INTERAKTIVNA UMETNOST
Festival računalniških umetnosti v Mariboru, ki ga prirejajo Mladinski kulturni center Maribor (MKC) skupaj z Umetnostno galerijo Maribor in Multimedijskim centrom KIBLA, letos že tretjič izziva, da se soočimo s kibernetično oz. elektronsko umetnostjo in jo sprejmemo kot eno od orodij lastne samorealizacije.
Z uporabo novih tehnologij (virtualne realnosti, računalniške grafike in animacije, internet komunikacij ter novih elektronskih medijev); ob nastajanju interaktivnih podob se odpirajo novi svetovi ter nove realnosti v globalni interaktivnosti.
Izhajajoč iz dejstva da je vse vesolje interaktivno in deluje po principu akcija - reakcija oz. vzrok - posledica, omogočajo nove tehnologije človeku/družbi kodiranje in simuliranje.
Interaktivna umetnost postavlja računalnik v časovno in prostorsko soodvisnost z gledalcem - kreatorjem. Tako vsak gledalec postaja ustvarjalec ali soustvarjalec nekega procesa, v tem primeru umetno-umetniškega, v realnem času. Človek/gledalec-kreator je del procesa, s katerim se sooči, ga opazuje, hkrati pa s svojim ravnanjem, gibanjem in kretnjami ustvarja umetniško delo znotraj prostora.
Medsebojna spodbuda ustvarjalcev/avtorjev skozi konverzacijo na podlagi realiziranih del teži k novemu iskanju virtualnosti in povečuje možnosti za gradnjo drugačnih modelov narave in življenja, kjer lahko umetnik eksperimentira z lastno domišlijo.
Festival združuje tuje in slovenske priznane umetnike interaktivne umetnosti in tiste, ki to še bodo, da skozi vizijo ustvarjanja projekcij, instalacij, performancev, predavanj, razstav, koncertov in delavnic prikažejo drzno iskanje oblik, ki, kakor igraje, posegajo v razmerja med naravo in tehniko.
Interaktivni prikazi sodobnih umetnikov na vizualnem in ostalih, skoraj mejnih področjih umetnosti usmerjajo korak skozi zrcalo interaktivne umetnosti v prostor prihodnosti.
Dragica Marinič, direktorica MKC
THE INTERACTIVE ART
The Festival of Computer's Art in Maribor is challanging us for the third time to confront ourselves with the cybernetic or so called "electronic" art and to accept it as a tool for our own realization.
With the use of new technologies (virtual reality, computer graphics and animation, Internet communications and new electronic media) and with the appearance of interactive images the new worlds and new realms are opening in the global interactivity.
If we start from the point of view that the Universe is interactive and operates on the principle of action and reaction, cause and effect, we arrive at the conclusion that these new technologies enable us/ society to code and simulate.
Interactive art places a computer in time-and-place conditioned interaction with the viewer-creator. In that way every spectator of the event becomes also a creator or co-creator of the proces - in our case of the artificial and art proces - in the real time. The human/ spectator-creator is therefore a part of the proces he/ she is witnessing; he/ she is an observer and at the same time with his/ her response, movements and gastures a creator of the art work inside the given space.
Interactive computer's art is breaking the barriers between East and West, foreign and native, cultural and multi-cultural with its diversity in approaches and contents at the cration of the new worlds.
A very important fact is also the interpersonal stimulation among the artists/ authors which is present through conversation and their work, and tends towards the search for new virtuality. It also increases possibilities for constructing different models of nature and life itself where the artist is allowed to experiment with his/ her own imagination.
The Festival is connecting foreign and Slovene acknowledged interactive artists and promoting those, who would like to be such. All of them will try to present their audacious way of searching and crossing the boundaries between nature and technics through their visions, projections, instalations, performances, lectures, exhibitions, concerts and workshops.
All this interactive production made by contemporary artists on the visual and other, almost limit areas of art, are heading us through the mirror of interactive art towards the future spaces.
Dragica Marinič, Chief-manager of MKC (Youth culture centre)
Thomas Bayrle
Rojen leta 1937 v Berlinu, študiral je na šoli za grafično oblikovanje v Offenbachu. Pripravil je veliko svojih razstav, med drugim na Documenta III 1964 in Documenta VI 1977. Za računalniško animacijo Superstars je prejel nagrado Prix ARS ELECTRONICA 1995. Od leta 1975 poučuje na Stadelschule v frankfurtu in od leta 1995 kot gostujoči profesor na Toohoku Univerzi na Japonskem.
Njegovo delo temelji predvsem na grafikah. Skozi zadnjih 30 let je obdelal vsa področja grafike; vse od litografije pa do računalniške grafike. Slednja ga je vzpodbudila k ustvarjnju tudi na področju videa in filma. Računalniška animacija Superstars obstaja v obliki videa in tudi filma. Superstars bazira na ideji da se masovni mediji razvijajo v voyeristični sistem v katerem vsakdo in nasplošno vse opazuje okolico. Gre za nenehno reproduktivni sistem.
Zraven filma in videa pa se Thomas Bayrle ukvarja tudi z izdajo knjig z grafikami, neke vrste grafičnimi tapetami ter oblačili. Oblačila so narejena na principu grafike. Tapete in oblačila so bila prikazana v obliki modne revije po različnih galerijah.
Thomas Bayrle
BIOGRAPHY
He was born in 1937 in Berlin. He studied at The School for Graphic design in Offenbach. He had numerous exhibitions, among others on Documenta III in 1964 and Documenta IV in 1977. He was awarded with Prix ARS ELECTRONICA in 1995 for his computer animation "Superstars". Since 1975 he has been teaching at Stadelschule in Frankfurth. He has the title "Visiting Fellow" at The Toohoku University, Japan, from 1995.
His work is based on graphics. During last thirty years he exploited all terrains of grafic arts; from lithography to computer graphics. These uncouraged him to start creating also in video film. The computer animation "Superstars" exists in a form of a video and in cineastic form. "Superstars" is based on the idea that mass media is transforming itself into a voyeristic system in which everyone and everything is observing its surroundings. It's an incessant reproductive system.
Apart from the film and video production Thomas Bayrle is also involved into publishing graphics books, wall-paper and production of clothes that are graphicly designed. His wall-papers and clothes has been presented in various art galleries in a form of a fashion show.
Anne Farrell
Biografija
Rojena je bila v Los Angelesu. Maturirala je na St. John's kolidžu v Annapolisu, MD. Po maturi je odšla v New Mexico iskat učitelja risanja. Nekaj časa je delala z Jorge Fick in se po tem preselila v Boulder, Colorado, kjer je študirala na University of Colorado. Leta 1980 se je začela ukvarjati z računalniškimi grafikami. Skozi preteklo obdobje si je ustvarila stil v katerem kombinira video in 3D animacije.
V času svojega delovanja na področju videa je imela nekaj čez 50 nastopov po Ameriki in pri tem prejela tudi nekaj nagrad. Pisala je za različne ameriške publikacije s tega področja in instruirala ter poučevala. S svojimi video projekcijami je nastopila na nekaterih večjih ameriških festivalih. To je ena izmed njenih prvih predstavitev v Evropi.
Goddness and Machine
Gre za 6 minutni film, pri katerem sta vizualizacija in zvok digitalizirana. Transformacije, efekti, filtri in druge oblike manipulacije so umetniku omogočili da iz surovega materiala ustvari fantazijski in hkrati realen svet, ki oba izhajata iz psihološkega sveta nas samih. Zvok pa izhaja iz popolnoma običajnega in skozi film napreduje v razpoznavno distorzijo, ki se sliši kot glas, ni pa jezik. Ta pa počasi prehaja v abstraktno.
Film govori o človeku, ki obstaja kot telo in duša v okolju trenutne kulture, in kako dojema svojo okolico.
Swan's Painting
Ta film vizualizira odgovor na vprašanje "Kakšno je odnos kibernetičnega sveta napram naravnemu svetu?". Podobe so povzete iz narave in so s pomočjo stroja mutirane. Proces vizualno predstavlja sintezo narave in tehnologije. Avtorica hoče prikazati svoje usmerjanje skozi življenje, ki je po eni strani popolnoma naravno in hkrati prilagojeno načinu življenja poznega 20. stoletja. Zaveda se da eno brez drugega ne gre. Skozi lastno domišljijo in naravo doživlja stanje, podobno stanju sanjanja, ki je na nek način povezano z kibernetičnim prostorom.
Anne Farrell
Biografija
She was born in Los Angeles. She graduated at St. John's College in Annapolis, MD. After the graduation she went to New Mexico to find an art teacher. She Worked with Jorge Fick for a while and then moved to Boulder, Colorado, where she studied at University of Colorado. She started with computer graphics in 1980. During her creative period she has developed a specific style in which she successfully combines video and 3D animation.
She has had over 50 performances all over American during her artistic work with videos, and has also received numerous awards. She has written for various American video publications, tutored and lectured. She has showed her video production on some major American festivals. This is her first visit in Europe.
Goddness and machine
It is a six-minute video in which the visualization and sound are digital. Transformations, special effects, filters and other ways of manipulation enabled the artist to create a fantastic and at the same time real world from the raw material. Both worlds are rooted in the psychological world within us. The sound is derived from the ordinary, and throughout the film advances into comprehensive distortion that is heard as a voice but it is not a language. It slowly transforms into abstract. The video is about a man who exists as body and soul in an environment of contempotary culture, and how he comprehends his surroundings.
Swan's painting
The film is a visualized answer on the question of relation between cyber space and natural environment. The images are taken from nature and are mutated with the help of machine. the proces visualizes the sinthesis of nature and technology. The author wants to present her way through life which is perfectly natural and at the same time adapted to the 20th century way of life. She is aware that both ways are necessary. Through her own imagination and nature, she creates and experiences a state, which is close to dreaming, and is in a way connected with cyber space.
Janez Strehovec
Biografija
Janez Strehovec, roj. 1950.leta v Ljubljani, dr.filozofije, je zasebni raziskovalec pri projektu Teorije kibernetične kulture, ki ga financira Ministrstvo za znanost in tehnologijo RS, in docent za sociologijo kulture. Pri raziskovalnem delu se ukvarja z estetiko elektronske (še posebno kibernetske) umetnosti in s kulturnimi študiji s področja tehnokulture. Njegove sedanje raziskave so v mnogočem nadaljevanje tistih, ki jih je opravljal že v 80. letih in ki so bile usmerjene k analizam velikih in usodnih sprememb na umetnostnem področju v 20.stoletju. Že leta 1985 je objavil knjigo estetičkih razprav Oblika kot problem, 1988.leta pa zbirko esejev Besedila z napakami. Problem estetizacij v sodobnosti je predstavil v knjigi Demonsko estetsko (1995), 1994.leta pa je objavil Virtualne svetove (delo s področja estetike kibernetske umetnosti). V svoji novi knjigi Tehnokultura, kultura tehna, ki jo sedaj dokončuje, bo predstavil svoje poglede na filozofijo tehnokulture.
Janez Strehovec
BIOGRAPHY
He was born in 1950 in Ljubljana. He has PhD and works as a private researcher at the Theory of cybernetic culture, a project which is financed by Ministry of Science and Technology of Rebuplic Slovenia. He is also a fellow lecturer of sociology of culture.
At his research work he deals with aesthetic of the electronic- especially cybernetic-art and with techno-cultural art studies. His contemporary researches are in many ways continuation of his previous ones that were conducted in 80-ties and directed towards extensive and somehow fatal changes which have taken place in arts during the 20th century. In 1985 he published a collection of aesthetic essays entitled Oblika kot problem (The Shape as a problem), and in 1988 his second book of essays Besedila z napakami (Texts with Mistakes) was published. He extensively presented the problem of contemporary aesthetics in his book Demonsko estetsko (Demonic Aesthetic) in 1995. In 1994 he published Virtualni svetovi (Virtual Worlds), a book dedicated to cybe-art aesthetics.
In his latest work Tehnokultura, kultura tehna (The Techno-culture, a Culture of Techno) that will be finished soon, his personal point of view on the philosophy of techno-culture will be discussed.
Sašo Jankovič
Rojen leta 1961 v Ljubljani. otroška leta je preživel v Krškem in že kot otrok kazal veliko veselje do ustvarjanja pripovedi s povezovanjem risb v logično, dramatuško obdelano zaporedje, oziroma povedano preprpsteje, do risanja stripov.
Srednjo šolo je obiskoval v Ljubljani, kjer se je leta 1979 vpisal na študij arhitekture. Prof. Marjan Amalietti, predavatelj na šoli za arhitekturo, obenem pa priznan ilustrator in karikaturist, ga je zasebno poučeval tudi risanja stripov Njegovemu mentorstvu se ima zahvaliti za značilno dinamično risbo.
Študij je zaključil leta 1984 in se nekaj let preživljal z notrnajonopremo in z grafičnim oblikovanjem. Leta 1990 je v Melbournu prisostvoval predavnju enega od avstralskih oblikovalcev in ilusrtratorjev in izvedel za šolo animacije na univerz Swinburne, pripomba urednice založbe Macmillan, za katero je ilustrial slikanico The Rumbling Bus, češ da je "vaša risba že prava animacija, pa ga je dokončno vzpodbudila, da je šel opravljat sprejemne izpite. Bil je uspešen. Oddelek za animacijo univerze Swinbourne je prav takrat doživljal intenzivno kompjuterizacijo, kar mu je ommogočilo seznanitev z novimi tehnologijami, za rep pa je ujel še delo na klasičnih filmskih mešalnih mizah, kakršne bi danes tam zaman iskali. Leta 1993 je diplomiral kot animator.
Njegovo diplomsko delo, risanka "Nightbreaker" je bila prikazana na festivalu kratkega filma St. Kilda, 3D animacija "Live from Countdown Site" pa je prejela nagrado televizijske mreže SBS. Slednja je odkupila copyright za svetovno televizijsko predvajanje obeh omenjenih filmov. Oba sta bila prikazana tudi na festivalu v Mariboru leta 1995.
Leta 1994 se je vrnil V Ljubljano. Preživlja se kot ilustrator. Leta 1996 je za založbo DZS napravil keyframe animacijo za demo "Explore Europe", ki je bil istega leta prikazan na predstavitvi EEPG (European Educational Publishers Group) na frankfurtskem knjižnem sejmu. Kasneje je na enak način sodeloval pri demu "Living Nature". Oba sta bila predstavljena v okviru konferenc EEPG na multimedijskem sejmu v Cannesu in Knjižnem sejmu v Bologni.
Povzetek:
Rojen 1961 v Ljubljani.
Leta 1984 diplomiral na fakulteti za arhitekturo v Ljubljani.
Leta 1993 diplomiral v "Animation and Interactive Multimedia" na Swinbourne v Melbournu.
Od leta 1994 živi v Ljubljani, kjer dela kot ilustrator in animator.
Sašo Jankovič
BIOGRAPHY
He was born in 1961 in Ljubljana. He spent his childhood years in Krško where he has already shown his great talent for creating narrations by connecting drawings into a logical cluster or, with other words, for cartoon drawing.
After finishing the high school in Ljubljana he enrolled at University of Architecture in Ljubljana in 1979. His mentor was prof. Marijan Amalietti, a habilitated lecturer at University of Architecture and a well-known illustrator and caricaturist. Jankovič's characteristical dynamic drawing style is due to his mentorship.
Jankovič completed his B.A. in 1984 and spent a few years doing interiors and graphic design. In the 1990 he attended a seminar for designers and illustrators in Melbourne, Australia. There he found out about The Swinburne University. The remark of Macmillan's chief editor, for whom he illustrated The Rumbling Bus cartoon-book, that his drawing was already an animation encouraged him to enroll at The Swinburne University. He was successful. The Swinburne's cathedra for animation was in the process of intensitive computerization at that time. That enabled him to acquire new technologies as well as old technologies. He completed his second B.A. in 1993.
His diploma work, a cartoon "Nightbreaker" was shown at the St. Kild's Short Film Festival. His 3D animation "Live from the Countdown Site" was awarded by SBS television network. SBS also bought the copy-rights for both of his films. Both works were screened also at the Computer's Festival in Maribor in 1995.
Since 1994 he has been living in Ljubljana and working as an illustrator. In 1996 he designed a keyframe animation for a demo "Explore Europe" by DZS publishing house that was successfully screened at the EEPG (European Educational Publishers Group) promotion at the International Frankfurt's Book Fair in the same year. Later on he collaborated at demo "Living Nature" within the same group. Both keyframes were also presented at the EEPG conferences at Multimedia Fair in Cannes and the Book Fair in Bologne.
Igor Kuduz
WELCOME TO THE PEAK OF INTELLIGENCE
Umetniška stvaritev Welcome to the Peak of intelligence je niz štirinajstih statičnih kadrov kar znatne dolžine (vsekakor trajajo več kot dovolj dolgo, da se gledalec lahko popolnoma seznani z njihovo vsebino). Podlaga kadrom je omamna , ritmična glasba. Toda ta enostavni niz preprostih slik skriva v sebi zapleteno in večplastno medigro različnih kognitivnih razlag. Na primer, prvi kader prikazuje pokrajino. Njegova statičnost, poudarjena osvetlitev in barva dajejo vtis dvodimenzionalne surrealistične slike ("fotografski realizem"), toda s primesjo nadrealizma, kajti pokrajina daje vtis, da je z njo nekaj narobe. V kadru pričnemo opažeti nasprotje med "naravno" osvetlitvijo in strukturo senc, ter med "umetno" strukturo tal pokrajine. Kader, ki sledi, pa nam prika`e isti prizor, toda z drugega zornega kota. Ta kader nam sugerira možnost, da gledamo posnetek trodimezionalnega živega prostora. Vendar je slika spet statična (morska površina miruje), kričeče obarvana in v neskladju z "živo" interpretacijo. Ostaneta nam samo dve možni razlagi - ali gre za dobro narejeno maketo kar je tudi res) ali pa za računalniško generirano trodimenzionalno sliko. Toda kakorkoli že, kontarst med naravno osvetlitvijo in umetniško strukturo tal se ohranja tudi v ostalih kadriv te stvaritve, ter s tem spodbuja naše občutenje mešanice surrealističnih in superrealističnih konotacij.
Welcome to the peak of intelligence by Igor Kuduz, for example, is a sequence of 14 static images, each of prolonged duration (longer than necessary to be well perceived), underlaid by a dazing rhythmic soundtrack. In this simplistic succession of simple pictures, a complex and ambivalent interplay of different cognitive interpretations is, actually, activated. E.g., the first image, with its static nature and pronounced illumination and color of landscape scene, raises an impression of superrealist 2D paintings, but with surrealist taint, because the landscape doesn't feel "right" - there is a conflict among a "natural" illumination (and shadow textures) and artificialy of the ground texture of landscape. But the next image - showing a different aspect of the aspect of thr same scene - points to the 3D, possibly live, nature of the scene, but again, the image is static, the sky reflections in the sea are obvious static, painted, in contrast to the 3D "live" interpretation. The only plausible interpretation left is that it is either a scale model landscape or 3D computer generated image, but still, there is a conflict among the natural illumination and artificial texture of the ground - image is still imbued with the mixture of superrealist and surrealist connotations.
Vladislav Knežević
TACTILE TRANSITION
Tactile Transition sestavljajo štiri jasno razmejene sekvence. Vsaka ima svoj vodilni motiv (v prvi je to oko, v drugi žensko telo v zadnji fetišistični opravi, v tretji maska in obarvano žensko telo v zadnji) ter drugačen postopek obdelave slike in tona (v prvi je to prehod med dvema kadroma različno orientiranega očesa, v drugi postopno množenje slike ženskega telesa v prostoru, v tretji transformacija maske skozi optične motnje na TV signalu in dinamično koloristična difuzija barv v zadnji sekvenci). Film lahko razumemo kot svojevrsten fragmentarni in popolnoma abstraktni portret ženske. Lahko pa ga razumemo tudi drugače. Ker je v večini prizorov v ospredju taktilnost samega prizora ("igralke" in njenih "delov"), ki jo še dodatno poudarjajo osvetlitev kadrov, gibanje telesa in način montaže, dobimo vtis, da je taktilnost prizora v nasprotju s "taktilnostjo" obdelave elektronske slike. Ta igra ustvarja kompleksno in dvoumno integracijo skoraj ritualnih in mističnih občutkov, ki jih poudarja sugestivna zvočna podlaga.
X Tactile Transition by Vladislav Knežević is made of four sequences clearly devided, each with its own unique diegetic "theme" (an eye; women body placed in an ambient; a mask; the women body color image) and its own image-sound proccesing procedure (a wipe transitions among two shots of differently placed eye orientations; the multiplications of the BW image of a woman's body dressed in a latex costume; the changing illumination of the mask combined with "visual noise" /TV signal interruptions; a dynamic coloristic image diffusion of the woman body). It may be interpreted as a kind of a fragmented and abstract "portrait" of a women. Simple enaugh. But , in most sequences, however, the emphasized scenic "tactility" of the "actress" ("her parts") - mostly emphasized by the changing illumination, movements of the body, and editing pattern - is played against the optical "tactility" of the image processing, and this play induce a complex and ambigious integration of an almost ritualistic and - thanks to the suggestive sound space - mystical feel.
Simon Bogojević Narath
HAND OF MASTER
Narathovo delo je na prvi pogled popolnoma drugačno. Deluje kot pravi znanstveno - fantastični film, ki ga spremljata ustrezno kadriranje (decoupage) ter sugestivna scenska glasba. Toda film ima izrazite pripovedne pomanjklivosti; tok "zgodbe" ni lahko spremljati (scene ne moremo kar tako razumeti, samo dejanje in vzročno - posledični odnosi med dogajanji niso jasni, smisel večine dogajanja je potrebno uganiti). Podrugi plati opažamo izredno velik poudarek na sugestivnih aspektih vizualne zgradbe same zgodbe (skrivnostna osvetlitev in konstrukcija prostora, skrivnostna dejanja in gibi junakov zgodbe, poudarjene, toda nerazpoznavne računalniško skenirane podobe). Sam video ima tako več stičnih točk z epileptičnimi glasbenimi video - spoti ali pa s sinekdohalno- alegorijskim svetom modernističnih animiranih filmov, kot pa z znanstveno. fantastičnim filmom. Narath v nas spodbuja različna žanrska pričakovanja in jih nato na postmodernistični način izigra drugo proti drugemu. Pri tem ni nekih jasno začrtanih obveznosti napram specifičnim žanrom, temveč gre za občutek dolžnosti kultivacije kompleksnih sugestivnih prostorov, kar daje njegovemu delu specifičen pomen.
Dodatek k programu predstavlja pregled glasbenih video - spotov Vladislava Knezeviča in Simona Bogojeviča Naratha. Video - spoti so ne le način, kako materialno preživeti v današnjem času, marveč tudi izrazit prikaz temeljitih raziskav obeh avtorjev na področju računalniškega generiranja slike. Video - spoti predstavljajo bogat repertoar različnih dinamičnih podob. Video - spoti so kot slovarji vizualnega besedišča in tehnoloških ustvarjalnih spretnosti, ki jih avtorja uporabljata v svoji video produkciji. Nekatere podobe iz glasbenih video - spotov lahko zasledimo v Narathovem filmu Hand of the Master. Tudi Knezevičevo superiorno obvladovanje vizualnega oblikovanja v njegovem X Tactile Transition je verjetno izšlo iz težav, na katere je često naletel pri oblikovanju vizualne podobe video - spota.
Hand of a Master by Simon B. Narath seems to be "something completely different". At first sight it seems a straight narative SF piece, shot with the efficient shot dissection (decoupage) and suitable diegetic and nondiegetic sound space. But there is something nerratively incomplete in it: the "story line" is not easy to follow (scenes are not easily "read", interpreted; causal and intentional relationships among the presented events are not completely clear: too much has to be hypothesized). On the other hand, there is an obvious overemphasis on the suggestive aspects of the imaginal "build up" of a story (mysterious illumination and set construction of the scenes; mysterious activities and movements of characters; emphasized but unreadable computer scanning images). The piece is more similar to the elliptic world of music-clips or modernist toy animation pieces then to the populist SF feature. Narath is inducing different sets of genre expectations playing one against the other in a postmodernist fashion, without real obligation to each genre by itself, but obliged only to the cultivation of a complex space of "suggestiveness".
An additional video clip part of the programme points not only to the one way of managing the necessities of social survival by the two presented authors (Vladislav Knežević and Simon B. Narath). It points more pronouncedly to the substantial research into the computer generated imaginary. Video-clips present a rich repertory of the differentiated dynamic imagery. They almost seem as a dictionary in progress, as a constitution of a visual vocabulary and a technological, generative skills which will then be put into use in their video-art works. Actually, some images from video clips are present in Narath's Hand of a Master, and superior processing control in Knežević's X Tactile Transition is obviously due to the skill attained in solving video clip problems.
RAČUNALNIŠKE GRAFIKE UČENCEV
OSNOVNE ŠOLE BRATOV POLANČIČEV
Računalniki so v današnjem času že tako posegli v življenje ljudi da so nam lahko veliki vir informacij in hitrejšega pridobivanja znanja in spretnosti. Po njem segajo vedno bolj tudi likovni umetniki in oblikovalci, ker jim omogočajo neizmerne možnosti razvijanja in izživljanja domišlije.
Naš name ni bil ustvariti umetniško vredna dela, pa vendarle so učenci v njih nehote izrazili svoja občutja, notranje razpoloženje, veselje, nagajivost, moč, modrost, domišljavost, mirnost..., ki se prepletajo v trdih in mehkih oblikah, tanjši in debelejši črti, v statični ali dinamični kompoziciji.
Pri ustvarjanju niso bili omejeni s strogimi merili likovnega ustvarjanja. Preverjali in uporabili so samo osnovno znanje iz teorije o barvah in prav zaradi tega so nastale zanimive in dopadljive barvne kompozicije.
COMPUTER GRAPHICS FROM PRIMARY SCHOOL BRATOV POLANČIČ
Computers are nowadays very much involved into our everyday life. They represent a major source of information and a faster way of acquiring knowledge and skills. They represent as well almost an unlimited source for development and exercise of artist and designers' imagination.
Our intention was not to create an art work, but to enable our pupils to express their feelings, inner moods, happiness, joy, naughtiness, power, wisdom, boastfulness, calm... All of above can be seen in a form of hard or soft shapes, thin and thick lines or static and dynamic composition.
The pupils in involved in creation of those graphics were not limited by any kind of strict-cration rules. They recycled and use only basic knowledge of the theory of colours. Maybe this is why their work is so interesting and full of lovable and colourful compositions.
Marko Rodošek
je bil rojen leta 1974. Z računalniško grafiko se ukvarja od leta 1994. Večinoma dela z računalniki AMIGA. Njegove grafike so bile objavljene v Joker-ju, slovenski reviji za računalniške igre in v nemških revijah AMIGA Joker, AMIGA Magazin in AMIGA Plus, pri slednjih dveh je objavljen na CD ROM-ih. Udeležil se je večjih natečajev za računalniško grafiko in bil izbran v ožji izbor. Na natečaju nemške revije Amiga magazin je med 600 sodelujočimi zasedel 13. mesto, na natečaju PC&mediji pa 1. mesto. Imel je tudi razstavo na Festivalu Nova Telesnost 1996.
Marko Rodošek
was born in 1974. He is dealing with computer graphics since 1994. His work is mostly done one AMIGA computers. His graphics were published in Joker, slovenian magazine for computer games and in German magazines like AMIGA Joker, AMIGA Magazin and AMIGA Plus. In AMIGA Magazin and AMIGA Plus his graphics appeared on CD ROM. He also took part on bigger contests for computer graphics and got excellent results. On the Amiga magazin contest he was 13th under 600 taking part and 1st on the contest of PC&mediji magazin. Last year he had an exhibition on New Bodies Festival.
Paul Sermon
Biografija
Rojen je v Oxfordu, Anglija, Leta 1966. Študiral in diplomiral je iz umetnosti na Gwent College of Higher Education v Welsu od septembra 1985 do junija 1988. Za tem je od oktobra 1989 do junija 1991 opravil podiplomski študij na University of Reading v Angliji in dosegel magisterski naziv MFA (Master of Fine Arts).
Za svojo hipermedijsko instalacijo "Think about the People now" je septembra 1991 v Linzu, Avstrija, dobil nagrado Prix Ars Electronica "Golden Nica" v kategorii interaktivne umetnosti. Od februarja 1993 do novembra 1993 je deloval pod okriljem Center for Arts and Mediatechnology (ZKM) v Karlsruhe, Nemčija, in v tem času izdelal telematsko video instalacijo "Telematic Vision". Junija 1994 je na Interactive Media Festival v Los Angelesu prejel nagrado "Sparkey" za svojo telematsko video instalacijo "Telematic Dreaming".
Trenutno živi v Berlinu. Na novo ustanovljeni katedri za medijsko umetnost pri Academy of Graphic and Book Arts v Leipzigu predava telematske medije. Njegova dela so bila razstavljena v Veliki Britaniji, Franciji, Avstriji, Belgiji, Nemčiji, Kanadi, ZDA, Japonski, Finski in Nizozemski.
Paul Sermon
Biography
Born in Oxford, England, 1966. Studied BA Hon's (Bachelor of Arts) Fine Art degree at Gwent College of Higher Education, Wales, from September 1985 to June 1988. Post-graduate MFA (Master of Fine Arts) degree at The University of Reading, England, from October 1989 to June 1991.
Awarded the Prix Ars Electronica "Golden Nica", in the category of interactive art, for the hyper media installation "Think about the People now", in Linz, Austria, September 1991. Worked as an Artist in Residence and produced the telematic video installation "Telematic Vision" at the Center for Arts and Mediatechnology (ZKM) in Karlsruhe, Germany, from February 1993 to November 1993. Received the "Sparkey" award from the Interactive Media Festival in Los Angeles, for the telematic video installation "Telematic Dreaming", in June 1993.
Currently living in Berlin, working as professor for telematic media in the newly established media art department at the Academy of Graphic and Book Arts in Leipzig, Germany. Exhibited works in Great Britain, France, Austria, Belgium, Finland, Germany, Holland, Canada, USA and Japan.
Stelarc
PARAZITSKE VIZIJE
IZMENIČNE, INTIMNE IN NEPROSTOVOLJNE IZKUŠNJE
UVOD
V prejšnjih dogodkih je telo delovalo s pritrjeno tehnologijo (Tretja roka, ki so jo poganjali EMG signali), s vstavljeno tehnologijo (Trebušna skulptura - samoiluminacijska, zvok proizvajajoča naprava, ki se je odpirala, zapirala, raztegovala in krčila v trebušni votlini) in priključeno na Mrežo (telo je postalo dostopno za daljinsko upravljanje ljudem v oddaljenih krajih). Telo je postalo povečano in napadeno, sedaj pa postaja gostitelj, vendar ne le tehnologije, marveč tudi oddaljenih dejavnikov. Medmrežje omogoča ekstenzivne in interaktivne načine prikazovanja, povezovanja in pridobivanja informacij in podob, lahko pa bi omogočal tudi nepričakovane oblike dostopov in programiranja telesa samega. Internet lahko obravnavamo kot sredstvo za izpolnjevanje staromodnih metafizičnih želja po breztelesnosti, lahko pa v njem prepoznamo možne individualne in kolektivne strategije, ki nam jih ponuja za projekcijo telesne prisotnosti in za razkroj osebnosti. Lahko bi rekli, da generira novo kolektivno fizično sklepanje in telematsko izluščenje subjektivnosti. Avtentičnost takšnega telesa ne bo posledica koherence z njegovo lastno individualnostjo, marveč bo rezultat mnogoterosti sodelujočih dejavnikov. To, kar postaja pomembno, ni identiteta telesa, ampak njegova sposobnost povezovanja; ne lokacija ali mobilnost telesa, temveč njegova povezovalnost...
1. POVRŠINA IN JAZ: LEVITEV TELESA
Funkcija kože, kot površine, je nekoč bila razmejitev med svetom in jazom; bila je začetek sveta in sočasno meja, do koder seže jaz. Toda sedaj, ko je raztegnjena, preluknjana in penetrirana s tehnologijo, ko`a ne more več predstavljati gladke in občutljive površine prizorišča, niti ne deluje več kot pregrada. Ko`a `e dolgo ne pomeni več zaključka. Raztrganje površine in kože pomeni izbris notranjega in zunanjega. V notranjosti telesa je bilo vstavljeno umetniško delo. Trebušna skulptura, ki je bila izdelana za peti avstralski kiparski trienale v Melbournu, katerega tema je bila prostoru specifična skulptura, je bila vstavljena 40 cm globoko v trebušno votlino, vendar ne v funkciji protetičnega implantata, marveč kot lepotni dodatek. Telo postaja votlo; ne kot telo brez predmetov, temveč bolj kot telo z umetnostjo. Telo je izkušeno kot votlo, ne glede na javne, privatne in fiziološke prostore. Votlo telo je postalo gostitelj, ne le za jaz, marveč tudi za skulpturo. V funkciji vmesnika postaja ko`a obsoletna. Pomembnost kibernetičnega bi lahko bila vsebovana v dejanju levitve, ko se telo levi iz svoje kože. Prekritost telesa z membranami, ki bi vsebovale izmenične senzorične input/output naprave, bi omogočila intimnejšo in naprednejšo interaktivnost. Subjektivno gledano, telo občuti samega sebe bolj kot izrinjen sistem, kot pa zaprto strukturo. Jaz se nastani onkraj kože. Zaradi te izrinjenosti jaza postaja telo votlo in prazno, vendar ta praznina ni posledica pomanjkanja, temveč je nastala zaradi izrinjanja in ekstenzije sposobnosti telesa, njegove nove senzorne antene in njegovega vedno bolj oddaljenega delovanja...
2. FRAKTALNO MESO
Zamislite si telo, ki lahko izrine svojo zavest in deluje v druga telesa ali dele teles v drugih krajih. Izmenično delujoče bitje, ki je krajevno dislocirano, vendar elektronsko povezano. Gib, ki ga inicirate v Melbournu, bo prenesen in manifestiran v drugem telesu v Rotterdamu. Zamikajoča se, drseča zavest o tem, da ni povsem prisotna v tem telesu, niti ni povsem "tam" v drugih telesih. Pri tem ne mislim na fragmentirano telo, temveč na mnoštvo teles in delov teles, ki se spodbujajo in vodijo druga drugo. Pri tem ne gre za kontrolne mehanizme med gospodarjem in su`njem, marveč za povratne znake (feedback loops) izmenične zavesti, delovanje in razcepljenih fiziologij. Zamislite si, da je ena stran vašega telesa daljinsko upravljana, medtem ko druga stran lahko sodeluje z lokalnim delovanjem. Gledate del vašega telesa, kako se giblje in obenem se zavedate, da tega giba niste inicirali in tudi niste skrčili mišic, da bi ga izvedli. Zamislite si posledice in prednosti razcepljenega telesa, katerega elektrizirani del upravlja daljinski upravljalec in mu določa specifično obnašanje, neelektrizirani deli telesa pa nadzoruje periferne naprave. To bi bilo zelo kompleksno in zanimivo telo - ne eno telo z enim delovanjem, temveč gostitelj za mnoštvo oddaljenih in tujih dejavnikov, različnih fiziologij in raznih lokacij. Takšna uporaba človekovega telesa je možna in opravičljiva, pa tudi ustreznejša kot daljinsko upravljanje robota, kadar gre za specifične dejavnosti, ki naj bi se izvajale v človeku nenevarnem okolju. V takšnem primeru bi lahko bila uporaba daljinsko vodene človekova roke velika prednost pred robotom, saj bi bila takšna roka povezana z drugo roko in mobilnim, inteligentnim telesom. Zamislite si nalogo, ki bi jo pričelo izvajati telo v enem kraju, dokončalo pa drugo telo v drugem kraju. Ali pa prenos in privzgajanje določenih spretnosti, Zamislite si telo, ne kot prizorišče zapisov, temveč kot medij za manifestacijo daljinskih povzročiteljev. Takšno fizično razcepljeno telo bi lahko z eno roko neprostovoljno gestikuliralo (daljinsko vodeno preko nepoznanih povzročiteljev), medtem ko bi druga roka, ojašana z eksoskeletonsko protezo, izvajala izbrane spretnosti z ekstremno hitrostjo. Telo bi bilo sposobno inkorporirati gibe, ki bi bili v vsakem trenutku čisto mehanično gibanje in ne bi bili izvedeni niti s pomočjo spomina, niti s pomočjo želje...
3. STIMBOD (STIMULIRANO TELO)
Za realizacijo potrebujemo senzorsko vodeni sistem mišične stimulacije (a touch-screen muscle stimulation system). Ta metoda je bila razvita, da bi omogočili programiranje premikov telesa z dotikanjem muskulaturnih predelov na računalniškem modelu. Oranžno meso zaznamuje možna področja stimulacije, medtem ko rdeče meso označuje že stimulirano mišičje. Programirano zaporedje gibov se lahko neskončno ponavlja s pomočjo vprogramirane zanke. Koreografijo gibov lahko oblikujemo s pritiskanjem na zaslon, ali pa zlepimo sekvence iz knjižnice gestikulacijskih ikon. Sistem omogoča tudi analizo in evalvacijo stimuliranih programiranih gibov pred prenosom in realizacijo le-teh na telesu. Na nižjem nivoju stimulacije vse skupaj deluje kot spodbujevalni sistem. Na višjem nivoju stimulacije to postane sistem za upravljanje telesa. Pri tem ne gre več za daljinsko upravljanje s telesom, ampak lahko govorimo o konstrukciji teles z razcepljenimi fiziologijami, s katerimi upravljajo multipli upravljalci. Ali je bil Wittgenstein tisti, ki se je vprašal, kaj bi ostalo, če bi pri samem aktu dvigovanja roke odstranili namero o dvigovanju? Običajno namero dejanja povezujemo s samim dejanjem, razen v primeru instinktnega giba ali pri patološkem stanju, kot je npr. Perkinsova bolezen. Toda pri Stimbod-u bi bila namera giba prenesena v telo z drugega telesa v drugem prostoru. Dejanje bi se pojavilo nepričakovano. Dvosmerni daljinski Stimbod sistem (a two-way tele-Simbod system) bi ustvaril obsedeno in posedujoče telo - razcepljeno fiziologijo, ki bi v isti fiziologiji sodelovala in na mestu izvajala daljinsko inicirane naloge...
4. EKSTREMNA ODSOTNOST IN IZKUŠNJE TUJCA
Stimbod bi bil votlo telo; telo-gostitelj, ki bi služilo projekciji in izvedbi naročil daljinskih povzročiteljev. Lokalna anastezija in otrpla roka sta patološki stanji, pri katerih pacijent ne čuti delov svojega telesa oz. jih ne čuti kot svoje, ker niso pod njegovo kontrolo. Stanje lahko označimo tudi kot pomankanje fiziologije na eni, ter pomanjkanje delovanja na drugi strani. Stimbod ne bi imel le ratcepljene fiziologije, marveč bi dele damega sebe občutil kot automatizirane, odsotne in tuje. Težava ne bi bila v razcepljeni psihologiji, temveč v razcepljeni fiziologiji. V naši platonski, certesianski in freudovski preteklosti bi tak pojav šteli za patološkega, toda v naši foucauldianski sedanjosti se raje osredinimo na vpis in kontrolo telesa. Toda na področju kibernetične kompleksnosti, v katerem pravkar prebivamo, neprimernost in obsoletnost z egom vodenega biološkega telesa ne bi mogli biti bolj očitna. Tranzicija psihičnega telesa v kibernetični sistem postaja nujna, če naj bi telo učinkovito in intuitivno delovalo tudi v oddaljenih vesoljih, ekstremno hitrih situacijah in kompleksnih tehnoloških področjih. Na seminarju o seksu in medicini v Melbournu me je Sandy Stone vpra{ala, kakšne bi bili kibernetično-seksualne implikacije Stimbod sistema. Ne da bi prej razmišljal o tem, sem ji poskušal razložiti, kako bi to lahko potekalo. Če bi bil jaz v Melbournu in Sandy v New Yorku, bi moje dotikanje lastnega prsnega ko{a njo vzpodbudilo k božanju njenih prsi. Nekdo, ki bi jo opazoval, bi si lahko to dejanje razlagal kot samozadovoljitev, kot masturbacijo. Venadar bi ona vedela, da je njena roka daljinsko - in morda tudi božansko - upravljanje. S pomočjo otipa in močnega feedbacka bi tudi jaz, preko druge osebe v drugem kraju, občutil svoj dotik kot drugotno in dodatno občutje. Ali na kratko - ko bi občutil svoj prsni koš, bi hkrati občutil tudi njene prsi. Intimnost skozi vmesnik, intimnost brez neposredne bližine. Spomnite se, da Stimbod ni le občutje dotika, marveč je sistem za upravljanje telesa. Ali se telo lahko kosa z izkušnjo ekstremne odsotnosti in tujega delovanja, ne da bi postalo obsedeno s staromodnimi metafizičnimi strahovi in željo po individualnosti in svobodnem delovanju? Stimbod bi moral izkušati svojo dejanskost v nepopolni prisotnosti v tem ali drugem telesu, torej bi se moral občutiti kot delno prisoten tu in delno projeciran v drugem telesu. To bi bil operativen sistem prostorsko distributiranih, toda elektronsko povezanih nizov teles, ki bi plavala v zavedanju in bi jih povečevali in širili razni tuji povzročitelji...
5. PING BODY / PROTO-PARAZIT
Leta 1995 so v okviru eksperimenta Telepolis ljudje v Pompidou Centru (Pariz), v Media Labu (Helsinki) in na konferenci Doors of Perception (Amsterdam) lahko daljinsko upravljali to telo v Luxembourgu s pomočjo senzorsko vodenega sistema mišične stimulacije. ISDN Picturetel je omogočil telesu, da je gledalo obraz osebe, ki ga je premikala, medtem ko so programerji lahko opazovali njihovo daljinsko koreografijo.
(Čeprav so bili ljudje prepričani, da povzročajo le gibanje telesnih okončin, so v resnici tudi komponirali zvoke, ki so jih slišali, ter podobe telesa, ki so jih videli na zaslonu. Telo je bilo opremljeno s sponzorji, elektrodami in pretvorniki na nogah, rokah in glavi. Le-ti so sprozali vzorčene telesne signale in zvoke, kar je telo spremenilo v video-napravo. Čeprav so ljudje v drugih krajih lahko premikali le desno stran telesa, je le-to lahko odgovorilo z aktiviranjem Tretje roke, ki se je napajala skozi elektrode na abdominalnih mišicah in na mišicah leve noge. To razcepljeno telo se je tako manifestiralo kot kombinacija neprostovoljnih, daljinsko upravljanih, improviziranih in EMG stimuliranih mišičnih gibov).
Ping telo - medmrežno aktiviran in voden performance (prvič izveden za Digital Aesthetics v Sydneyu, pa tudi za DEAF v rotterdamu 1996) ni bilo spodbujeno preko drugih teles v drugih krajih. Koreografijo in kompozicijo performanca je vodilo medmrežje samo. Naključno vključevanje (pining) v preko 30 globalnih medmrežnih področij je povzročalo vrednost 0 - 2000 milisekund, ki so se odslikovale na deltoidnih mišicah, bicepsih, mišicah upogibalkah, podkolenskih kitah in mečih. Vrednosti so se pretvarjale v električne impulze 0 - 60 voltov in sprožale neprostovoljne premike telesa. Gibe je še dodatno ojačeval midi vmesnik, ki je meril položaj, bližino in nagib okončin. Telo se aktivira in naelektri, kakor hitro uporabnik medmrežja na določenem področju prikliče informacije oz. slikovni material iz medmrežne datoteke. Odboj signalov povečanega prostorskega in električnega sistema telematsko premeri, stimulira in raztegne telo. Običajen odnos z medmrežjem je obrnjen na glavo. Namesto, da bi ljudje s svojimi dejanji konstruirali medmrežje, sedaj le-to ustvarja gibanje enega telesa. Telo postane vez za medmrežno dejavnost; njegova aktivnost pa statistični konstrukt računalniškega medmrežja...
6. PARAZIT: DOGODEK ZA OKUPIRANO IN NEPROSTOVOLJNO TELO
Standardizirani iskalnik je bil konstruiran tako, da je iskal, izbiral in prikazoval podobe telesu, ki je delovalo v interaktivnem video področju. Analiza JPEG kartotek je omogočila vrsto podatkov, ki so bili preneseni na telo preko sistema za mišično stimulacijo. Podatki so vstopali v telo skozi optični in električni kanal. Podobe, ki jih vidiš, so podobe, ki te premikajo. Zamislite si vizualno sposobnost telesa, povečano in prilagojeno paralelni virtualnosti, ki se sama povečuje in intenzivira, da bi dosegla kompenzacijo za somrak realnega sveta. Predstavljajte si iskalnik, ki iz WWW izbira podobe telesa in tako ustvarja metatelo, ki nato premika fizično telo. Reprezentacije telesa poganjajo fiziologijo telesa. Posledica je gibanje, ki se zrcali v VRML prostoru na prizorišču performanca in se tudi nalaga v mrežo kot možen ter obnovljiv vir podob za reaktivacijo telesa. Originalni zvoki so vstavljeni med vzorčne telesne signale in zvoke, ki nastajajo v senzorjih pritiska, bližine, upogibanja in hitrosti. Fizikalnost telesa omogoča povratne zanke interaktivnim nevronom, živčnim končičem, mišicam, prevodnikom in mehanizmu Tretje roke. Ta sistem elektronsko poveča optične in operativne parametre telesa preko kibernetične povečave telesa v obliki Tretje roke ter drugih perifernih naprav. Protezi Tretje roke je zoperstavljena proteza iskalnikovega softwara. Ko ga vključimo, postane telo parazit, ki ga vzdržuje razširjen eksterni virtualni živčni sistem. Parazit je bil prvič predstavljen za Virtual World Orchestra v Glasgowu. Za tem je bil predstavljen tudi v The Studio of Creative Inquiry, Carnegie Mellon University, Wood Street Galleries v Pittsburgu in na Festival Atlantico v Lisboni...
7. FANTOMSKA TELESA IN KOLEKTIVNE STRATEGIJE
Za dosedanje povezovanje in komunikacijo teles preko medmrežja je značilna akutna odsotnost fizične prisotnosti. To ni avtentično razvijajoča se odsotnost, ki rezultira pri učinkovito delujočem telesu v realnosti. Odsotnost Telesa v medmrežju je odsotnost neprimernosti oziroma neustreznost določenih povratnih zank. Ko bomo uspeli proizvesti razločnejše podobe, zvoke, občutek tipa in občutek sile med telesi, bomo sposobni generirati orjaške fantomske prikazni - pa ne fantome v fantazmagoričnem smislu, temveč bolj podobne občutku fantomskih okončin. Občutku tujega telesa, zavlečenega v svojo kožo in v živčne končiče, ki uničuje psihološko in prostorsko razdaljo med telesi v mreži. Telesa si bodo generirala fantomske partnerje zaradi želje po povečanju svoje lastne fiziologije, prav tako kot pacienti po amputaciji čutijo fantomske ude. Vaša aura ne bo več samo vaša. Samo skozi konstrukcijo fantomov bomo lahko začutili in izkusili ekvivalent naši razvijajoči se odsotnosti, saj uspešno telo deluje avtomatsko. Danes morajo telesa delovati v tehničnih področjih in podatkovnih strukturah, ki so daleč nad človekovo sposobnostjo, in kjer sta intencija ter dejanje samo združena v pospešen odgovor. Telesa delujejo brez pričakovanj, producirajo gibe brez spomina. Ali telo lahko deluje brez čustev? Ali mora telo neprestano vzdrževati svoj emocionalni, družbeni in biološki status quo? Morda pa potrebujemo elektronski izbris vsega in nove, domače in ponotranjene vmesnike, ki bi omogočili kreacijo novega telesa s primernejšimi vhodi in izhodi za delovanje ter zavest, ki bi bila povečana s pomočjo iskalnikov. Zamislite si telo, ki bi bilo na novo načrtovano in ustvarjeno - ne v genetičnem spominu, temveč v elektronskem vezju. Kaj pa telo, ki bi bilo tesno povezano z WWW, telo, v katerem bi se porajali in mešali daljni šepeti in oddaljeni vzgibi drugih teles v drugih krajih. Telo, ki ga informirajo pajki, vsevedni roboti (knowbots) in fantomi...
8. OPERACIONALNO MEDMREŽJE / INTELIGENTNI SISTEM
Zamislite si medmrežje, ki bi bilo skonstruirano tako, da bi avtomatsko skeniralo, izbiralo in preklapljalo med seboj povezane nize priključenih teles v realnem času (velikost in kvalificiranost izbranih nizov bi bila odvisna od naloge, ki naj bi jo opravili). Ali telo lahko prenese množico povzročiteljev - tekočo ali plavajočo zavest, ki pulzira glede na število vključenih oziroma izključenih povzročiteljev? Zavest in povzročitelji bi se zamenjevali in delili v elektronskem prostoru distribuirane inteligence. Takšno medmrežje bi preseglo sedanjo obliko podatkovne avtoceste in bi postalo oblika transdukcije, saj bi sprožalo fizično interakcijo med telesi. Elektronsko okolje kot domena delovanja, ne le kraljevstvo informacije. Zamislite si telo, ki je odprto in zavedajoče se, napadeno, razširjeno in zmožno večjega delovanja. Predstavljajte si telo, katerega zavest bi izrinili nadomestni roboti in bi delovalo v situacijah in prostorih, kamor nobeno drugo telo ne more. Ti stroji bi s svojimi raznovrstnimi senzorji, manipulatorji in hibridnimi gibi eksponantno pomnožili svoje operacionalne sposobnosti. S tem bi povečali subtilnosti, kompleksnosti in hitrost človekovih dejanj. Morda pa biti človeški ne pomeni ohraniti človeštvo...
ZAHVALA
Stelarc ima naziv Visiting Fellow (gostujoči profesor) pri Studiu za kreativne raziskave pri Carnegie Mellon University. Prav tako predava na Visual Arts/ Craft Board pri Australia Council. Njegovo umetniško produkcijo zastopa Sherman Galleries iz Sydneya. Stimbod je bili izdelan s pomočjo Troy Innocent at Empire Ridge, Melbourne. The Muscle Stimulation System je bil dizajniran pri Bio-Electronic, Logitronic and Rainer Linz, Melbourne. Ohišje je pomagal izdelati Jason Petterson. Tele-Stimbod, Ping Body in Parasite software so razvili Jeffrey Cook, Sam de Silva, Gary Zebbington in Dimitri Aronov iz Merlin Group v Sydneyu.
BIOGRAFIJA
Stelarc je uporabljal medicinske instrumente, proteze, virtualno realnost in medmrežje, da bi raziskal, razširil in povečal operacionalne parametre telesa. V letih 1996 in 1997 je nastopal pri Digital Aesthetics v Sydneyu, Totally Wired v Londonu, Northern Electric Dance v Newcastlu, High Voltage v Amsterdamu, Wunschmaschine na Dunaju, New Bodies v Mariboru, DEAF 96 v Rotterdamu, Virtual World Orchestra v Glasgowu, Studio for Creative Inquiry, Wood Street Galleries v Pittsburgu, WRO 97- Media Art Biennale v Wroclawu, Festival Atlantico v Lisboni in za NTT-ICC v Tokiu. Do sedaj Je interaktivno nastopal s Tretjo roko, Robotskim manipulatorjem, Virtualno roko, Virtualnim telesom in Trebušno skulpturo. Nedavno je razvil Multiple Muscle Stimulation System, ki deluje preko senzorskega ekrana, in omogoča daljinsko upravljanje, poganjanje in koreografijo telesa. Performanci, kot sta Ping Body in Parazit, preizkušajo možnosti telematskega določanja in načrtovanja razširjenega, eksternega in virtualnega živčnega sistema za telo, ki uporablja medmrežje.
Stelarc
PARASITE VISIONS
ALTERNATE, INTIMATE AND INVOLUNTARY EXPERIENCES
INTRODUCTION- In previous actions the body has performed with technology attached (the Third Hand- actuated with EMG signals), technolology inserted (the Stomach Sculpture- a self-illuminating, sound-emitting, opening/closing, extending and retracting mechanism operating in the stomach cavity) and Net-connected ( the body becoming accessed and remotely activated by people in other places). The body has been augmented, invaded and now becomes a host- not only for technology, but also for remote agents.
Just as the Internet provides extensive and interactive ways of displaying, linking and retrieving information and images it may now allow unexpected ways of accessing, interfacing and uploading the body itself. And instead of seeing the Internet as a means of fulfilling out-moded metaphysical desires of disembodiement, it offers on the contrary, powerful individual and collective strategies for projecting body prescence and extruding body awareness. The Internet does not hasten the disappearance of the body and the dissolution of the self- rather it generates new collective physical couplings and a telematic scaling of subjectivity. Such a body's authenticity will not be due to the coherence of its individuality but rather to its multiplicity of collaborating agents.What becomes important is not merely the body's identity, but its connectivity- not its mobility or location, but its interface....
1. SURFACE AND SELF: THE SHEDDING OF SKIN- As surface, skin was once the beginning of the world and simultaneously the boundary of the self. But now stretched, pierced and penetrated by technology, the skin is no longer the smooth and sensuous surface of a site or a screen. Skin no longer signifies closure. The rupture of surface and skin means the erasure of inner and outer. An artwork has been inserted inside the body. The Stomach Sculpture- constructed for the Fifth Australian Sculpture Triennale in Melbourne, whose theme was site-specific work- was inserted 40cm into the stomach cavity. Not as a prosthetic implant but as an aesthetic addition. The body becomes hollow- not the BWO but rather a body with art. The body is experienced as hollow with no meaningful distinctions between public, private and physiological spaces. The hollow body becomes a host, not for a self but simply for a sculpture. As interface, the skin is obsolete.The significance of the cyber may
well reside in the act of the body shedding its skin. The clothing of the body with membranes embedded with alternate sensory and input/ output devices creates the possibility of more intimate and enhanced interactivity. Subjectively, the body experiences itself as a more extruded system, rather than an eclosed structure. The self becomes situated beyond the skin. It is partly through this extrusion that the body becomes empty. But this emptiness is not through a lack but from the extrusion and extension of its capabilities, its new sensory antennae and its increasingly remote functioning....
2. FRACTAL FLESH - Consider a body that can extrude its awareness and action into other bodies or bits of bodies in other places. An alternate operational entity that is spatially distubuted but electronically connected. A movement that you initiate in Melbourne would be displaced and manifested in another body in Rotterdam. A shifting, sliding awareness that is neither "all-here' in this body nor "all-there" in those bodies. This is not about a fragmented body but a multilplicity of bodies and parts of bodies prompting and remotely guiding each other. This is not about master-slave control mechanisms but feedback-loops of alternate awareness, agency and of split physiologies. Imagine one sideof your body being remotely guided whilst the other side could collaborate with local agency. You watch a part of your body move but you have neither initiated it nor are you contracting your muscles to produce it. Imagine the consequences and advantages of being a split body with voltage-in, inducing the behaviour of a remote agent and voltage-out of your body to control peripheral devices. This would be a more complex and interesting body- not simply a single entity with one agency but one that would be a host for a multipicity of remote and alien agents. Of different physiologies and in varying locations. Certainly there may be justification, in some situations and for particular actions to tele-operate a human arm rather than a robot manipulater- for if the task is to be performed in a non-hazardous location, then it might be an advantage to use a remote human arm- as it would be attached to another arm and a mobile, intelligent body. Consider a task begun by a body in one place, completed by another body in another place. Or the transmission and conditioning of a skill. The body not as a site of inscription but as a medium for the manifestation of remote agents. This physically split body may have one arm gesturing involuntarily (remotely acutated by an unknown agent), whilst the other arm is enhanced by an exoskeleton prosthesis to perform with exquisite skill and with extreme speed. A body capable of incorporating movement that from moment t o moment would be a pure machinic motion performed with neither memory nor desire....
3. STIMBOD - What makes this posible is a touch-screen muscle stimulation system. A method has been developed that enables the body's movements to be programmed by touching the muscle sites on the computer model. Orange flesh maps the possible stimulation sites whilst red flesh indicates the actuated muscle(s). The sequence of motions can be replayed continuously with its loop function. As well as choreography by pressing, it is possible to paste sequences together from a library of gesture icons. The system allows stimulation of the programmed movement for analysis and evaluation before transmission to actuate the body. At a lower stimulation level it is a body prompting system. At a higher stimulation level it is a body actuation system. This is not about remote-control of the body, but rather of constructing bodies with split physiologies, operating with multiple agency. Was it Wittgenstein who asked if in raising your arm you could remove the intention of raising it what would remain? Ordinarily, you would associate intention with action (except, perhaps in an
instinctual motion- or if you have a pathological condition like Parkinson's disease). With Stimbod, though, that intention would be transmitted from another body elsewhere. There would be actions without expectations. A two-way tele-Stimbod system would create a possessed and possessing body- a split physiology to collaborate and perform tasks remotely initated and locally completed- at the same time in the one physiology....
4. EXTREME ABSENCE AND THE EXPERIENCE OF THE ALIEN - Such a Stimbod would be hollow body, a host body for the projection and performance of remote agents. Glove Anaethesia and Alien Hand are pathological conditions in which the patient experiences parts of their body as not there, as not their own, as not under their own control- an absence of physiology on the one hand and an absence of agency on the other. In a Stimbod not only would it posses a split physiology but it would experience parts of itself as automated, absent and alien. The problem
would no longer be possessing a split personality, but rather a split physicality. In our Platonic, Cartesian and Freudian pasts these might have been considered pathological and in our Foucauldian present we focus on inscription and control of the body. But in the terrain of cyber complexity that we now inhabit the inadequacy and the obsolescence of the ego-agent driven biological body cannot be more apparent. A transition from psycho-body to cybersystem becomes necessary to function effectively and intuitively in remote spaces, speeded-up situations and complex technological terrains. During a Sexuality and Medicine Seminar in Melbourne, Sandy Stone asked me what would be the cyber-sexual implications of the Stimbod system? Not having thought about it before I tried to explain what it might be like. If I was in Melbourne and Sandy was in NY, touching my chest would prompt her to caress her breast. Someone observing her there would see it as an act of self-gratification, as a masturbatory act. She would know though that her hand was remotely and perhaps even divinely guided! Given tactile and force-feedback, I would feel my touch via another person from another place as a secondary and additional sensation. Or, by feeling my chest I can also feel her breast. An intimacy through interface, an intimacy without proximity. Remember that Stimbod is not merely a sensation of touch but an actuation system. Can a body cope with experiences of extreme absence and alien action without becoming overcome by outmoded metaphysical fears and obsessions of individuality and free agency? A Stimbod would thus need to experience its actuality neither all-present-in this-body, nor all-present-in-that-body, but partly-here and projected-partly-there. An operational system of spatially distributed but electronically interfaced clusters of bodies ebbing and flowing in awareness, augmented by alternate and alien agency....
5. PING BODY / PROT0-PARASITE - In 1995 for Telepolis, people at the Pompidou Centre (Paris), the Media Lab (Helsinki) and the Doors of Perception conference (Amsterdam), were able to remotely access and actuate this body in Luxembourg, using the touch-screen interfaced muscle stimulation system. ISDN Picturetel links allowed the body to see the face of the person who was moving it whilst the programmers could observe their remote choreography. (Although people thought they were merely activating the body's limbs, they were inadvertently composing the sounds that were heard and the images of the body they were seeing- for the body had sensors, electrodes and transducers on its legs, arms and head that triggered sampled body signals and sounds and that also made the body a video switcher and
mixer. And although people in other places were performing with the RHS of the body, it could respond by actuating its Third Hand, voltage-out from electrodes positioned on its abdominal and LHS leg muscles. This Split Body then was manifesting a combination of involuntary - remotely guided, improvised and EMG- muscle initiated motor motions). In Ping Body- an Internet Actuated and Uploaded Performance, (performed first for Digital Aesthetics in Sydney, but also for DEAF in Rotterdam in 1996), instead of the body being prompted by other bodies in other places, Internet activity itself choreographs and composes the performance. Random pinging to over 30 global Internet domains produce values from 0-2000 milliseconds that are mapped to the deltoid, biceps, flexors, hamstring, and calf muscles - 0-60 volts initiating involuntary movements. The movements of the body are amplified, with a midi interface measuring position, proximity and bending angle of limbs. Activated by Internet datana the body is uploaded as info and images to a Web site to be viewed by other people elsewhere. The body is telematically scaled-up, stimulated and stretched by reverberating signals of an inflated spatial and electrical system. The usual relationship with the Internet is flipped- instead of the Internet being constructed by the input from people, the Internet constructs the activity of one body. The body becomes a nexus for Internet activity- its activity a statistical construct of computer networks.....
6. PARASITE: EVENT FOR INVADED AND INVOLUNTARY BODY- A customized search engine has been constucted that scans, selects and displays images to the body-which functions in an interactive video field. Analyses of the JPEG files provide data that is mapped to the body via the muscle stimulation system. There is optical and electrical input into the body. The images that you see are the images that move you .Consider the body's vision, augmented and adjusted to a parallel virtuality which increases in intensity to compensate for the twilight of the real world. Imagine the search engine selecting images of the body off the WWW, constructing a metabody that in turn moves the physical body. Representations of the body actuate the body's physiology.The resulting motion is mirrored in a VRML space at the performance site and also uploaded to a Web site as potential and recursive source images for body reactivation. RealAudio sound is inserted into sampled body signals and sounds generated by pressure, proximity, flexion and accelerometer sensors. The body's physicality provides feedback loops of interactive neurons, nerve endings, muscles, transducers and Third Hand mechanism. The system electronically extends the body's optical and operational parameters beyond its cyborg augmentation of its Third Hand and other peripheral devices. The prosthesis of the Third Hand is counterpointed by the prosthesis of the search engine software code. Plugged-in, the body becomes a parasite sustained by an extended, external and virtual nervous system. Parasite was first performed for Virtual World Orchestra in Glasgow. It has also been presented for The Studio for Creative Inquiry, Carnegie Mellon University at the Wood Street Galleries in Pittsburgh and for Festival Atlantico in Lisbon...
7. PHANTOM BODIES AND COLLECTIVE STRATEGIES- Previously connection and communication with other bodies on the Internet was only textual, with an acute absence of physical presence. This was not the experience of authentic evolved absence that results in an effectively operating body in the real word - absence of the body on the Internet is an absence of inadequacy, that is an inadequacy of appropriate feedback-loops. As we hard-wire more high-fidelity image, sound, tactile and force-feedback sensation between bodies then we begin to generate powerful phantom presences- not phantom as in phantasmagorical, but phantom as in phantom limb sensation. The sensation of the remote body sucked onto your skin and nerve endings, collapsing the psychological and spatial distance between bodies on the Net. Just as in the experience of a Phantom Limb with the amputee, bodies will generate phantom partners , not because of a lack, but as extending and enhancing addition to their physiology. Your aura will not be your own. It will only be through the constuction of phantoms that the equivalent of our evolved absence will be experienced, as we function increasingly powerfully and with speed and intuition (a successful body operates automatically). Bodies must now perform in techno-terrains and data-structures beyond the human-scale where intention and action collapse into accelerated responses. Bodies acting without expectation, producing movements without memory. Can a body act without emotion? Must a body continuously affirm its emotional, social and biological status quo? Or perhaps what is necessary is electronic erasure with new intimate, internalized interfaces to allow for the design of a body with more adequate inputs and outputs for performance and awareness augmented by search engines. Imagine a body remapped and reconfigured- not in genetic memory but rather in electronic circuitry. What of a body that is intimately interfaced to the WWW- and that is stirred and is startled by distant whispers and remote promptings of other bodies in other places. A body that is informed by spiders, knowbots and phantoms....
8. OPERATIONAL INTERNET/ INTELLIGENT SYSTEM- Consider the Internet structured so that it would scan, select and switch- automatically interfacing clusters of on-line bodies in real-time (the size and expertise of the clusters selected for the task to be performed). Can a body cope with the multiplicity of agents- a fluid and flowing awareness that dims and intensifies as agents are connected and disconnected? Awareness and agency would be shifted and shared in an electronic space of distributed intelligence. The internet becomes not merely a means of information transmission, but a mode of transduction- affecting physical action between bodies. Electronic space as a realm of action, rather than information. Imagine a body that is open and aware, invaded, augmented and with extended operation. Consider a body whose awareness is extruded by surrogate robots in situations and spaces where no body could go. These machines with arrays of sensors, manipulaters and hybrid locomotion would exponentially multiply the operational possibilities- scaling-up the subtlety, speed and complexity of human action. Perhaps what it means to be human is about not retaining our humanity....
ACKNOWLEDGEMENTS- Stelarc is presently a Visiting Fellow at the Studio For Creative Inquiry at Carnegie Mellon University. He has received a three year Fellowship from the Visual Arts/Craft Board, Australia Council. His artwork is solely represented by the Sherman Galleries, in Sydney. Stimbod was developed with the assistance of Troy Innocent at Empire Ridge in Melbourne. The Muscle Stimulation System circuitry was designed by Bio-Electronics, Logitronics and Rainer Linz in Melbourne with the box fabricated with the assistance of Jason Patterson. Tele-Stimbod, Ping Body and Parasite software was developed by Jeffrey Cook, Sam de Silva, Gary Zebbington and Dimitri Aronov from the Merlin group in Sydney.
ARTISTS BIOGRAPHY
Stelarc has used medical instruments, prosthetics, Virtual Reality systems and the Internet to explore, extend and enhance the body's operational parameters. In 1996 and 1997, he has performed for Digital Aesthetics in Sydney; Totally Wired in London; Northern Electric Dance in Newcastle; High Voltage in Amsterdam; Wunschmaschine in Vienna; New Bodies in Maribor; DEAF'96 in Rotterdam; Virtual World Orchestra in Glasgow; Studio for Creative Inquiry, Wood Street Galleries in Pittsburg; WRO'97- Media Art Biennale in Wroclaw; Festival Atlantico in Lisbon and for NTT- ICC in Tokyo. He has interactively performed with a Third Hand, Robot Manipulaters, a Virtual Arm, a Virtual Body, and a Stomach Sculpture. He has recently developed a touch-screen interfaced Multiple Muscle Stimulation system, enabling remote access, actuation and choreography of the body. Performances such as Ping Body and Parasite probe notions of telematic scaling and the engineering of extended, external and virtual nervous systems for the body using the Internet.
TELEMATIC DREAMING - Izjava
Telematic Dreaming je bil originalno produciran po naročilu za vsakoletno poletno razstavo organizirano z strani finskega ministerstva za kulturo v Kajaani, kateremu je pomagal Telecom Finske, junija 1992. Naslov teme razstave izhaja iz poema "DOM", tako kot ga razlaga Jean Baudrillard v svojem eseju "The Ecstasy of Comunnication".
Opis instalacije se začne s citatom iz drugega Baudrillardovega eseja, ki predstavlja začetno točko za Telematic Dreaming, v katerem interpretira sebe kot kritiko eseja.
"The celibacy of the machine brings about the celibacy of "Telematic Man". Exactly as he grants himself the spectacle of his brain and of his intelligence as he sits in front of the computer or word-processor, the "Telematic Man" gives himself the spectacle of his fantasies and of a virtual "jouissance" or intelligence in the interface with the machine. The Other, the sexual or cognitive interlocutor, is never really aimed at - crossing the screen evokes the crossing of the mirror. The screen itself is targeted as the point of interface. The machine (the interactive screen) transforms the process of communication, the relation from one to the other, into a process of communication, ie. the process of reversibility from the same to the same. The secret of the interface is that the Other is within it virtually the Same - otherness being surreptitiously confiscated by the machine."
Jean Baudrillard
Telematic Dreaming je instalacija, ki deluje znotraj ISDN digitalnega telefonskega omrežja. Dva ločena interfaca sta locirana na ločenih lokacijah. Sama po sebi sta dinamični instalaciji, ki funkcionirata kot kostumirana video - konferencijska sistema. Dvojna postelja je locirana znotraj obeh lokacij; ena v zatemnjenem prostoru, druga pa v razsvetljenem. Točno nad posteljo v svetlem prostoru je nameščena kamera, ki pošilja sliko postelje in osebe A, ki leži na tej postelji v video projektor nameščen nad posteljo locirano v zatemnjenem prostoru. Živa video slika je projecirana na posteljo na kateri se nahaja oseba B. Druga kamera nameščena ob video projektorju pošilja živo video sliko osebe A skupaj z osebo B nazaj do monitorjev, ki obkrožajo posteljo z osebo A v razsvetljenem prostoru. Teleprisotna slika funkcionira znotraj refleksije druge osebe.
Telematic Dreaming se namerno igra z dvoumnim simboliziranjem postelje kot teleprisotne projekcijske površine. Psihološka kompleksnost objekta opušča geografsko razdaljo in tehnologijo vključeno v kompletno ISDN instalacijo. Sposobnost obstoja izven uporabnikovega prostora in časa je kreirana z vznemirljivo realnim občutkom dotika, ki je poudarjen z kontekstom postelje in povzročen od akutne spremembe občutkov v telematskem prostoru. Uporabnikova zavest je znotraj teleprisotnega telesa kontrolirana od voyeurizma samega. Vzročno in efektivno medsebojno vplivanje telesa določa svoj lastni prostor in čas, z povečanjem tega skozi ISDN omrežje; telo potuje z svetlobno hitrostjo in se locira kjerkoli lahko medsebojno vpliva. V Telematic Dreamingu uporabnik zamenjuje svoja občutja in tip ter jih nadomesti z vidom.
TELEMATIC DREAMING - Zapiski in pomembne točke
Telekomunikacijska umetnost - zgodno omrežje - smrt avtorja
Delo se je začelo iz suma da umetniško delo ne predstavi enega mišljenja enega autorja (Death of an author; Roland Barthes); odvisno od njegovega politično-socialnega in psihičnega konteksta bodo občinstvo in kritiki ustvarili nova mnenja in interpretacije - umetniško delo, kot je povedal Marcel Duchamp, je vedno v stanju toka. Interaktivne telekomunikacijske umetnosti potrjujejo to trditev. Od začetkov v zgodnjih 70-ih, z projekti, ki so bazirali na preprosti izmenjavi tekstov med artisti/gledalci - uporabniki, do novih možnosti z grafikami, videom in audiom po internetu.
Umetniško delo ali kontekst - udeležba občinstva kreira umetniško delo
Vloga artista kot idejnega stvaritelja in skrbnika ni več primerna. V Telematic Dreamingu je njegova vloga, vloga kreatorja konteksta. Konteksta, ki definira visoki potencial za uporabnikovo posredovanje v podani situaciji ali na specifični subjekt. Vloga telematskega umetnika ali kreatorja konteksta je konstruiran dinamični sistem v katerem ima uporabnik neizmerno količino neomejenih interaktivnih možnosti. Ta kontekst mora biti razumljiv v socialnem okolju, takem kot je postelja ali kavč, da služi kot uspešen interface za občinstvo. Telematic Dreaming je prazen prostor brez udeležbe občinstva. Je kompleksni dinamični sistem interaktivnega potenciala. To pa ni dokler uporabnik ne vstopi v kontekst tako da oživi dinamika sistema.
Semiotična intenzivnost postelje kot objekta zvišuje telematsko izkušnjo
Postelja je objekt, ki je razumljiv v vseh socialnih in kulturnih kontekstih. Njen semiotični jezik se spreminja od otroškega konteksta varnosti do bolj kompleksnih kontekstov zasebnosti, intimnosti in sproščenosti. Ko se tak "nabit" objekt uporabi kot telematski interface je uporabnik soočen z kompleksnostjo objekta/interfaca in ne z kompleksnostjo tehnologije. Telematska izkušnja komunikacije je zvišana ko je sekundarno vključena tehnologija napram primarni točki pomembnosti; postelja kot interface. Tehnologija izgine in postane nevidna. Postelja je zelo intenzivni objekt. Uporabniki so včasih naklonjeni za vstop v Telematic Dreaming, ne zaradi video tehnologije pač pa zaradi potencialnega posredovanja postelje v javnosti.
Tehnologija medija kot jezik postane nevidna
Tehnologija medija postane nevidna na isti način kot je tehnologija jezika. Realnost je vedno bila zaznavna skozi tehnologijo. Ne tehnologijo silikonskih čipov ali binarnih kod, pač pa tehnologijo jezika. Francoski linguist Ferdinand de Saussure je razložil da realnost ne obstoja dokler je jezik ne definira. Na isti način realnost ne obstoja dokler je ne definira medij. Tehnologija jezika je nevidna in je lahko samo poskus dekonstruirati od uspehov semiologije, analiza, ki sama sebe definira z jezikom. Tehnologija media je v istem procesu izginjanja in bo postala vedno bolj težka za vizualizirat in dekonstruirat.
Vzrok in efekt - določitev zavesti
Tam kjer obstaja telo in znotraj tega biva zavest, telo povzroči efekt. Zaradi tega, kjerkoli telo medsebojno deluje obstoja tudi njegova zavest. Določitev je včasih težka , ko se nanaša na vzrok in efekte posameznika. Ostaja pa ista kljub vzrokom in efektom posameznika čez tekste, zvoke in podobe na računalniškem omrežju. Kot primer; Telematic Dreaming je precej lažje razumeti ker predstavlja medsebojno vplivanje telesa na razdaljo v psihični obliki. Ko uporabnik seže z roko medsebojno deluje, ne v lokalnem prostor pač pa v oddaljenem. Ko povzroči efekt drugemu psihičnemu telesu v oddaljeni lokaciji je razvidno kjer biva njuna zavest.
Vstopanje in izstopanje v Telemati Dreamingu
Včasih je težko za uporabnika da prelomi svojo koncentracijo in se vrne k zavesti svojega lokalnega telesa, da tako zapusti instalacijo. Obratno pa je težko vstopiti v instalacijo medtem ko gledalci opazujejo vstopati tvojo zavest. Za uporabnika sta vstopanje in izstopanje najbolj neugodni točki Telematic Dreaminga. Po kratkem času na postelji uporabnikova zavest ni več koncentrirana na bližnje okolje ampak na oddaljeno telematsko.
Občutki vida in tipa so nadomeščeni - tipanje z očmi
V Telematic Dreamingu se nahaja proces očutenja sprememb. Občutek tipa dela z očmi. Občutek spremembe ni nič novega, oseba, ki je izgubila svoj občutek vida bo kompenzirala z uporabo ostalih čutov, najverjetneje z čutom sluha. Človeški občutki, notranji in zunanji, so dosti bolj kompleksni in prilagodljivi kot se nam zdi, ko gre za raziskovalno vodenje do transcedentalnih nivojev uma. V Telematic Dreaming uporabnik opazuje premikanje telesa zunaj njega na monitorju, ki predstavlja teleprisotni posnetek. Oko deluje kot senzorski sprejemnik premikanja in vzrok ter efekt tipa.
ISDN situacije so bolj zaželjene - zamuda kreira več
Pri vseh desetih priložnostih na katerih je Telematic Dreaming bil razstavljen od njegove realizacije na Finskem 1992, je povezava potekala preko ISDN linije. ISDN povezava omogoča instalaciji povezavo čez geografsko oddaljene lokacije v svetovnem merilu. To je dosti boljša opcija iz dveh razlogov. Prvič zaradi tega ker se uporabnik zaveda da ne bo naletel na isto osebo dvakrat. Drugič pa zaradi neprimernosti ISDN telekomunikacij, ki ne delajo kar bi naj. Ni absolutno realni čas, vedno je rahla zamuda med obema lokacijama. To pomeni da ima uporabnik 1,5 sekunde med trenutkom vzroka in efekta, to zahteva višji nivi koncentracije, ustvarjene od momentalnih pasti časa, ko uporabnikova zavest drvi nazaj in naprej med lokalnim in oddaljenim telesom.Uporabnik pridobi boljše razumevanje instalacije in tudi njeno bistvo.
Stranski učinki - psihološki dvig
Uporabniki na predhodnjih razstavah Telematic Dreaminga so izrazili psihološki dvig iz svojih izkušenj. Čutnost človeškega kontakta je zelo obogatena in nagrajevalna izkušnja, ki jo vsak potrebuje. Kljub temu, določene kulturne in politične ovire v vzhodnjaški kulturi prepričujejo mnogo ljudi o pridobivanju takšnega dviga. Telematic Dreaming ni alternativa, je učna izkušnja, kjer uporabnik odkriva več o sebi in pridobi iz psihične interakcije, ki se ne zanaša na prevlado ali zatiranje, ampak na čutnost človeškega kontakta.
Video in zvok/glasba podata neestetski ambient glede na situacijo
Namen video prikazov in glasbe uporabljene v Telematic Dreamingu služi kot neestetsko glede na ambient instalacije. Preprosto sta uporabljena da povzročata atmosfero, ki omogoča uporabniku da se počuti ugodno v instalaciji. Na ta način ne dobi občutka da je žrtev kakšnega znanstvenega eksperimenta.
Pomanjkanje zvočne komunikacije daje poudarek na vizualno
Audio kontakt se nikoli ne uporablja v Telematic Dreamingu. Razlog za to je; čim dovoliš uporabniku komunikacijo z govorom, se bo zatekel k pomenu komunikacije same, saj je govor dominantna oblika komunikacije med popolnimi tujci. Brez govora morata uporabnika odkriti nove poti po katerih lahko medsebojno delujeta.
TELEMATIC DREAMING - STATEMENT
"Telematic Dreaming" was originally produced as a commission for the annual summer exhibition curated by the Finnish Ministry of Culture in Kajaani, with support from Telecom Finland, in June 1992. The title and theme of the exhibition was derived from the notion of "home" as Jean Baudrillard understands it in his essay "The Ecstasy of Communication". In describing my installation I begine with a quote from another Baudrillard essey that presents the starting point for "Telematic Dreaming", through which it interprets itself as a critique of the essay.
The celibacy of the machine brings about the celibacy of "Telematic Man". Exactly as he grants himself the spectacle of his brain and of his intelligence as he sits in front of the computer or word-processor, the "Telematic Man" gives himself the spectacle of his fantasies and of a virtual "jouissance" as he sits in front of his "minitel rose". He exorcises "jouissance" or intelligence in the interface with the machine. The Other, the sexual or cognitive interlocutor, is never really aimed at - crossing the screen evokes the crossing of the mirror. The screen itself is targeted as the point of interface. The machine (the interactive screen) transforms the process of communication, the relation from one to the other, into a process of communication, ie. the process of reversibility from the same to the same. The secret of the interface is that the Other is within it virtually the Same - otherness being surreptitiously confiscated by the machine.
Jean Baudrillard "Xerox and Infinity" pages 5. 6. ISBN 0-33701-88-9 Touchepas. Originally published as "Le Xerox et L'Infini", Paris 1987.
Telmatic Dreaming is an installation that exists bwithin the ISDN digital telephone network. Two separate interfaces are located in separate locations, these interfaces in themselves are dynamic installations that function as costumized video-conferencing systems. A double bed is located within both locations, one in a blacked out space and the other in an illuminated space. The bad in the light location has a cammera situated directly above it, sending a live video image of the bad, and person ("A") lying on it, to a video projector located above the other bad in the blacked out location. The live video image is projected down on to the bad with another person ("B") on it. A second camera, next to the video projector, sends a live video image of the projection of a person "A" with person "B" back to a series of monitors that surround the bed and person "A" in illuminated location. The telepresent image functions like a mirror that reflects on a person within another persons reflection.
"Telematic Dreaming" deliberately plays with the ambiguous connotations of a bad as a telepresent projection surface. The psychical complexity of the object dissolves the geographical distance and technology involved in the complete ISDNn installation. The ability to exist outside of the users own space and time is created by an alarmingly real sense of touch is enhanced by the context of the bad and caused by an acute shift of senses in the telematic space. The users consciousness within the telepresent body is controlled by a voyeurism of its self. The cause and effect interactions of the body determine its own space and time, by extending this through the ISDN network, the body can travel at the speed of light and locate itself wherever it is interacting. In "Telematic Dreaming" the user exchanges their tactile senses and touch by replacing their hands with their eyes.
TELEMATIC DREAMING - NOTES & POINTS OF IMPORTANCE
Telecommunications Art - early networking - death of the author.
The work began from the assumption that an artwork does not deliver one meaning by one author, (Death of the Author, Roland Barthes) depending on its political, social and physical context. The audience and critic will create new meanings and interpretations - an artwork, as Marcel Duchamp pointed out, is always in state of flux. Interactive Telecommunication arts exploits this belief. Beginning in the early 1970's with projects based on simple e-mail text exchange between artists/viewers - users, to new possibilities with graphics, video and audio through the internet.
Artwork or context - audience participation creates the artwork.
The role of the artist as a meaning creator and provider is no longer appropriate. As in "Telematic Dreaming" the role of the artist is that of context creator. A context that defines a high potential for user interaction in a defined situation or specific subject. The role of a telematic artists or context creator is to construct a dynamic system in which the user has an infinite amount of unrestricted interactive possibilities, this context must be understood in the social environment, such as a bed or sofa, to be a successful interface for the audience. "Telematic Dreaming" is empty space without audience participation. It is a complex dynamic system of interactive potential. It's not until the user enters the context that the dynamics of the system come alive.
Semiotic intensity of the bed object heightens the telematic experience.
The bed is an object that is understood in all social and cultural contexts. Its semiotic language vary from the childhood context of security and play to the more complex context of privacy, intimacy and relaxation. When such a "charged" object is used as a telematic interface the user is confronted by the complexity of the object/interface and not the complexy of the technology. The telematic experience of the communication is hightened when the technology involved is secondary to the primary point of importance, the bed is a very intensive object. The users are sometimes reluctant to enter "Telematic Dreaming", not because of the video technology, but because of the potential interaction on the bad in the publice space.
The technology of the media, like language, becomes invisible.
Technology of the media becomes invisible in the same way the technology of language is invisible. Reality has always been perceived through technology. Not the technology of silicon chips and binary code, but the technology of language. French Linguist Ferdinand de Saussure explained that reality does not exist before language defines it. In the same way reality does not exist before media defines it. The technology of language is invisible, and can only be attemted to be deconstructed by efforts of semiology, an analyses that is its self defined by language. The technology of media is in the same process of disappearance and will become increasingly harder to visualise and deconstruct.
Cause and effect - a definition of consciousness
Whenever the body is causing an effect is definition that is where the bodie exist and within it consciousness resides. Therefore wherever the body is interacting is also where its consciousness exists. This definition is sometimes hard to take on when we refer to the cause and effects of an individual via texts, sounds, and images on a computer network, nevertheless the definition is the same. As an exemple, "Telematic Dreaming" is far easier to follow because it presents the interactions of the body at a distance in a physical form. When the user reaches out with their hand they interact, not in the local space, but in a distant one, and when they cause an effect to another physical body in the distant location it is evidence that is where their consciousness resides.
Entering and exiting "Telematic Dreaming"
It is sometimes difficult for the user to break their concentration and return to the consciousness of their local body when leaving the installation. In the reverse - as hard as it is to enter the installation when onlookers are observing your consciousness enter it. Entering and exiting "Telematic Dreaming" are the most uncomfortable points for the user. But after a short period of time on the bed the users consciousness is no longer concentrated on the immediate environment but on the distant telematic one.
The senses of sight and touch are exchanged - touching with your eyes
In "Telematic Dreaming" a process of sensory shift occurs. The sense of touch is made with your eyes. Sensory shift is nothing new, A person who has lost there sense of sight will compensate by improving there other senses, most frequently the sense of hearing. Human senses, inner and outer, are far more complex and adaptive than we realize, when explored leading to transcendental states of mind. In "Telematic Dreaming" the user observes the movement of their body from outside it on monitor that presents a telepresent replica. The eye acts as a sensory receptor of the movement and the cause and effects of touch.
ISDN situations are preferred - the delay creates more.
In all the 10 occasions that "Telematic Dreaming" has been exhibited since its realization in Finland in 1992. It has only been connected via ISDN telephone lines, in the way it's intended, twice - In Finland and Tokyo. The ISDN connection allows the installation to be connected via geographically distant locations on a global scale. It is for two main reasons a far better option. Firstly because the user is very aware that thay will not bump into the same person they previously interacted with, in the next room. Secondly because of the inadequacy of the ISDN telecommunications to do exactly what it should. Its not absolute real-time, there is always a slight delay between the two locations. This means the user has 1.5 seconds between the moment of cause and effect, requiring a higher level of concentration, created by momentary lapses of time when the user consciousness is racing back and forth between the local and distant body. The user obtains a better understanding of the installation and its purpose.
The side affects - a psychological lift.
Users in previous exhibitions of "Telematic Dreaming" have expressed a psychological lift from their experience. The sensitivity of human contact is a very enriching and rewarding experience - everyone needs it. However contain cultural and political obstacles in western culture prevent many people from obtaining such a lift. "Telematic Dreaming" is not an alternative, its a learning experience, where the user discovers more about themselves and benefit from physical interaction that does not rely dominance or oppression but on the sensitivity of human contact.
Video and sound/music add an ambient aesthetic to the situation.
The purpose of the video images and music used in "Telematic Dreaming" serve as an aesthetic to the ambiance if the installation. They are simply used to generate an atmosphere that allows the users to feel more comfortable with the installation, so they do not feel that they are undergoing some kind of scientific experiment.
The lack of sound communication puts more attention on the visual.
Audio contact is never used in "Telematic Dreaming". The reason being, as soon as you let the users communicate by speech they will resort to that means of communication alone - as speech is a dominant form of communication between complete strangers. Without speech the two users have to discover new ways in which thay can interact.
Topologija telesa in prostora (Machiko Kusahara)
Paul Sermonov telematski performance
Ali je telo možno transportirati s pomočjo računalniških komunikacij? Na katerem nivoju eksistence lahko občutimo realnost ležanja ali sedenja virtualnega telesa v virtualnem prostoru?
Na tej točki mislim da lahko začnemo zaobjemati dvome o virtualnem prostoru, ki je vseskozi prevladljiv od vizualnega in elektronskega prostora, katera sta poplavljena z dvoumnimi znaki in filmskimi prikazi. Multimedia naj bi nam omogočila manipuliranje z filmskimi prikazi, tekstom in zvokom, po svoje. Virtualna realnost se še najbolj navezuje na virtualne čute. Oba sta zaposljena z poskusom da se organizira komunikacijski sistem v katerem ne moremo poslati vizualne prikaze z zadovoljivo hitrostjo. Sigurno je nezaupanje membrane substance manj vizualno imaginarno kreirano z elektronskimi signali, ki so prisotni v skoraj nenormalnem dvigu v interesu v truplu in koži, tako kot želja vrnitve v materialno psihičnost telesa znotraj konteksta . Če se vprašamo o mnenju telesa v odnosu z virtualnim prostorom, ali je mogoče demonstrirati kaj več kot preprosto splošna pozicija občutnih faktov - specifično, nadomestilo čutov tipa z čuti vida?
Tele konferencijski sistem je mehanizem, ki simbolizira biznis v informacijski družbi. V rokah Paula Sermona pa ta mehanizem postane visoko paradoksna snov. V Sermonovem delu, namesto uporabe neobstoječega deljenega prostora za praktični namen poslovnih govorov, primitivne oblike komunikacije ali želja kot ne verbalna gesta in telesni kontakt začasno in dvoumno ustvari intimne, osebne in riskantne odnose med popolnimi tujci. Selekcija druge strani je skoraj nemogoča. Srhljiv odnos z osebo na drugi strani, materialno blizu kljub temu pa daleč in ponavadi z nekom , ki ga nikoli ne bomo srečali ponavadi traja samo skozi performance. Ta performance je odprl majhno luknjo v prostoru vsakodnevnega življenja in ustvaril režo z ISDN linki.
V telematski viziji je sedenje pred televizorjem in gledanje v ekran podobno scenam iz starih Ameriških dram - tistih o nenormalno srečni družini, sedeči na zofi klasičnega designa in gledajoči televizijo skupaj. Vendar je telekonferencijski sistem, ki predvaja nostalgične scene o "toplem domu", v obeh primerih orodje biznisa - nasproten primer družine - en član istega razreda kot je TV igra, ki je vključila TV monitor z drugim namenom in postavila scene družinskega sobivanja v izumrtje. Znotraj serij del, ki zaposljujejo telekonferencijski mehanizem (vsebije tudi telematsko seanso), Telematic Dreaming sigurno ima najmočnejši vtis zaradi različnega efekta postelje, simbol ki ga vsi delimo. Z postavitvijo občinstva v znano situacijo iz TV drame (odhod v posteljo z nekom, ki smo ga pravkar spoznali), pripelje člana občinstva do stanja zmede. Člani občinstva so postavljeni v vlogo igralca, ki igra posteljno sceno na odru ali pred kamero, ali v vlogo vojerja, ki gleda druge. To je skrivno dejanje, ki se zgodi v javnosti in javnost je virtualni prostor, ki v realnosti ne obstaja. Nasprotna situacija, ne samo da zmede občinstvo ampak ga tudi osvobodi od logike in prepovedi vsakdanjega življenja in razdre različne elemente identitete in biološkega okolja telesa. Omogoča eksperimentiranje z uživanjem vloge, ki jo igra telo v komunikaciji. Virtualnost prostora omogoča oboje, teatralnost in kontekst vsakdanjega življenja v hkrati.
V prostoru med materialno psihičnim in informaciskim prostorom v katerem kolidirajo elektronski signali, Sermon nasprotuje pomenom in sensibilnosti vezanim na vsakdanje življenje in nas preskrbuje z možnostmi, misliti o prisotnosti komunikacije komercialne aplikacije kot nošenje nakupovalne vreče v virtualni prostor in polnjenje le te s predmeti za nakup, ki jih vzamemo z 3D miško in niso nič drugega kot primer za resnično izkušnjo. Vendar pa je dobri artist zmožen liberalizirati ljudi od takšnih trenutkov vsakdanjega življenja in sposoben ustvariti prostor v katerem bodo odkrili kaj o sebi.
Bojan Štokelj
Lepote posnetih fotografij se ne da opisati. Še najbolj se približamo resnici tega videza, če se strinjamo s tem, da je lepota edini sprejemljivi kriterij resnice.
Ali so te fotografije realne?
Vsaka stvar ki jo konkretno doživljamo je realna.
BIOGRAFIJA
BOJAN ŠTOKELJ JE KONČAL AKADEMIJO ZA LIKOVNO UMETNOST V LJUBLJANI 1985 - SMER KIPARSTVO. DIPLOMIRA PRI PROF. TOMAŽU BREJCU NA TEMO UMETNOST V TOTALITARNIH REŽIMIH.
Bojan Štokelj
We cannot describe the beauty of photographs with words. We are at the closest to the truth of the image when we agre that beauty is the only acceptable criteria of the truth. Are these photographs real?
Every thing that we thruly experience is real.
Biography
He made diploma from sculpture at Academy for Fine Arts in Ljubljana in 1985. His mentor was prof. Tomaž Brejc. The subject of his diploma was Art in Totalitarian Regims.
www.teo.spiller.org
Življenjepis
Identiteta subjekta se manifestira na treh vzporednih platformah: Ena platforma se manifestira kot tista naravna danost, ki jo objektu ponuja Drugi. Naslednjo definira tretja oseba, ki subjekt, skozi dioptrijo svoje percepcije obravnava kot objekt (tretja oseba na površini časovne premice nastopa v množini, torej kot "okolica"). Zadnja platforma pa je "realnost", kako subjekt doživlja samega sebe, hkrati s fikcijo, kako bi se želel manifestirati tretji osebi (tj. želena pojavnost napram okolici.
Medtem ko biva prva oblika identitete pretežno v polju nezavednega in jo lahko v igri zunanje manifestacije zanemarimo, sta ostali obliki identite oz. pojavnosti odvisni od fizičnih predispozicij osebka (ki v tem kontekstu vlogo subjekta igra v zelo omejenem obsegu).Ravno navezanost percepcije tretje osebe na fizično relnost predstavlja usodno prepreko manifestaciji željene subjektove identitete napram tretji osebi. Natanko na tem mestu pa tehnologija virtualne resničnosti naredi usodni rez, ki zaznamuje nastanek neke nove, v prvinskem pomenu besede "čiste" (torej od fizične resničnosti popolnoma neodvisne)identitete, identitete, ki se iz dosedanjega bivanja zgolj v subjektovi želji preseli v območje "realnosti", čeprav je le-ta (v fizičnem smislu) navidezna".
Identifikacija subjekta (hkrati z njegovo fizično pojavnostjo9, neposredno sovpada
( v očeh tretje osebe) z njegovim osebnim in družinskim imenom (oz. psevdonimom). Navezava ime-objekt (torej subjekt v očeh tretje osebe) je nerazdružljiv pogoj za identifikacijo identitete subjekta po tretji osebi. Ko želeno identiteto ( ki jo subjekt ustvari sedaj v "realnosti" kibernetskega prostora) želimo predstaviti tretji osebi, moramo z njo nujno vzpostaviti omenjeno navezo ime-objekt (oz. njegova virtualna identiteta). Manjkajoči člen je torej ime nove, vortualne (čiste, željene) identitete. V svetu enic in ničel, ki predstavljajo prabit informacijske družbe, se nam samo od sebe ponuja, da bo željeni (virtualni) identiteti ime tako, da jo bomo najlažje povezali s (v banalno-fizičnem smislu) samo predstavitvijo virtualne identitete. Tako se navezava ime-identiteta sprovede na navezavo domena-spletne strani. Iz tega logično izhaja, da se subjekt, ko je ustvaril svojo virtualno identiteto, predstavlja tretji osebi (namesto s fizičnim imenom ali psevdonimom) s svojim domenskim imenom.
Novo telo je krščeno!
www.teo-spiller.org
Biography
The identity of the subject is manifested on three parallel platforms; one is manifested as a natural fact that is given to the subject by the Second. The next platform is defined by the third party that treats the subject through the dioptric of its perception as an object (the third party is on the surface of the time scale presented inplural as a "surroundings"). The last platform is "reality" when the subject is experiencing itself together with a fiction how it would like to be manifested to the third party (so called wishfull apperance towards the surroundings).
While first identity form is present in the field of unconscious and can be neglected in the play of external manifestation, are the other two identity forms or identity apperances dependent upon physical predispositions of the subject (that in this particular context plays the role of the subject in a very limited extent). It is the attachment of the third party's perception on the phisical reality that represents the fatal obtacle to the manifestation of the desired subject's identity towards the third party. Exactly at this point the techonology of the virtual reality is making a fatal cut which marks the birth of a new, primary, in the very sense of the word, identity that is completly independent, of the physical reality, and is transiting from the existence only in subject's wish to the area or "reality", although that particular "reality" - in physical sense - is only "fictional".
Identification of the subject together with his physical apperance is in the eyes of the third party directly connected with subject's first and family names or pseudonym. The cluster name-object (t.i. subject from the third party's point of view) is necessary term of the identification of the subject's identity by the third party. When the desired identity (that was created by the subject in the reality of the cyber space) wants to be presented to the third party we have to establish the above mentioned cluster name-object (t.i. its virtual identity). The missing link is therefore the name of the new, virtual (pure, desired) identity. In the binary world of ones and zeros that represents the foundation of the contemporary information society it is evident that the name of the desired virtual reality has to be easily connected with the - in the vulgar physicla sense - presentation of the virtulal identity itself. That is why the cluster name - object can be transformed into another one called intent-set-up page. The logical conclusion is that subject that has created its virtual identity is presented to the thitd party with its intented name instead fo its real physical name or its pseudonym.
The new body is baptized!
Margaret Jahrmann in Max Moswitzer
Petra de Njis
Teo Spiller
OŠ Bratov Polančičev
Marko Rodošek
Paul Sermon
Simon Biggs
Marko Matjaž
Janez Strehovec
Bojan Štokelj
Sašo Jankovič
Marjetica Potrč
Alenka Pirman
Igor Štromajer
Borut Wenzel in Dejan Štampar
Petra Varl Simončič
Srečo Dragan
Dolores Šegina
Darij Kreuh
Nataša Prosenc
Darko Golija
Damjan Kracina
Franc Purg
Darinko Kores Jacks
Thomas Bayrle
Anne Farrel
Marti Ribas in Nuria Garcia
Dragan Živadinov
Ken Gregory
Mitja Koštomaj
Phil Earle, Paul Booker, D.J. Ozzy
Nigel Helyer
Matjaž Godec
Igor Kaduz, Vladislav Kneževič, Simon B. Narath, Mario Kalogjera
Čriček
Leonard Rubins
Produkcija Sokolski dom Ilirska Bistrica