kot posege in storitve v različna
stanja stvari, imajo algoritemsko naravo, in so pogosto
spodbujeni tudi z zunajumetnostnimi motivi, recimo spričo
političnih, raziskovalnih in komunikacijskih potreb in interesov.
Algoritemska posebnost novomedijske umetnosti implicira tudi
prehod k algoritemskemu mišljenju (kot obliki matematičnologičnega
mišljenja) v umetnost; novi mediji so dejansko

spodbujevalci premikov in obratov tudi na konceptualnem in
zaznavnem področju. Poudarek se pri njih seli od kontemplacije
in odmaknitvenega percipiranja k interaktivni in imerzivni
naravnanosti in usmerjenosti k raziskovanju, izvrševanju storitev,
reševanju problemov, intervencijam itn.
Okolje, v katerega posegajo, ga spreminjajo in se vanj umeščajo
novomedijska umetniška dela, je predvsem medmrežje, ki je tudi
rojstno mesto t. i. spletne umetnosti, ki opušča umestitve v beli
galerijski točki in soobstaja na svetovnem spletu ob njegovih
političnih, ekonomskih in družbenih vsebinah. Spletna umetnost
izrablja prednosti spletnih tehnologij in njihove programske
opreme, vendar pa je od njih tudi odvisna; nagle spremembe, ki
potekajo na spletu po krivulji eksponentne funkcije, vplivajo tudi
na umetniške "odgovore", zato v sedanjem trenutku že lahko
opažamo zaton prve, zgodnje faze internetske umetnosti in
razmah t.i. softverske umetnosti kot novega, z začetkom
21.stoletja inštitucionaliziranega področja novomedijskih
umetnosti (poleg posameznih razstav s tega področja so
pomembne predvsem njene prezentacije v okviru Read_me
mednarodnih festivalov in konferenc). Software art vključuje
različne oblike umetniških softverskih projektov, bodisi da gre za
izvirno pisane programe programerjev-umetnikov, oblikovanje
umetniških brskalnikov (na začetku te usmeritve je projekt
WebStalker iz leta 1997, delo britanske skupine I/O/D, ki prikazuje
namesto formatiranih spletnih strani njihove kode in strukturo
povezav), umetniške črve in viruse ter umetniške posege v
obstoječe, komercialne programe v smislu njihovih modifikacij,
adaptacij in nadgraditev (recimo umetniške izpeljanke znanih
komercialnih računalniških iger kot sta Quake in Tomb Rider).
Temeljna predpostavka te umetnosti je, da softver ni nevtralen,
ne sme se ga sprejemati kot nekaj samoumevnega, prav tako se
njegovo pisanje ne sme prepustiti izključno poklicnim
programerjem. Sedanje stanje stvari na tem področju nam
pokaže, da softverski umetniki večinoma uporabljajo že obstoječe
programe, vendar postavljene v vlogo materiala, v katerega
potem intervenirajo, ga manipulirajo, nadgrajujejo in
rekontekstualizirajo. Pogosto gre za ready made dela, ki se jih
umetniško preoblikuje in, recimo pri računalniških igrah,
dekonstruira njihovo pogosto agresivno, mačistično ideologijo..
Spremembe na področju sodobne internetske umetnosti spremlja
tudi novomedijska teorija; tako Alexander Galloway ugotavlja:
"Zgodnja internetska umetnost - skrajno konceptualnega
obdobja, ki je poznano kot spletna umetnost - se je ukvarjala
primarno z mrežo, medtem ko se kasnejša medmrežna umetnost,
ki jo lahko poimenujemo kot korporativna ali komercialna faza,
ukvarja predvsem s softverom". (A. Galloway, Protocol: How
Control Exists After Decentralization, 2004) To razlikovanje je
blizu tudi Levu Manovichu, ki tudi razmejuje spletno umetnost
90. let prejšnjega stoletja od softverske umetnosti začetka
21.stoletja, ki jo značilno opredeljuje generacija umetnikov, ki so
dejavni tudi na področju programiranja v popularnem Flashu."Te
generacije ne zanima več 'kritika medijev', s katero so se
ukvarjali umetniki v zadnjih dveh desetletjih; nasprotno, usmerja
se h kritiki programske opreme. Ta generacija piše svojo lastno
programsko kodo, da bi oblikovala svoje lastne kulturne sisteme,
namesto da bi uporabljala semple komercialnih medijev."
(Manovich, L., Generation_Flash, 2002)
Prehod v softversko umetnost pa vedno izraziteje spremlja
komercialni kontekst, ki opredeljuje sodobne softverske kulture,
tako da se srečujemo z umetnostjo, ki je vključena v sodobne
globalizacijske tokove in jo je mogoče ustrezno razumeti le na
podlagi njenih interakcij z novo ekonomijo, novo političnostjo
(opredeljeno z nadnacionalnimi organizacijami in korporacijami),
tehnoznanostmi in novimi življenskimi slogi. Gre za umetnost,
katere dogajanje ni več nevtralno do dogajanja na svetovnih
borzah, zato ni naključje, da je bilo v letu 2002 prav borzno
trgovanje že predmet umetniškega projekta Michaela Goldberga,
naslovljenega z Catching the falling knife, borza pa je referenca
tudi v Borzi problemov (2001), projektu Igorja Štromajerja in
Davida Grassija.
(English abstract of Janez Strehovec's book Umetnost interneta/The Art of the Internet,
Ljubljana: SOU, 2003)
The beginning of the 21st century is being defined by new politics, new economy, information
society, techno sciences, multiculturalism, globalisation and new lifestyles, all of which have
some impact on art. Art is beginning to omit the nature of the stable artefact as well as the
traditional functions of representation and embellishment and is becoming post-aesthetical
and process-like. Because the key feature of the completed and stable artwork is not as
important as it used to be, the ontological question about what art is has also become an issue
of no great importance. Instead, the relation questions regarding the interaction between art
and techno sciences, new technologies, new economy and new politics have arised.
Consequently, art is beginning to act as a historical and, therefore, changeable phenomenon
meaning that it has not been here from always and no one can say for certain that it is going to
be here forever. A great number of the world's population (especially outside Europe and
Americas) spend their lives never having any relationship with art whatsoever. Therefore, what
is at issue now, regarding the contemporary art, is questioning about the conditions that need
to be fulfilled in order that a certain object, process or event is ready to start functioning as
artwork. Which are the institutions that decide for a certain product to be regarded as an
artwork and some other, with the same material enframing, to be left in a dump full of profane
products Instead "what is art" one needs to pose a question "when is art" This turning point
in our questioning about matters and relations concerning art is having far-reaching
consequences for the arts theory as well. The modality of social power is becoming more
relevant thus it enables a certain artefact, event or process to become art. The reason being
that the "art economy" and politics have pushed aside the traditional ontology of an artwork
and, as a consequence, the ontological specificity of the artwork's mode of existence is no
longer relevant.

This book's key concern is the highlighting of the cultural turns, respectively, the shifts of
paradigms which have, in these days of the Internet, techno sciences, new economy and
globalisation influenced the new concepts and placements of the contemporary art and digital
textuality. For this book pays a great deal of attention to digital texts especially to those which
perform artistic scripts. The contemporary art is perceived as a field where the aspirations for
autopoesis and self-reference are put forward (the art's social subsystem produces
presumptions of its functioning by itself). However, the interaction between this field and its
environment - new politics, new economy, new media and lifestyles - is becoming relevant. Art
3.5 (technical term used for the contemporary art of processes, installations, computer games,
events, artistic communications, performances and art worlds) is placed in life in a reality of
6.1 version (another technical term) that has also mutated and undergone many changes.
From the author's point of view the changes in the art field derive from the parallel changes in
the art's subsystem of reality 6.1. Therefore, one can find out in the trendy reality at the
beginning of the 21century that even techno sciences, new technologies, new means of
communication, new politics and new economy have, in a way, become artistic. Even here do
we encounter deterritorialization and movement towards some new functions. Their similarity
to art 3.5 could be seen in destabilization of their basic traditional institution, that are national
state (in terms of politics), nature (in terms of science) and material wealth (in terms of
economy).
Art functioning as an artistic-political activism and as a field of research creates its new user,
meaning that it constitutes new, extremely active and engaged audience which widely differs
from the audience brought up by the traditional art - art in, metaphorically speaking, a 1.0
version. It is also essential that this art does not address our sensory apparatus overall but only
to some extent and, thereafter, is not dealt with as an art variant of, according to Hegel, "das
sinnliche scheinen der Idee" but it focuses on the ideas and concepts and, thereby, addresses
the (critical) mind. Art 3.5 in a new role is, therefore, question of mind rather than that of
sensory fascinations and stimuli.
Art with its new (political and communication) functions is breaking off the demands of a
modernistic autonomous art. It is not familiar with its own traditional Central-European selforganising
on the basis of saying "no" to common social reality and claiming that "it can do
everything". Autonomous art sprang up in a special historical world and had been functioning
under special conditions, namely in a period when it had to fight against various attempts to
get usurped by different totalitarian regimes. Nowadays, the conditions have completely
changed. Modern states and international organisations (at least in developed world) do not
attempt to appropriate the arts field and nothing great (in a social sense) is demanded from
art anymore. Therefore, the contemporary art must deal with its self-definition and selfunderstanding
differently and not by means of antithetic function towards contemporary
public institutions.
In the age of the Internet, new politics, techno sciences and new economy we are witnessing
that the key features of texts are changing as well - digital texts are presented on a computer
screen; computer as a smart device can cooperate in creating new texts; the collaborative
authorship is present; texts are being formed by means of a netspeak which is a mixture of
spoken and written language elaborated by a number of new components (abbreviations,
acronyms and emoticons). In organizing new texts the space and time syntax are also
important because texts are arranged in a multimedia mode and take place in a film-like
manner. The perception of this kind of textuality is also original because it is far more complex
than that of the perception of a linear reading. One has to be able to perceive the space and
time syntax of a certain text and also its multimedia design, whereas the linear reading does
not demand so much from the reader. We come across "the reading by means of a computer
mouse" for words-images-virtual bodies often function as interfaces that open up (by the click
on a mouse) the links to some other parts of a text or even activate a certain computer
programme.
Chapters about the Internet artwork and the Internet textuality are complemented by some
other book's sections dealing with the following topics: critical view on the Internet (chapter
The Dark Internet); the philosophical questions of computer games; and the
phenomenological approach to the interface culture. The key concepts introduced in this book
are the following: would-be-work-of-art; artistic service, communication function of art;
something else taking the art's social place, artwork as art world, which enabled shared
experience, the aesthetics of closeness, expanded concept of textuality, attitudes on the move,
text as a loop, interactive "mouse" reading, the word-image-virtual body, digital kinetic poetry
and the hybrid reader-listener-viewer.

Prihodnost računalniške umetnosti
in zgodovina Mednarodnega festivala računalniških
umetnosti, Maribor 1995-2004
Uredila: Marina Gržinić
Knjiga Prihodnost računalniške umetnosti je zasnovana kot teoretično-aktivistični dispozitiv, ki želi na eni
strani obeležiti 10. obletnico Mednarodnega festivala računalniških umetnosti, ki se je začel leta
1995 v Mariboru, in na drugi strani nastopati kot kritična in politična matrica stanja na področju
računalniških umetnosti ter novih medijev in novih informacijskih/komunikacijskih tehnologij. Njen
namen je postati temeljno branje na tem področju. Zgodovina Mednarodnega festivala
računalniških umetnosti naj bi se tako odražala prek možne ideje o prihodnosti računalniških
umetnosti kot tudi novih tehnologij v povezavi s sodobno umetnostjo.
Knjiga je sestavljena iz treh delov.
Odpre se s prostorsko-časovnim dispozitivom mišljenja, dela in delovanja z novimi mediji in novimi
informacijskimi/komunikacijskimi tehnologijami, prek in onstran njih v smeri estetskega, političnega
in družbenega. Ta dispozitiv se v knjigi sklicuje na delo Jacquesa Ranciera. Tak projekt je postal
produktiven in učinkovit z natančno izbiro avtorjev; po mojem mnenju njihovi prispevki tvorijo in
prikazujejo neposredno politično reartikulacijo in preizpraševanje informacij, novih medijev in
računalniških tehnologij ter razmišljanje o njih. V prvem delu knjige najdemo tudi teoretične,
politične in družbene povezave med aktivizmom, teorijo, življenjem, znanjem in delom. V prvem
delu knjige je podan razmislek o možnem drugačnem svetu, ki bo spojen z novimi tehnologijami ne
le zato, da bi služil in se prilegal krvoželjnemu kapitalističnemu stroju, ki je pripravljen v vsakem
trenutku razlastiti vse in vsakogar. Iz tega prvega dela je jasno razvidno, da obstajajo številne
zgodovine tehnologije, številne strategije za razvoj skupnosti in oblike kritične izmenjave in
sodelovanja, kjer se lahko znanje uporablja za politične in strateške opcije.
Prispevki:
Konrad Becker
0100101110101101.ORG
Šefik Šeki Tatlić
Armin Medosch
Janez Strehovec
Marina Gržinić
Mojca Puncer
Rosa Reitsamer
Ralo Mayer in Philipp Haupt
STELARC
Srečo Dragan
Franc Solina
Narvika Bovcon in Aleš Vaupotič
Dušan Zidar
Izdala
MASKA, Ljubljana
MKC, Maribor
Bralec bo skozi prvi del knjige prav tako seznanjen z načinom, na kakršnega naj bere, poveže in
znova osmisli podatke in vizualno gradivo zbrano v drugem, obsežnem, arhivskem delu knjige, ki
predstavlja zgodovino Mednarodnega festivala računalniških umetnosti v Mariboru (1995-2003). V
drugem delu knjige se tako vrstijo imena avtorjev, ki so v vseh teh letih sodelovali na Festivalu. Za
vsako leto festivala smo izpostavili reprezentativen izbor vizualnega gradiva. V preteklih letih je
namreč festival razvil arhive, podobne nestalnim conam dejstev, podatkov in odločitev. Šele sedaj, ko
so ti podatki zbrani in navedeni v knjigi, je dejansko mogoče dojeti vpliv tega, kar lahko pomeni izraz
kritična masa dogodkov.
Tretji del opisuje, analizira in dokumentira eno najpomembnejših strateških točk Mednarodnega
festivala računalniških umetnosti, ki ni zgolj prostor predstavitve, temveč tudi prostor aktivne
izmenjave, raziskav in povezovanja med študenti, profesorji, izobraževalnimi ustanovami in
raziskovalnimi ustanovami. V tretjem delu knjige je predstavljena zgodovina, interpretacija in
reartikulacija različnih študentskih projektov. Tretji del se začne z izjemno pomembnim
zgodovinskim pregledom sodelovanj med Univerzo v Ljubljani: Akademijo za likovno umetnost -
ALU in Fakulteto za računalništvo in informatiko, Laboratorijem za računalniški vid na eni strani in
Mednarodnim festivalom računalniških umetnosti na drugi. Temu sledi predstavitev sodelovanja
študentov z Univerze v Mariboru, Pedagoške fakultete in Oddelka za likovno umetnost na eni strani
ter festivalom na drugi. Na koncu je prek predstavitve izbranih del in projektov, ki so jih razvili
študentje smeri Konceptualne (umetniške) prakse z Akademije za likovno umetnost na Dunaju,
vzpostavljena povezava domačega in mednarodnega študijskega prostora.
Knjiga se konča torej z vzpostavitvijo prihodnjega sodelovanja med različnimi izobraževalnimi
ustanovami in novimi generacijami študentov. Naš cilj je izmenjava, in oblikovanje mreže povezav
ter spodbujanje "umetniške neodvisnosti in politične solidarnosti."
Marina Gržinić

The Future of Computer Arts
& The History of the International Festival of Computer Arts, Maribor
1995-2004
Edited by: Marina Gržinić
The book The Future of Computer Arts has been conceived as a theoretical-activist dispositif that aims on one hand
to reflect the 10th anniversary of the International Festival of Computer Arts, which began in 1995 in
Maribor, and on the other as a critical and political matrix of the state of affairs in computer arts
and new media and new information/communication technology. It aims to be a foundation reader in this
field. The history of the International Festival of Computer Arts is therefore to be reflected through
the possible idea of the future of computer arts and as well of new technology in relation to
contemporary arts.
The book consists of three parts.
It opens with what I call, with reference to Jacques Ranciere, a spatio-temporal dispositif of thinking,
working and acting with, through, and beyond the field of new media and new information/ communication
technology, toward the esthetical, political and social. In the first part a structure of thinking and
acting is brought together with an aim to consider a possible, different world. A world that will be
embedded with new technology not only in order to serve and fit the bloodthirsty capitalist machine that
is always ready to expropriate everybody and everything.
The first part of the book clearly shows that there exist several histories of technology, numerous
strategies for developing communities, open sources and exchange modes, where knowledge can be used for
political and strategic options.
In the first part of the book is to be found theoretical, political and social prosthesis or the socalled
radical (not simply fashionable) interfaces with dangerous liaisons between activism, theory,
life, knowledge and labor. Such a project is made productive and effective by means of the precise
selection of writers; their contributions form and display, in my opinion, a direct political rearticulation,
questioning and reflection of information, new media and computer technology.
One can as well find a way in which to read, to reconnect and re-conceptualize the data and visual
materials collected, as in one large archive, from all the nine editions of the International Festival
of Computer Arts in Maribor.
In the second part of the book hundreds of names and projects, artists and groups, fake names and world
renowned stars from the new technological milieu are presented. For each year of the Festival a solid,
but not at all comprehensive, selection of visual material is brought to the foreground. In past years
the Festival developed archives more similar to unstable zones of facts, data and moves. Only now that
all such data are listed together in the book is it really possible to see the impact of what such a
critical mass of events means.
The third part describes, analyzes and documents one of the most important strategic points of the
International Festival of Computers Arts, being not just a space of representation, but a space of
active exchange, research and connections between students, professors, educational and research
institutions. In the third part of the book the history, interpretation and re-articulation of different
student positions is presented. The third part opens with the extremely important history of
collaboration between the University of Ljubljana: The Academy of Fine Arts (Akademija za likovno
umetnost - ALU) and The Faculty of Computer and Information Sciences, Computer Vision Laboratory
(Fakulteta za računalništvo in informatiko, Laboratorij za računalniški vid) and the International
Festival of Computer Arts. This is followed by a presentation of collaboration by students from the
University of Maribor: Faculty of Education, Department of Fine Arts (Univerza v Mariboru, Pedagoška
fakulteta, Oddelek za likovno umetnost) and the Festival. In the end the process of thinking and
building projects using imaging technology and a conceptual stance is displayed through the presentation
of selected works and projects elaborated by students of Conceptual (Art) Practices from the Academy of
Fine Arts in Vienna.
In such a manner, the book closes with the opening of
possible future international collaborations between
different educational institutions and new generations
of students. Our goal is to exchange, bridge and develop
critical networking and to encourage "artistic autonomy
and political solidarity."
Marina Gržinić
Texts by:
Konrad Becker
0100101110101101.ORG
Šefik Šeki Tatlić
Armin Medosch
Janez Strehovec
Marina Gržinić
Mojca Puncer
Rosa Reitsamer
Ralo Mayer and Philipp Haupt
STELARC
Srečo Dragan
Franc Solina
Narvika Bovcon and Aleš Vaupotič
Dušan Zidar
Published by
MASKA, Ljubljana
MKC, Maribor

Selekcija Petra Weibla/Peter Weibel's Selection
Koordinacija razstave/exhibition coordination: Narvika Bovcon, Aleš Vaupotič
Constanze Ruhm: Liki X/RE(hers)AL
X Characters/RE(hers)AL
Video, 72 min, color, sound, 2004, German w. English subtitles.
http://www.zkm.de/~ruhm/Xcharacters/rehersal
"Ob branju ženskih potopisov je opazna odsotnost preteklosti. Ženske v odhajanju ne čutijo nostalgije. Hrepenijo po tem, česar niso imele, in to iščejo
v prihodnosti. Hrepenenje ne povzema oblike 'povratka' temveč 'potovanja'. Nostalgijo nadomesti 'premestitev'."
Paola Melchiori, povzeto iz: Giuliana Bruno, Atlas of Emotion (Atlas čustev), 2002
RE(hers)AL povzame sedem ženskih likov iz sedmih filmov - vsaka od njih predstavlja svojevrstno ikono v zgodovini sodobne kinematografije - in jih
združi kot skupino popotnic, ki obtičijo v letališki čakalnici, saj so vsi leti zaradi slabega vremena začasno odpovedani. Skupaj se torej znajdejo Alma,
mlada medicinska sestra iz Švedske, ki rada skrbi za druge; Laura, uspešna modna fotografinja iz New Yorka z oslabljenim vidom; Rachael, Američanka
v iskanju lastne preteklosti; Hari, rusko dekle brez spominov in določenega cilja; Bree, dekle na klic in neuspešna igralka iz New Yorka; Hana, privlačna
Francozinja, ki se opiše kot "zabavljačica"; in Giuliana, nesrečna Italijanka, ki išče mesto, kjer se bo lahko "počutila bolje".
Trenutek, ki ga preživijo skupaj, jih spremeni v partnerice, naključne sopotnice na potovanju, ki jih popelje v njihove lastne notranje svetove in psihe.
Postanejo liki znotraj prostora večne preizkušnje, ki obtičijo v vesoljstvu zunaj izvirnih scenarijev in dodeljenih vlog. Namesto zgodbo o liku ženske in
njenih izkušnjah poraja RE(hers)AL "zgodbo lika" kakor neprekinjeno produkcijo skozi sedem uvodnih sekvenc. RE(hers)AL izrisuje kozmos menjajočih
se identitet, zgrajenih z glasovi likov, ki vznikajo in se oblikujejo v nasprotju z njihovimi izvirnimi vlogami in vzporedno s sodobnim konceptom
medsebojnega združevanja filmskih in gledaliških scenarijev ter klepetanja.
V teku enega leta se povabljene udeleženke redno srečujejo v klepetalnici, kjer znotraj imporvizacijskega okvira klepetalne skupine vsaka od njih
uteleša svojevrsten lik. Razprave in dialogi se razvijejo okoli ustvarjenih tém in situacij. Udeleženke preoblikujejo in prilagajajo izvirne profile likov in
tako delujejo v vrzeli med njihovimi lastnimi identitetami in hrepenenji njihovih likov. Dokumenti o teh "delavnicah" interakcije v živo so bili
uporabiljeni kakor gradivo, na katerem je zasnovan scenarij projekta RE(hers)AL. Ta scenarij izrisuje pot tako prehoda junakinje kot ritualov zgodbe,
svojo končno realizacijo pa je doživel v obliki video posnetka nastopa sedmih igralk.
Scenarij in produkcija videa Liki X: RE(hers)AL je proces, ki sprevrača šablone likov v projekcijske zaslone, kanale hrepenenja, ki služijo kakor stikalna
plošča za povezovanje zbirk komunikacijskih signalov, in spreminjajoče se identitete.
Liki/The characters:
Alma / Persona (Bibi Andersson; R: Ingmar Bergman, Š/S 1966). Bree / Klute (Jane Fonda; R: Alan J. Pakula, ZDA/USA 1971).
Giuliana / Il Deserto Rosso (Monica Vitti; R: Michelangelo Antonioni, I 1964). Hari / Solaris (Natalya Bondarchuk; R: Andrei
Tarkovski, SZ/USSR 1972). Laura / Eyes of Laura Mars (Faye Dunaway; R: Irvin Kershner, ZDA/USA 1978). Nana / Vivre sa vie (Anna
Karina; R: Jean-Luc Godard, F 1962). Rachael / Blade Runner (Sean Young; R: Ridley Scott, ZDA/USA 1982)
"Reading women's travel writing, one notices an absence of the past. Women who leave are
not nostalgic. They desire what they have not had, and they look for it in the future. The
desire does not take shape as 'return' but rather as 'voyage.' Nostalgia is substituted by
dislocation."
Paola Melchiori, quoted in: Giuliana Bruno, Atlas of Emotion, 2002
RE(hers)AL releases seven female characters from seven different movies - each an icon from
the history of modernist cinema - and joins them together as a gang of fellow travelers stuck
in the boarding area of an airport, where they have to wait as all departures are delayed due
to bad weather conditions: Alma, a young nurse from Sweden who likes to take care of
others; Laura, a successful fashion photographer from New York with impaired vision;
Rachael, an American woman in search of her past; Hari, a Russian girl with no memories
and no specific destination; Bree, a call girl and unsuccessful actress from New York; Nana,
an attractive French woman who describes herself as an "entertainer"; and Giuliana, a
troubled Italian searching for a place where she will "feel better."
This moment they share turns them into accomplices, involuntary fellow travelers on a trip
which takes them into their interior worlds and psyches. They become characters in a space
of eternal rehearsal, suspended in a universe outside of their original scripts and lines. As
opposed to a story about a character and her experiences, the plot of RE(hers)AL scripts the
"character's story" as an ongoing production through seven trailer formats. RE(hers)AL
maps out a cosmos of shifting identities structured by voices of characters which emerge and
shape in contradistinction to their original roles and along the contemporary notion of
joining scripts between film, theater, and chat.
Over the course of a year, invited participants met on a regular basis in a chat room where
each embodied one character in the framework of an improvisational performance chat
group. Discussions and dialogues were developed around moderated subjects and
situations. The participants reconfigured and adapted the characters' original profiles, thus
operating in the gap between their own identities and the characters' desires. The
documents of these live "workshop" interactions were used as materials on which the script
of RE(hers)AL is based. This script charts the movement of both the character's passage and
the rites of the story, and was finally realized as a staged performance with seven actresses to
be recorded on video.
The script and production of X Characters: RE(hers)AL is a process that converts the character
templates into projection screens, channels of desire that constitute a switchboard for
networking sets of communicative signals and shifting identities.
Samostojne razstave (izbrana dela)/solo exhibitions (selection):
2004 Kunsthalle Bern. 2003 blindstorey/silencetracks, Sammlung Stift
Admont (Avstrija/Austria). 2001 A Memory of the Players in a Mirror at
Midnight, Version 1.0, Kerstin Engholm Galerie, Dunaj/Vienna; A
Memory of the Players in a Mirror at Midnight, Entwistle, London
Skupinske razstave (izbor)/group exhibitions (selection):
2004 3. Berlinski bienale sodobnih umetnosti/ 3rd Berlin Biennale of
Contemporary Art; Communautés, Institut d'Art Contemporain
Villeurbanne, Lyon. 2002 Redirect, Künstlerhaus Stuttgart / haus.0;
Uncommon Denominator: New Art from Vienna, MASS MoCa, North
Adams, ZDA/USA; Future Cinema, ZKM, Karlsruhe, Nemčija/Germany;
Limits of Perception, Fundacio Miro, Barcelona
Kuratorski projekti/curatorial projects:
2003 Fate of Alien Modes, Secession Vienna
For the poster shot/fotografija na plakatu:
Noshe. For the installation shot/fotografija
z razstave: Marijan Murat. It has been
screened for the first time during the 3rd
Berlin Biennale. Video je bil prvič
predstavljen na 3. berlinskem bienalu.
Constanze Ruhm, Liki X / RE(hers)AL (2004),
fotografija instalacije na 3. berlinskem bienalu
sodobne umetnosti./
Constanze Ruhm, X Characters / RE(hers)AL
(2004), Installation views at the 3rd berlin
biennale of contemporary art.

Selekcija Petra Weibla/Peter Weibel's Selection
Koordinacija razstave/exhibition coordination: Narvika Bovcon, Aleš Vaupotič
David Link: Stroj za poezijo 2.0 Poetry Machine 2.0
Instalacija/installation
Obiskovalec vstopi v pridušeno osvetljen prostor. Na projekcijskem platnu teče besedilo brez avtorja. Tipke na tipkovnici
se premikajo, kakor da jih upravlja nevidna roka. Monoton, mehanski glas bere ustvarjeno besedilo stavek za stavkom.
Ko občinstva ni v bližini, sistem piše hitro in tekoče. Sproža ploho črk. Besede si nepretrgoma sledijo ena za drugo. Ko
pa se občinstvo približa, začne stroj za tvorjenje besedila kolebati, omahovati in na vsake toliko povsem potihne. Sistem
prepusti prostor obiskovalcu in ga vabi, naj vzame tipkovnico v svoje roke. Ko obiskovalec vnese besedilo, se slednje
prikaže na zaslonu, tako kot se je pri stroju. Poetry Machine povzame obiskovalčevo besedilo in ga spoji s svojimi
besedami. Tok besedil se v tej vzajemni igri med človekom in strojem odvija brez prekinitev.
Če obiskovalčev vnos vsebuje besede, ki jih Poetry Machine ne pozna, program pošlje avtonomne "bote" na internet, da zbere
ustrezne informacije. "Boti" nato ovrednotijo gradivo, ki ga najdejo na spletnih straneh, in dobljene rezultate pošljejo
nazaj v sistem. Procesu iskanja informacij lahko obiskovalec sledi na drugem zaslonu, kjer so prikazane vse obiskane
spletne strani, njihova ocena in najdeni dokumenti.
Stroj za poezijo temelji na semantičnih mrežah. Njegov stvarnik ne ve, kaj stroj izraža. Pomen je določen s kopico povezav
med besedami. Ko stroj prižgemo, je njegova zaloga podatkov prazna. Program spremeni besedilo v mreže semantičnih razmerij
in abstrahira sintaktične strukture.
The visitor enters a dimly lit room. On a
projection screen runs a text that is
written by nobody. The keys of the
keyboard move as if by a ghost's hand. A
monotone, mechanical voice reads out the
generated text, sentence by sentence.
Without the public nearby, the system
writes quickly and fluently. When visitors
approach, the text generator staggers,
hesitates. The system leaves the scene to
the observer and invites him to strike the
keys himself. Poetry Machine takes up his
text and associates starting from his
words.
If the user's input contains words that
are unknown to the program, it sends
autonomous "bots" into the internet to get
appropriate information. They evaluate the
material found and feed the resulting data
back into the system. The search process
of the "bots" can be followed on a second
screen. Visited sites, their evaluation
and the documents found are shown.
Poetry Machine is based on semantic
networks. What it expresses is unknown to
its author. Meaning is defined by a
cluster of links with other words. When
the machine starts, its database is empty.
The software transforms texts into
networks of semantic relationships and
abstracts syntactical structures.
David Link, umetnik, pisatelj in programer. Živi in dela v Kölnu. Tekstovne generatorje razvija že od 1997.
D. L., artist, writer and programmer. Lives and works in Cologne. Development of text-generators since 1997.
Razstave/Exhibitions: "Charleroi Danses", Les Tanneurs, Bruselj/Brussels 1998; "Synworld", Public Netbase t0,
Museumsquartier Dunaj/Wien 1999; "Wiretap 5.10", V2-Organisatie, Roterdam/Rotterdam 1999; "Red-Right-
Wrong", Royal Flemish Theatre, De Bottelarij, Bruselj/Brussels 2000; "Interface5", Kunstverein Hamburg 2000;
"Im Buchstabenfeld - The Future of Literature", Neue Galerie, Gradec/Graz 2001; "Typologie", Center for Art
and Media Technology (ZKM), Karlsruhe 2002; "Artgenda", Hamburg 2002; "Deaf03 - Data Knitting", V2-
Organisatie, Roterdam/Rotterdam 2003; "Belluard Bollwerk International", Fribourg, Švica/Switzerland 2003.
Tehnična podpora/technical support: F18 Inst. f. Kunst, Information u. Technologie
Produkcija/produced by: Neue Galerie, Graz; ZKM, Karlsruhe; Kunststiftung NRW
Sponzor/supported by: KHM, Cologne

Kolektivi/Collectives
Selekcija Simone Vidmar/Simona Vidmar's Selection
V okviru sodobnih umetniških praks so me vedno bolj zanimale teme, manj izraz. teme v smislu raziskovanja nekega področja ali tudi iskanja
problema. tematske razstave na drugi strani so me vedno precej odbijale, osnovna ideja mora biti vedno zelo preprosta in sugestivna in
dogajanje mora biti horizontalno, da omogoča iskanje paralel. potem so tu kolektivi, skupine ustvarjalcev/ kreativcev, ki razvijajo neko njim
zanimivo temo in se je lotevajo kompleksno. izmenjava idej, kontradikcije, nadgradnja, tudi paralele, vse se zgodi v procesu dela in ni končen
rezultat. kar dobimo, je zelo insajderski, hkrati pa zaradi skupinskega dela shizofren produkt, ki neko temo vsili drugim in ne obratno.
Če so bili na MFRU 2003 /dirty/, francoska skupina, ki se posveča predvsem >kraji< njim zanimivega glasbenega in vizualnega materiala z
interneta, povabljeni, da postanejo selektorji, je to vlogo na MFRU 2004 dobila son:DA, slovenski tandem, ki eksperimentira in proučuje v
medprostoru zvoka, prostora, filma in fotografije. selekcijo, ki jo je izvedla son:DA razumem kot rezultat dialogov in vplivov, ki so se
vzpostavljali skozi leta njunega ustvarjanja.
In the framework of contemporary artistic practices I was always attracted by the sheer theme and not so much by themes of expression in
the sense of research within some other field or even search for the problem. I was also always repelled by thematic exhibitions, as in my
opinion the basic idea should primarily be very simple, straightforward and suggestive, while the happening must be horizontal to enable
parallel search. Then there are collectives, groups of artists or creators, that in all complexity tend to develop a theme that is of their interest.
Exchange of ideas, contradictions, upgrading, also parallels - everything can happen in the process of such creation and it is not even the
final product. What comes out of this process is a very insider and - at the same time, due to collective approach - a schizophrenic product
that reinforces its theme to others instead of vice versa.
At MFRU 2003, French artists group /DIRTY/, whose core interest is "stealing" interesting musical and visual materials from Internet, was
chosen to be selectors. This role at MFRU 2004 was awarded to son:DA, the Slovenian tandem that experiments and studies the interspace of
sound, space, film and photography. I comprehend their selection as a result of dialogues and influences that have been present during the
years of their artistic work.
Simona Vidmar
kustusinja umetnostne galerije Maribor/Custodian of the Art Gallery Maribor
_projekt "Di_alog" kot izbor, kot razstava, kot odprta platforma za diskusije
Project Di_alogue as a choice, exhibition and open platform for discussions
Zakaj Di_alog alias zanima me dialog z vami, dialog z izbranimi deli in umetniki, s festivalom, s publiko, z mestom.
Umetnosti ne vidim zgolj kot družabna srečanja ob otvoritvah, kot potrebno dekoracijo družbe, kot področje bitk in vojn osebnega PR-a,
kot kvalitetnega nastavljanja in prodajanja svojih idej, svojih ikon in lastnih izbruhov oziroma tako imenovanih performansov, ki so
nastavljeni kot začetek dolge, uspešne kariere.
In potem dramatičen zasuk.
Umetnost vidim natanko tako.
Vidim jo kot neizmerljiv egotrip posameznikov, kot sestavljanje varljivih konceptov, ki so bojda novi (kaj je novo) in nerazumljivi, ki so kot
ideje, za katere moraš prebrati in poznati ducat knjig, ducat filozofov. Vidim jo kot likovna dela, ki funkcionirajo le ob razumevanju
napisanega na priloženih listih papirja, vidim jo kot nesistematično sestavljanje svojega jezika, ki je kvaliteten sistem le dokler ne pride v
stik z realnostjo prostora, dokler ne trči ob kontekst razstave, predstavitve, sporočila in namena. Koncept, ki funkcionira le s pomočjo
izumetničeno oblikovanih vabil, super kvalitetno sestavljanjih dokumentacijskih map, kot površinsko razumevanje vseh prvotnih
komponent dela, ki so za potrebo alias po potrebi za predstavitve v "dobri" galeriji artefaktu odvzete in pozabljene. Vse preveč podvrženo
nenaprednemu hrepenenju po novem, ekonomskem oziroma konzumentskem načinu razmišljanja in dojemanja, podvrženo reklami,
denarju, slavi.
Nočem zveneti manifestativno, ker so manifesti bili in so padali, ker so šli v napačne smeri in bili nedosledno izvajani. Ampak dejstvo je, da
sta svetovna situacija, da je naša družba in celotna energija tega planeta slaba, porazna in edina luč, ki jo vidim na koncu tunela, je
dosledna stroka, kar pomeni umetnost, ki lahko družbi oziroma civilizaciji pomaga. Umetnost, ki se mora sama obrniti proti ljudem. Njeni
predstavniki in zagovorniki morajo iz svojih izoliranih jam pogledati ven. Družbi in sistemu v oČi. Združeni, brez agresivnih izpadov,
izbruhov, napadov.
Zanima me dialog. In naj se začne.
Why "Di_alogue" alias I am interested in a dialogue with you, a dialogue with selected artworks and artists, with the festival, with the
audience, with the city
I do not perceive art merely as a form of social meetings at openings, as a necessary embellishment for the society, as a means of waging
battles and wars of personal PR campaigning, as effective posing and selling of one's own ideas, icons and eruptions, or the so-called
performances, which are set as the beginning of a long and successful career.
And now here comes the dramatic shift.
I perceive art precisely as such.
I perceive it as an immeasurable ego-trip practised by individuals; as concocting delusive concepts that are said to be new (but what is
new) and as much beyond grasp as are those ideas for which you must first read and understand dozens of books, and dozens of
philosophers. I perceive it as works of art that function only when one is capable to understand what is stated in the accompanying text; I
perceive it as a non-systematic composition of one's own language which appears to be a quality system only insofar it does not confront
the reality of space, insofar it does not clash with the context of an exhibition, presentation, message and purpose. I perceive it as a
concept that is able to function only with the help of sophistically designed invitations and super-quality documentation folios, as a
shallow understanding of all primary work components that are, by way of necessity alias for the purposes of an exhibition in a "good"
gallery stripped off the artefact and thus forgotten. I perceive it as too subjected to non-innovative longing for the new commercially or,
rather, consumerism-oriented way of thinking and comprehending, too subservient to propaganda, money and glory.
I do not want to sound manifestatively, because manifestos were raised and failed in the pursuit of wrong goals, and what is more, they
were even followed inconsistently. But the fact remains that the global situation - our society and the whole energy of this planet are
negative and the only light I can see at the end of the tunnel is a consistent profession, which means art that will be able to help the
society and civilisation; the art that will in itself be able to address the people. Its makers and representatives have to come out of their
isolated caves, and look the society and the system straight in the eye. United, without aggressive escapades, eruptions or attacks.
I am interested in the dialogue. Let it begin.
Son:DA

Sibylle Hauert, Daniel Reichmuth:
Instant City/Instantno mesto
ein elektronischer musik bau spiel automat
Ideja in zasnova: Sibylle Hauert in Daniel Reichmuth.
Razvoj in realizacija: Sibylle Hauert, Daniel Reichmuth (oblikovanje, konstrukcija, elektronska strojna oprema in programi) in Volker Böhm (program "instant.tool").
Razvoj strojne opreme in medijskega nadzora: i-art, Valentin Spiess.
Glasbeniki in skladatelji: Stig Botterbloem, Geri Huber, Bernadette Johnson, Birgit Kempker, Tomek Kolczynski, Samy Kramer in Andri Freuler, Daniel Weissberg.
Idea and Concept: Sibylle Hauert and Daniel Reichmuth.
Development and Realization: Sibylle Hauert, Daniel Reichmuth (Design, Constructions, elektronic Hard- und Software) and Volker Böhm (Software "instant.tool").
Hardware Development Mediacontroller: i-art, Valentin Spiess.
Musicians and Composers: Stig Botterbloem, Geri Huber, Bernadette Johnson, Birgit Kempker, Tomek Kolczynski, Samy Kramer und Andri Freuler, Daniel Weissberg.
Instant city (Instantno mesto) je elektronski gradbeno-glasbeni igralni avtomat oziroma igralna
plošča za gradnjo glasbe. Eden ali več igralcev ob plošči lahko ustvarja arhitekturo s pomočjo
polprozornih gradbenih kock in v tem procesu proizvaja različne zvočne module skladbe. Vsaka
predstava je unikatna, saj so sekvence, čas in kombinacije popolnoma v rokah igralcev! Za vsako
igro je izbrana ena skladba. Do danes je že osem različnih glasbenikov ustvarilo posebne
skladbe, ki so gradbena glasbena osnova instantnega mesta.
Izziv te interaktivne instalacije vidimo v privabljanju občinstva k aktivnosti, ne le pred
monitorjem ali tipkovnico, marveč tudi v odnosu do fizično obstoječih, senzualno otipljivih
predmetov. Ta dejavnost bi morala vplivati na ambient celotnega prostora in privabljati tudi
druge obiskovalce k igranju ter poslušanju …
Sama zasnova projekta je bila nagrajena poleti 2001 na vsakoletnem tekmovanju Freie
Kunstprojekte, ki ga prireja Baselski Kunstkredits. V naslednjem letu in pol smo uspeli razviti
in realizirati Instantno mesto. Projekt je bil predstavljen v Baslu, Linzu, Zürichu in
Amsterdamu, nagrajen je bil tudi na Ars Electronica 03 v Linzu (častna omemba), bil nominiran za
mednarodno nagrado za medijsko umetnino na ZKM 2003 v Karlsruheju in bil dobro sprejet na
CYNETart Award 04 v Dresdenu ter na ACA Media Art Festivalu v Tokiu.
is a music building game automat or game
board. One or more players at the board can create
architecture using semi-transparent building
blocks and, in the course of this process, make
different audible modular compositions. Every
performance is unique since the sequence, timing
and combination of possibilities are completely
in the hands of the players! For each game, one
composition is chosen. To date, eight different
musicians have each produced special compositions
which serve as the basic music building kits of
the instant city.
For us the challenge of this interactive
installation lies in enticing the audience into
action, not only in front of the monitor or with
a keyboard, but also in relation to physically
real, sensually graspable objects. This action, on
the other hand, should influence the atmosphere of
the total space inviting other people to play and
listen…
In the summer of 2001 the concept idea received an
award in the "Freie Kunstprojekte", the annual
competition organised by the Basel Kunstkredits.
In the following one-and-a-half year, was fully developed and realised. It was
shown in Basel, Linz, Zürich and Amsterdam, given
the award by the Ars Electronica 03, Linz
(honorary mention), nominated for the
internationaler/medien/kunst/preis 03 ZKM,
Karlsruhe, and well recognised by the CYNETart
Award 04, Dresden, and the ACA Media Art Festival,
Tokyo.

Sibylle Hauert
born in 1966, Basel; lives and works in Basel
Artist and performer in the field of new media installation and
research with an educational and training background in theatre
and music, since 1994, Sibylle Hauert has been creating computerbased
compositional works. Since 2000, she has worked on selfbuilt
electronic systems in connection with developable creative
software programs to stage and provoke real movement and
sensual perception through electronic installations or performative
"Tools". Her research involves the area of interface design which
she then creatively transfers into spatial settings or installations.
Rojena 1966 v Baslu, kjer živi in dela.
Umetnica in ustvarjalka na področju instalacij ter raziskav novih
medijev z gledališko in glasbeno izobrazbo ter prakso. Sibylle
Hauert ustvarja svoje računalniške skladbe ustvarja že deset let, od
leta 2000 pa dela z elektronskimi sistemi, ki jih sama izdeluje ter
povezuje z razvijajočimi se ustvarjalnimi programi za izdelavo in
predstavitev realnih gibov ter senzoričnih percepcij skozi
elektronske instalacije ali performativna "orodja". Njene raziskave
obsegajo področje kreacije vmesnikov, ki jih lahko ustvarjalno
uporablja v prostorskih postavitvah ali instalacijah.
Daniel Reichmuth
Born in 1964, Switzerland; lives and works in Basel.
Artist and performer in the field of new media installation and
research, Daniel Reichmuth has an educational and training
background in theatre, movement and electronic engineering.
Since 2000, he has worked on self-built electronic systems in
connection with developable creative software programs to stage
and provoke real movement and sensual perception through
electronic installations or performative "Tools". His research
involves the area of interface design that he then creatively
transfers into spatial settings and installations.
Rojen 1964 v Švici, živi in dela v Baslu.
Umetnik in ustvarjalec na področju instalacij ter raziskav novih
medijev z gledališko izobrazbo in prakso ter izkušnjami s področja
giba in elektronskega inženiringa. Od leta 2000 se ukvarja z
elektronskimi sistemi, ki jih sam izdeluje in povezuje z razvijajočimi
se ustvarjalnimi programi za izdelavo in predstavitev realnih gibov
ter senzoričnih percepcij skozi elektronske instalacije ali
performativna "orodja". Njegove raziskave obsegajo področje
kreacije vmesnikov, ki jih lahko ustvarjalno uporablja v prostorskih
postavitvah ali instalacijah.
1999-2004 Sibylle Hauert and Daniel Reichmuth Courses are
visiting students at the Electronic Studio, College of Music in
Basel: recording engineering, MAX/MSP/, Basic programming,
introduction to hard- and software of micro-controlling
technology, interactive systems and "digital sound processing‚
with Wolfgang Heiniger, Department Head for Audio Design.
Autodidactic training and experience in electronics and design,
preparation-for-print, sensor technology and switchboard
circuitry.
1999-2004: Sibylle Hauert in Daniel Reichmuth prirejata seminarje
za študente v Electronic Studio, College of Music v Baslu na teme:
snemalni inženiring, MAX/MSP/, osnove programiranja, uvod v
hard- in software tehnologije mikronadzora, interaktivni sistemi in
"digitalna zvočna obdelava" (skupaj z Wolfgangom Heinigerjem,
vodjem oddelka za Audio Design), avtodidaktični trening in
izkušnje v elektroniki ter oblikovanju, priprava za natis in senzorska
tehnologija.
Beatrix Bakondy: Jaz sama/I Myself video, 3 min, 2003
V videu Jaz sama se umetnica predaja neke vrste ekstatični vibraciji. Čeprav njeno telo vseskozi ostaja
statična točka v središču podobe, se konstantno prelamlja po diagonali v obliki stroboskopskega reflektorja,
ki se nenehno vklaplja in izklaplja kot sam okoli sebe krožeči element. Plastenje, pospeševanje in
pomnoževanje postanejo določevalni faktorji v tej digitalni koreografiji. V resnični poplavi povečevanja
hitrosti se nam njen obraz prikazuje kot naravnost statična podoba. Kot nekakšna začarana ogledalna ali
konstantna prapodoba se kar vsiljuje gledalcu. Kot boleča senca umetnice, neprepoznavna zaradi naraščajoče
hitrosti, se podoba osredotoči v samo središče projekcije. Njeni lasje, ki v jezni norosti padajo v ta
notranji krog, so kot silovite poteze čopiča ali energične grafične črte. Toda to na videz nenadzorovano
centrifugalno silo avtorica nenehno skrbno nadzoruje in usmerja. (Markus Wintersberger)
"Univerzalna potreba umetnosti je človekova potreba dvigniti notranji in zunanji svet v svoji zavesti kot predmet, v katerem se ponovno
prepozna. V tej podvojitvi samega sebe človek prikaže vse, kar je v njem, in to postavi na ogled sebi ter drugim." (G. W. F. Hegel)
In the video I Myself, the artist subjects herself to a kind of ecstatic vibration. Although her body
remains a static point in the centre of the image, it constantly breaks through diagonally, in the form of
a stroboscopic reflector, switching on and off repeatedly, as an element turning on its axis. Layering,
accelerating and multiplying become the determining factors in this digital choreography. In a veritable
maelstrom of speed maximisation, her face assumes an almost static presence. A spellbound mirror image or
a constant proto-image seems to downright obtrude upon the viewer. Like a painful shadow of the artist,
rendered completely unrecognisable by the extreme acceleration, this image becomes concentrated in the
centre of the projection. Her hair, lashing about this inner centre in a mad frenzy, resembles powerful
brush strokes or energetic graphic lines. This seemingly out-of-control centrifugal force, however, is
always consciously controlled and steered by the performer (Markus Wintersberger).
"The universal need for art is man's rational need to lift the inner and outer world into his spiritual
consciousness as an object in which he recognizes again his own self. In this duplication of himself, man
brings what is in him into sight and knowledge for himself and others." G. W. F. Hegel
Rojena leta 1978.
2000 kot štipendistka Adllmullerjevega sklada študira na Univerzi za
uporabno umetnost na Dunaju
2001: Emerging artist, zbirka Essl, Avstrija
2001: fe/male sensibility, Galerie Charim, Salzburg
2001-2003: Moving gallery skupaj s Pilottanz, predstavljeno v
Dresdenu, Salzburgu, Celovcu in na Dunaju
2003: Individuelle Kosmologien. Shau-ST. A. LL, Amstetten
Born in 1978
2000: "Adllmuller Stipendium", University of Applied Arts Vienna
2001: "Emerging Artist", Sammlung Essl, Austria
2001: "fe/male sensibility", Galerie Charim, Salzburg
2001-2003: "Moving Gallery" together with Pilottanz, performed in
Dresden, Salzburg, Klagenfurt, Vienna
2003: "Individuelle Kosmologien". Shau-ST.A.LL, Amstetten

Borjana Ventzislavova, Miroslav Nicić:
Mislim, da Luis/Louis I Think
nebudu@t0.or.at
http://nebudu.net
CD-rom Mislim, da Luis je posnetek dolgotrajnega, kot zanka oblikovanega potovanja po cesti iz rojstnih držav
avtorjev (Srbije in Črne gore ter Bolgarije) v Avstrijo, kjer trenutno živita.
Avtorja sta soočena z napornim in nepredvidljivim postopkom prečkanja mej v letih 1999 in 2000. Samo delo
predstavlja osebno dokumentacijo potovanja, videno kot vrsto situacij, ki včasih prerastejo ali popolnoma
spremenijo naše skupne vrednote in razumevanje "kompleksnosti" sveta; situacij, ki včasih daleč presegajo naše
sposobnosti obvladovanja, kot sta npr. vojaška intervencija ali vojno stanje. Na njuni poti postopki postajajo
realno življenje, v katerem je človeško bitje dvakrat preizkušano: po eni strani je nevtralni opazovalec - potnik, po
drugi pa ne more ohranjati nevtralnosti in je prisiljeno reagirati ter igrati v skladu s pravili ali proti njim. V svojem
hrepenenju po redefiniranju "realnega sveta" avtorja raziskujeta izkušnjo potovanja in ob tem ponujata bližnje
srečanje z vmesnimi sekvencami običajnih in nenavadnih okoliščin, nekoliko nelineareno in naključeno združenih,
tako da gledalcu omogočata sestavljanje sekvenc podob in situacij.
"Luis, I think" CD-ROM is a record of a lengthy, loop-like road trip from the authors' birth countries (Yugoslavia
and Bulgaria) to Austria, their present place of residence.
The authors are confronted with the tedious and unpredictable border crossing routine in the period between
1999 and 2000. The work itself represents a personal documentation of the journey, seen as a series of situations
that can sometimes overgrow or completely redefine our common values as well as our understanding of the
complexities of the world; a series of situations that sometimes by far exceed our possibilities to control them,
such as any military intervention or state of war. On the road, real life becomes a conglomerate of procedures in
which the human being is doubly tested, both from the perspective of a neutral observer - traveller and the
opposite perspective of one that is not able to preserve neutrality, being forced to react and play by or against the
rules. In their longing for a constant redefinition of the "real-world", the authors investigate the experience of
travelling, while offering close encounters with intermediate sequences of ordinary as well as peculiar
circumstances combined in a rather non-linear and random way, by enabling the viewer to compose a sequence
of images and situations of his own.
Borjana Ventzislavova, rojena 1976 v Sofiji, Bolgarija, je študirala
informacijske tehnologije na Univerzi v Sofiji in na Dunaju.
Trenutno študira vizualne medije na Univerzi za uporabno
umetnost na Dunaju pri prof. Petru Weiblu in prof. Karlu
Dudeseku. Je članica Dezentrale Medien Project (www.herein.at).
Miroslav Nicić, rojen 1975 v Djakovici, Srbija in Črna gora, je
diplomiral iz mednarodne ekonomije na Ekonomski fakulteti v
Sofiji, Bolgarija. Trenutno študira vizualne medije na Univerzi za
uporabno umetnost na Dunaju pri prof. Petru Weiblu in prof.
Karlu Dudeseku.
Oba živita in delata na Dunaju. Skupaj sta sodelovala pri več
projektih, na razstavah in festivalih.
Manifest Machinima video*, PAL, 04:44'
Video je posnet s pomočjo programa, prvoosebne videoigre s streljanjem (UNREAL TOURNAMENT), ki je
uporabljen kot virtualna scena za "snemanje". Vzporednice med snemanjem filma in snemanjem sovražnika (ali
gledalca) med igro in igranjem segajo v samo bistvo pripovedne kinematografije. Akcija (mizanscena) na sceni v
tem primeru ni vnaprej določena. Prepuščena je gonilnikom, ki s pomočjo AI nivoja in vnaprej določene
sovražnosti (elementov urejevalnika igre), ki se skoraj kot v plesu, v taktu valčka izničujejo ter to svojo aktivnost
znova in znova začenjajo, izbirajoč si vedno isti cilj, rez za rezom, ter pri tem postajajo popolni igralci, ki niso
nikoli preutrujeni za še eno ponovitev posnetka.
Vloga kamere na sceni spominja na predvajanje bitke v živo. Medijski umor, konec ene vloge in takojšnje
vstajenje, ki vodi v ponovni medijski umor. Snemanje traja neskončno dolgo. Oko kamere sledi njihovim besnim
gibom in kar nadaljuje s snemanjem. Obstoj "junaka", ki je tudi edini, s katerim upravlja človek, in njegova
razumska dejanja so soočena z naključnostjo AI pogonov; njegova mirnost je soočena z njihovimi neprestanimi
pobegi, in čeprav je prostorsko ločen od prizorišča snemanja, je še vedno del le-tega.
Video nam ne daje odgovorov na situacije, s katerimi nas sooča, vendar nas nenehno spraševanje ves čas filma
lahko zadovolji tudi kot odgovor. Sterilno čist umetni prostor, podaljšek virtualno vodene tehnologije, se sooča z
zavestnim procesom samozavedanja. Kamera natančno preklaplja kadre in nas pušča na izhodišču - nad površino.
(* Machinima je termin, s katerim opisujemo razvijajočo se tehnologijo ustvarjanja animiranih filmov, ustvarjeni s
pomočjo na uporabnika naravnane realnočasne izvedbe 3D tehnologije igralnih naprav.)
The video uses First Person Shooter software /UNREAL TOURNAMENT/ as the virtual set for the "shooting". The
parallels between shooting a film and shooting an enemy /or spectator/, as well as between playing and acting,
go deep into the essence of the narrative cinema. In this particular instance, the action (mise-en-scene) on the set
is not pre-defined. It is rather left to the Bots, run at the AI level and motivated by pre-defined hostility (elements
of the game editor), which in an almost dance-like, waltzing style annihilate each other, start their role over and
over again, choose the same goal, cut after cut, and become the perfect actors never too tired to repeat the shot
once again.
The camera work on the set very much resembles a live coverage from the battlefield. Media kill, the end of one
role and an instant resurrection leading to another media kill. Shooting that lasts forever. The camera eye follows
their frantic movements and keeps rolling. The existence of the "hero", which is also the only actor controlled by
man, together with his rational actions, is confronted with the randomness of the AI-run Bots, his stillness is
challenged by their constant frantic fleeing, and although spatially isolated from the scene of shooting, he
remains part of it.
The video doesn't offer answers to the situations with which it confronts us, but the constant questioning
throughout the entire film may nevertheless serve as an answer. The sterile clean artificial space, posing as an
extension of a virtually driven technology, is confronted with the continuous process of self-recognition. The
camera switches the outlines with great precision and leaves us at the very starting point, i.e. above the surface.
(* Machinima is the term given to the emerging technology of generating animated movies made by using the
client-oriented, real time 3D ambient scripted in game engines.)
Borjana Ventzislavova, born in 1976, Sofia, Bulgaria. She completed her studies of Information
Technology at the Universities of Sofia and Vienna; currently she studies Visual Media at the
University of Applied Arts Vienna (under the tutorship of Prof. Peter Weibel and Prof. Karel Dudesek).
She is a member of the Dezentrale Medien Project (www.herein.at)
Miroslav Nicic, born in 1975, Djakovica, Yugoslavia. He completed his studies at the University of
Economic Sciences, Sofia, Bulgaria, with a degree in International Economics; currently he studies
Visual Media at the University of Applied Arts Vienna (under the tutorship of Prof. Peter Weibel and
prof. Karel Dudesek).
Both live and work in Vienna. Together they have participated in various projects, exhibitions and
festivals.

Kerstin von Gabain: Prostor na soncu/A Place in the Sun
animacija/animation, 2003
Animacija Prostor na soncu je narejena v računalniškem 3D programu, simulira virtualni dan in traja 24 ur. Pogled
kamere ostaja statičen; edini vidni spremembi sta tako spreminjajoča se dnevna svetloba in senca, ki kažeta na
minevanje dneva. Gledalec teh sprememb ne more zaznati, saj so te za njegovo oko prepočasne. Animacija se namreč
prikazuje v realnem času, kar pomeni simultano z realnostjo. Realni čas, npr. 12.00, je enak tistemu, ki ga
prikazuje animacija. Naslov je povzet po istoimenskem ameriškem filmu z Mongomeryjem Cliftom, Elisabeth Taylor in
Shelley Winters v glavnih vlogah. Gre za hollywoodsko klasiko o dvorazredni družbi, v kateri se protagonisti
filma borijo za boljše življenje. Animacija se ukvarja z estetiko gibljive podobe, njeno vlogo in predstavitvijo v
digitalni dobi.
The animation 'A Place in the Sun' was made in a 3D computer program. It lasts 24 hours and simulates a virtual
day. The camera view remains static, therefore the only visible difference is the one in changing daylight and
the shadow altering as the day precedes. The viewer cannot percieve the animated motion taking place since it is
far too slow for the human eye to register. The animation is shown in real time, which means that it runs
parallel to reality. A real given time, e.g.: 12:00 pm, is the same as the time displayed in the animation. The
title is taken from the American movie 'A Place in the Sun', dating back to 1951, with Mongomery Clift,
Elisabeth Taylor and Shelley Winters. The movie is a Hollywood classic talking about a two-class society, where
its protagonist is striving for a better life. The animation deals with the aesthetics of the moving image, as
well as its role and representation in the digital age.
1998-2001: študij na Akademie der bildende Künste na Dunaju,
smer slikarstvo in grafika pri prof. Franzu Grafu
2001-2003: študij smeri novi mediji pri prof. Peteru Koglerju
2003: z odliko diplomirala
2003: nadaljevanje študija na Technische Universität na
Dunaju, smer medijska informatika
1998 -2001 _ Akademie der bildende Künste Wien, Malerei und
Grafik, Meisterklasse Franz Graf
2001-2003 _ Neue Medien, Meisterklasse Peter Kogler
2003 _ Magister Artium (mit Auszeichnung)
2003 _ Technische Universität Wien, Medieninformatik
iniciator melonova: Brez imena/No name
instalacija/akcija / installation/action
skylined.org
1. tekst
2. avtomat/interaktivni rezalnik
3. umestitev v prostor, postavitev za uporabnike/soustvarjalce
4. multilog, odprti razgovor/medgovor/večgovor
5. skupno ustvarjanje vsebinskega platoja
4. snemanje/zapisovanje/kopiranje
3. prenos v avtomat/prehod v nelinearnost
2. izpustiti/postati skupno/izgubiti nadzor in (ob)last
1. tekst/vsebinski plato je svoboden
Vzpostaviti želimo socialni algoritem, ki beleži, shranjuje in re-kreira
vsebine in glasove, ki jih ustvarja kolektivna inteligenca. navidezno
linearen skupinski diskurz se v procesu reciklira, postaja deklarativen
in kaotičen, obenem pa ga lahko z naključno "kontrolo" vsi
spremenimo. ostaja vprašanje, kateri citat, izrečena beseda ali ideja je
moja, tvoja ali naša
1. Text
2. Automat / Interactive cutter
3. Placing into space, installation for users / Co-creators
4. Multilogue - an open dialogue for more than two participants
5. Joint creation of the content plateau
4. Taping / Recording / Copying
3. Transfer to the automat / Crossing to non-linearity
2. To leave out / To become common / To lose control and power
1. Text / The content plateau is free
We would wish to make a social algorithm that tapes, records and
re-creates contents and voices, created by collective intelligence.
During the process, seemingly linear common discussion
becomes recycled, declarative and chaotic. At the same time, we
all can change by exercising random "control". The question as to
which quotation, uttered word or idea is mine, yours or ours -
remains unanswered.
Melonova sta melon in nova, ali Dunja Kukovec (r. 1975) in Luka Prinčič (r. 1977). Osredotočena sta na kreativno in odprto uporabo tehnologije, pri čemer ju zanima aplikacija le-te
na socialno-družbene sfere. Skupaj sta delala na projektu Scanline - festival digitalne gibljive slike (2001) v Moderni galeriji Ljubljana, Music for Hard Disks v galeriji Kapelica (2002),
na razstavi Open Beats v Bežigrajski galeriji II (2003) in Area Kolaborativa v ŠKUC-u (2004). V zadnjem času delujeta tudi v okviru Kiberpipe v Ljubljani. Ključni pojmi, ki ju povezujejo
so: kreativnost, kriza reprezentacije, kritika kretenizmov, elektronska glasba, historicizem, parastrukture umetnosti, odprtost in svoboda.
Melonova stands for "melon" and "nova", or Dunja Kukovec (born in 1975) and Luka Princic (born in 1977). Their primary focus is on the creative and open usage of technology and
its application in social spheres. They cooperated in the project "Scanline" - The Festival of Digital Moving Pictures at the Modern Art Gallery, Ljubljana (2001); "Music for Hard
Discs" at the Art Gallery Kapelica, Ljubljana (2002); the art exhibition "Open Beats" at the Bezigrad Art Gallery II, Ljubljana (2003); and the project "Area Kolaborativa" at the Škuc
Gallery, Ljubljana (2004). Temporarily they also cooperate within the framework of the Kiberpipa cyber-centre, Ljubljana. The key points connecting them are: creativity, reproduction
crises, critique to cretinism, electronic music, historicism, para-structures of art, openness and freedom.

son:DA z Miho Ciglarjem (računalnik) in Samom Pečarjem (bas)
/with Miha Ciglar (computer) and Samo Pecar (bass):
"Skladba za monitor, projektor, računalnik in bas" ali
"Včeraj je tam bila rdeča točka"/"Composition for
monitor, projector, computer and bass" or "Yesterday
there was a red point"
avdio-video performans/audio-video performance, 2004
http://connected.mur.at/sonda
.črni proti belemu.
.zgodba.drama.boj.zivljenje.
.usoda.
.sodnik kot vrhovna avtoriteta.
.sodnik kot bog, ki dela napake.
.omejeno igrišče.
.zakoni in pravila.
.tehnika.
.usodna napaka.
zmagovalec in poraženec.
.vedno znova.
.zemlja se vrti.
The black against the white
Story. Drama. Fight. Life.
Destiny.
Judge as a supreme authority.
Judge as God who makes mistakes.
Limited playground.
Laws and rules
Technicks
Fatal mistake.
The winer and the loser.
Again and again.
The Earth is revolving.
Miha Ciglar:
Skladba za dva inštrumenta in saksofonista/
A piece for two instruments and a saxophone player
zvočni performans/sound performance
The composition is based on the idea of bringing two musical instruments (in this case: saxophone (alto) and computer) face to face and point out their common
characteristics in order to compensate the time gap between their inventions and hereby contribute to the acceptance and understanding of this wonderful extra feature
(producing original sound) that comes with the computer, which prime function is rather different. The other goal is finding or inventing methods of communication,
which would allow a single musician (a saxophone player) to control or play both instruments at the same time.
Therefore I defined for each instrument three levels of use or "misuse" which are equivalent in pairs, and furthermore find themselves in constant interaction.
Skladba je nastala z idejo združiti dva glasbena inštrumenta (v tem primeru alt saksofon in računalnik), ju soočiti in poudariti njune skupne značilnosti, katere bi
premostile časovni prepad med njunima izumoma ter s tem pripomogle k sprejetju in razumevanju te krasne dodatne lastnosti (produkcije originalnega zvoka), ki
prihaja iz računalnika, katerega primarna vloga je v tem primeru malo drugačna od običajne. Moj drugi cilj je bil najti oziroma iznajti metodo komunikacije, ki bo enemu
samemu glasbeniku (saksofonistu) omogočala nadzorovati in igrati hkratno na oba inštrumenta.
Za vsak inštrument sem oblikoval tri nivoje uporabe ali "zlorabe", ki so parno ekvivalentni, ter med seboj v neprekinjeni interakciji.

Izgubljeno s prevodom/Lost in Translation
Selekcija Narvike Bovcon in Aleša Vaupotiča/Narvika Bovcon and Aleš Vaupotič's Selection
Curating an exhibition means to configure an archival unity out of multiple
singular elements. Where, on one hand, the archive is not simply the sum of the
elements and on the other hand the elements must not be just representations of
the archival essence. If they were, the relationships between the artistic
projects would dissolve in the aesthetic rhythm of symmetry whereby they would
annihilate their positivities. Theoretically speaking, the field of the archive
would be reduced to an apolitical level of epistemology. Thus the level of
discourse, i.e. the relations between the atoms of power-knowledge, would be
ignored.
Our consideration enables us to conceive the artistic exhibition as a field of
relations that intervenes in the artistic statements of each project involved and
also in the meaning of the exhibition as a whole, which in turn becomes an
artistic installation. The archive is structured on two levels - on the
"external" one, where the conceptual relations between projects are manipulated
by means of their spatial positions, and the "internal" one, where the view into
the archive is faced with the surface of an image or an object functioning as
interface that is smart and at the same time impenetrable when approached by the
addressee's entering.
This model of the artistic exhibition isn't without any consequences. It
implies the artwork as an archive, which is embedded in the social and political
context of the present. Art is possible only if the author is consciously
archiving the values that she/he discovers in the world around her/him. Her/his
task is to look for something good and then protect it - not an easy task that
often has to be performed on the limits of what is known and acceptable.
Narvika Bovcon, Aleš Vaupotič
Postavljanje razstave je vedno konfiguriranje arhivske enote iz več samostojnih
singularnosti. Arhiv ni njihov seštevek, po drugi strani pa tudi elementi ne
smejo biti zgolj reprezentacije arhivskega bistva. Če bi bili, bi se razmerja med
posameznimi umetniškimi deli razblinila v estetskem ritmu simetrij ter s tem
izničila njihove pozitivnosti. Teoretično rečeno, arhivsko polje bi se zvedlo na
depolitizirano epistemološko raven in pri tem zanikalo diskurzivno raven razmerij
med atomi oblasti-vednosti.
Ta premislek nam omogoča, da se umetniška razstava vzpostavlja kot polje
relacij, ki konstitutivno posegajo v umetniška sporočila posameznih projektov, pa
tudi razstave kot celote, ki tako postane umetniška instalacija. Arhiv se
strukturira skozi dve perspektivi - "zunanjo", ko se konceptualna razmerja med
projekti manipulirajo s prostorskimi razmerji, in "notranjo", ko se pogled v
arhiv sooča s površino podobe ali objekta kot vmesnika, ki pametno in obenem
nepredirno odgovarja na prejemnikov vstop.
Takšen pogled na umetniško razstavo pa ni brez posledic, saj predpostavlja
umetniško delo kot arhiv, potopljen v socialno-politični kontekst vsakokratne
sedanjosti, ki je mogoč zgolj v obliki umetnikovega zavestnega arhiviranja
vrednot, ki jih odkrije okoli sebe. Njegova naloga je odkriti nekaj dobrega in
to zavarovati; kar pa seveda ni lahka naloga in jo je pogosto treba izvajati na
robu znanega in sprejemljivega.
Artists: E-Cart, Barak Reiser, Johan Thom, YOlk Art, Alex Zika & Eftychia Shinas

E-CART
www.e-cart.ro
sodobna spletna revija o umetnosti
contemporary online art magazine
(Romunija)(Romania)
August 2003: preview at the workshop Real Presence 3, Belgrade
Visiting the biennials: Periferic 6 (2003, Iasi, Romania), Istanbul 8 (2003), Berlin 3 (2004)
Collaborative projects: Sweden (throughout 2004), Austria (Format project - May 2004), Timisoara
(permanent presentation of H.arta space since February 2004), Ljubljana (presentation of ArtNetLab
in June 2004)
We would include e-cart website in a category of net spaces
that are aiming at connecting and creating networks; this is
what the internet is usually doing, however, our purpose is
to transfer the real people, art works, art events, etc.,
into the virtual space, which we experience at this moment
as a more real, more consistent, more accurate - as it
represents a way of creating (constructing) our freedom.
By clicking on a city on our map, one can go directly to a
page from the magazine; it is not just the map of our site,
but also the map of the "real" world - which becomes more
real (i.e. more accessible) for us in the virtual space.
Our project relates to politics and the idea of having an
independent attitude; between an instrument, a platform and
the medium turned into message, at this moment the internet
is for us a way of expressing this attitude.
Internetno stran e-cart lahko vključimo v kategorijo spletnih
prostorov, katerih namen je povezovati in ustvarjati omrežja;
to internet običajno počne, naš namen pa je prenesti
resnične ljudi, umetniška dela, dogodke itd. v virtualen
prostor, ki ga v danem trenutku doživljamo kot mnogo
realnejšega, doslednejšega in točnejšega, saj predstavlja
način ustvarjanja (oblikovanja) naše svobode.
S klikom na ime mesta na našem zemljevidu se lahko
neposredno povežete s stranjo revije. To ni samo zemljevid
naše spletne strani, ampak tudi zemljevid "resničnega" sveta,
ki postaja za nas vse bolj realen (torej bolj dostopen) v
virtualnem prostoru.
Naš projekt je povezan s politiko in željo po neodvisnosti;
med orodjem, prizoriščem in medijem kot sporočilom. Danes to
neodvisnost izražamo z internetom.
Madalin Geana
Rojena leta 1981;
Študij na Fakulteti za računalniške znanosti Univerze za politehniko v Bukarešti.
Skrbnica spletnih strani revije e-cart
Raluca Voinea
Born: 1978
1997-2001 - University of Arts in Bucharest, Faculty of Art History and Theory
editor of e-cart magazine
Eduard Constantin
Rojen leta 1977;
1998-2003: študij na Fakulteti za slikarstvo na Umetnostni akademiji Luceafarul v
Bukarešti.
Oblikovalec spletnih strani za revijo e-cart.
*
Eduard Constantin
Born: 1977
1998-2003 - Luceafarul Academy of Art in Bucharest, Faculty of Painting
web designer for e-cart magazine
Raluca Voinea
Rojena leta 1978;
1997-2001: študij na Fakulteti za umetnostno zgodovino in teorijo Univerze v
Bukarešti.
Urednica revije e-cart.
*
Madalin Geana
Born: 1981
Polytechnic University of Bucharest, Faculty of Computer Sciences
web master for e-cart magazine
Avgust 2003: uvodna predstavitev v okviru delavnice Real
Presence 3 (Resnična prisotnost 3) v Beogradu;
gostovanja na bienalih: Periferic 6 (2003, v Iasiju v Romuniji),
Istanbul 8 (2''3), Berlin 3 (2004);
kolaborativni projekti: Švedska (vse leto 2004), Avstrija
(projekt Format, maj 2004), Temišvar (stalna predstavitev
projekta H.arta space od februarja 2004 naprej), Ljubljana
(predstavitev projekta ArtNetLab, junij 2004).

Barak Reiser
(Nemčija/Izrael)(Germany/Israel)
Dvojniki (2002-danes)
Doubles (2002-Present)
What you see is not what you see
Am I the person I see each morning in the mirror
It's a small lie I see in my mirror's reflection
When I'm big will I be Big
That's what I thought before
Am I big already
Asking myself while shaving
searching carefully for the new wrinkles and white hairs
didn't find any!
It's a small lie I see in my mirror's reflection
I should ask strangers in the subway what they see
when they see my reflection through the window
It's a small lie that they see my mirror's reflection.
Third text from the series
When I will grow up I will be
1973: rojen v Haifi, v Izraelu.
1994-98: študiral na Akademiji za umetnost in oblikovanje
Bezalel v Jeruzalemu (Bezalel Academy of Art and Design).
2000-04: študiral na Akademiji za umetnost Städelschule v
Frankfurtu ob Majni.
Elbuod je tisti, ki ga ljudje enačijo z mano. Tako kot jaz, gre lahko tudi on v Slovenijo,
če jaz to želim.
Originali ne obstajajo, torej tudi kopije ne obstajajo.
Ta serija posterjev je nastala iz fotografij potnih listov ljudi, ki so mi podobni po
obnašanju ali zunanjem videzu.
Delo še ni končano.
1973: Born in Haifa, Israel. 1994-98: studied at the Department of Fine Arts, the Bezalel
Academy of Art and Design, Jerusalem.
2000-04: studied at the Städelschule Art Academy, Frankfurt am Main.
Elbuod is the one that people can identify as me; just like me, he can go to Slovenia if I want him to.
There are no originals, therefore there are no copies.
This series of posters is based on passport photos of people who I have been told resemble me in a
certain way, either in their behaviour or in their appearance.
This work is still on-going.

Every time our web site is being
accessed a short simple clip of
floating dust particles is being
displayed and, simultaneously, that
very same image is being projected
onto the window of a building in
Maribor. In addition, the projection
will indicate the local time of the
place from which the web site has
been logged on to.
The project is conceived to
humorously underplay the promise of
a limitless variety and
accessibility of information,
communication and spectacle through
the Internet as well as to translate
its propulsion and multiplicity of
contents into an elusive image of
transitory and disintegrating
material beauty. The drifting debris
alludes both to a state within a
transformational cycle in which
difference and sameness have become
indiscernible and ominous, as well
as representing a natural spectacle
which we could be still witnessing
with our naked eye. The work becomes
something like a screensaver,
randomly switched on by anonymous
people, referring to a network of
gaps or thinking spaces, void of
advertisement, explanation or
implemented content.
Alexander Zika, Eftychia Shinas
(Velika Britanija/Nemčija, VB/ZDA)
(UK/Germany, UK/USA)
Ne poznate nas
You don't know us
Vsakokrat, ko obiščete našo spletno
stran, se na vašem ekranu prikaže
lebdeči delček prahu. Istočasno je
ta prizor projiciran na okno
mariborske zgradbe, na ekranu pa
lahko vidite lokalni čas dela
sveta, v katerem se nahaja vaš
računalnik.
Projekt se humorno poigrava z
obljubo o neskončnih zmožnostih
dostopa do informacij, komunikacij
in pogleda v svetovni splet. Njegovo
zagonsko moč in številnost
kontekstov prevaja v jezik
spremenljive podobe, pokvarljive in
minljive materialne lepote.
Naplavina črepinj namiguje na stanje
v notranjosti cikla sprememb, v
katerem sta postali različnost in
enakost neločljivi in zlovešči, ter
kaže naravni spektakel, ki ga lahko
izkusimo z golim očesom. To delo je
podoba na računalniškem omizju, ki
ga naključno vklapljajo anonimni
obiskovalci spletne strani in
spominja na mrežo črnih polj,
miselnih lukenj, odsotnost reklam,
pojasnil ali dodanih vsebin.
Alexander Zika (*1975, München) in Eftychia Shinas (*1975, New York) živita
in delata v Londonu. Sodelovala sta že pri projektu Nemo (separitat),
London, 2003. Trenutno soustvarjata projekt agora, London, 2004.
alex_zika@hotmail.com
Alexander Zika (born in 1975, Munich) and Eftychia Shinas (born in 1975,
New York)
Both live and work in London. They have previously worked together on
Nemo (separitat), London 2003 and currently collaborate on agora ,
London, 2004.

Johan Thom (Južna Afrika)(South Africa)
Labirint Labyrinth
("Labyrinth" will form a part of the Minotaur Series; a new series of works still part of
an on-going project entitled the "Exorcism Series", begun in 2001.)
My work draws from my experience of everyday life in South Africa as well as from
distinctly different cultural traditions (such as those presupposed by performance art
groups like the Yomuri Independent, Fluxus, the Viennese Secessionists and various
African ritual and ceremonial practices).
By investigating the cathartic aspects of art-making and its reception I wish to reimagine
the sublime, or what I like to term "the void": a space that cannot be
accounted for by the limited possibilities of human logic and reason. However, "the
void" is not a grand meta-text that exists outside the everyday experience of life - it is
interwoven with it, continuously threatening to unravel the very fabric of our
seemingly structured/meaningful existence. This conflict (between the void and
human existence generally) is a shared space of human experience as all cultures
have, in their own particular ways, attempted to minimise and to contain it. My work
is about the possibility of rupture in this continuum of containment. By attempting to
collapse opposing binary codes such as violence/happiness, I/other and purpose/play,
I wish to re-establish open forms of communication along the axis of our shared
experience as living beings. Thus, however violent, funny or disturbing my works may
appear initially, they are all bound together by the notion of free play, of open
communication and ultimately of the consequences resultant from even the most
fleeting of interactions between us: whenever there is communication there is
slippage (of meaning, intention, finality). But it is also this slippage that may allow us
a momentary glimpse of the 'outside'.
Thus far, my works have been incredibly personal, perhaps reflecting something
about my country's troubled past, its difficult present and my own contradictory
position in this narrative. The impossibility of 'speaking myself' without
simultaneously speaking a history of exclusion and of containment has lead me to
deliberate questioning of my identity and its seemingly oppositional relationship with
the world: I have tried to re-imagine myself by consciously disturbing the various
personal, social and ideological agencies which bind me to any single identity. This
methodology is present in every work that I have produced for the "Exorcism Series"
(a larger body of work currently spanning over the last three-and-a half years of my
life, 5 individuals series' of works consisting of approximately 80-90 individual works
comprising sculpture, painting, video, installation, performance art works and
research publications and seminars).
At present I am busy conceptualising a new series of works entitled the "Minotaur
Series". The series will consist of various performances, videos and installations that
will all be conceptually tied to the Greek myth of the Minotaur - the half human half
animal borne from Minos' broken promise to Poseidon. However, I am not interested
in pursuing the moral implications of the myth but rather in utilising it as a central
principle from which to generate insights into what I have termed a "confrontation
with the void": the existence of this abject being in the realm of Greek society was first
"contained" (in the labyrinth built by Minos) and later "expelled" (his death at the
hands of Theseus). Thus, one may state in deconstructive terms, ensuring the
preservation of the Greek logos. Using African mythological and religious figures and
practices, such as those manifested in the "tokkelosh", the Fon spirit masks, Bobo
bush masks and the Egungun funerary masks I wish to reconstruct the myth of the
Minotaur and place it in a contemporary context. Furthermore, the conflation of these
various cultural myths are a deliberate act on my part, one that is intended to
destabilise historically established meanings, models of interpretation and the various
culturally distinct traditions that presuppose them. Thus, instead of ethnicity I wish to
focus on the possibility of a transgressive hybridity manifested along the axis of missarticulation,
silence, slippage, and the free flow of meaning and the admittance of the
vastness of human experience.
Johannes Frederick Thom, rojen 25. 1. 1976 v Johannesburgu, v Južni Afriki. Leta
1999 je z odliko diplomiral na Univerzi v Pretoriji (študij teorije, vizualne
komunikacije 400). Leta 2003 je na Fakulteti za tehnologijo in lepe umetnosti
(Technikon Pretoria) z odliko zaključil magistrski študij lepih umetnosti. Danes
dela kot umetnik in asistent na Univerzi za tehnologijo v Tswhanu, kjer predava
kiparstvo, multidisciplinarne študije, teorijo umetnosti in oblikovanja.
Johannes Frederick Thom, born in 1976-01-25, Johannesburg, South
Africa. BA (FA) 1999 University of Pretoria (with distinction in the
theoretical component, Visual Communications 400). M-Tech Fine Arts
(Cum Laude) - 2003 - Technikon Pretoria. He is currently a full time
artist and part time lecturer at the Tswhane University of Technology
in Sculpture, Multi-disciplinary studies and Theory of Art and Design.
(Labirint je del serije Minotaver, najnovejše serije del, ki sodijo
v projekt, imenovan Exorcism Series. Projekt je začel nastajati
leta 2001.)
Moja dela nastajajo na podlagi izkušenj iz vsakdanjega
življenja v Južni Afriki in drugih, izrazito različnih kultur in
tradicij (denimo tistih, ki jih predpostavljajo umetniške skupine
za performance, kot so Yomuri Independent, Fluxus, Viennese
Secessionists, ter raznovrstnih afriških ritualov in obredov).
Z raziskovanjem očiščevalnih vidikov ustvarjanja umetnosti in
načina, kako jo sprejemamo, skušam prevrednotiti sublimno -
ali čemur sam rad pravim - "praznino": prostor, ki ga ni moč
razložiti z omejeno človeško logiko in razumom. Toda ta
"praznina" ni nekakšen metatekst, ki obstaja onkraj
vsakodnevnih izkušenj življenja, temveč se z njimi prepleta in
nenehno grozi, da bo razparala tkanino, iz katere je narejen
naš navidezno strukturiran/smiseln obstoj. Ta konflikt med
praznino in splošnim človeškim obstojem je skupen prostor, v
katerem se pretakajo izkušnje človeštva, in prostor, ki ga skuša
vsaka kultura po svoje zmanjšati ali omejiti. V svojem delu
raziskujem možnost prekinitve kontinuitete omejevanja. S tem,
ko skušam razbiti nasprotujoče si binarne kode, kot so
nasilje/sreča, jaz/drugi in namen/igra, skušam najti odprte
oblike komuniciranja na oseh tistih izkušenj, ki si jih delimo kot
živeča bitja. Čeprav se vam bodo moja dela sprva zdela
nasilna, smešna ali celo moteča, naj povem, da so povezana s
konceptom svobodne igre ter odprte komunikacije in
nenazadnje predstavljajo tudi rezultat še tako bežne interakcije
med nami: komunikacija povzroči zdrs (v smislu pomena,
namere, končnosti). Pa vendar nam obenem prav ta zdrs
omogoči pogled v "onstranstvo".
Do zdaj so bila moja dela zelo osebna. Odražala so nemirno
preteklost moje domovine, njeno težko sedanjost in moj
nezavidljiv položaj v tej zgodbi. Nezmožnost govoriti o sebi, ne
da bi hkrati predstavljal zgodovino izključevanja in omejevanja,
me je privedla do temeljitega izpraševanja lastne identitete in
njenega navidezno nasprotujočega si odnosa do sveta. Samega
sebe skušam prevrednotiti s pretresanjem temeljev različnih
osebnostnih, družbenih in ideoloških dejavnikov, ki me vežejo
na posamezno identiteto. Ta metodologija je razvidna v vseh
delih, ki sem jih ustvaril za serijo z naslovom Exorcism Series
(obsežen kos mojega dela, s katerim se ukvarjam zadnja tri leta
in pol; zajema pet samostojnih zbirk 80 do 90 del na področju
slikarstva, kiparstva, videa, instalacij, performansov,
raziskovalnih publikacij in seminarjev).
Danes se ukvarjam s konceptualizacijo nove serije del z
naslovom Minotaur Series. Obsegala bo razne performanse,
videe in instalacije, konceptualno vezane na grški mit o
Minotavru (pol človek, pol žival), rojenemu iz Minosove
prelomljene obljube Pozejdonu. Ne zanima me moralna stran
mita, temveč kako se lahko ta uporablja kot osrednji princip, ki
ponazarja pogled v tisto, kar sam imenujem "soočanje s
praznino". To zavrženo bitje je grška družba sprva "omejila"
(na območje labirinta, ki ga je zanj zgradil Minos), nato pa
"izključila" (smrt pod Tezejevim mečem). Iz dekonstrukcijskega
vidika so tako ohranili grški logos. Z afriškimi mitološkimi ter
verskimi liki in praksami, kot so tiste iz tokkelosha, s
spiritualnimi maskami (Fon), grmičarskimi maskami (Bobo) in
pogrebnimi maskami (Egungun) skušam rekonstruirati mit o
Minotavru in ga postaviti v sodobni kontekst. Namen
združevanja vseh teh različnih kulturnih mitov je zrušitev v
družbi globoko zakoreninjenih pomenov, vzorcev interpretacij
in raznih izrazito kulturno izključujočih si tradicij, ki le-te
vnaprej določajo. Namesto na etničnost se tako skušam
osredotočiti predvsem na transgresivno hibridnost, ki se kaže
na osi napačne artikulacije, molka, zdrsov, prostega pretoka
pomena in priznavanja prostranosti človekovih izkušenj.
Video, editing/montaža: Andreas Schonfeldt.
johanthom@hotmail.com

You are invited to take part in an entertaining and
insightful tour of Maribor. We have searched the
virtual realm to bring you the most interesting
stories, amazing facts and highlights from the
city's past and present.
You will enjoy learning about the history and
culture of this beautiful city from our professional
tour guides, all the way from Nottingham, England.
See how the tour develops throughout the festival,
as we respond to our first physical experiences of
Maribor.
YOlk - all the way from Nottingham
Vabimo vas, da se udeležite zabavnega in
poučnega izleta po Mariboru. Iskali smo po
virtualnem kraljestvu in za vas pripravili
najzanimivejše zgodbe, presenetljiva
dejstva in zanimivosti iz mestne zgodovine
in sedanjosti.
V spremstvu naših strokovnih vodičev boste
vso pot od angleškega Nottinghama uživali
v spoznavanju zgodovine in kulture tega
lepega mesta.
Spremljajte turnejo, ki bo potekala ves čas
festivala, in naš odziv na izkušnjo
Maribora.
http://www.yolkart.org
YOlk Art: DeTOURS
(Velika Britanija)(UK)
Ziggy Slingsby
ziggyslingsby@hotmail.com
YOlk Creating links and
Promoting collaboration
between the artistic
communities of Nottigham and
its twin cities. Ljubljana
(Slovenia), Karlsruhe
(Germany), and Ghent
(Belgium), Minsk (Belarus).
Yolk - izdelava povezav in promocija
sodelovanja med umetniškimi skupnostmi iz
Nottighama in pobratenimi mesti: Ljubljana
(Slovenija), Karlsruhe (Nemčija) in Ghent
(Belgija).
Rebecca Beinart
rbeinart@hotmail.com
I make site-responsive
work, in public places.
I experiment with
strategies for
provoking action and
involving 'audiences'
in creative behaviour.
I am interested in the
power of art for reimagining
situations
and displacing
expectations.
Na javnih mestih izvajam projekte, ki so
odziv na internetne strani. Eksperimentiram
s strategijami, ki sprožajo odziv in vabijo
"občinstvo" k ustvarjalnemu razmišljanju.
Zanima me moč, ki jo ima umetnost pri
podoživljanju situacij in spreminjanju
pričakovanj.
Elaine Speight
elainespeight@hotmail.com
I am interested in the role of Art within both local and wider European environments.
Zanima me vloga umetnosti v lokalnem in širšem evropskem prostoru.

Video Match
Selekcija Sreča Dragana in Vlada Zrnića/Srečo Dragan's and Vlado Zrnić's Selection
Akademija za likovne umetnosti in Fakulteta za računalništvo in informatiko, Univerza v Ljubljani/
Academy of Fine Arts and Faculty of Computer and Information Sciences, University of Ljubljana
AKADEMIJA UMETNOSTI, UNIVERZA V SPLITU/ARTS ACADEMY UNIVERSITY OF SPLIT
MATJAŽ VALENČIČ
DARJA GUDAC
ROK MARINŠEK
MAŠA PEZDIRC
EMINA DJUKIĆ
MARIJA NABERNIK
MARTIN PETRIČ
BLAŽ SLAPAR
MATEJ KOVAČIČ
UROŠ POTOČNIK
MILANKA FABJANČIČ
LUIZA MARGAN
ANDREJA ERŽEN
TOMAŽ PRIMOŽIČ
TANJA MAKUC
MARK POŽLEP
MIHA POLANC
JURIJ SELAN
NINA SLEJKO
TEA
CURK
KLEMEN JERAŠA
KARMEN BAJEC
ANJA TOLAR
NATAŠA MOŠKRIČ
NATAŠA COLJA
BARBARA KRALJ
LILIJANA BARKOVIĆ
MATEJ BABNIK
MAJA SMREKAR
MIHAJLO HODIN
NEJA KUTIN
MIHA ERMAN
BARBARA JURKOVŠEK
VESNA BLAGOTINŠEK
LUKA LESKOVŠEK
BOŠTJAN LAPAJNE
JAKA DRŽANIČ
SANELA JAHIĆ
METKA ZUPANIČ
Videoprodukcija Akademije za likovno umetnost, Ljubljana/
Ljubljana Academy of Fine Arts Video Production 2003/04
Videoprodukcija Akademije umetnosti, Split/
Split Arts Academy Video Production 2002-04
The works selected present the recent production of the Arts Academy, University
of Split, Croatia, Department of Visual Communication Design, seminar for Media
Art and Design. Some of the works were awarded the main prizes on the festivals
in Croatia and also abroad.
Izbrana dela predstavljajo najnovejšo produkcijo Umetniške akademije Univerze
v Splitu, Oddelka za oblikovanje vizualnih komunikacij, smer Medijske umetnosti
in oblikovanje. Nagrajena so bila z glavnimi nagradami na festivalih po Hrvaški,
pa tudi v tujini.
Vlado Zrnić
GORAN SKOFIC:
Kuca lutaka/Hiša lutk/House of Dolls
5 min, eksperimentalni/experimental, 2002.
LIZA ZUFIC:
Moves
5 min, eksperimentalni/experimental, 2003.
GORAN CACE:
Skver/Square
22 min, dokumentarni/documentary, 2004.
MATIJA DEBELJUH:
La cantina di ferro
12 min, kratki igrani/short, 2004.
MARIJA PRUSINA:
Uterus
10 min, eksperimentalni/experimental, 2003.

NET VIDEO UMETNOST in UMETNOST ODPRTE KODE
NET VIDEO ART and OPEN SOURCE ART
Selekcija Sreča Dragana/Srečo Dragan's Selection
Nove informacijske tehnologije, interaktivnost, re-copyright in imediatizacija realnosti so konceptualno programsko polje
dodiplomskega in podiplomskega študija videa in novih medijev na Akademiji za likovno umetnost v Ljubljani. Ob novih
možnostih gradnje vseh treh akademij - Akademije za likovno umetnost, Akademije za gledališče, film in televizijo ter Akademije za
glasbo - na istem mestu, načrtujemo postavitev skupnega Laboratorija za intermedijsko umetnost - ArtLab.fri.uni-lj.si. Organiziran
bo kot umetniško-raziskovalna entiteta znotraj Univerze v Ljubljani, ki se preko spleta povezuje z ostalimi digitalnimi laboratoriji
doma in po svetu. Načrtujemo tudi podiplomski interdisciplinarni študij z novimi programi s področja umetniških, znanstvenih in
digitalnih vsebin, ki naj bi bile zanimive tudi za tuje študente. Na jubilejnem X. MFRU-ju se študentje ALU-ja predstavljajo s
projekti, ki jih lahko označimo kot raziskovalne, teoretske in politično-aktivistične. Obenem pa so to dela "flash generacije", ki
samo sebe imenuje "novi novi medijski umetniki". Svoja dela bodo postavili tako v prostoru galerije kot v javni sferi mesta
Maribor, in seveda v globalni spletni distribuciji.
New information technology, interactivenes, re-copyright and the immediatisation of reality represent the conceptual
programming scope of video and new media graduate and postgraduate studies at the Academy of Arts, Ljubljana. As all three Art
Academies in Ljubljana will share the same location, we plan to build a common Intermedia Art Laboratory - ArtLab.fri.uni-lj.si. It
will be organised as an art research entity operating within the University of Ljubljana as well as within the net of digital
laboratories all over the world. Provisions are also made for the launching of multidisciplinary postgraduate studies with new
artistic, scientific and digital contents that will be also attractive to foreign students. At the 10th jubilee MFRU festival, the
students will present their scientific, theoretical and politically activist projects. These are the works of the so-called "flash
generation" that considers itself as "new media artists". Their works will be exhibited in the gallery as part of Maribor's public
sphere as well as in the global network distribution.
prof. Srečo Dragan
Academy of Fine Arts & Faculty of Computer and Information Science, Ljubljana
Akademija za likovno umetnost in Fakulteta za računalništvo in informatiko, Ljubljana
Franc Solina: Virtualni smuk/Virtual Downhill Race
Programiranje/programming: Simon Knez, Žiga Janež, Marko Horvat, Rok Klančnik, Aleš Krivec.
Interaktivna instalacija bo omogočila vizualno potopitev v občutke drsenja po snegu skozi zimsko pokrajino. Zimska
pokrajina bo ustvarjena s pomočjo računalniške grafike in jo bo udeleženec opazoval s pomočjo stereoskopskih očal
oziroma virtualne čelade. Hitrost spuščanja po bregu navzdol je v največji meri odvisna od zračnega upora telesa in teže
smučarja. S spuščanje telesa v nizko prežo se bo povečal tudi občutek hitrosti premikanja skozi virtualno okolje. Presek
telesa od katerega je odvisen zračni upor bo določen s kamero in tehnikami računalniškega vida, teža pa z elektronsko
tehtnico. Podobno kot pri računalniških igrah, bo možno primerjati rezultate (najvišjo doseženo hitrost) udeležencev v
instalaciji. The interactive installation enables us to visually immerge in feelings of sliding on snow on a winter landscape. It
will be created with the help of computer graphic programs and will be looked at with stereoscopic lenses or virtual
helmets. The speed of the descent depends mostly on the body's air resistance and the skier's body weight. Lowering his
body will amplify the feeling of the speed of movements through the virtual environment. The cross-section of the skiers
body on which depends all air resistance will be defined by a camera and computer vision techniques whilst the weight is
measured with an electronic scale. As in computer games, the speed of all competitors will be measured.
Reference avtorja: MFRU, Maribor, 2002; Finžgarjeva galerija, Ljubljana, 2002; MFRU, Maribor, 2003; Forum Stadpark, Graz, 2003; Galerija
spomeniškovarstvenega centra, Ljubljana, 2003. Redni profesor na Fakulteti za računalništvo in informatiko v Ljubljani. Author's references:
MFRU, Maribor, 2002; Finžgarjeva gallery, Ljubljana, 2002; MFRU, Maribor, 2003; Forum Stadtpark, Graz, 2003; Art Preservation Centre gallery,
Ljubljana, 2003. Professor at the Faculty of Computer and Information Science, Ljubljana.
Boštjan Kavčič: GlobalheART
Programiranje/programming: Dejan Lavbič, Andrej Krevl, Matija Krajnc, Miloš Cigoj, Damjan Gerhold, Primož Likar
GLOBALHEART je umetniški sistem, ki s pomočjo individualnih srčnih podatkov gradi
virtualni spletni organizem. Na spletnem naslovu www.global.heart.mine.nu postane
uporabnik sistema GLOBALHEART soustvarjalec umetnine.
GLOBALHEART is an artistic system which builds up a virtual Internet organism with the
help of individual heart data. At the following address: www.global.heart.mine.nu, the
user of the GLOBALHEART system becomes an interactive collaborator in the work of art.
Boštjan Kavčič, rojen 1973 v Šempetru pri Gorici. Diplomiral leta 2003 na Akademiji za likovno
umetnost v Ljubljani, smer kiparstvo. Dobitnik univerzitetne Prešernove nagrade.
Boštjan Kavčič was born in 1973, in Šempeter near Gorica. He graduated in Sculpture in 2003 from the
Academy of Fine Arts in Ljubljana. He received the University Prešeren's Award.

softverska umetnost/software art
Programiranje/programming: Tine Borovnik, Dejan Dular, Matej Guid, Staša Ilič, Rok Lenardič, Gregor Šoško, Jure
Bratina, Sandi Humar, Jernej Ivančič, Matej Lavrič, Marko Ljubanović, Andrej Frelih, Luka Vrhovec, Sergej Panić, Uroš
Ipavec, Mitja Žigante, Tomaž Bobnar.
Naš projekt refiguracije arhiva skozi vzpodbude Nikolaja Kuzanskega in Michela Foucaulta bo
omogočal dvoje. Najprej bo to seveda arhiv projektov študentov videa na ljubljanski Akademiji
za likovno umetnost. Omogočal pa bo še nekaj več, vpogled v konstrukcijo družbenih identitet,
ki ne nastajajo preprosto skozi nasilja ali indoktrinacije, ampak skozi hermenevtične kroge
ustvarjanja pomenov. Our refiguration of the archive by considering ideas of Nicolaus Cusanus
and Michel Foucault will enable two things. First, this will be the archive of the projects by
students of video seminar at the Academy of Fine Arts in Ljubljana. Secondly, it will enable the
view into the construction of social identities that are not evolved simply through violence and
indoctrination, but rather through the hermeneutical circles of creating meanings.
Narvika Bovcon, rojena 1976 v Novi Gorici. 2001 diplomirala iz oblikovanja vizualnih komunikacij, Akademija
za likovno umetnost, Univerza v Ljubljani. 2003 magistrirala iz videa in novih medijev. Od 2003 doktorska
študentka teorije novih medijev na ALU. Born 1976 in Nova Gorica, Slovenija. 2001 diploma in visual
communications design, Academy of Fine Arts, University of Ljubljana. 2003 masters degree in video and new
media. Since 2003 PhD student of theory of new media, Academy of fine Arts.
Aleš Vaupotič, rojen 1975 v Ljubljani. 2001 diploma iz primerjalne književnosti, Filozofska fakulteta, Univerza v
Ljubljani. Od 2001 magistrski študent primerjalne književnosti. Od 2002 magistrski študent videa in novih
medijev na Akademiji za likovne umetnosti. Born 1975 in Ljubljana, Slovenija. 2001 diploma in comparative
literature, Faculty of Arts, University of Ljubljana. Since 2001 graduate student of comparative literature. Since
2002 graduate student of video and new media, Academy of Fine Arts.
Klemen Gorup:
Interaktivna animacija
Programiranje/programming: Damjan Malis, Jernej Marinšek, Miran Mlakar, Saša Rink, Tomaž Sabo, Žiga Gantar.
Interaktivna animacija je v računalniškem programu narejen projekt, v katerega so vključene iz zgodbe
pobrane figuralne animacije, ki pa tu dobijo drugačne vloge. Gledalec postane s klikanjem na gumbe
ustvarjalec novih in predvsem svojih animacij. Petim različnim osebam lahko spreminja velikost, smer gibanja
in jih s puščicami svobodno premika po zaslonu ter jih postavlja na želena mesta. Pri vsakem ima na voljo
nekaj zvočnih zapisov. Vse skupaj lahko popestri s spreminjanjem ozadij, ki se dajo premikati z miško, ter z
mešanjem ambientalnih zvokov, ki spremljajo menjave. Da bi bile stvari kompozicijsko zanimivejše, je mogoče
dodajati objekte in animirane osebe v prvi in drugi plan (te postanejo del ozadja); tudi te se da premikati z
miško. Gledalec lahko poskuša ustvariti komunikacijo med posameznimi osebami, tako s kretnjami kot
verbalno. Lahko pa razpoložljive elemente postavi v absurdne kombinacije. Kombinacij je res veliko, uživajte.
Interactive animation is a project created in computer software which includes figural animations derived
from stories, however, in this instance the figures play a different role. By clicking on different buttons, the
spectator becomes the creator of new and, most importantly, his own animations. He can choose between
five different characters which can be made bigger or smaller and moved around freely by arrows so that he
can place them wherever he wants. Each character is accompanied by various sound tracks. The backgrounds
can be changed and moved around by using the mouse and mixing the ambient sounds pertaining to them.
To make the composition even more exciting it is possible to add objects and animated people to the first and
second layers, which thus become a part of the background and can also be moved. The spectator can create
a communication between characters by motion of their bodies or their speech. One other possibility for him
is to create absurd combinations of all available elements. The combinations are countless, so enjoy!
Klemen Gorup, rojen 1977 v Postojni. 2002: zaključek študija slikarstva na Akademiji za likovno umetnost v Ljubljani. 2003: vpis
na magistrski študij video umetnosti.Born in 1977, Postojna, Slovenia. In 2002, he obtained his degree in painting at the
Academy of Fine Arts in Ljubljana. In 2003, he started the postgraduate study of video and new media.
Gašper Jemec, rojen 1975 v Kranju. 1998 diploma iz slikarstva na
ALU, Ljubljana. 1998 podiplomski študij na Indiana University,
ZDA. 2000 magisterij iz slikarstva na ALU. 2001 podiplomski
študij kiparstva na Universität für Angewandte Kunst, Dunaj. Od
2002 magistrski študij videa na ALU. Born in 1975 in Kranj. 1998
diploma in painting from Academy of Fine Art (ALU) in
Ljubljana. 1998 graduate study at Indiana University, USA. 2000
masters degree in painting from ALU. 2001 graduate course of
sculpture at the Universithät für Angewandte Kunst, Vienna.
Since 2002 graduate study of video at ALU.
Narvika Bovcon, Aleš Vaupotič:
Mouseion Serapeion
klemen977@hotmail.com
ales@vaupotic.com narvika@bovcon.com vaupotic.bovcon.com
black.fri.uni-lj.si/mouseionserapeion
Gašper Jemec: O.JET/OXY:JET
Projekt nadaljuje razvoj "potovalnih teles" oz. voyagerjev. O.JET/OXY:JET je virtualno telo, ki s svojo
programirano naključnostjo gledalca postavlja v nezavedno interakcijo. Gledalec s pomočjo optičnega
fizičnega pripomočka (očal) vstopa v polje interaktivnosti, vendar na razvoj dogodkov ne more
vplivati, če ne odkrije zakonitosti interakcije. The project develops further the voyageurs project, the
"travel bodies". O.JET/OXI:JET is a virtual body that with its pre-programmed randomness puts the
viewer in an unconscious interaction. The viewer uses an optical appliance (the glasses) to enter the
field of interactivity, but however he cannot influence the progression of events unless he/she
discovers the rules of the interaction.

Metka Zupanič: Iskalci/Searchers
Programiranje/programming: Klemen Pukl, Rok Pogačnik, Robi Očko, Aleš Kustrin.
http://www.ljudmila.org/metkazupanic/
Projekt ISKALCI sledi konceptualni liniji in je zasnovan na ideji manipulacije, katere funkcija je izpostavitev konkretnega problema - v tem
primeru iskanje zaposlitve. Iskalci se predstavljajo s kratkimi video oglasi, na intimen način, in odgovarjajo na povsem drugačna vprašanja od
ustaljenih. Čisto konkretno predstavijo segmente svojega življenja; predstavitve tako ne ustrezajo klasičnim, ki odgovarjajo na vprašanja o
slabostih in kvalitetah posameznika, o usposobljenosti in zaupanju. Bistvenega pomena je zbiranje ponudb delodajalcev, saj so iskalci odprti
za nasvete, predloge in sugestije.
The project ''Searchers'' adheres to conceptual line and is based on the idea of manipulation, the function of which is to expose a concrete
problem - in these case employment seeking. In short videos, the Searchers introduce themselves in a very intimate manner and give answers
to questions which considerably differ from normative ones. They present concrete segments from their everyday lives, thus not conforming
to classical presentations offering answers to questions on the individual's weaknesses and qualities, his/her competence and trustiness. An
essential characteristic of the project is the ''collecting'' of offers made by employers, since the employment seekers invite the individuals to
help them with their advice, suggestions and ideas.
Rojena leta 1977 na Ptuju v Sloveniji. Leta 1977 je začela študirati na Akademiji za likovno umetnost v Ljubljani. Leta 2001 se je vpisala na Visoko šolo za umetnosti in oblikovanje (the
National College of Art and Design) v Dublinu. V akademskem letu 2001/2002 je diplomirala. V akademskem letu 2002/2003 se je vpisala na podiplomski študij videa in novih medijev.
Born in 1977 in Ptuj, Slovenia. In 1997 she enrolled into the Academy of Visual Arts in Ljubljana. In 2001 she started studying at the National College of Art and Design in Dublin. In
2001/02 she obtained her degree in Visual Arts. In 2002/03 she enrolled into the postgraduate study of Visual Arts.
Vedran Vražalić:
Igrajmo se z geni
Ta projekt je odgovor na sodobne raziskave
gena in njihove spremembe. Gre za raziskave
z namenom izboljšati različne tipe določenih
osnovnih produktov, ki jih uporabljamo v
vsakodnevnem življenju. Z uporabo različnih
vizualnih objektov sem želel opozoriti na
razsežnost tega problema in zastaviti
vprašanje: Ali jih res izboljšujemo in kje so
meje takšnih posegov
This project is an answer to modern genetic
researches and gene modification. It is about
improving our quality of life by certain basic
products, which we use everyday. With the
use of various visual objects I try to point out
the extension of this problem with asking a
question: Is it really an improvement and
where are the boundaries of this kind of
interventions
Vedran Vražalić, rojen 1975 v Sarajevu. Akademijo za likovno
umetnost končal leta 2000 v Sarajevu. Leta 2002 sprejet na
Akademijo za likovno umetnost v Ljubljani, podiplomski
študij na oddelku za video. Vedran Vražalić, born 1975 in
Sarajevo, Bosnia and Herzegovina. Academy of Fine Arts,
section painting, finished in the year 2000 in Sarajevo. Since
2002 postgraduate studies at video department, Academy
of Fine Arts in Ljubljana, Slovenia.
Nika Oblak, Primož Novak: Smeh/Laughing
V interaktivni video instalaciji Smeh je gledalec ujet v
nenavaden položaj. Je opazovan. Izpostavljen in obrnjen je
konvencionalen odnos med gledalecem in umetniškim delom.
In the interactive video installation Laughing the viewer is
trapped in an unusual position. He/she is being observed.
The installation thus exposes and reverses the conventional
relation between the viewer and artwork.
Primož Novak, rojen 1973, je diplomiral iz kiparstva na Akademiji za likovno
umetnost v Ljubljani leta 2002. V šolskem letu 2000/2001 se je študijsko
izpopolnjeval pri prof. K. Sieverding na Hochschule der Kuenste v Berlinu. Vpisan
je na magistrski študij kiparstva na ALU-ju v Ljubljani. Asistent Marjetice Potrč na
ALU-ju v Ljubljani.
Primož Novak, born in 1973, graduated in sculpture from the Ljubljana
Academy of Fine Arts in 2002. In the academic year 2000/2001 he was a
visiting student in the class of Prof. K. Sieverding at the Hochschule
der Kuenste, Berlin. He is currently a graduate student of sculpture
at the Academy of Fine Arts, Ljubljana. At the same Academy, he
works as an assistant to the Slovenian artist Marjetica Potrč.
Vedran Vražalić, Litijska cesta 46, 1000 Ljubljana, Slovenija vvrazalic@bosna.ba gsm +386 31 796 585
Nika Oblak, rojena 1975, je diplomirala iz slikarstva na Akademiji za likovno
umetnost v Ljubljani leta 2002. V šolskem letu 2000/2001 se je študijsko
izpopolnjevala pri prof. K. Sieverding na Hochschule der Kuenste v Berlinu.
Vpisana je na podiplomski študij videa na ALU-ju v Ljubljani.
Nika Oblak, born in 1975, graduated in painting from the Ljubljana Academy of
Fine Arts in 2002. In the academic year 2000/2001 she was a visiting student in
the class of prof. K. Sieverding at the Hochschule der Kuenste, Berlin. She is
currently a graduate student of video arts at the Academy of Fine Arts, Ljubljana.
nikaoblak@hotmail.com
primoznovak@hotmail.com

www.kitch.org
kitch shop
V trgovini kitch TM so na zalogi kosi človeškega
telesa in drugi mesni artikli. Ohlajeni, zapakirani
in pripravljeni za takojšnjo uporabo. Akcija traja
do poteka roka uporabe. Jejte dobro, bodite
nečimrni, diskriminatorni in nevoščljivi - bodite
kitch. The kitch TM shop has in store for you pieces
of human body and other meat products. Chilled,
packed and ready for immediate use. The
discount campaign will last until the products'
expiration date. Eat well, be vain, discriminatory
to others and jealous - be kitch. You are free to go.
In Kitch we Trust kitch TM smo publicisti,
performerji, novinarji, kritiki, radijci, filologi, magistri
umetnosti, tekstualci, hipertekstualci, intermedijci,
arhitekti, oblikovalci, eksilanti. Mešano meso! kitch TM s
svojimi projekti "posega v obči prostor, se poigrava z
novo ekonomijo in predstavlja umetniško kodirano
manipulacijo z resno zastavljenim interaktivnim
pristopom" (strokovna komisija za intermedijske
umetnosti Ministrstva za kulturo RS). kitch TM je kič od
leta MCMXCIX. Ne pozabite, umetnost je trgov$ki
artikel! kitch TM consists of publicists, performers,
journalists, critics, radio people, philologists, masters of
art, textuals, hypertextuals, intermedia people,
architects, designers, exiles. Mixed meat! kitch TM
projects "reach into community space, play games with
new economy and presents artistically coded
manipulation with seriously constructed interactive
context" [Expert Intermedia Commission of the Ministry
of Culture of the Republic of Slovenia]. kitch TM is kitsch
since MCMXCIX. Do not forget: art is merchandi$e!
Nadav Sagir: Utripajoča škatla/Jittery Box
Projekt sestavlja več ponavljajočih se videov z dokumentarnimi prizori, kjer kamera raziskuje osebni prostor
posameznikov. Video podoba je predstavljena kot mreža štiriindvajsetih pravokotnikov, od katerih vsak razkriva
fragment celote. Mreža poudarja in pretirava nestabilno in nervozno gibanje video prizorov, kar jih naredi bolj
pristne in prepričljive. Gledalec je v vlogi ustvarjalca celotne podobe s tem ko spreminja dele celote z delčki iz drugih
prizorov, s tem pa ustvarja novo celoto. Gledalec, tako kot videi, je iskalec podobe, ki je celovita in realna.
The project consists of several looping video scenes of a documentary nature, where the camera investigates a close
personal world. The video image is presented as a grid, made of 24 boxes, each revealing a fragment of the whole.
The grid emphasizes and exaggerates the unstable and nervous motion of the video scenes, rendering it more
genuine and convincing. The viewer plays the role of creating the complete image by changing parts of the whole
with fragments from other scenes, thus creating a new whole. The viewer acts, as do the videos, as a seeker of the
complete or real image.
Rojen 1976 v Izraelu, 1994 mednarodna matura v Amsterdamu, Nizozemska, s poudarkom na umetnosti in fotografiji. 1998 - 2002 študij fotografije, videa
in računalniške podobe na Bazelel akademiji za likovno umetnost, Jeruzalem, Izrael. Trenutno je podiplomski študent videa in novih medijev na ljubljanski
Akademiji za likovno umetnost. Born in 1976 in Israel, 1994 International Baccalaureate in Amsterdam, Holland with emphasis on Art & Photography, 1998-
2002 Bachelor of Fine Arts in photography, video and computer imaging at the Bezalel Academy of Fine Arts, Jerusalem, Israel. Currently attending
graduate studies of video and new media at the Academy of Fine Arts in Ljubljana.
Martina Zelenika: Trip 02
tisk na folijo/print on city-light foil
Pri raziskavi geometričnih oblik in simbiotičnih korelacij z organskimi strukturami
sem izdelala tretjo dimenzijo za obravnavane oblike (Instalacija - leteči
objekti).Skozi obdelavo z vsemi mogočimi efekti sem prišla do novih detajlov
(pogledov) v mojih fotografijah. Tema projekta je simbolizacija energije v svetu
pete dimenzije, ki nastaja v vesolju in prostoru brez časa.
In my exploration of geometrical forms in simbiotic corelationship with organic
structure I have produced the third dimension of shapes (Instalation -flying
object). With all possible options, physical and lighting effects, I discovered some
new details (views) in my photos. The theme of the project is to simbolize energy
in the world of fifth dimension caused by Universe and space without time.
Rojena v Kutini, Hrvaška, 1978. Živi v Zagrebu. 2001 diploma na zagrebški Akademiji za likovno umetnost in
Šoli za uporabne umetnosti (razred Anteja Kuduza). Od 2003 podiplomski študij videa in novih medijev na
ljubljanski Akademiji za likovno umetnost. Born in Kutina, Croatia, 1978, lives in Zagreb. Graduated from the
School of Applied Arts and from the Academy of Fine Arts in Zagreb, class of Mr. Ante Kuduz (2001). In 2003
started postgraduate study at the University of Ljubljana, Academy of Fine Arts, The New Media - Video.

(Art) Practices at the Academy of Fine Arts in Vienna
http://t4.antville.org/
Selekcija Marine Gržinić/Marina Gržinić's Selection
Razstava del študentov smeri
Konceptualne (umetniške) prakse t4/
Akademija za likovno umetnost, Dunaj
Exhibition of students' works by
The Conceptual (Art) Practices Class/t4
@Academy of Fine Arts in Vienna
The Conceptual (Art) Practices Class, which also bears the name t4 (short for tower 4, a system
of rooms in the tower attic of the main building of the Academy of Fine Arts in Vienna, where
the Conceptual (Art) Practices Class has space) is a unit of approximately 60 students. This
class unit is perceived as a working, living and exchange platform that instead of having a
simple class based structure insists on a project-seminar-modular teaching platform that is
open to different interventions into art, community, technology and space. We are open to
different spaces and to new technical and organizational infrastructures, as well as to a
dynamic way of arranging the teaching process. A theoretical and art-critical research approach
toward space, community and new technology is of crucial importance. Within such a framework,
three projects are developed in parallel by the students of the class: t4-on-air, a monthly
program for RadioOrange 94.0 free radio in Vienna, the digitalized archives and the magaZINE's
semester platform related to different class projects.
The idea of making a bridge between new media technology and conceptuality means that our
engagement is not simply and solely bound to technology, but to the use of technology for
developing politically critical and socially engaged topics, projects and concepts. Any context
provider from pencil to computer is welcome. We try to rethink how the relation between art,
society, culture and politics is established, and in what way artists can function within the
new global world and use strategies of activist, theoretical and critical knowledge.
Prof. Marina Gržinić, Academy of Fine Arts in Vienna/ Conceptual (Art) Practices/t4
Otvoritev Mednarodnega festivala računalniških umetnosti
11. maj 2004 začetek ob 22.00
DJ-VJ Party s študenti smeri Konceptualne (umetniške) prakse/t4
Akademija ta likovno umetnost, Dunaj
"Glückwunsch, Münchhausen!"
DJ-ji: izc, team manoa, verena dengler
VJ-ji: azz, einiges, princs, team manoa
11, May 2004 at 22.00
Opening event of the International Festival of Computer Arts
Powered by The Conceptual (Art) Practices/t4 /Akbild, Vienna
"Glückwunsch, Münchhausen!"
djs: izc, team manoa, verena dengler
vjs: azz, einiges, princs, team manoa
Selection of students' works on history, space and
time, activity and meaning, computers and users,
movements and cities, fiction and reality, antiglobalization
movements and cheap technology:
Smer Konceptualne (umetniške) prakse, ki nosi tudi ime t4 (krajše za
tower 4, sistem sob na podstrešju stolpa osrednje zgradbe dunajske
Akademije za likovno umetnost, kjer imamo svoje prostore) šteje
približno 60 študentov. Študijska smer Konceptualne (umetniške)
prakse je "prizorišče", ki podpira različne intervencije v umetnost,
skupnost, tehnologijo in prostor. T4 podpira različne prostore ter
nove tehnične in organizacijske infrastrukture, pa tudi dinamično
ureditev procesa poučevanja. Izjemno pomemben je teoretičen in do
umetnosti kritičen pristop ter nenehno raziskovanje prostora,
skupnosti in novih tehnologij. T4 hkrati razvija tri skupinske projekte:
t4-v-etru, mesečni program za neodvisni dunajski radio RadioOrange
94.0, digitalizirane arhive in semestrsko zasnovo revije magaZINE, ki
vizualizira različne projekte.
T4 odpira vrzeli med medijsko tehnologijo in konceptualnostjo in se
ne osredotoča zgolj na tehnologijo temveč tudi na njeno političnokritično
in socialno uporabo. Naš namen je prevrednotiti odnos, ki se
vzpostavlja med umetnostjo, družbo ter politiko, pri tem se
poslužujemo strategij aktivističnega, teoretičnega in kritičnega
znanja. Dobrodošel je vsakršen vmesnik, od svinčnika do
računalnika.
Prof. Marina Gržinić, Akademija za likovno umetnost Dunaj,
Konceptualne (umetniške) prakse/t4
Izbor del študentov na temo zgodovine, prostora in
časa, dejavnosti in pomena, računalnikov in njihovih
uporabnikov, gibanj in mest, fikcije in resničnosti,
protiglobalističnih gibanj in cenene tehnologije:

1. Hannes Böck
brd, 25 min., DVD, 2003
The city space, its dynamic range and its
aesthetics, are an integral leitmotif in the
history of German modernization. By means of a
voyage through some of the cities particularly
ravaged in World War II and their hinterlands,
the film brd contemplates these landscapes
which encapsulate the special climate of West
German capitalism. It examines the
continuities in architecture and city planning
from the 1920's through the Third Reich, to
post-war reconstruction. (Erk Schilder)
1. Hannes Böck
brd, 25 min, DVD, 2003
Mestni prostor je s svojim dinamičnim obsegom in estetiko v
zgodovini nemške modernizacije v celoti prevzel vlogo vodilnega
motiva. S potovanjem skozi nekatera izbrana mesta in njihova
zaledja, ki jih je druga svetovna vojna še posebej prizadela, se film
brd osredotoča tudi na klimo zahodnonemškega kapitalizma. Film
preučuje kontinuiteto v arhitekturi in načrtovanju mesta, ki se je
ohranila vse od 1920-ih, skozi obdobje Tretjega rajha in povojno
obnovo. (Erk Schilder)
2. Dorian Bonelli
Photocopies, photographs, 2003
The narrative moment creates the aesthetic
appeal both of the written text and of
photography. But it is not encapsulated in a
written form, or in a picture.
3. Alice Cannava and the D. B.
supporting team
DIGGITAL BOY: Your default friend
www.diggitalboy.com
Website, posters and flyers, 2004
Question: Will technology ever be 100%
reliable
No.
4. magaZINE no.1: CONCEPTUAL
PROCESSES by t4, published in 2004
Editors: Verena Dengler, David Kellner and
Consuella Kunz
The first issue (magaZINE no.1) is the
beginning of an archivist printed
work created by students of the Conceptual Art
Class at the Academy of Fine Arts, Vienna. The
magazine reflects the way a space can no longer
function as an exclusive class system but as a
platform open to participation. (V. Dengler)
5. Sonja Draub
I am an artist, ongoing project
6. Eduard Freudmann and Ramon
Grendene
Perception of War - An Approximation in Six
Fragments
25 min, DVD, 2003
1
2. Dorian Bonelli
Fotokopije, fotografije, 2003
Pripovedni trenutek ustvarja estetsko privlačnost tako besedila kot
fotografije, vendar hkrati ni ujet niti v pisno niti slikovno obliko.
3. Alice Cannava in podporna skupina D. B.
DIGGITAL BOY: Vaš programski prijatelj
www.diggitalboy.com
Spletna stran, plakati in letaki, 2004
Vprašanje: Ali bo tehnologija sploh kdaj 100 % zanesljiva
Ne.
4. magaZINE št. 1: KONCEPTUALNI PROCESI
objavljen leta 2004
Uredniki: Verena Dengler, David Kellner in Consuella Kunz
Prva številka (magaZINE št. 1) je raziskava arhiva in odseva miselno
okolje, ki vzpodbuja sodelovanje. (V. Dengler)
5. Sonja Draub
Jaz sem umetnica, projekt v teku
6. Eduard Freudmann and Ramon Grendene
Dojemanje vojne - Približen prikaz v šestih segmentih
25 min, DVD, 2003
Z uporabo različnih tehnik (animacija, agitprop, montaža, najdeni
posnetki, dokumentarno in digitalno procesiranje) je vojna uzreta z
različnih perspektiv v šestih delih, ki se med seboj povezujejo.
Using different techniques (animation,
agitprop, montage, found footage, documentary
and digital processing) the observation of war
is viewed from different perspectives in six
interrelated parts.

7. Priska Graf
No title, 15 min., video, 2004
7. Priska Graf
Brez naslova, 15 min., video, 2004
8. Christian Sperl
The Caithness Project, 8'05 min., DV, 2003
Music: Mimi Secue; Language: German
The Caithness Project analyses the staging of
the nuclear plant of
Dounreay against the background of the
landscape at the northern coast of
Scotland.
9. Moira Hille, Katharina Lampert, Ralo
Mayer & Dragicevic
Example "Celica," YOUTH HOSTEL Metelkova,
Ljubljana:
Adaptation of a military prison, integration
of art, gentrification of the area
The text and the illustration are the result
of a research trip by the Conceptual (Art)
Practices Class to Ljubljana in 2003. The work
was already published in dérive magazine no.
14, Vienna, 2004.
The state-supported renovation of the prison
building was finished in May 2003.
The opening of the building in June 2003
received extensive media coverage, and even
Austrian newspapers praised the Slovenian
creativeness. By supporting the renovation,
officials have tried to raise the value of
Metelkova ulica (street) again. The renovation
of the block into a shiny youth hostel theme
park is a pioneer project: for the last decade
the area of Metelkova has been a space for
alternative culture in Ljubljana, and at the
same time, for the hegemonic public Metelkova
was a code word for a phantasm of leftist
chaos, the punk scene and drug abuse. When
international visitors now enter the youth
hostel "Celica" (cell) as paying guests, they
bring with them also the virus of creeping
economization into an alternative space. The
goal of such a policy is to reestablish subtle
control over partially autonomous spaces
without open police force, creaming off the
surplus of a developed alternative network.
10. ivan & laura, chris gierlinger
project: Kill All Dreams!
11. David Kellner
"I am a TV junkie" once said Everyman
Most people pay much more attention to their
sacred television than to their own partner.
TV gives security and a bitter break-up in
such a relationship occurs only rarely. Even
parents will disappear out of one's life
earlier than the telly.
7
8. Christian Sperl
Projekt Caithness, 8'05 min., DV, 2003
Glasba: Mimi Secue; Jezik: nemški
Projekt Caithness analizira gradnjo jedrske elektrarne v Dounreayju v
pokrajini obalnega pasu na severu Škotske.
8
9. Moira Hille, Katharina Lampert, Ralo Mayer
& Dragičević
Primer: "Celica", mladinski hotel na Metelkovi ulici v Ljubljani:
Prenova prostorov nekdanjih vojaških zaporov, integracija umetnosti,
oplemenitenje bližnje okolice
Besedilo in slikovno gradivo sta plod raziskovalne ekskurzije
študentov smeri Konceptualne (umetniške) prakse v Ljubljano leta
2003. Raziskovani projekt je bil že objavljeno v dérive reviji št. 14,
Dunaj 2004.
Obnova zaporov na Metelkovi je bila s finančno podporo države
končana maja 2003. Otvoritev junija 2003 je bila deležna velike
medijske pozornosti, slovenska ustvarjalnost pa je požela glasen
odmev celo s strani avstrijskih časnikov. S podporo obnove zgradbe
so državni uradniki želeli Metelkovi ulici dvigniti vrednost. Obnova
kompleksa v blesteč tematski park z mladinskim hotelom v svojem
jedru je pionirski projekt: zadnje desetletje predstavlja Metelkova
ulica prizorišče delovanja ljubljanske alternativne kulture, hkrati pa
označuje tudi levičarski kaos, pankersko sceno in zlorabo mamil.
Toda tuji obiskovalci, ki zdaj vstopajo v Celico kakor gostje, s seboj
prinašajo virus ekonomizacije, ki se počasi začenja zajedati v
alternativni prostor. Cilj takšne politike je torej ponovna vzpostavitev
subtilnega nadzora nad deloma avtonomnimi prostori brez očitne
policijske navzočnosti, in odstranitev presežka razvite alternativne
mreže.
10. ivan & laura, chris gierlinger
Projekt: Ubijte vse sanje!

12. Lilla Khoor
Interview with a Hungarian specialist on
prehistoric sculpture, video, 2004
Ok, The point of this art is that there is not
only one solution. So,
it's not like ancient sculpture (a Discobolos
or a Venus) because you never
know what it is that you are holding in your
hands. (From an interview with Miklos Khoor, a
Hungarian specialist on prehistoric sculpture,
2004 Budapest.)
13. Koloman Kann
Bitte nicht stören, video installation,
2002/2003
14. Consuela Kunz
The curtain in front of my deformed faces has
only one sentence - "sogenannte sachzwänge, die
aus Zielvorgaben resultieren."
11
11. David Kellner
"Jaz sem odvisnik od teveja" je nekoč rekel Vsakmož
Večina ljudi posveča veliko več pozornosti posvečenim televizijskim
zaslonom kakor svojim partnerjem. TV nas navdaja z občutkom
varnosti in grenak razdor v tovrstnem razmerju je velika redkost. Še
staršev se bomo hitreje znebili kakor ljubega televizorja.
12. Lilla Khoor
Intervju z madžarskim strokovnjakom za prazgodovinsko kiparstvo,
video, 2004
Dobro, poanta tovrstne umetnosti je, da je vedno možnih več rešitev.
V tem se torej razlikuje od antičnega kiparstva (Metalec diska ali
Venera), saj nikoli ne veš, kaj pravzaprav držiš v rokah. (Odlomek iz
intervjuja z Miklošem Khoorjem, madžarskim strokovnjakom za
prazgodovinsko kiparstvo, 2004, Budimpešta)
13. Koloman Kann
Bitte nicht stören, video instalacija, 2002/2003
14. Consuela Kunz
Na zastoru pred mojimi deformiranimi obrazi je zapisan le en stavek -
"sogenannte sachzwänge, die aus Zielvorgaben resultieren."
15. Christian Mayer
Zabavajte nas, 32 min., video, 2001.
Lego kitarist stoji v veliki blagovnici za stekleno ploščo, v kateri se
vidi odsev mimoidočih. Tu in tam, ko pride do stika, začne na zelo
mehaničen način igrati kitaro. Poleg izvirnega zvoka blagovnice se
sliši tudi moški glas računalniškega programa sinteze govora (text-tospeech),
ki bere besedila nekaterih najbolj znanih rock in pop skladb.
14
15. Christian Mayer
Entertain us, 32 min., video, 2001.
A Lego guitarist is standing in a big shopping
mall behind a glass plate in which the passersby
are reflected. From time to time, when a
contact is triggered, he starts to play his
guitar in a very mechanical way. In addition to
the original sound of the mall, a male computer
voice of a "text-to-speech" program reads
lyrics of some of the best-known rock and pop
classics.
15
16. Muzej Gothenburg N.B.
Ralo Mayer in Philipp Haupt
Izhajajoč iz dveh različnih kristalizacij, t.j. protestov v Gothenburgu
leta 2001 in Constantovega Novega Babilona, raziskujeva politiko
vizualizacije informacij in njeno vlogo v sodobni strukturi moči.

16. The Museum of Gothenburg N.B.
by Ralo Mayer and Philipp Haupt
17. Dokumentarec o Karlu-Heinzu Brandu
Eduarda Freudmanna in Henninga Schorna
Starting from two distinct crystallizations, the
protests in Gothenburg 2001 and Constant's New
Babylon, we are investigating the politics of
information visualization and its role in
today's power structure. The installation as a
3d-spatialization of our excursive studies -
think of cheap .vrml, pinned copies, rendered
google, or a lecture-as-space in a wire-framedisplay.
17. A documentary on Karl-Heinz Brand
by Eduard Freudmann & Henning Schorn
The Story: In April 2003 Karl-Heinz Brand got a
hint from his father's (a former
SS-member) last will about documents from the
Nazi era that were hidden after the war which
gave details about a secret operation in
1944.These documents have meanwhile been
authenticated and verify that Himmler, who was
the most fanatic of the high ranking Nazis,
whenever "Blut und Boden," cult and ancestors,
rites and myths, were in question, ordered
Aleister Crowley, the British occultist, to be
abducted and taken to the Wewelsburg, the mystic
center of the SS Order. A transcript of a
conversation between Himmler and Crowley was
found along with the records of Erwin Brand, the
finder's father. In these records he talks about
the part he played as leader of the operation,
explaining the details of kidnapping Crowley and
the meeting with Himmler.These two historic
persons, both bound to their non-wordly
interpretation of reality, offer the opportunity
for further discussion about the phenomenon of
constructed personal reality.
18. Achim Stiermann and Roland Seidel
Man OS v 1.1., DVD, 2004
In this work the internal processes of a
computer system are shown in a real environment.
It is a stage on which the interior of a
computer is reconstructed on its surface.
Image Explorer: Screenshot of "Extraordinateur
- a Personal Computer"
19. Julia Wagner
Art As a Barrier, photographs, 2003
Zgodba: Aprila 2003 Karl-Heinz Brand v oporoki svojega očeta
(nekdanjega SS-ovca zasledi podatek o listinah iz nacističnega
obdobja, ki jih oče po vojni skril in ki podrobno izpričujejo potek
neke tajne operacije v letu 1944. Pristnost listin je medtem potrjena,
iz njihove vsebine pa postane razvidno, da je Himmler, najbolj
fanatičen med visokimi predstavniki nacistične Nemčije, vsakokrat ko
je na dan prišla najmanjša omemba v zvezi s kultom, predniki in miti,
ukazal ugrabiti Aleisterja Crowleyja, britanskega okultista in ga
privesti v Wewlsburg, mistično središče reda SS. Prepis pogovora, ki
je potekal med Himmlerjem in Crowleyjem, je bil najden skupaj z
zapisi Erwina Branda, najditeljevega očeta. Slednji v teh zapisih
pripoveduje o vlogi, ki jo je odigral kot vodja operacije, in pojasnjuje
o podrobnostih v zvezi s Crowleyjevo ugrabitvijo ter njegovim
srečanjem s Himmlerjem. Ti dve zgodovinski osebnosti, obe ujeti v
iluzionarno dojemanje resničnosti, ponujata priložnost za nadaljnjo
razpravo o fenomenu skonstruirane osebne resničnosti.
18. Achim Stiermann in Roland Seidel
Man OS v 1.1., DVD, 2004
V tem projektu so notranji procesi v računalniškem sistemu prikazani
v realnem okolju. Gre za prizorišče, na katerem je notranjost
računalnika rekonstruirana na njegovi površini.
18
19. Julia Wagner
Umetnost kakor pregrada, fotografije, 2003
Umetnost se lahko predstavlja na različnih mestih. Obenem pa
obstaja tudi veliko razlogov, zakaj se določena umetnina predstavi na
določenem mestu. Projekt Umetnost kakor pregrada tako obravnava
natanko določeno mesto na Dunaju - ameriško ambasado, ki stoji na
ulici Boltzmanngasse. Slednja je bila prvotno običajna ulica v 9.
okrožju (ali "Alsergund"). Toda v le nekaj letih je življenje na ulici iz
varnostnih razlogov postalo podvrženo vse večjim omejitvam. Na
obeh straneh ambasade so bile dvignjene velike pregrade.
There are many possible places for the
presentation of art. There are on the other hand
many reasons why a piece of art is presented at
a certain place. Art As a Barrier deals with one
specific place in Vienna: the US-Embassy, which
is located in Boltzmanngasse. Originally it was
an ordinary street in the ninth district
("Alsergrund"). Within a few years street life
has become more and more restricted for security
reasons. Extensive barriers have been built on
both sides of the embassy.
19

Students' Panel Presentations:
Exchange of concepts, thoughts and works' strategies
12, May 2004 Starting at 14.00
Študentski forum: Izmenjava konceptov,
razmišljanj in delovnih strategij
12. maj 2004 začetek ob 14h
Ralo Mayer and Philipp Haupt (Vienna)
Project: The Museum of Gothenburg N.B.
Starting from two distinct crystallizations, the protests in Gothenburg 2001 and Constant's New
Babylon, we are investigating the politics of information visualization and its role in today's
power structure. The installation as a 3d-spatialization of our excursive studies - think of
cheap .vrml, pinned copies, rendered google, or a lecture-as-space in a wire-frame-display. The
Museum of Gothenburg N.B. is based on an ongoing research project at the Manoa Free University.
http://manoafreeuniversity.org/gothenburg_nb
Ralo Mayer in Philipp Haupt (Dunaj)
Projekt: Muzej Gothenburg N.B.
Jeder Augenblick der Zukunft ist ein Gedanke an vorher
Izhajajoč iz dveh različnih kristalizacij, t.j.
Laibach, Life is life
protestov v Gothenburgu leta 2001 in
Constantovega Novega Babilona, raziskujeva
politiko vizualizacije informacij in njeno vlogo v
sodobnih strukturah moči. Instalacija je
Salon de Fleurus
A. Barr's Museum of Modern Art predstavljena kot tridimenzionalno uprostorjenje
Goran Djordjevic
Constant's New Babylon
Gšteborg Juni 2001
najinih študij v svet cenenih, (s)kopiranih in
Architectural Utopias
Postfordist Capitalism New Social Movements
spremenjenih dejavnikov - na primer, ceneni
.vrml, pripete kopije, spremenjeni google ali
predavanje predstavljeno kot prostor v
omrežnem prikazovalniku. Muzej Gothenburg
Laser Forensics
N.B. je del raziskovalnega projekta, ki poteka v
okviru projekta Manoa Free University.
Parallel of Life and Art
Smithsons, Henderson, Paolozzi
3d / VR Environments
Time Crystal
Achim Stiermann and Roland Seidel (Vienna)
Project: Man OS v 1.1., DVD, 2004
In this work/project the internal processes of a computer system are shown in a real
environment. It is a stage on which the interior of a computer is reconstructed on its surface.
The processor is a human being who is running the operating system and programs. He executes
orders from the User, which is represented by a mouse flash. Digital processing and human
behaviors collide and find a common sense in their possibility of failure.
Achim Stiermann in Roland Seidel (Dunaj)
Projekt: Man OS v 1.1., DVD, 2004
V tem delu/projektu so notranji procesi v
računalniškem sistemu prikazani kot da se dogajajo v
realnem okolju. Gre za performativno-tehnološkoprizorišče,
ki omogoča da se notranjost računalnika
rekonstruira na njegovi površini/zaslonu. Procesor je
tukaj človeško bitje, ki upravlja z operacijskim
sistemom in programi. Izvršuje ukaze uporabnika, ki ga
predstavlja optična 3D miška. Digitalno procesiranje in
človeško obnašanje se križata in najdeta skupni smisel
v možnosti, da oba odpovesta.

Narvika Bovcon, Aleš Vaupotič (ALU, Ljubljana)
Projekta: VideoSpace, interaktivni CD-ROM s
tridimenzionalno virtualno realnostjo, 2003;
Mouseion Serapeion, pametni arhiv
na DVD-ROM-u, 2004
Umetniško delo kot arhiv je vzvratna projekcija predstave, da je
svet pravzaprav polje diskurzov, ki jih raziskujemo s Foucaultovo
arheološko metodo. Projekt VideoSpace je prevedel trojico
samostojnih projektov v konceptualno enovit umetniški arhiv, ki
optimizira umetniško "rabo" izraznih sredstev video iger s
tridimenzionalnim virtualnim prostorom. Druga možnost
razmisleka o umetniškem projektu kot arhivu, projekt Mouseion
Serapeion, se osredotoči na problem komunikacije z arhivom, ki
jo lahko primerjamo s komunikacijo med ljudmi. Inteligenco
tokrat zamenja umetna inteligenca, vgrajena v vmesnik, skozi
katerega vstopamo v arhiv.
archive as TERRITORY
node territory
trajectory
archive as INTERFACE
project archive
reception
archive list
Narvika Bovcon, Aleš Vaupotič (Academy of Fine Art, Ljubljana)
Projects: VideoSpace, interactive CD-ROM with 3D virtual reality, 2003;
Mouseion Serapeion, smart archive on DVD-ROM, 2004
The art piece as an archive is a reverse projection of the notion that the world is actually a
field of discourses, which we explore by means of the Foucault's archaeological method. The
VideoSpace project translated a triad of self-standing art projects into a homogeneous artistic
archive that also optimises the artistic "usage" of the language of the videogames with 3D
virtual space. The second possibility, embodied in the project Mouseion Serapeion, is focused
on the problem, how to communicate with an archive - this communication is comparable to the
human interaction. The intelligence is replaced by the artificial intelligence that is built in
the interface, which is the actual point of entrance into the archive.
Boštjan Kavčič (ALU, Ljubljana), Matija Krajnc (Fakulteta za računalništvo in informatiko,
Ljubljana) Projekt: globalheART 2004
- globalheART je umetniški sistem, ki se gradi s pomočjo individualnih srčnih podatkov.
- Uporabnik sistema postane interaktiven soustvarjalec računalniške animacije, ki se na naslovu
www.globalheart.mine.nu razrašča v spletni globalni organizem.
- globalheART je inteligenten avtonomni konstrukt, ki proizvaja umetnine brez avtorjevega delovanja.
Sestavljajo ga:
- spletna stran / strežnik / podatkovna
baza, ki vsebujejo modul za vizualizacijo
informacij kot interaktivni generator
avdio-vizualnih podob,
- interaktivna avtopromocijska naprava,
postavljena v urbanih nakupovalno
komunikacijskih središčih hodnikov,
podhodov, čakalnic...
- vstop v sistem je omogočen domačemu
uporabniku z uporabo generatorja
naključja, naprednejšim uporabnikom pa
hARTi vmesnik omogoča še dodatno
interaktivno medijsko potopitev.
Boštjan Kavčič (ALU, Ljubljana), Matija Krajnc
(Faculty of Computer and Information Sciences,
Ljubljana) Project: globalheART 2004
- globalheART is an art system built by means of individual heart data.
- The system user becomes an interactive co-creator of computer-based animation that branches out into a global organism on the
website www.globalheart.mine.nu.
- globalheART is an intelligent autonomous construction producing artwork independently from the author's intervention.
It comprises the following:
- website / server / base containing the information visualisation module as an interactive generator of audio-visual images,
- interactive auto-promotion machine, set up in urban shopping and communication centres, halls, subways, waiting rooms etc.,
- domestic users have guaranteed access to the system via random generator; advanced users employing hARTI interface are also
ensured further interactive media immersion.

Ste novi medijski ustvarjalec
Ali ste že poskusili zaprositi za sredstva
machinaZOIS je prvi elektromehanični pokrovitelj, ki umetnikom nudi
finančno podporo za izvajanje njihovih del. Ta interaktivni
samostoječi umetniški artefakt je pravzaprav igralni avtomat, katerega
igra se imenuje "Možnosti in strategije pridobivanja sredstev za
sodobno umetniško produkcijo". Igralec se prijavi v vlogi sodobnega
umetnika in zbira finančno pomoč za svoje ustvarjalno delo tako, da
se prijavlja na različne finančne vire. Umetnik mora torej izpolniti
prijavni obrazec, priložiti vse zahtevane dokumente in ga poslati.
Strokovni svet nato pregleda prispele prošnje in se odloči za pozitiven
ali negativen odgovor. Medtem se mora igralec ukvarjati tudi s tisoči
drugih birokratskih postopkov, ki se nanašajo na njegov proces
umetniškega ustvarjanja, ter seveda na druge pomembne družbene
dejavnike, kot so lobiranje, zapeljevanje predstavnikov Strokovnega
sveta ipd. Le-to mu omogoča uporaba posebnih ikon, gumbov,
gibljivih tarč ter napisov, ki jih najde na igralnem polju. Igralcu, ki v
času razstave machineZOIS zbere najvišji rezultat, pripade glavni
dobitek. Vsota je namenjena za podporo njegovemu ustvarjanju in
mora zatorej biti porabljena izključno za ta namen.
Poglavitne prednosti mZ v vlogi alternativnega finančnega vira za
umetniško in kulturniško produkcijo so:
1) mZ ne zahteva prijav, računov, finančnih poročil ali kakršnekoli
druge birokracija...
2) plačilo je izvršeno nemudoma in v gotovini...
3) plačilo ni obdavčeno...
4) je zelo demokratičen in transparenten način financiranja:
najboljši zmaga! Osebne zveze ne igrajo nobene vloge...
MachinaZOIS je bila ustvarjena leta 2002 tako, da sem razstavil,
predelal ter spremenil star igralni avtomat.
Močan družbeni značaj tega projekta, polemike in kritike glede
sistema ter načinov sofinanciranja sodobne umetniške produkcije so
razvidni iz pravil machineZOIS
(http://www.aksioma.org/machinazois/rules.htm).
Ker gre za denar, je bila leta 2003 ustvarjena tudi machinaZOIS 2.0
VTC (Virtual Training Centerhttp://www.aksioma.org/machinazois_vtc/index.htm),
ki ponuja
umetnikom možnost vadbe neposredno od doma in s tem izjemno
povečuje njihove možnosti za zmago na machiniZOIS ali z drugimi
besedami - pridobite si podporo svojega Elektromehaničnega
podpornika!
Are you a new media artist
Have you ever tried to apply for funds
machinaZOIS is the first Electromechanical Patron that financially
helps artists to produce their work. This interactive stand-alone art
piece is a pinball machine whose game theme is "possibilities and
strategies of fundraising for contemporary artistic productions
nowadays." The player identifies himself with the role of a
contemporary artist and has to raise financial subventions for his
work by applying to different financial sources. The artist has
therefore to prepare an application, attach all required documents to
it and send it. A Committee of Experts then decides whether to
approve or deny it. At the same time the player has to take care of
thousands of other bureaucratic aspects related to the production of
his artistic work as well as very important social aspects such as
lobbying, flirting with a member of the Committee of Experts etc.
He does so thanks to a special set of icons, bumpers, drop and
moving targets, displays, located on the playfield. The player that,
throughout machinaZOIS's exhibition period, gains the absolute
higher score gets the entire jackpot. This sum has to be intended as a
financial contribution for his actual artistic production and, therefore,
be used solely for this purpose.
The main advantages of mZ as an alternative financial source for
artists and cultural producers are:
1) mZ doesn't demand applications, bills, financial reports, or
bureaucracy of any kind...
2) It pays off immediately and in cash...3) It is tax-free...
4) It is very democratic and transparent: the best win! No matter
personal connections...
machinaZOIS was created in 2002 by deconstructing, hacking and
modifying an old pinball machine.
The strong social character of this project, its polemics and critic
towards the system and the policy of funds for contemporary art are
evident in the rules of machinaZOIS
(http://www.aksioma.org/machinazois/rules.htm).
Since it goes for money, in 2003 it was established also machinaZOIS
2.0 VTC (Virtual Training Centerhttp://www.aksioma.org/machinazois_vtc/index.htm)
offering the
artist the possibility to train directly from home and therefore arise
enormously his chances to win the machinaZOIS's jackpot or, in
other words…get supported by his Electromechanical Patron!
Davide Grassi:
machinaZOIS -
Vaš elektromehanični pokrovitelj!
/machinaZOIS -
Your Electromechanical Patron!
o machinaZOIS 2.0 VTC
http://www.aksioma.org/machinazois_vtc
Avtor: Davide Grassi
Produkcija: Aksioma, 2003
Tip: internetni projekt
Podporniki: Ministrstvo za kulturo RS in mesto Ljubljana
Premiera: Multimedijski center Cyberpipe, Ljubljana.
o machinaZOIS - Vaš elektromehanični pokrovitelj!
http://www.aksioma.org/machinazois
Avotr: Davide Grassi
Produkcija: Boter, 2002
Ko-produkcija in distribucija: Aksioma
Tip: Intermedia
Podporniki: Ministrstvo za kulturo RS in mesto Ljubljana
Premiera: novoletni sprejem Ministrstva za kulturo RS v
kulturnem in kongresnem centru Cankarjev dom v Ljubljani.

dominik.krizan@siol.net
Dominik Olmiah Križan:
Prednosti in slabosti sodobne informacijske tehnologije/
Advantages and Weaknesses of Modern Information
Technology
oddaja Polnočni klub, Uredništvo informativnega programa TV Slovenija, 2003/
TV talk show "Midnight Club", TV Slovenia Informative Programme editorial board, 2003
avtorski poseg v prostor TV-medija/authorial intervetion into TV media space
Televizijski voditelj kot avtor, individuum, ustvarjalni subjekt, ki s
svojimi razmišljanji in ugotovitvami kot enakovreden sogovornik oblikuje
pogovor. Voditelj tako dobi dvojni ontološki status, saj hkrati zavzema
neko avtoritarno pozicijo, skozi katero lahko manipulira. Dvojna vloga
razširi razumevanje vloge voditelja in s tem avtorsko označi podobo
oddaje.
A TV host is a person who, as an author, individuum, creative subject,
equal partner, through his thought and determination, sets the ground for
a discussion with his guests. A TV host, however, may acquire a double
ontological status, since at the same time he takes on a certain
authoritarian position through which he can manipulate. The notion of a
doubled status extends the understanding of the TV host's role and thus
defines the image of the show in an authorial manner.
Prenosni telefoni in internet, medmrežje, sta postala neločljiv način živetja, preživetja, trgovanja in komuniciranja. Kdor ga nima, ga ni, kdor se ne
potrudi sprejeti in obvladovati novih tehničnih sredstev komunikacije, se ne more iti zraven. Vse je prepleteno s kabli, žicami in radijskimi,
radarskimi, in še kakšnimi signali, ki jih ne čutimo neposredno in se nam zato zdi, kot da jih ni. Internet, medmrežje ali splet je svet, in kot da bi bil
peskovnik, v katerem se uspešni lahko le nekateri otroci, z lopatko in kanglico, vsi drugi pa so, smo zunaj. A komunikacija ni zgolj posredovanje
besed, podatkov, je tudi prenos stvari in ljudi. In mreže so nekaj v kar smo lahko tudi ujeti. Smo to kar je naše okolje, povej mi s kom se družiš, pa
ti povem kdo si. Kako živimo Pripomočki za govor, robotski nastavki za hojo, ... a tisto kar je nekomu lahko nujna in dobrodošla pomoč pri
vključevanju v skupnost, lahko ustvari tudi nenavadnejše vizije, predstave o prihodnosti. Vsak od nas ima izkušnje z otroci, kot pedagog, oče ali
mati, ali bomo morda prenosne telefone v obliki mikrobiočipov vgrajevali otrokom že pri rojstvu Koliko narava čuti nas Ali živali, ptice, ribe in
žuželke zaznavajo našo tehnologijo, našo civilizacijo tudi na področjih sevanj energijskih valov ter ali zaradi tega spreminjajo svoje vedenje Ali
obstajajo podatki o teh vplivih. Znanost in tehnologija nas vodita v vesolje, nam lajšata življenje, a čemu potem lahko opazimo tako popularnost
različnih t.i. mejnih znanosti, zamisli nove dobe, teorije naravnih sevanj, avre, bioenergije, alternativne medicine, naravozdravilstva Če bi ne bili
navajeni na sodoben način živetja, tehnološke pripomočke, jih morda nebi pogrešali.

Roboti/Robots
Selekcija Jožeta Slačka/Jože Slaček's Selection
Doma izdelani roboti/Home produced robots
Borbe robotov/Robo-fights
Ideja organiziranih tekmovanj robotov, ki se med seboj borijo dokler ne ostane le zmagovalec, je iz Velike Britanije prišla še na Hrvaško.
Pobudnik tekme bojevanja je Vedran Relja, ki deluje v skupini robotikov pri Zajednici za tehničku kulturo v Zaprešiću. Robote izdeluje sam,
za kar porabi dveleti dela, načrtovanja, zbiranja sredstev in mesec dni za montažo. V boju pa je ta robot lahko uničen v par minutah.
Roboti so daljinsko krmiljeni, opremljeni so z vrtalniki, ostrimi konicami in žagami. Cilj boja je, da nasprotnika izrine iz arene ali pa ga se
močno poškoduje.
Branko Zupan samostojno izdeluje robote, garažna produkcija, doma za svoje zadovoljstvo. Veliko skrbi posveča gibanju
mehanizma, pa naj bo to šest ali dvonožni robot. Prosto hodeči roboti so v svetu predmet raziskav prestižnih inštitutov, Zupan pa z lahkoto
ustvarja privlačne in uspešne modele. Prvi resno zasnovani robot je poimenoval Biba, ki je sprva je bil krmiljen z čisto navadnim TTL vezjem.
Bibo je kasneje izpopolnjeval.
Voziček mu služi za preizkušanje vseh mogočih vezij in programov. Robot se samostojno izogiba oviram, z oddajnikom pa ga je mogoče
daljinsko krmiliti. Program v procesorju je napisan tako da imajo senzorji prioriteto in s tem se preprečil zaletavanje v oviro. Robot potuje po
prostoru samostojno, vendar ga je mogoče v katerem koli trenutku z oddajnikom usmerjati. BigFoot je malo večji robot, ki se premika na
dveh nogah. Ima vgrajene IR senzorje za izogibanje ovir. Na nogah (stopalih) pa ima mikrostikali za slučaj če je ovira prenizka in je IR
senzorji ne zaznajo. Robot Čriček je še v razvoju. Poganjajo ga trije servomehanizmi. Prvi premika srednji nogi gor in dol, druga dva pa levi
in desni prednji in zadnji nogi. S tem se dosež, da se robot lahko obrača na mestu, v hoji naprej in nazaj. Izziv pri tem robotu je program,
saj ima robot velike možnosti gibanja in izogibanja ovir
The idea to organise a competition of robots that fight each other until only the winner stays on the
scene came from Great Britain and quickly found followers in Croatia. The Croatian initiator of such
fights was Vedran Relja, an active member of the robotics group at Association for Technical Culture
in Zapresic. He develops his robots alone and needs good two years of planning, fundraising and work
as well as a month for final construction of one of his robots. In the fight such a robot could be
destroyed within a few minutes.
All robots are equipped with remote controls, drills, sharp points and saws. The aim of the fight is
to damage the opponent seriously or to drag it from the fight arena.
Branko Zupan is producing robots in his garage for his own pleasure only. He devotes his main attention to movement of the
mechanism, be it two or six-legged robot. Free walking robots are the objects of research of all important institutes around the globe while
Zupan manages to create attractive and successful models on its own and with a great ease. The first seriously designed model called "BIBA"
was initially controlled by ordinary TTL integrators and has been later largely improved.
He uses a robot called "The Carriage" for all possible integrators and programme testing. The robot is able to move freely and knows how to
avoid obstacles. It is also possible to direct it with the remote control. Its programme in the processor is written in such a way that prioritises
the inbuilt sensors and with this prevents bumping into a possible obstacle. The robot moves in the space completely independently and is
at the same time able to be remotely re-directed in any moment. "BigFoot" is a bit bigger robot that moves on two legs. It has inbuilt IR
sensors for avoiding obstacles and additional micro switches on his feet in case the obstacle is too low for IR sensors to be detected. The
robot called "The Cricket" is still in the developmental phase. It is driven by three servomechanisms. The first is moving the two middle legs
up and down while the other two moves left and right front and back feet. With this structure the robot can turn on the spot while walking
forward or backward. The real challenge at this model is programming as it has huge possibilities of movement and avoiding obstacles.

Kapelica
Selekcija Jurija Krpana/Jurij Krpan's Selection
Galerija Kapelica, Kersnikova 4, Ljubljana, Otvoritev instalacije: četrtek, 6. maja 2004, ob 21.uri, 6. - 21. maj 2004
Kapelica Gallery, Kersnikova 4, Ljubljana, Opening: Thursday, 6th May 2004, at 9pm, Duration: 6th - 21st May 2004
Marnix de Nijs & Edwin van der Heide
(Nizozemska/Netherlands)
Prostorski zvoki (100dB pri 100km/h)
Spatial Sounds (100dB at 100km/h)
"Spatial Sounds (100dB at 100km/h)" is an interactive audio
installation by Marnix de Nijs and Edwin van der Heide. In
this engine-powered installation, a speaker is mounted onto
a rotating arm that is several meters long. Like a watchdog,
the machine scans the surrounding space for visitors. Closer
investigation would be tempting fate, with the rotating arm
swinging so powerfully round. You hear the impressive
sound of the mighty motor revving up, turning faster and
faster. You can feel the displacement of air as the speaker
whizzes past you, and you had better step back, out of reach.
The machine slows down and, when the shock wears off, you
start exploring the space, with your movements
manipulating the sound it produces. Just don't get too close!
"Spatial Sounds (100dB at 100km/h)" builds up a physically
tangible relationship with the visitor, since it is the game of
attracting and repelling between machine and visitor that
determines its sound and movement.
Spatial Sounds won the first price of Artfuture 2000 as the
best international media-art piece. Artfuture is an
international media-art competion organised by Acer Digital
Arts Center in Taiwan. In 2001 it was Honorary Mentioned at
Transmediale Award in Berlin (D) and was also Honorary
Mentioned at Prix Ars Electronica in Linz (AU).
Avtorja odzivne (responsive) avdio instalacije "Spatial Sounds (100dB at 100km/h)" sta
nizozemska umetnika Marnix de Nijs in Edwin van der Heide. Stroj je narejen kot štirimetrska
horizontalna rotirajoča roka, na katero je na enem koncu montiran precej močen zvočnik (100
dB), na drugi pa protiutež, ki drži roko uravnoteženo horizontalno. Elektromotor na sredini
vrti zvočnik okoli centralne osi v odvisnosti sonarja, ki določa razdaljo med obiskovalci ali
objekti v prostoru in zvočnikom. Sonar tipa za ljudmi v bližini in nanje reagira s pretečim
zvokom. V prostoru je še dodatno ozvočenje in stroboskopska luč, ki v trenutkih vrtenja še
povečuje občutek grožnje. Projekt "Spatial Sounds" je zanimiv zaradi brutalnosti same naprave,
saj jo skozi nevarnost situacije, ki jo z vrtenjem povzroča, doživimo dobesedno fizično.
Občutek, ki nam ga daje, je kot bi stali pred podivjanim psom na verigi, pa vendar nam pri
razumevanju situacije ne pomaga "živalska psihologija" temveč zelo dobro razumevanje strojne,
računalniške in programske logike.
Projekt je dobil prvo nagrado na Art Future 2000 (Tajvan) kot najboljši mednarodni intermedijski
projekt. Art Future je mednarodno tekmovanje na področju intermedijskih umetnosti, ki ga
organizira Acer Digital Arts Center na Tajvanu. V letu 2001 pa je bil projekt deležen častne
omembe (Honorary Mention) na podelitvi nagrad Transmediale Award v Berlinu (D) in prav tako
omenjen (Honorary Mention) na Prix Ars Electronica v Linzu v kategoriji intermedijskih
umetnosti.

Narave/Natures
Bežigrajska galerija 2, Vodovodna 3, Ljubljana
Prireditelj/Organizer
Bežigrajska galerija, Ljubljana, Slovenija
Kustos razstave/Curator of the exhibition
Miloš Bašin
Besedilo/Text: Miloš Bašin
Mestna galerija Ljubljana
Mestni trg 5
Slovenija
1000 Ljubljana
Tel. +386 1 24 11 770
Fax. +386 1 24 11 782
e-mail: mestna. galerija-lj@ siol.net
www.mestna-galerija.si
Enota/Unit:
Bežigrajska galerija 2
Vodovodna 3
1000 Ljubljana
Slovenija
Tel. +386 01 436 69 57, 436 40 57
Fax. + 386 01 436 69 58
www.mestna-galerija.si
Bežigrajska galerija®, Dunajska 31,
Ljubljana, Slovenija
Razstava/Exhibition: 6 / 2004,
Narave/Natures
Bežigrajska galerija 2
6. - 13. maj 2004
6 - 13 May 2004
Narave so podobe iz narave, podobe žive narave, podobe narave, v katerih se
razblinja mit o vsemogočnosti, o bivanju človeka v njej. O njegovi prisotnosti, o
njegovem gledanju sebe v njej, o njegovi prisotnosti v njej kot zaznamovanju
človeškega gibanja in bivanja. Človek je v delih, ki jih gledamo, njen opazovalec in
prebivalec. V delih, ki jih gledamo, človek kot umetnik ne spreminja narave same.
Narava je zaznamovana samo z njegovim videnjem in posegi, ki jih omogoča tudi
računalniška tehnologija. Dela niso nasilna v smislu, da bi naravo spreminjala
vizualno do neprepoznavnosti ali da se v njih ne bi ohranjalo njeno vizualno
bistvo. Podobe narave niso popačene. Umetnine z razstave predstavljajo naravo hkrati
v njeni in umetniški trenutnosti. Narave so zaznamovane z ljudmi v njej in njihovimi
naravami. Ko izginja narava, izginja z njo človek in tudi njegova umetniška dejanja.
V naravi je vse naravno. Sožitje človeka z njo ni vselej naravno. Umetnost, ki
narave ne vključuje v svoja dela, postaja socialna. Ko ljudje ustvarjajo umetnost
brez sožitja in sobivanja z realnim in navideznimi svetovi, ni več življenja v
njegovem bistvu in ga ni več v lepoti opazovanj in bivanj tu in onkraj. V filmu, ki
je lahko tudi računalniška umetnost. Ko opazuješ, zaznamuješ, ko izrečeš, lahko
zapišeš. Umetnost, ki bo ostala in obstala, bo umetnost, ki bo odsev njenega
realnega videza in njenega OPAZOVANJA, njene narave skozi preoblikovanje ljudi in
ustvarjanja poustvarjanja umetnikov.
V času, ko umetniki ustvarjajo filme, video filme in računalniška umetniška dela s
predvsem socialno tematiko, je narava v Naravah antipod umetnostnim praksam.
Miloš Bašin
Razstava/Exhibition 7 / 2004
Magdalena Pederin
Ime je anagram /
The Name is an Anagram
5 - 26 maj 2004
5 - 26 May 2004
Natures present images drawn from living Nature illustrating the disappearance of the myth of man's existence and
omnipotence within Her. They convey the images of man's perception of himself in Nature and his presence as a
sign of human movement and existence. In the artwork at hand, man is presented as Nature's inhabitant and
observer. Here, man as artist does not alter Nature but rather defines Her with an observing eye and interventions
enabled by computer technology. However, such interventions are not forcible in the sense that man strives to alter
Nature visually to a point of irrecognisability or in the sense that his works fail to preserve the essence of Nature's
visual peculiarities. Quite on the contrary, Her imagery remains undistorted. The exhibited artwork presents Nature
in Her realistic as well as artistic momentariness. Natures are determined by people existing in Nature, as well as
their own respective natures. Disappearing of Nature leads to fading away of man and his artistic production.
In Nature, everything is inartificial, which cannot always be true of man's relation with Her. Art which fails to
integrate Nature into its substance gradually becomes exclusively social work. Artistry created in the absence of
harmony and co-existence with real as well as virtual worlds, is bereft of life in its very essence and fails to convey
the beauty of observation and existence here as well as on the other side. In a film which can as well represent
computer art. Observation facilitates denotation; utterance facilitates written expression. The only form of art that is
going to persevere will the one serving as a sheer reflection of Nature's real image and genuine OBSERVATION true
to its very essence and nature through the transformation of people and reproduction of artists.
However, in the time when artists create films, videos and computer artwork that, above all, treat social topics,
Nature in Natures keeps serving as antipode to art practices.
Andrej Zdravič:
Heartbeat 2000, 9.05 min, zvok, 16mm/Beta SP

Miha Vipotnik:
Gazele/Gazelles,
1 /4.48 min 3 /5.04 min, 6 /4.06 min
TV Slovenija, 2001
Mark Požlep, Hana Vodeb: Issa - Vis
2004, 3.35 min
Primož Seliškar: Drevo/Tree
Glasba/music: Andrej Žibert. 2oo3, 40 min
waterprimoz@hotmail.com
Vidic Urša: Mrene/Membranes
Karmen Tomšič: Fraktali/Fractals
2002, 6.35 min
Karmen Tomšič: …
2002, 1.20 min
Mateja Starič, Osmosa/Osmosis
2003
Aleksandra Gruden: "Oninta" v snegu/"Oninta" in Snow 2004
V kratkem enominutnem videu se ukvarjam z idejo dveh polov - nebesnega in zemeljskega, sanjskega in realnega, notranjega in zunanjega,
ženskega in moškega; oba se združita in postaneta možno eno. "Zgodba" se dogaja v zimskem času, ko pogled v nebo nudi belo, počasi padajočo
snežno zaveso in drugo dinamično, temnejšo podobo padanja snega. V tem se znajdeta drevesi in mlad poganjek ...
In this short one-minute video, I deal with the dualistic idea of poles - celestial and terrestrial, dream and real, inner and outer, as well as male and
female - uniting and merging into a single entity. The "story" unravels in wintertime when the view of the sky offers white, slowly descending snow
curtain, on the one hand, and a dynamic and darker image of falling snow flakes, on the other. In the middle of this scene, focus shifts to two trees
and a young offshoot ...
Barbara Jurkovšek: Spomin vode/Memory of Water 1984, 5 min
Voda obdaja ta svet. Je izvor življenja. Če je voda onesnažena, postane tudi obstoj živih bitij vprašljiv.
Voda ima sposobnost shranjevanja misli in čustev tako kot človek. Kvalitetna voda kristalizira v obliki šesterokotnika, v obliki, podobni snežinkam.
Ena od lastnosti vode je prehajanje na različne nivoje, višje ali nižje. Kljub temu, da različne vode na Zemlji začnejo kristalizirati z enakim kristalnim
vzorcem, v naravi ne najdemo dveh povsem enakih vzorcev. Estetski vidiki kristalizacije nakazujejo, da na spreminjanje vode vpliva prav vse v njeni
okolici - zrak, svetloba, temperatura, pritisk, zvok, pa vse do bolj subtilnih vplivov naših dejanj, občutkov, misli, napisanih besed ... (dr. Masaru
Emoto: Sporočilo vode, 2004)
Water covers the entire planet. It is the source of life. Any pollution of water renders the existence of all living creatures questionable.
Just as man, water has the ability of memorising thoughts and emotions. Quality water forms hexagonal snowflake-like crystals. It can also traverse
different levels - higher or lower ones. Although various types of water on Earth form equal crystal patterns, it is impossible to find two identical
crystals in Nature. The aesthetic aspects of crystallisation show that the changes in water influence every single segment in its surrounding
environment: air, light, temperature, pressure, sound, and even the subtlest nuances of our states and actions, such as feelings, thoughts, written
words … (Dr Masaru Emoto: Water Message, 2004)
smileybarbi@hotmail.com
Nataša Skušek, Urban Velkavrh: Vrt/Garden
Video instalacija/video installation. Dolžina/duration: 6 min 17 sek. Tehnika/technique: 3D računalniška animacija, video/3D computer animation,
video. Objekt/ object: 50 x 100 x 100 cm, rastline/plants, zemlja/soil, les/wood.
Negovanje vrta je silno podobno igri Tetrisa, pri kateri smo razpeti med inherentnim naraščanjem entropije in naporom, da bi obdržali najmanj
trenutno stanje. Vprašanje, s katerim se ukvarja pričujoča animacija, je, kdo dejansko igra Tetris, kdo je roka, ki usmerja bloke raznih oblik, in kdo je
blok. Gre za splet miselnih vzorcev in občutij, porajajočih se v interakciji med vrtom v naravi, naravo vrta v njegovi digitalni manifestaciji, v obliki
igre, in aktivnega gledalca, ki nastajajo na strani vseh vpletenih.
Tending the garden is much like playing a game of Tetris combining the inherent increase of entropy and endeavours to maintain at least status
quo. The question dealt with by the animation at hand is: Who actually plays Tetris, whose hand guides multi-shaped blocks and who is the block
It is a conglomerate of thought and sensation patterns that stem from the interaction between the garden in nature and the nature of the digitally
manifested garden (i.e. manifested in the form of a game), on the one hand, and the active observer, on the other.
edvina.podrebernik@uvworx.com
Matej Košir: In the Field
Video je rezultat ustvarjalnega sodelovanja Špele Sterle in Mateja Koširja. Služi kot scenografija za koreografijo Špele Sterle. Ples, glasba, kostumi in
video skupaj tvorijo celostno delo, t. i. Gesamtkunstwerk.
Video is the final product of creative efforts joined by Špela Sterla and Matej Košir. It serves as a scenographic platform for choreography made by
Špela Sterle. Dancing, music, costumes and video altogether constitute unified artwork or the so-called Gesamtkunstwerk.
matejkosir@hotmail.com

Lisa Jevbratt: Infome Imager Lite
2004, USA/Sweden
http://jevbratt.com/infome_imager/lite/
Bežigrajska galerija 1, Dunajska 31, Ljubljana 5.-26.5.2004
Magdalena Pederin: Ime je
anagram/The Name is an Anagram
Razstava svetlobnih objektov in DVD projekcija/Exposition of light
objects and a DVD projection
Prostorska postavitev Magdalene Pederin iz Zagreba sodi med
multimedialne razstave Bežigrajske galerije 1, kjer se na razstavah
prepletata literarna in likovna umetnost. Ideja o zasnovi razstave izhaja
iz spreminjanja imena in priimka avtorice v številne različice, skrite v
besedah, ki se jih lahko rešuje kot anagram. Hkrati s projekcijo lahko
poslušamo tudi izgovarjavo vseh anagramov.
Spatial setting by Magdalena Pederin from Zagreb belongs to
multimedia exhibitions of the Bežigrad Gallery 1, where the
exhibitions combine fine arts with belles-lettres. The idea about the
design of the exhibition is based upon the changing of the author's
name and family name into several variations hidden in the words
that can be solved as anagrams. At the same time, the projection also
gives us the opportunity to listen to the articulation of all anagrams.
DVD, 54 min. DVD programiranje/programming: Ivan Marušić Klif.
Produkcija/production Kid Kibla.

10. mednarodni festival računalniških umetnosti, Maribor, Ljubljana, Gradec, Zagreb, 11. - 15. 5. 2004/10th International
Festival of Computer Arts, Maribor, Ljubljana (Slovenia), Graz (Austria), Zagreb (Croatia), May 2004.
www.mfru.org
Uredili/Edited by: Narvika Bovcon, Jože Slaček, Aleš Vaupotič.
Založila/Published by: ArtNetLab društvo za povezovanje umetnosti in znanosti, Mladinski kulturni center Maribor.
ArtNetLab, Društvo za povezovanje umetnosti in znanosti, Trubarjeva 76a, 1000 Ljubljana
tel. ++ 386 41 222 380
http://black.fri.uni-lj.si/ http://www.chp.uni-mb.si/mkc
MKC Maribor, Ljubljanska 4, 2000 Maribor, Slovenija
tel. + 386 2 300 29 90, 300 29 95
fax + 386 2 300 29 92
mkc.maribor@guest.arnes.si
Zanju/Presented by: Dušan Bučar, Dragica Marinič.
Lektorji/Proof reading: Katja Klopčič (slovenščina/Slovene), Manca Gašperšič (angleščina/English).
Prevodi/Translations: Doris Batelič, Alenka Bregant, Manca Gašperšič.
Oblikovanje/Design: Narvika Bovcon, RII.
Tisk/Print: Romeo Štrakel.
Naklada/Number of copies: 2000.
Organizator si pridržuje pravico do spremembe programa.
The organizer has the right to change the program.
ArtNetLab
Društvo za povezovanje umetnosti in znanosti