MFRU KIBLIX 2015, art - technology - science

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Izdajatelja Publishers

Mladinski kulturni center Maribor Youth Cultural Centre Maribor Zanj / Represented by Maja Malus Azhdari, direktorica / Director

Edicija Edition TOX, Leto / Year 20 (2015), št. / No. 52

ISBN 978-961-6304-39-9 Uredila Edited by Snežana Štabi

KID / ACE KIBLA Zanj / Represented by Aleksandra Kostič, predsednica / President

Prevodi Translation Helena Fošnjar

CIP - Kataložni zapis o publikaciji Univerzitetna knjižnica Maribor

Vizualna podoba, oblikovanje Design and layout Vid Andrej

7:004(083.824) MFRU-KIBLIX dva tisoč petnajst MFRU-KIBLIX 2015 Lift me up : art - technology science : festival 7. - 9. oktober 2015 : razstava, 7. - 23. oktober 2015, Kibla portal, Maribor / [uredila Snežana Štabi ; prevodi Helena Fošnjar]. - Maribor : KID Kibla : MKC, 2015. - (Zbirka Tox = Edition Tox ; leto 20, št. 52) 1.000 izv.

ISBN 978-961-6304-39-9 1. Gl. stv. nasl. 2. Štabi, Snežana COBISS.SI-ID 83970305

Lektura Proofreading Mirjana Predojevič, Cameron Bobro

Fotodokumentacija Photo documentation © Avtorji / Respective authors Objavljeno z dovoljenjem umetnic in umetnikov Courtesy of the artists/authors Tisk Print Demago d. o. o.

Slovenija, 2015 Naklada Print run 1000 izvodov / copies

MFRU-KIBLIX 2015

LIFT ME UP

umetnost–tehnologija–znanost Art–Technology–Science Oktober October 2015

KIBLA PORTAL, Maribor, Slovenija

LIFT ME UP! – NEVER LET ME DOWN AGAIN …

Mednarodna festivalska platforma MFRU-KIBLIX se vrača letos z navdihujočo energijo 21. stoletja v luči slogana Lift me up! z namenom eksemplaričnega povezovanja umetnosti, znanosti in tehnologije v intermedijsko up-to-date celoto, ki nadgrajuje pretekla uspešna leta festivalskega dogajanja MFRU in KIBLIX v Mariboru.

Lift ME up! (and never let me down again) tako pomeni praktični presežek zgolj-teorije materialnega izhoda Evropejcev iz teme: tunel, v katerem smo se znašli, v resnici ni vodoraven, ampak je horizontalen. Zato izhod ni mogoč po tirnicah, temveč le z opustitvijo gravitacije, z dvigom, ali, z besedami Nietzschejevega Zaratustre: „Naučil sem se leteti: poslej ne maram, da me najprej pahnejo, da se kam premaknem. Zdaj sem lahek, zdaj letam, zdaj se vidim pod seboj ...“ V evropskem letu svetlobe in svetilnosti, ki umetelno naznanja vsesplošni izhod iz temačnosti modernosti, se omenjeni problematiki priključuje tudi festival MFRU-KIBLIX 2015 – k luči, k svežemu zraku, k umetnosti. Izključno navzgor. Lift me up and elevate yourself!

Vsaka instalacija je zato v svojem bistvu interaktivno umetniško delo, ki nam daje vizualne in/ali zvočne izkušnje; gre za transformiranje resničnosti. Vsakodnevno rutinsko življenje, vključujoč vse banalnosti, vrednote, užitek, počitek, se razvija v edinstven virtualen „ekosistem“. Festivalski koncept MFRU-KIBLIX hoče tematizirati odnose med družbo, sistemom in tehnologijo: če je svet sestavljen tudi iz trpljenja, je to le zato, ker je v svojem bistvu svoboden – osvobojenost pravzaprav pomeni odgovornost, „individualna svoboda“ pa je zgolj krinka družbenega sistema, ki z mantro svobode zasužnjuje individuum. Trpljenje je namreč neizbežna posledica svobodne igre delov taistega sistema: kot primer vzemimo znanosti, ki se recimo vehementno zavzemajo za izboljšanje človeških genetskih lastnosti s spodbujanjem „odličnosti“, da bi po drugi strani prav to odličnost zatirali do živalske blaznosti – individuum je osvobojen zgolj toliko, kolikor misli, da mu je dovoljeno.

Tematiziranje družbenih dogajanj s tehnološkimi presežki in opominjanje na nespodobnost sodobne modernosti, ki je načrtno odvrgla kompas humanizma, je poslanstvo festivalske platforme MFRU-KIBLIX. Gre za razmislek o vdoru tehnoloških nadomestkov za nekoč izključno človeške dejavnosti, satiro suhoparnih in poneumljajočih rutin, s katerimi je soočen sodobni „delavski“ razred, ujet v sfero demokratičnega dela, iluzije svobodne izbire in potrebe po fizični dejavnosti brez pragmatičnih ali produkcijskih razlogov. Umetniške instalacije tako (med drugim) vsebujejo razvoj naravnih elektronskih sintetizatorjev, ponujajo vnovični premislek o teoriji litosfere, po kateri potujejo zvočni valovi. Še več. Združujejo človeka s tehnologijo: če je fantazijski Terminator simbol pridušene, a sprijene kiborgizacije človeštva, je realni Assimo zgolj še humanoid.

Nadomestek. Ko odide umetnik, ostane robot. Ali pa interpretirajo živalske anatomije, koncepte mutacije in evolucije, v sodobno, križano podobo človeškega in živalskega. Še pomnite The Fly? Letos predstavljamo in raziskujemo elektroakustično glasbo, živo elektroniko, improvizacijo, hrup, pa tudi komorno glasbo in terenske posnetke v tesni povezavi z vizualnim virom aktivne procesirane podobe. Te omogočajo vidne in slišne oblike v realnem prostoru, potopitev v neposredno izkušanje, torej interakcijo med avtorji in občinstvom.

Gre za raziskovanje in ustvarjanje abstraktnih vizualnih svetov preko eksperimentiranja 4

z različnimi analognimi pristopi, črpajoč inspiracijo iz kemijskih poizkusov, interaktivnih umetnin, eksperimentalnega filma in 3D animacij.

Predstavitev sodobne vizualne umetnosti, umetnikov in avtorjev skozi transdisciplinarna povezovanja pomeni poglobitev znanj in pridobitev dodatnih veščin na poklicnem področju, povezovanje praktičnega znanja ter znanstvenega in tehnološkega raziskovalnega dela, nenazadnje tudi izboljšanje kakovosti kreativnih del.

MFRU-KIBLIX tako omogoča predstavitev in evolucijo odprtokodnih sistemov, kar je v resnici smisel osvoboditve sodobnega nehumanoida.

Uplink. Reset. Re-connect.

Torej Lift ME UP!

LIFT ME UP! – NEVER LET ME DOWN AGAIN …

The international festival platform MFRU-KIBLIX returns this year blazed with inspiring 21st century energy in the light of the slogan Lift me up! with the intent of establishing an exemplary connection of art, science and technology into an intermedia up-to-date whole, an upgrade of the past successful years of the MFRU and KIBLIX festival events in Maribor.

Lift ME up! (and never let me down again) therefore stands as a practical transcendence of the mere-theory of the material way out of darkness for the Europeans: the tunnel that we found ourselves in, is not really level, but horizontal. Thus, the way out is not possible down the tracks, but only by means of abandoning gravity, a lift-up, or, in the words of Nietzsche’s Zarathustra: “I have learned to fly: ever since, I do not want to be pushed before moving along. Now I am light, now I fly, now I see myself beneath myself ...”

In the European Year of Light and Light-based Technologies, which artfully announces the general break out of the darkness of modernity, these issues are treated by the festival MFRU-KIBLIX 2015 – to the light, to the fresh air, to art.

Up and only up. Lift me up and elevate yourself!

Each installation, therefore, is an essentially interactive work of art that provides us with visual and/or sonic experiences; a transformation of reality. The everyday routine, with all its banalities, values, pleasure and leisure, is growing into a unique virtual “ecosystem”. The festival concept MFRU-KIBLIX wants to thematize the relations between society, system and technology: if this world brings suffering as well, this is only because it is free in its essence – the liberation really means responsibility, while “individual freedom” is just a cover for the social system, which enslaves the individual using the mantra of freedom. And suffering is an inevitable consequence of the free play of parts of the same system: consider the sciences, for example, that forcefully advocate the idea of improving human genetic traits by promoting “excellency”, only to be able to suppress this excellency to the level of bestial madness – the individual is only as free as much as he believes he is allowed to be.

Thematizing social developments with technological surpluses, and reminding of the indecency of contemporary modernity, which has deliberately disposed of the compass of humanism is the mission of 5

the MFRU-KIBLIX festival platform. It is a consideration on the invasion of technological surrogates for what was once exclusively human activity; a satire on the drab and stultifying routines faced by the contemporary “working” class, caught in the sphere of democratic work; the illusion of free choice, and the need for physical activity without pragmatic or production-related reasons. The artistic installation thus (among other) include the progress of natural electronic synthesizers, offering a re-consideration of the theory of lithosphere travelled by sound waves. Even more.

They join man and technology: if the fantasy Terminator is a symbol of the mellow yet twisted cyborgization of mankind, the real-like Assimo is but a mere humanoid. A surrogate. Once the artist leaves, the robot is still there. Or perhaps they interpret animal anatomies, concepts of mutation and evolution, into a contemporary crossbred image of the human and the animalistic. Remember The Fly? This year we present and explore electro-acoustics, live electronica, improvisations, noise, and even chamber music and field recordings in close connection to the visual source of actively processed images. These enable visual and audio forms in real space, an immersion into direct experience, i.e. an interaction between the authors and the audience. It is about the exploration and creation of abstract visual worlds by experimenting with various analog approaches, drawing inspiration from chemical experiments, interactive artworks, experimental film and 3D animations.

Presenting contemporary visual art, artists and authors through transdisciplinary connections refers to the deepening of knowledge and acquiring additional skills as professionals, the linking of practical knowledge with scientific and technological research work, and last but not least, it refers to the improvement of quality in creative works.

MFRU-KIBLIX thus enables a presentation and evolution of open-source systems, which is really the whole point of freeing the modern-day nonhumanoid.

Uplink. Reset. Re-connect.

So Lift ME UP! — Nina Jeza, Artists&Poor’s

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Kazalo 8 Razstava Exhibition Martina Mezak (HR), Marie Polakova (CZ), Jonathan Cremieux (FI), Tanja Vujinović (SI), Hrvoje Hiršl (HR), Zoran Srdič Janežič (SI), Otto Urpelainen (FI), Abaz Dizdarević (ME), Dino Karailo (ME), Borut Savski (SI), Jure Fingušt (SI), Matjaž Požlep (SI), Andrej Koruza (SI), Đejmi Hadrović (SI), Robertina Šebjanič (SI), Monika Pocrnjić (SI), Saša Spačal (SI), Ida Hiršenfelder (SI), Tomaž Furlan (SI), Luciana Haill (UK), Jens Vetter (DE), Deborah Hustić (HR), Jože Slaček & al. (SI) 46 AV in DJ nastopi AV & DJ performances Aleš Hieng Zergon (SI), OCTEX (SI), IZLAND (SI) vs jesusonecstasy (SI), LadyBird (SI), Kasia Justka (PL), Jens Vetter (DE) & Karol Kagan (PL), Emiljo AC (SI), Aisen Caro Chacin (US) & Robertina Šebjanič (SI), Louise Harris (UK), Wo0 (RS) & Incredible Bob (RS), DJ Nati Katchi (SI) 62 Izobraževalni program Educational program Predavanja in predstavitve Lectures and presentations Matjaž Požlep, Maja Murnik, Martin Kusch, Tomaž Grušovnik, Janez Strehovec, Sonja Šterman, Suzana Uran, Vojko Pogačar, Peter Tomaž Dobrila, Cameron Bobro 70 Izobraževalni program Educational program MFRU-KIBLIX ustvarjalnice Creative workshops

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— naprava za transformiranje resničnosti, ready-made, 2012

Martina Mezak Čas za odmor Delo Take a Break se ukvarja z matrico vsakodnevnega, rutinskega življenja in njegovim najenostavnejšim hackom / crackom – spolnim užitkom. Običajen vsakdan predstavlja navaden, na prvi pogled povsem običajen pisarniški stol, ki pa se zlahka transformira v napravo za sprožanje spolne vzburjenosti. Take a Break obravnava spolno ugodje in zanos kot primarni sistem za “odlogiranje” iz običajne resničnosti. Stol je opremljen s skritimi pripomočki za potenciranje spolnega doživljaja; od standardnih vibratorjev in SM opreme do avdio-vizualnih možganskih stimulatorjev.

Martina Mezak (HR) je leta 2001 zaključila magisterij na Akademiji za likovno umetnost v Zagrebu. Razstavljala in sodelovala je pri številnih skupinskih in samostojnih razstavah in na festivalih, med njimi Muzej sodobne umetnosti Seul, Koreja, ZKM / Hgb / Karlsruhe, Nemčija; Nacionalni muzej nastajajočih znanosti in inovacij Tokio, Japonska, Turbulence.org; Ars Electronica, Linz, Avstrija; ISEA, Dubai, ZAE. Martinino delo temelji na multidisciplinarnem raziskovanju na področjih umetnosti, tehnologije in kognicije. Pri tem preučuje človeško zaznavanje v odnosu do fenomenologije čutov in možnosti zaznavanja. Posebej jo zanima mejno področje med razumljivimi in nerazumljivimi izkušnjami ter kako lahko to vpliva na pojmovanje posameznikove resničnosti.

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— reality transforming device, ready-made, 2012

Martina Mezak

Take a break

The work Take a Break deals with the matrix of everyday, routine life and its simplest hack / crack – sexual pleasure. The everyday routine is presented by an office chair. A seemingly ordinary office chair can easily be transformed into a device for inducing sexual arousal. Take a Break deals with sexual pleasure and renewed enthusiasm as the primary system for logging out from ordinary reality. The chair is equipped with hidden accessories that are emphasizing a sexual experience; from standard vibrator and SM equipment to audiovisual brain stimulators.

Martina Mezak (HR) received her MFA at the Academy of Fine Arts in Zagreb, Croatia in 2001. She has exhibited and performed in numerous solo and group exhibitions and festivals (Museum of Contemporary Art Korea, Seoul, Korea; ZKM / Hgb / Karlsruhe, Germany; National Museum of Emerging Science and Innovation, Tokyo, Japan, Turbulence.org; Ars Electronica, Linz, Austria; ISEA, Dubai, UAE). Martina’s work is based on multidisciplinary research in the fields of art, technology and cognition. It seeks to investigate human perception in relation with phenomenology of senses and possibilities of cognition. She is particularly interested in borders between comprehensible and incomprehensible experience and how it can affect the conception of one’s reality. www.martinamezak.hr

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Marie Polakova, Jonathan Cremieux Mimodek

— interaktivna instalacija, 2010 v trajanju

Mimodek je dinamična in interaktivna instalacija, ki temelji na principih delovanja živega sveta. Kakor vsi živi sistemi v naravi, tudi Mimodek odseva lastno okolje. Je lokacijsko specifičen, oblikujejo ga edinstveni, s konkretno lokacijo povezani podatkovni viri ter vedenje obiskovalcev. Vsaka instalacija se razvije v edinstven virtualen “ekosistem”, ki je odsev same lokacije. Mimodek poudarja krhko razmerje med človeškimi bitji in njihovim okoljem ter povezavo z drugimi živimi bitji, s katerimi si okolje delijo.

Marie Polakova (CZ) je umetnica, ki jo zlasti zanimajo sodelovalni projekti, kjer se različne discipline znanja prepletajo z intuitivnim zaznavanjem in raznovrstnimi umetniškimi pristopi. Trenutno živi v Linzu (Avstrija) na ladji Eleonore ter potuje naokrog z namenom raziskovati svet umetnosti in kulture na ladjah, rekah in morjih. Obožuje čolne, kar pa nikakor ne nasprotuje njenemu strastnemu zanimanju za kompleksne naravne sisteme.

Razstavljala in nastopala je v Združenem kraljestvu, na Nizozemskem, Češkem, Finskem, v Avstriji, Španiji, Hrvaški, Franciji, Romuniji, Nemčiji in Italiji.

Jonathan Cremieux (FI) – njegova dela se nahajajo na presečišču umetnosti, oblikovanja in tehnologije. V Franciji in na Škotskem je študiral računalništvo, na Finskem (MediaLab Helsinki) pa oblikovanje novih medijev. Njegov osnovni medij je softver, ki ga dojema kot neke vrste digitalno testo, s katerim lahko preoblikuje sicer abstraktne podatke in jih spremeni v otipljivo obliko neskončnih form. Neusahljiva radovednost ga žene k raziskova10

— interactive installation, 2010

Marie Polakova, Jonathan Cremieux Mimodek

http://marura.wordpress.com/mimodek-2/

Mimodek is a dynamic and interactive installation, based on the principles of the living world. As all living systems in nature, Mimodek reflects its own environment. It is site specific, formed by unique, location-related data sources, and by behavior of the visitors. Every installation evolves into a unique virtual “ecosystem” reflecting its location. mimodek highlights the delicate relation between human beings and their environment, and their connection to other living beings with whom they share this environment.

nju najrazličnejših terenov, kar ima za posledico raznovrstne in pogosto nenavadne projekte po Franciji, Finski in Španiji, prepletene s temami, kot so pop kultura (White Glove Tracking Project: On Fire!, 2008), urbanistično načrtovanje (Connexity, 2010) ali virtualna biologija (Mimodek, v trajanju od 2010). Jonathan Cremieux trenutno živi in dela v Berlinu. http://krem.io/

Marie Polakova (CZ) is an artist with special interest in collaborative projects, where different disciplines of knowledge can intersect with intuitive perception and various art approaches. She currently resides in Linz (Austria) aboard the Eleonore Ship and travels around in order to explore the realm of art and culture on ships, rivers & seas. She likes boats very much, but that does not collide with her passionate interest in complex systems of nature. She has exhibited and performed in the United Kingdom, Netherlands, Czech Republic, Finland, Austria, Spain, Croatia, France, Romania, Germany and Italy.

Jonathan Cremieux (FI) – his work exists at the intersection of art, design and technology. He studied Computer Science in France and Scotland and New Media Design at the MediaLab Helsinki. His main medium is software, a digital dough that can manipulate otherwise abstract data and make it tangible in an infinite number of forms. An all encompassing curiosity drives him to explore diverse terrains, which has led to varied and unexpected projects and collaborations in France, Finland and Spain around subjects such as pop culture (White Glove Tracking Project: On Fire!, 2008), city planning (Connexity, 2010) or virtual biology (Mimodek, ongoing since 2010). He is currently based in Berlin, Germany.

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Tatjana Tanja Vujinović Kušej Univerzalni objekti: Vrt — 3D generirano delo v realnem času Produkcija: Ultramono, 2015

Univerzalni objekti: Vrt je surrealistični digitalni vrt, napolnjen z avatarji, ki izvajajo svoje rituale. To je 3D delo, ki je zgrajeno v okolju za kreiranje video iger, zato se generira v realnem času, obiskovalcem pa omogoča sprehod po prostoru in raziskovanje okolice iz perspektive prve osebe. Obiskovalec je vabljen k uživanju in razkrivanju skritih zvokov, vogalov in modifikacij teles avatarjev v tem nenavadnem vrtu. Okolja iz serije Univerzalni objekti ustvarjajo ne-narativne situacije; vibrirajoča in živa okolja, napolnjena z različnimi objekti in elementi, ki spreminjajo situacije v organizem. 3D objekti so kot suspendirani automatoni, ki se vedejo ritualno.

Ustvarjajo območja pulzirajoče igre, ki ne transcendira v nekaj drugega, ampak ostaja v stanju ne-narativne neskončnosti.

Tatjana Tanja Vujinović Kušej (SI) v svojih delih, kjer raziskuje kulturo igre, poetičnost hrupa in antropomorfnost, uporablja računalniške aplikacije, prilagojeno elektroniko in objekte. Od leta 1997 so bila njena zvočno-vizualna dela, digitalni tiski in instalacije razstavljani v številnih galerijah in muzejih ter predstavljena na številnih festivalih. Diplomirala je leta 1999 na Akademiji za likovno umetnost v Beogradu na oddelku za slikarstvo in bila gostujoči študent na Akademiji za umetnost v Düsseldorfu.

Leta 2010 je postala doktorica znanosti s področja filozofije in teorije vizualne kulture na Fakulteti za humanistične študije Koper. Živi in dela v Ljubljani.

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Tatjana Tanja Vujinović Kušej Universal Objects: Garden http://www.ultramono.org

— real-time 3D environment production: Ultramono, 2015

Universal Objects: Garden is a surreal digital garden full of avatars performing their rituals. It is a real-time 3D work built in a video game engine, enabling the visitor to stroll through and explore the surroundings from a first-person perspective. The visitor is invited to explore hidden sounds, corners and avatars’ body modifications in this unusual garden. Environments from the Universal Objects series are non-narrative situations, vibrational, living surroundings filled with elements that are either standing still or executing simple behavioral patterns through which the situations become like an organism. The majority of 3D objects, like suspended automata, display minimal ritualistic gestures. They create zones of pulsing play that doesn’t transcend into something else but rather exists in a state of non-narrative endlessness.

Within her works Tatjana Tanja Vujinović Kušej (SI) explores the culture of play, the poetry of noise and anthropomorphization by using software applications, custom electronics and objects. Since 1997 her audio-visual works, digital prints and installations have been exhibited at numerous galleries and museums, and have been presented at festivals.

She graduated from the Faculty of Fine Arts in Belgrade in the year 1999 at the painting department and has been a guest student at the Kunstakademie in Düsseldorf. She also holds a PhD in Philosophy and Theory of Visual Culture from the Faculty of Humanities Koper. Tanja Vujinovic lives and works in Ljubljana.

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Hrvoje Hiršl Povratno — video instalacija, black box projekcija, 2012

(Naravna zgodovina drvi v propad, kulturna zgodovina se začenja s propadom) [...] človekovo delovanje se ne zdi več kot boljši način proizvajanja informacij [...] temveč se zdi kot delovanje proti naravi, predvsem pa delovanje proti neizogibnemu naravnemu razkroju informacij, proti smrti, proti pozabljenju. Informacije proizvajamo, da se izognemo lastnemu pozabljenju, toda biti svoboden pomeni soočiti se smrtjo.

— Vilém Flusser – Into the Universe of Technical Images

Kultni film Nepovratno (Irreversible), ki ga je režiral Gaspar Noé in je specifičen zaradi obratnega kronološkega zaporedja prizorov, je uporabljen kot kulturni artefakt: z vnovičnim obratom zaporedja prizorov (torej re-reverzibilnostjo) dosežemo »popravek« njegove v izvirniku spremenjene kronologije ter jo tako povrnemo v linearni tok časa. Posledica tega »popravka« je, da se vsi prizori zvrstijo v obratnem vrstnem redu.

Na koncu filma, oziroma v naši različici na začetku, se odvrti napis LE TEMPS DETRUIT TOUT (čas uniči vse). V filmu se ves čas pojavlja diagram reverzibilnega / ireverzibilnega, torej povratnega/nepovratnega, ki prikazuje hipotetično situacijo obratnega procesa. Predpogoja za to sta, da čas teče neskončno počasi in, da ne obstaja trenje. Drugi zakon termodinamike pravi, da se stvari s časom razkrajajo, saj se namreč v zaprtih sistemih red (urejenost) zmanjšuje, tj. povečuje se entropija. Entropijo imenujemo tudi »puščica časa«. Vsi naravni ali spontani procesi so nepovratni. Ker pa gre tukaj za medij filma, ki ni naraven proces, je ta lahko povraten, vendar je pri tem uničena pripoved.

Hrvoje Hiršl (HR) je hrvaški umetnik, raziskovalec in oblikovalec. Njegovi projekti se umeščajo na presečišče sodobne umetnosti in diskurzov medijske umetnosti. Zanimajo ga teme, kot so materialnost umetniškega objekta, dekonstrukcija njegove avre ter omejenost medija. V preteklih dveh letih se je njegovo zanimanje premaknilo predvsem v smeri struktur, avtomatizacije in kibernetike, pri čemer gre na nek način ponovno za iskanje podporne strukture (medija). Ustvarja zvočne, video in interaktivne instalacije, printe.

Hiršl je ustanovitelj medijskega laboratorija I’MM_ Media Lab v Zagrebu.

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Hrvoje Hiršl Reversible (Natural history runs toward decay, cultural history starts from decay) [...] human engagement no longer looks like a better method of producing information [...] it looks like an engagement against nature and above all against the inevitable natural decay of information, against death, against being forgotten. We produce information to avoid being forgotten, and to be free is to confront death. — Vilém Flusser, Into the Universe of Technical Images The cult film “Irreversible” of Gaspar Noé, specific for its reverse chronology of the scenes, is used as a cultural artifact and re-reversed in order to “correct” his originally twisted chronology and return it to the linear flow of time. As a consequence of this “correction” all the scenes are going in reverse. At the end of the film, that is, in this version, in the beginning, there is an inscription LE TEMPS DETRUIT TOUT (time destroys everything). The movie is superimposed with the reversible/irreversible diagram, showing a hypothetical situation in which the process is reversible. The preconditions for this are that the time is infinitely slow, and that there is no friction. The second law of thermodynamics says that over the time things decay, namely, the order in a closed system reduces, i. e., the entropy increases. Entropy is also called the arrow of time. All the natural or spontaneous processes are irreversible. Given that this is the medium of film, that is not a natural process, it is reversible, but in the process the narration is destroyed.

Trajanje / Duration: 1 h 37 min.

— video installation, black box projection, 2012

Hrvoje Hiršl (HR) is an artist, researcher and designer from Croatia. His art projects are at the crossing of contemporary art and media art discourse. His main themes range from materiality of the art object, deconstruction of its aura and the limitations of the medium.

In the last two years his interests shifted more into structures, automation and cybernetics, which in a sense is again a search for the supporting structure (medium). His work encompasses: sound installations, video installations, interactive installations, prints, etc.

He is the founder of I’MM_ Media Lab in Zagreb.

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Zoran Srdić Janežič Jana Putrle Srdić

Corporis Animati

— interaktivna kiparska in lutkovna razstava s pomočjo fizične in virtualne animacije, 2015

Umetniški projekt Corporis Animati je del širše zgodbe Corpus Indeterminata, ki raziskuje uporabo sodobnih in tradicionalnih umetniških medijev v povezavi z novimi tehnologijami. Avtor v sodobni kiparski maniri uporablja vlitke živih živalskih in človeških teles, da bolj kot ekspresivno modelirano obliko poudari prisotnost ali odsotnost množičnega telesa. Tridimenzionalno matrico prašičjega telesa, spojeno s človeško glavo preko AR kode prikliče v fizični prostor gledalca in jo sopostavi fizični lutki. V prostoru bomo naleteli na številne virtualne multiple prašičkov s človeško glavo, ki so nastali na podlagi 3D skeniranja.

Zoran Srdić Janežič (SI) je akademski kipar, vizualni umetnik in izdelovalec lutk, zaposlen v Lutkovnem gledališču Ljubljana. Deluje na področju sodobne umetnosti: performans, kiparstvo, risba, grafika in artist book. V svojem delu s pomočjo humorja poudari nevralgične točke v našem vsakdanjem življenju in v globalnih trendih. Pogosto uporablja klasične kiparske materiale na netradicionalen način ali obratno (kipi iz prašičje maščobe) ter ustvarja z različnimi sodobnimi mediji: videom, animacijo, 3D printom, AR kodami, nanotehnologijo. Je avtor preko 20 samostojnih in številnih skupinskih razstav v Sloveniji in soustanovitelj Zavoda za sodobne umetnosti in kulture Gulag.

Programiranje in konstrukcija robota Robot programing and construction Otto Urpelainen Animacija z AR kodo in video Animation by AR code and video Jan Sterniša, Jože Slaček 3D print Poti-poti Produkcija Production Zavod Gulag Koprodukcija Co-production MKC Maribor – Kulturni inkubator

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Zoran Srdić Janežič Jana Putrle Srdić Corporis Animati — interactive sculpting and puppets exhibition with physical and virtual animation, 2015

The art project Corporis Animati is part of a bigger story Corpus Indeterminata, which explores the use of contemporary and traditional art media in connection to new technologies. In a contemporary sculpting fashion, the author uses casts from living human and animal bodies to highlight the presence or absence of the mass body rather than the expressive modeled form. He brings in the three-dimensional matrix of a pig’s body, connected to a human head via an AR code, to the physical space of the viewer, and juxtaposes it to the physical puppet. In the virtual space, we will thus come across a number of virtual piglet doubles with human heads, which were created using 3D scanning.

Zoran Srdić Janežič (SI) is a sculptor and visual artist, employed as a creator of puppets at the Ljubljana Puppet Theatre.

His work includes performing, sculpturing, drawing, printmaking and book design. Primarily interested in humor, which he uses to point out neuralgic points in our everyday life and global trends, he often applies theoretical concepts of contemporary philosophers in the field of visual art. He uses traditional sculpturing materials in a non-traditional way (or the other way around) and employs various means for different purposes: video, animation, 3D print, AR code, nanotechnology and other forms of new media. His work has been exhibited in over 20 solo and numerous group exhibitions in Slovenia, and his stone sculptures can be seen in four public places. With fellow artists he co-founded the Gulag Institute for Contemporary Art and Cultures.

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— video instalacija, 2015

Abaz Dizdarević BW 4821

Kontekst dela predstavljajo migracije ljudi z Balkana, natančneje iz kraja Bijelo Polje v Črni gori, od koder se je od začetka leta 2015 v Braunschweig v Nemčiji izselilo 4821 prebivalcev. Če primerjamo število prebivalcev v Bijelem Polju, ki je leta 2011 znašalo 46051 prebivalcev, leta 1991 pa približno 57000, vidimo, da so migracije s tega področja postale konstanta. Opazimo lahko, da je v tem dvajset let trajajočem obdobju število prebivalstva upadlo za 19 odstotkov. Lansko leto se od preteklih dvajsetih bistveno razlikuje, saj so se migracije povečale kar za 10 odstotkov v prvih devetih mesecih leta.

Revščina, družbeni standard, lakota in razočaranje so glavni razlogi, ki jih izpostavljajo migranti. Vsak konec tedna se novim življenjskim dogodivščinam naproti odpravljajo celi avtobusi mojih sosedov.

S pomočjo fotografij in video materiala instalacija BW 4821 preučuje čustva in občutke ljudi z opazovanjem njihovih pogledov. Na ta način nas vizualna komunikacija nagovarja neposredno, brez kakršnekoli potrebe po dodatnih razlagah. Z opazovanjem človeškega organa vida lahko zaznamo tudi najgloblja človekova čustva in prav zato skuša delo izraziti pomembnost tega primarno človeškega načina »pogovarjanja«.

Abaz Dizdarević (ME) je od leta 2012 direktor javnega zavoda JU “Ratkovićeve večeri poezije”, podpredsednik združenja umetnikov Črne Gore ter član združenja umetnikov Bosne in Hercegovine in združenja umetnikov Sandžak. Od leta 2001 je samostojno razstavljal v Srbiji, na Hrvaškem, v Črni gori in Turčiji, sodeloval je na številnih skupinskih razstavah in kolonijah ter na umetniških simpozijih. Diplomiral in magistriral je na oddelku za slikarstvo na Fakulteti likovnih umetnosti Univerze Crna Gora. Več let je delal tudi kot urednik umetniškega programa Centra kulture Bijelo Polje.

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— video installation, 2015

The context of this work considers migrations of people from the Balkans, especially from Bijelo Polje, Montenegro, from which 4821 citizens have moved to Braunschweig, Germany, since the beginning of 2015. Comparing the population number of Bijelo Polje, which was 46.051 in 2011 and around 57.000 in 1991, we can see that there are constant migrations from this region. Regarding the 20-year period we can conclude that the population decreased by 19 %. Last year was dramatically different from the past 20 years and migrations increased by more than 10 % for the first nine months of the year. Poverty, social standards, hunger and disappointment are the main reasons set out by the migrants.

Buses full of my neighbors are leaving every weekend towards a new life adventure.

Using photos and video material, this installation observes people’s feelings by observing the look in their eyes. In this way, visual communication addresses us directly, without any need for additional explanation.

Deepest human feelings can be detected by observing the organ of sight, so the idea of the work was to express the importance of this primarily human “speaking” method.

Abaz Dizdarević (ME) has been working since 2012 as director of the public institute “Ratković’s Nights of Poetry”, vice-president of the Association of Fine Artists of Montenegro and member of the Association of Visual Artists of Bosnia and Herzegovina and the Sandžak Association of Artists.

Since 2001, he has exhibited on solo exhibitions in Serbia, Croatia, Montenegro and Turkey, and participated in numerous group exhibitions, colonies and art symposiums. He obtained his BA and MA degrees from the Department of painting at the Faculty of Fine Arts, University of Montenegro. For several years, he has also worked as editor of the art program at the Center of Culture, Bijelo Polje.

Abaz Dizdarević BW 4821 19

V konceptualnem smislu je delo strukturirano na več ravneh: odnos med zavestjo in nezavednim, dihotomija med moškim in ženskim principom, znak v odnosu do pomena. Gledalcu je najprej ponujena neposredna reprezentacija gonila sodobnega človeka in njegove energije.

Ali je človek zmeraj občudoval žensko telo? Kaj je tisto, na čemer neumorno delajo ustvarjalci potrošniške družbe?

Kaj se prodaja bolj kot namigovanje na seksualnost? Kaj pridobijo ženske, ko so izpostavljene “diskretnim” moškim pogledom? Pričujoče delo vse to ponuja na neposreden način; golo telo je na dosegu roke, in kar nas privlači, je povsem razkrito in vsem na očeh. Percepcija takšnega dela je toliko bolj zanimiva zaradi banalnosti in neposrednosti prikazanega. Ženski akt Pri tem delu naj bi bila pozornost opazovalca usmerjena na določen del ženskega telesa, po jasni analogiji v slikarstvu skozi zgodovino (Amadeo Modigliani, Gustav Courbet itd.), kjer se akt v glavnem pojavlja kot zelo iskan in pogost motiv. Delu je tako dodana zanimiva rdeča nit “uglajenega mačizma”; način uporabe ženskega telesa ter “podoba” in prizor v širšem smislu in kot takšna skozi stoletja. Ali si podoba, ki pušča luknjo v človekovem umu, zasluži svoje mesto v umetnosti?

Neenakost Delo provocira tudi z velikokrat uporabljeno, pogosto na kvazi feminističen način, zgodbo o neenakosti spolov. To potrjujejo dela umetnikov skozi stoletja, čeprav je jasno prisotno še danes v obliki eksplicitne uporabe ženskega telesa in seksualnosti nasploh. Ne glede na to, koliko prizorov, filmov in fotografij je dostopnih, so vedno zanimive in jih nikoli ni dovolj.

Delo bi nemara utegnilo izzvati določene feministične reakcije, a zamišljeno je v smeri razkrivanja neenakosti in kot oblika kritike, ki gledalcu prikazuje neposredno, surovo podobo nečesa, čemur je ves čas izpostavljen.

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Dino Karailo Ženski akt, Neenakost (Percepcija) —instalacija, 2015

Dino Karailo (ME), je diplomiral iz slikarstva na Fakulteti za likovno umetnost v Cetinju leta 1999. Istega leta je tam nadaljeval s podiplomskim študijem ter kasneje (2000–2004) na isti fakulteti poučeval kot asistent in opravil magisterij. Aktivno se udejstvuje na področjih multimedije, digitalne umetnosti in novih umetniških praks, zanimajo pa ga tudi oblikovanje, gibljiva grafika in animacije.

The conceptual layer of the work includes several levels. Relations between these levels include oppositions of the conscious vs. the unconscious, male vs. the female principles, and sign vs. meaning.

First, the viewer is offered a direct representation of the driving force of modern man and his energy. Was man always eager about the female body? What is it that creators of consumer society work on relentlessly? What is the most successful sales technique, if not the allusion to sexuality? What is it that women are subjected to when “subtly” exposed to man’s glances? This work offers all of that directly; the naked body is within reach, and what intrigues is in plain view. The perception of such a work is even more interesting because of the banality and directness of the displayed.

— installation, 2015

Dino Karailo Female Nude, Inequality (Perception)

Female Nude In this work, the focus and attention of the observer should be on a particular aspect of the female body, with a clear analogy to painting through the ages (Amadeo Modigliani, Gustav Courbet, etc.), where the nude mainly occurs as a desirable and common motif. This adds an interesting “subtle-macho” thread; the manner of use of the female body, the “image” and scene in general, and so on, through the centuries. Does the image that leaves a hole in the human mind deserve its place in art?

Inequality This work also provokes, with the widely used, often in a quasi-feminist manner, story of gender inequality, which is confirmed by the work of artists through centuries, and it is clearly visible even today, through the explicit use of female body and sexuality in general. Regardless of how many scenes, movies and photos are out there, they are always intriguing and never enough. The work could possibly cause some feminist reactions, although it should be viewed as being in favor of exposing inequality and as a certain form of criticism, showing the viewer a direct, raw image of something that he is constantly exposed to.

Dino Karailo (ME) graduated from the Faculty of Fine Arts in Cetinje in 1999, painting department. In the same year he continued post-graduate studies and later worked as a teaching assistant at the same faculty (2000–2004) and completed his MA thesis in 2004. After obtaining his MA degree he became actively interested in the field of multimedia, digital art and new artistic practices.

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Wardenclyffe Tower Sonata je parafraza na lokalno preokupacijo Nikole Tesle, ki je na prelomu v 20. stoletje v ZDA postavil enega prvih brezžičnih oddajnikov (Wardenclyffe Tower).

Njegovo vzporedno idejo o enem radijskem oddajniku za cel svet, ki je bila tedaj brez dvoma humanistična, vendar je v zgodovinski perspektivi fašistična (na drugi strani je množica “volksempfaengerjev”), uporabim na način sodobnega ljudskega sprejemnika – kreiraj sam svojo glasbo.

Gre torej za inverzijo originalnega principa, ki je sodobni humanistični princip. Wardenclyffe Tower je glasbeni instrument, ki proizvaja omenjeno skladbo.

Borut Savski Wardenclyffe Tower Sonata

— zvočna instalacija, 2015

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Borut Savski (SI) je intermedijski umetnik, ki daje velik poudarek zvoku ob sočasni uporabi tehničnih rešitev za nevsakdanje instrumente in avtonomne zvočne in vizualne strukture/ skulpture. Prvi zvočni eksperimenti v studiu Radia Študent Ljubljana leta 1994. Leta 1999 prva kibernetska zvočna instalacija Zvočni biotop v galeriji Kapelica v Ljubljani (v sodelovanju z ameriškim umetnikom Johnom Grzinichem). Esej Zvok kot metafora, kjer so zaobjete temeljne preokupacije, gre za paralele z družbenim. V nadaljevanju različni samostojni koncepti in instrumenti ter sodelovanja z glasbeniki in drugimi umetniki. Sledi postopno dodatno vpeljevanje elektronike in avtonomno gibljivih mehanizmov.

Kar nekaj gostovanj v mednarodnem prostoru in na večini lokacij v Sloveniji.

Trenutno preokupacija s taktilnimi vmesniki in interaktivno generiranim zvokom/glasbo.

Borut Savski Wardenclyffe Tower Sonata

— sound installation, 2015

The Wardenclyffe Tower Sonata is a paraphrase of a local project by Nikola Tesla, who set up one of the first wireless transmission stations (the Wardenclyffe Tower) at the turn of the 20th century in the USA. I am using his idea of a single radio transmitter that could reach the entire world – an idea, which at that time was undoubtedly humanistic, but is really fascist from a historical perspective (for on the other hand there was a mass of Volksempfänger “people’s receivers”) – in the sense of a modern-day “people’s receiver”, i. e. make your own music.

The work is therefore an inversion of the original principle to a contemporary humanistic approach. The Wardenclyffe Tower is a musical instrument that performs the title composition.

Borut Savski (SI) is an intermedia artist with a particular interest in the domain of sound, supported by the use of technical solutions for unconventional instruments and autonomous sonic and visual structures/sculptures. First sonic experiments at the Radio Student Ljubljana studio in 1994. First cybernetic sound installation Sound Biotope (1999) in Kapelica Gallery Ljubljana, together with American artist John Grzinich. Author of essay Sound as Metaphor, which discusses the basic principles and forms a parallel to society. Later performed various solo concerts, developed instruments, and collaborated with musicians and other artists, gradually introducing electronics and autonomous movable mechanisms. Performed with guest appearances at several international venues and most relevant locations in Slovenia. Currently works with tactile interfaces and interactively generated sound/music. http://www.ljudmila.org/~savskib/?p=432

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Jure Fingušt Regratova lučka — interaktivna instalacija, 2014

Regratova lučka je interaktivna instalacija, ki gledalca popelje skozi čas, nazaj v njegovo otroštvo. V čas, ko smo brezskrbno tekali po travnikih in upihnili vsako regratovo lučko, ki nam je prišla pod roke. Instalacija deluje na intuitiven način, obiskovalec mora zgolj upihniti regratovo lučko.

Od prave lučke se razlikuje le v tem, da se tu semena samodejno postavijo nazaj, saj gre za digitalno upodobitev lučke, ki se ponovno sestavi.

Jure Fingušt (SI) je akademski kipar, ki je leta 2012 končal Akademijo za likovno umetnost in oblikovanje Ljubljana, svoje izobraževanje pa nadaljuje na Universität für Künstlerische und Industrielle Gestaltung Linz. Septembra 2015 je razstavljal svojo interaktivno instalacijo Take your time na festivalu Ars Electronica Post – Post v Linzu, Avstrija. Od leta 2010 je razstavljal na številnih skupinskih razstavah v Sloveniji in v tujini. Od leta 2009 razstavlja svoja dela kot javne postavitve in sodeluje na mednarodnih kiparskih simpozijih: Študentska Forma Viva ALUO 2009 v kamnolomu Lipica, Skultura 2001 leta 2009 in 2011 v Štandrežu, Italija, Forma V 2009 Sinja Gorica – Vrhnika, Slovenija.

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Jure Fingušt Dandelion blowball — interactive installation, 2014

Jure Fingušt (SI) is an academic sculptor who obtained his degree in 2012 from the Academy of Fine Arts and Design in Ljubljana, and continues his studies at the Universität für Künstlerische und Industrielle Gestaltung Linz. In September 2015 he exhibited his interactive installation Take your time at the Ars Electronica Post – Post festival in Linz, Austria. Since 2010 his works have been presented on several group exhibitions in Slovenia and abroad.

After 2009, his works have often taken the form of public installations. Fingušt also contributes to international sculpture symposiums, such as: the students’ Forma Viva of ALUO (Academy of Fine Arts and Design Ljubljana), 2009, at the Lipica stone quarry; Skultura, 2001; Sant’ Andrea, Italy, 2009 and 2011; and Forma V, 2009, Sinja Gorica – Vrhnika, Slovenia.

The Dandelion blowball is an interactive installation that takes the viewer on a journey through time, back to his childhood. Back to the time when we were running through meadows, blowing every blowball that we came across. The installation works intuitively, all the visitor has to do is blow the dandelion clock. The only difference is that the seeds here are automatically placed back to their original position, as this is a digital representation of the blowball, which is restored to its original shape.

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— instalacija, 2015

Matjaž Požlep Imena šepetalca “Crrrack ... in ognjeni zublji pravkar sproščenega pritiska se nesramno splazijo v ledeno zamrznjen trenutek, trenutek, ko nepredirna polnina grozljive nadčutne onostranosti nepojmljivo trdno zgrabi nekoga za levo roko, in ko ta, – v tem skrajno nelagodnem vmesju duhovne pričujočnosti –, s svojo desno še ne more zares objeti barvitega videza čutne tostranosti, in v tem topem krču nekakšne zle usode, z besedo, ki je nikakor še ne more izdaviti, v stiskajočih kleščah tesnobne groze, nemo moli za odrešitev!” — Aljoša Kolenc

“Crrrack ... the fiery tongue of a newly released pressure shamelessly crawling into an deep frozen moment, the moment when the impenetrable fullness of horrible metaphysical otherness, inconceivable, firmly grabs someone’s left hand, and when this – in an extremely awkward inbetweenness of the spiritual present – with his right, can not yet really embrace the colorful appearance of sensory reality, and in this dull crunch some kind of evil fate, with the word which in no way can yet be spoken, in the clutching claws of anxious terror, silently praying for salvation.” — Aljoša Kolenc 26

Matjaž Požlep (SI) je soustanovitelj in direktor Art Rebel 9, pionirjev kreativne uporabe naprednih tehnologij in trenutno strokovni svetovalec MARS-a (mednarodne agencije za raziskave singularnosti) ter član upravnega odbora spletne trilaterale Art-Kunst-アート(NY, Berlin, Tokyo) v ustanavljanju.

—installation, 2015

Matjaž Požlep Names of the Whisperer

Matjaž Požlep (SI) is the co-founder and CEO of Art Rebel 9, pioneers of the creative use of advanced technologies, currently a Special Adviser at MARS (International Agency for Research on Singularity) and a member of the board of the Web Trilateral Art-Kunst-アート (NY, Berlin, Tokyo) in the establishment.

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Andrej Koruza Trki Instalacija – mozaik Trki avtorja Andreja Koruze misli odnose znotraj družbenega sistema. Osredotoča se na nezmožnost komunikacije, konflikt, na hrup, ki onemogoča obojestransko razumevanje.

Vzpodbujanje sovraštva, nerazumevanje in nespoštovanje drugačnosti v družbi ustvarjajo klimo strahu, v kontekstu katere si nekateri na poziciji moči gradijo podporo. Mediji, ki v želji po večji gledanosti in zaslužku to klimo spodbujajo, vodijo družbo v stanje nezaupanja, to pa onemogoča razrešitev konfliktov in sobivanje. Instalacija Trki poskuša to dinamiko preučiti preko medija mozaika, kjer se posamezni elementi ne samo premikajo, ampak tudi dotikajo oziroma trkajo in pri tem ustvarjajo zvok.

Produkcija Production KIBLA 2015

Andrej Koruza (SI) je med leti 2004 in 2007 obiskoval šolo mozaika Scuola Mosaicisti Del Friuli in prejel štipendijo za najboljše zaključno delo. Rezultat njegovega poglobljenega raziskovalnega dela so mozaiki v seriji Tessera in fuga, ki so bili razstavljeni v galerijskih prostorih knjigarne Luvina (Bogota, Kolumbija, 2009). Od leta 2010 kot producent in delavničar deluje v skupini oblikovalcev, arhitektov in rokodelcev GRUPA. Istega leta je začel serijo mozaičnih instalacij, ki naslavljajo odnose med sistemom, tehnologijo in družbo; med te sodijo tudi Znamenja z meje.

Andrej Koruza (SI) attended the Mosaic School of Friuli (2004–2007) and recieved a grant for the best final mosaic. After various mosaic projects he started research of the basic elements in mosaic, culminating in the series Tessera e Fuga (exhibited at Luvina Library, Bogota, Colombia, 2009).

Since 2010 he leads the production and workshop in the group of designers, architects and craftsmen GRUPA. In that year he began a series of mosaic installations studying the relations between the System, Technology and Society. The first in the series is Signals From the Limit.

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— instalacija/mozaik, 2015

Andrej Koruza Collisions — installation/mosaic, 2015

The installation – mosaic Collisions by Andrej Koruza ponders the relations within the social system. It focuses on the inability to communicate, on the conflict, on the noise that prevents mutual understanding. Fostering hatred, unsupportiveness and disrespect for variety in our society, generates a climate of fear in the context of which some people in positions of power are building up their support. The media battles for higher ratings and profit encourage such a climate, running the society into a state of distrust, which in turn hinders coexistence and prevents conflicts from being resolved.

The installation Collisions attempts to explore this dynamic through the medium of mosaic, where individual elements not only move around, but also create physical touches, i. e. impacts, which generate sounds.

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Đejmi Hadrović Kaj se je zgodilo z ljubeznijo?

(Deviški pas) — instalacija, 2015

Novomedijska instalacija Kaj se je zgodilo z ljubeznijo? se poigrava s konceptom ljubezni, ko se piše leto 2015. Priča smo današnji narcistični družbi, ki se vse bolj prepušča uporabi digitalnih družabnih omrežij, vse do te mere, da se odnosi oblikujejo na povsem distanciran način.

Ljubezen je postala komoditeta, ki kali samo iz interesov in traja le tako dolgo kot njena sladkost. Đejmi Hadrović (SI) je otrok tranzicije, transmedijska umetnica, ki raziskuje teme kot so transspol, transseksualnost, tranzicija od komunizma h kapitalizmu, tranzicija od tradicionalizma k liberalizmu, tranzicija od vojne k miru, od skupine Bijelo dugme k turbofolku, tranzicija od Jugoslavije k Sloveniji, tranzicija od Balkana k EU.

Đejmi Hadrović What Happened To Love?

(Chastity belt) The new media installation What Happened To Love? plays with the concept of love in 2015. We are witnessing today’s narcissist society, which is increasingly using digital social networks to such an extent that relationships are shaped in a completely distanced form. Love has become a commodity that is triggered by interest only, and it lasts only as long as the sweetness is present. Đejmi Hadrović (SI) is a child of transition, a transmedia artist who deals with topics such as transgender, transsexuality, transition from communism to capitalism, transition from traditionalism to liberalism, transition from war to peace, transition from Bijelo Dugme to turbofolk, transition from Yugoslavia to Slovenia, transition from Balkan to EU. 30

— installation, 2015

Produkcija Production KIBLA 2015 31

Robertina Šebjanič Monika Pocrnjič Oscillatorium – Oscilacija živih sistemov — instalacija, 2015

Komunikacija pomeni sonifikacijo okolice oziroma ozvočevanje določenega procesa, je korak k razumevanju medvrstne komunikacije in medvrstnega so-bivanja.

Na področju naravoslovnih znanosti, predvsem biologije, je uporaba naravnih oscilatorjev tesno povezana s študijami delovanja naravnega sveta v svojem časovnem ustroju. Eden preprostejših primerov tega je delovanje srca in cirkadianih ritmov, ki predstavljajo podatkovni tok, pridobljen iz delujočih procesov v telesu. Cirkadiani ritem nam omogoča razumevanje in spremljanje časa ter nam pomaga obdržati vsakodnevni ritem na podlagi elektro-kemične oscilacije celic.

Cilj projekta je osredotočen na študije različnih živih sistemov (živalskih in rastlinskih vrst) ter preko njih vzpostavitev specifične oscilacije za vsako vrsto, ki se nato sestavijo v zvočno-vizualno izkušnjo. Instalacija preučuje simbiotičen odnos in soobstoj med človekom in rastlinami. Hkrati skuša vzpostaviti možnost razvoja tehnologij, ki so “naravocentrične” in ne antropocentrične. Poglobljeno raziskovalno delo se ukvarja tudi z aktivnim odnosom med objekti v galerijskem prostoru in telesi obiskovalcev.

Obiskovalci ob srečanju z instalacijo aktivirajo v objekte vgrajen zvočni sistem, ki nato

Produkcija Production KIBLA 2015 Posebna zahvala Credits Pifcamp 32

sproži proizvajanje naravnih in umetnih/ sintetiziranih zvokov. Na ta način skuša umetniška postavitev združiti elemente tehnologije in naravne elemente v kompleksen in navdihujoč dialog.

Monika Pocrnjić (SI) je umetnica in hekerca, ki zelo rada razstavlja in sestavlja ter spreminja funkcionalnost predmetov, tako da iz njih nastanejo majhni umetniški artefakti. Trenutno razvija in vzpostavlja več laboratorijev znotraj prostorov kreativnega kolektiva GT22 (Glavni trg 22) v Mariboru. http://gt22.si/# Robertina Šebjanič (SI) je intermedijska umetnica (http://robertina.net/). V svojih delih se ukvarja z vzpostavitvijo razmerij med humanističnimi in naravoslovnimi znanostmi (umetnostjo in znanostjo).

Vsebinsko svoje ideje in koncepte pogosto realizira v sodelovanju z drugimi avtorji, zato njena dela utelešajo interdisciplinarnost in neformalno integracijo. Študirala je na Šoli uporabnih umetnosti Famul Stuart na ALUO v Ljubljani ter na Valand School of Fine Arts v Göteborgu na Švedskem.

Robertina Šebjanič and Monika Pocrnjič Oscillatorium – Living systems oscillation — installation, 2015

Communication is sonification of an environment as well as sonification of a process.

It is a step towards understanding communication and coexistence of interspecies.

In the field of natural sciences, notably biology, the use of natural oscillators is closely connected to the studies exploring how the natural world functions within its temporal structure. A simple example of this is the common functioning of the heart and circadian rhythms, which means, in other words, the information flow of bodily working processes. The circadian rhythm enables us to understand and monitor time, and to maintain our everyday rhythm on the basis of electrochemical oscillation of our cells.

The project aim focuses on the study of living systems and the establishment of a specific oscillation that runs through them, and tends to assemble a sonic-visual experience. The installation explores the symbiotic relationship and coexistence between human beings and plants. Furthermore, it tries to evoke the possibility of developing technologies that are nature-centric rather than human-centric (anthropocentric). The extensive research also considers the active relationship between objects in the gallery space and the visitors’ bodies. As visitors engage with the installation, they activate the sound system embedded in the objects, which in turn triggers natural and artificial/synthetic sounds. The installation therefore aims to bring elements of technology and nature together in a complex and thought-provoking dialogue.

Monika Pocrnjić (SI) is an artist and hacker who likes to disassemble, compose, and alter the function of objects, to transform them into small artistic artifacts. Currently she is developing and establishing several laboratories within the creative collective GT22 (Glavni trg 22) in Maribor. http://gt22.si/# Robertina Šebjanič (SI) is intermedia artist (http://robertina.net/) and her art practice evolves around the fields of humanist and natural sciences. The contents of her ideas and concepts often are realized in collaboration with other authors, which is why her works embody interdisciplinarity and informal integration. She studied at the Famul Stuart School of Applied Arts and sculpture at the Academy of Fine Arts and Design in Ljubljana (SI), as well as at the Valand School of Fine Arts in Gothenburg (SE).

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— instalacija, 2015

Saša Spačal, Ida Hiršenfelder Zemlja, sonoseizmični instrument

Dobrodošli v antropocen, geološko dobo industrijskih družb. V dobo, v kateri so se dogodile motnje v sistemu Zemlje na planetarni ravni. Klimatske spremembe, izguba biodiverzitete, onesnaženost morja, kopnega in zraka, izkoriščanje naravnih virov in močno osiromašenje zemeljskih tal zaznamujejo krizo planeta. Kriza planeta je kriza sistema.

Zemlja, sonoseizmični instrument omogoča vstop v planetarno perspektivo, v čutno in haptično razmerje med človekom in planetom. Izčrpavanje fosilnih goriv iz zemeljske skorje povzroča tektonske razpoke. V globus se zarisujejo seizmografske raze, ki se stopnjujejo s prisotnostjo in bližino človeškega bitja. Planet oddaja infrasonični zvok potresov, človeka potaplja v vseprisotno akustično območje brez razpoznavnega izvora. Človeško bitje je ujeto v dramo neskončnega kroženja kapitala v planetarni perspektivi.

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Saša Spačal (SI) je medijska umetnica, ki izhaja s področja humanistike in trenutno deluje na presečišču raziskovanja živih sistemov in medijske umetnosti. Njena dela so bila predstavljena na različnih razstavah in prizoriščih www.agapea.si.

Ida Hiršenfelder (SI) je kuratorka in kritičarka za intermedijsko umetnost. Zgodovina medijev, arhivi in njihovo izginevanje ter medijska arheologija so njena izhodiščna raziskovalna področja. Je zagovornica in uporabnica prostega in odprtokodnega programja. Od leta 2011 je članica eksperimentalnega DIY hrupnega kolektiva Theremidi Orchestra. Z intermedijsko umetnico Sašo Spačal sodeluje pri seriji sonoseizmičnih instalacij v produkciji Kible. beepblip.org Strokovni sodelavci Technical support Mirjan Švagelj, Anil Podgornik, Blaž Berdnik Produkcija Production KIBLA 2015

Saša Spačal, Ida Hiršenfelder Earth, sonoseismic instrument — installation, 2015

Welcome to the Anthropocene, the geological era of industrial societies. The era that is marked by disruptions in the Earth's system on a planetary scale. Climate change, loss of biodiversity, land, air and water pollution, exploitation of natural resources and severe soil depletion are all signs of a planet in crisis. A crisis of the planet is a crisis of the system.

Earth, a sonoseismic instrument, enables an entrance into the planetary perspective, a sensual and haptic relation between a human and the planet. Pumping out fossil fuels from the earth's crust causes tectonic cracks. The globe’s crust is pierced with seismographic cuts, which are becoming deeper with the increasing presence and closeness of humans. The planet emits an infrasonic sound of earthquakes, submerging the visitor inside a ubiquitous acoustic zone of no recognizable origin. The human being is trapped inside a drama of endless circulation of the capital in a planetary perspective.

Saša Spačal (SI) is a media artist with a background in humanities, who is currently working at the intersection of living systems research and media art. Her works were presented at numerous exhibitions and venues. www.agapea.si Ida Hiršenfelder (SI) is media art critic and curator. Her focus research areas include media history, archives and their disappearance, and media archaeology. She is also an advocate and user of free and open source software. Since 2011 she has been a member of the Theremidi Orchestra experimental DIY noise collective. She collaborates with media artist Saša Spačal on a series of sonoseismic installations produced by Kibla. beepblip.org 35

Tomaž Furlan Projekt Wear — retrospektiva

Gre za nekakšno kritično refleksijo o preprosti uporabi interaktivnih del. Dela, ali morda bolje skulpture, so se izkazala za podaljšane funkcije telesa v nekem prisilnem procesu.

V videih Wear so ta dela uporabljena kot scenske kulise v obliki oblačil za preprosto funkcijo delanja nečesa. Od tod ime Wear, ki nakazuje, da so dela dejansko oblačila, obenem pa tudi funkcionalni predmeti, narejeni za določeno produkcijsko ali ritualno dejanje. Zdelo se je zanimivo zapreti se v atelje, namestiti kamero in posneti samega sebe pri nekem osnovnem in preprostem delu ali postopku. Ne le z vidika umetnika, ampak tudi običajnega človeka (civilista), ujetega v sferi demokratičnega dela – pravic, zatrte svobode izbire in individualne potrebe po fizični dejavnosti. Namen pa je ustvariti in uporabljati te nesmiselne “hard-wears” kot poskus eksperimentiranja s preprosto potrebo po ustvarjanju osebne dejavnosti brez kakršnih koli pragmatičnih ali produkcijskih razlogov. Projekt Wear je poskus borbe proti banalnosti z neumnostjo.

Seveda je neuspešen, obenem pa tudi absolutno potreben, da ostanemo, kar se da človeški.

Tomaž Furlan (SI) je študiral kiparstvo na Akademiji za likovno umetnost in oblikovanje v Ljubljani.

Pri delu ga predvsem zanima video ali video performans, vendar se za prenos svojega umetniškega sporočila loteva tudi drugih tehnik (instalacije, fotografija, knjiga umetnika). Njegov trajajoči Projekt Wear je bil predstavljen na samostojnih in skupinskih razstavah doma in v tujini. Nagrajen je bil s šesttedensko umetniško rezidenco v ateljeju ISCP za mlade umetnike.

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Wear V, foto / photo by Robert Ograjenšek

Wear XVIII, foto / photo by Matevž Paternoster

Wear XV, foto / photo by Robert Ograjenšek

Wear VI, foto / photo by Robert Ograjenšek

Tomaž Furlan The Wear Project — retrospective

The Wear Project is a kind of analytic reflection on the simple use of interactive pieces. The pieces, or should I say sculptures, proved to be extended functions of the body in some forced process. In Wear Project videos they are used as scene props in the form of clothes for the simple function of doing something. The name Wear comes from this, which suggests that these pieces are actually clothes, but they are also functional objects made for a certain production or ritual action. It was interesting to close myself in the studio and install a camera and record myself carrying out some basic and simple kind of work and process. Not only from the artist’s point of view, but also as a common person (a civilian), caught in a sphere of democratic work – rights, suppressed freedom of choice, and the individual need for physical activity. The intention, however, is to produce and use these pointless “hard-wears” to try and experiment with a simple need to create an individual action without any pragmatic or production reasons. The Wear Project is an attempt to fight against banality with stupidity. Naturally it is unsuccessful, but it is also absolutely necessary in order to remain as human as possible. (Translated by Tamara Soban) Tomaž Furlan (SI) studied sculpture at Academy of Fine Art in Ljubljana. He is predominantly interested in video and performance, but also takes upon any other art technique (installation, photography, artist’s book) in order to convey the message. His on-going project Wear was presented on solo and group exhibition in numerous exhibition venues.

He was awarded with ISCP award for young artists.

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Luciana Haill “Sem, da sem” – EEG & DreamMachine

Luciana Haill “I am that I am” – EEG & DreamMachine

— instalacija, 2014 – v nastajanju

Interaktivna, participatorna umetniška instalacija, različica instalacije Phrontesterion spremlja možgansko valovanje udeležencev med preizkušanjem t. i. DreamMachine (sanjskega stroja), ki v njih sproža pojav migetanja oči (flickering) preko nevronskih povratnih informacij. Izum elektroencefalografa (EEG) za spremljanje možganskih valov in njegova kasnejša vsakodnevna uporaba v medicinski diagnostiki nam ponuja neobdelane, izmerljive podatke o možganih. Kombinacija spremljanja možganskih valov ter zgodnje uporabe stroboskopov na področju nevrofizioloških raziskav je imela za posledico stranske učinke – inducirane halucinacije ali t. i. “flicker” (migetanje, utripanje).

Teta možgansko valovanje povezujemo s stanjem sanjarjenja (reverie), ki ga surrealisti opisujejo kot idealno dovzetno, sproščeno in navdihujoče mentalno stanje. Med prvimi, ki so preizkusili sanjski stroj DreamMachine – kreiral ga je umetnik Brion Gysin v Beat Hotelu Paris – je bil William Burroughs. Njuna raba tehnike razrezanja in različnih drugih nenavadnih (literarnih) tehnik je prav tako neposredno navdihnjena s to analogno tehnologijo.

Hardver: gramofon, model sanjskega stroja DreamMachine, IBVA EEG monitor in elektrode, LED nanolead žarnica, slušalke Softver: IBVA5 in Ableton Digitalna umetnica Luciana Haill (UK) se kreativno ukvarja z nevrotehnologijami, digitalnimi mediji, performansi, zvokom in risbo. Kot najstnica je zbolela za virusnim meningitisom, zato se navdušuje nad raziskovanjem človeških možganov. Je prva študentka, ki je diplomirala iz interaktivne umetnosti pri prof. Royu Ascottu (1996). Od takrat ustvarja umetniške instalacije in izvaja performanse na mednarodnih prizoriščih, kot so The Royal Institution, FACT, The Sage v Gatesheadu, Galerija iMal v Bruslju, CENART v Mexico Cityju in The Waag Society v Amsterdamu. Velja za pionirko na svojem umetniškem področju. www.lucianahaill.co.uk Naprava ni primerna za ljudi s fotosenzitivno epilepsijo.

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Foto Photo Grete Hjorth-Johansen

— installation, 2014 – ongoing

In this interactive, participatory artwork version of installation “Phrontesterion” the Brainwaves of participants are monitored whilst experiencing a DreamMachine, invoking an experience of the phenomena Flicker via neurofeedback. The invention of the Electroencephalograph (EEG) for monitoring brainwaves, and its routine employment in medical diagnostics offers raw and quantifiable information about the brain. The combination of brainwave monitoring with the early adoption of stroboscopes in neuro-physiological research produced side effects – induced hallucinations named ‘Flicker’.

Theta brainwaves are associated with ‘Reverie’ – to the surrealists an ideal receptive, relaxed and inspirational state of mind. William Burroughs was an early adopter of the DreamMachine created by artist Brion Gysin in The Beat Hotel Paris, and their use of ‘cut-ups’ and splicing new

techniques were directly inspired by this analogue technology.

Hardware: Record player, DreamMachine template, IBVA EEG monitor and electrodes, LED nanolead bulb, headphones Software: IBVA5 and Ableton Digital artist Luciana Haill (UK) works creatively with neurotechnologies, digital media, performance, sound and drawing. She experienced viral meningitis as a teenager which led to a fascination with the brain. She graduated from the first ever degree in Interactive Art led by Roy Ascott, in 1996 and has since gone on to create installations and performances internationally at major venues including The Royal Institution, FACT, The Sage in Gateshead, iMal Gallery in Brussels, CENART in Mexico City and The Waag Society in Amsterdam.

She is considered a pioneering artist in her field. www.lucianahaill.co.uk

Not suitable for people with photo sensitive epilepsy.

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Jens Vetter Netz (Mreža) — instalacija, 2015

Umeščeno nekje med objektom in instrumentom, delo z naslovom Netz raziskuje haptični pristop k fizičnemu ustvarjanju zvoka, pri čemer spreminja upogibanje elastičnih tub v digitalne, v realnem času ustvarjene in modificirane sinusne valove. Mehanska konstrukcija navdih črpa iz arhitekture pajkovih mrež, njihove stabilnosti ter, v metaforičnem smislu, njihove simboličnosti, ki ponazarja nezavedne in prikrite dele človekovega dojemanja in človeško trans-racionalno stanje.

Jens Vetter (DE) je študent na oddelku Interface Culture (vmesniške kulture) na Univerzi za umetnost Kunstuniversität Linz, Avstrija.

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Jens Vetter Netz (Net)

— installation, 2015

Between being an object but also instrument the „Netz“ explores a haptic approach to physical creation of sound, converting the bending of elastic tubes into digital real-time generated and modulated sinus waves. The mechanical construction is inspired by the architecture of spider nets, their stability and also, on a metaphorical level, the spider as a symbol of the unconscious and hidden parts of human perception and the human trans-rational condition.

Jens Vetter (DE) is a student at the department of Interface Culture, Kunstuniversität Linz, Austria.

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Deborah Hustić Echoed Bodies (Odzven teles) – Suknjič ‘Sequencer v.1’ — nosljiva tehnologija, 2015 – delo v nastajanju

Echoed Bodies je trenutno še namišljen orkester, katerega člani bodo svoje instrumente (le) nosili kot oblačila, namesto da bi jih imeli pred seboj na odru.

Prvi suknjič iz serije oblačil, Sequencer v.1, ima vgrajeno različico Arduino DIY sintetizatorja in glasbene naprave. Namen dela je dislocirati instrument od tradicionalnega položaja na odru, ki ga zamenjuje nosljivi tehnološki objekt, funkcionalen in ustvarjen z namenom redne uporabe za nastopanje. Ob upoštevanju večletnih izkušenj z občutljivimi artefakti, izdelanimi za razstave ali nastope, ter z njimi povezanimi manjšimi ali večjimi frustracijami, bo serija zvočnih oblačil preučila vse vidike delovnih procesov, od preprostosti do kompleksnosti. Prvi single naj bi skupina izdala v letu 2016 ter prenehala delovati leta 2020.

Mentor za tekstil: Frane Šoša Deborah Hustič (HR) je medijska umetnica in kuratorka. Zanimajo jo nosljive tehnologije in zvočna umetnost (odprtokodni hardver, sound boxi in sintetizatorji) ter izobraževanje prek delavnic, pri čemer zagovarja t. i. STEAM izobraževalni pristop. Bila je udeleženka številnih hrvaških in mednarodnih festivalov, razstav in konferenc s tematiko DIY/DIWO elektronike, novih medijev, intermedije in hibridne umetnosti. Izvedla je vrsto delavnic za otroke, mladino in odrasle na področju ustvarjalne elektronike in e-tekstilij ter je projektna vodja Radiona.org / Zagreb Makerspace.

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— wearable technology, 2015, work-in-progress

Deborah Hustić Echoed Bodies – Jacket „Sequencer v.1“ Echoed Bodies is currently an imaginary orchestra whose members will only wear its music instruments instead of having them in front. The first jacket 'Sequencer v.1' in the series have embedded variety of Arduino based DIY synthesizers and music machines. The aim of the work is to displace the instrument from the traditional position on the stage, to create a wearable technology object that could be functional and created with a purpose for the stable use in performances. Dealing for a couple of years with fragility of created objects for exhibitions and performances with less or more frustration on the back, the series of sound clothing will explore all aspects of the working processes from simplicity to complexity. It is planned for the band to publish its first 'single' in 2016 and to discontinue in 2020.

Textile mentor: Frane Šoša Deborah Hustić (HR) is media artist and curator. She is into wearable technology and sound art (open source hardware, sound boxes and synthesizers) and educational development via workshops, supporting the STEAM concept of education. She has taken part in many festivals, exhibitions and conferences in Croatia and abroad in the domain of DIY and DIWO electronics, new media, intermedia and hybrid art. She has run a series of workshops concerned with creative electronics and eTextile for children, young adults and adults. She is the project manager of Radiona.org / Zagreb Makerspace. bodypixelstudio.com, textiletronics.org, radiona.org

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AR LIBRIS, Kristijan Robič, Petra Kolmančič: Metastaze, insert iz videa / video still

AR LIBRIS — odzivna instalacija v javnem prostoru

Vsebina je preplet iskanja besed in tekstov, ki so povezani preko realnih prostorov v mestu, označenih z AR kodami, v internetne vsebine in virtualne baze, ki so sestavljene iz različnih medijev in formatov.

Lokacije so v frekventnih javnih prostorih – in so vidno označene z AR kodo, ki je povezava na posamezne vsebine. V izvedbi projekta se prepletajo interaktivna VR postavitev v živo in soudeležba obiskovalcev. Izvedba vsebuje 3d objekte in animacijo, video, vrsto interaktivnih objektov, slikovnih in zvočnih upodobitev v povezavi z literarnim tekstom.

Augmented Reality (AR) je novejša računalniška tehnologija, ki združuje fizični svet z interaktivnim virtualnim svetom. AR ima mnogo prednosti in ena od teh je, da smo še vedno v realnem okolju, pri tem pa lahko občudujemo vizualno virtualni svet. Projekt omogoča nastajanje popolnoma novih in drugačnih javnih površin, takšnih, ki so prepletene z umetnostjo in tehnologijo, ki omogoča tovrstno upodabljanje.

Vodstvo v petek, 9. 10. (18.00–20.00), zbirno mesto Kulturni Inkubator, Koroška cesta 18 — responsive installation in public space

The content is a mesh of word- and text-searches, connected through real spaces in the city, marked with AR codes, into internet contents and virtual bases consisting of various media and formats. The locations appear in frequented public spaces, and are visibly marked with an AR code functioning as a link to individual contents. The project combines a live interactive VR installation and the visitors’ participation. It includes 3D objects and animation, video, a series of interactive objects, and visual and sonic imagery in connection to the literary text. Augmented reality (AR) stands for advanced computer technology, which joins the physical world with the interactive virtual one.

AR has many advantages, one of them being that while still remaining in the real environment, we can admire the visual virtual world at the same time. The project thus enables the creation of entirely new and different public areas, which are interspersed with art and the kind of technology that allows for such representations.

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AR LIBRIS Ana Pečar, Tomislav Vrečar: Napetost je prvotno nič, insert iz videa / video still

Video, animacije Video, animation Jože Slaček, Jan Sterniša, Matej Jarc, Hana Repše, Miha Sagadin, Rene Puhar, Marko Ornik, Nataša Berk, Igor Unuk, Kristijan Robič, Toni Soprano, Ana Pečar Poezija Poetry Denis Škofič, David Bedrač, Jan Šmarčan, Petra Kolmančič, Tomislav Vrečar, Dejan Koban, Lučka Zorko, Lucija Mlinarič, Anja Golob, Veronika Dintinjana Izbor video umetnikov Video selection by Petra Kolmančič, Maja Malus Azhdari Izbor poezije Poetry selection by Nino Flisar, Jan Šmarčan, Petra Kolmančič AR kode, izvedba AR codes, production Monika Pocrnjić, Jan Sterniša, Gregor Rojko, Jože Slaček 45

MFRU-KIBLIX 2015 kot resonančni generator avdiovizualnih vsebin – razširjeni kino Avdio in vizualno zadovolji le dva izmed petih čutov človeka, vendar sta sluh in vid izredno pomembna člena človeške percepcije. Za zadovoljitev teh (gurmanskih) čutov sodobnih kinematografskih praks v sklopu festivalske platforme nadaljujemo (od leta 2008) s tradicijo predstavitev avdiovizualnih novomedijskih projektov.

Kino v živo (nekoč “živa” glasbena spremljava nemega filma) označuje dogodek, kjer se sodobne zvočno-vizualne prakse v živo izvajajo v kinematografskem prostoru. S postavitvijo črne škatle (black box), s celovitimi, potopitvenimi projekcijami na prostranem razstavnem območju KIBLA Portala ponovno raziskujemo široko področje vizualnega, kjer različne tehnološke, socialne, kulturne in umetniške interpretacije združujemo v enkraten eksperimentalni dogodek. Takšni dogodki s svojo estetsko in informativno vrednostjo presegajo razširjeno percepcijo zvočno-vizualnega kot nečesa zgolj zabavnega, ilustrativnega in tudi predvsem konfekcijskega pop-kornovskega konzumiranja podob, zvoka in vsebine. Gre za dogodke, oblikovane predvsem skozi ekspanzivno silo medija zvoka in slike, ki na izvirne načine uporabe različnih tehnologij (analogno, digitalno, tekočinsko, zračno, svetlobno) “eksplodirata” izven svojega utečenega okvirja in obenem skozi novo avtorsko poetiko razširjata do sedaj znane meje in konvencije kinematografske izkušnje.

Vzpostavljamo program, ki znova in znova odpira neslutene možnosti redefinicije kina, eksperimentov s sliko in zvokom in nam tako ponuja nov, razširjen uvid in razumevanje sodobne kinematografije.

MFRU-KIBLIX 2015 as a resonance generator of audiovisual content – expended cinema Audio and video satisfy merely two out of five human senses, yet sight and hearing remain vitally important parts of human perception. In order to satisfy these (epicurean) senses of modern cinematographic practices in the festival’s platform, we continue the tradition of audiovisual, new media projects presentation since 2008.

Live cinema (in the past, live cinema meant “live” musical accompaniment to silent films) marks an event, where modern audiovisual practices are performed live in cinematographic area. With the black box placement and thorough, immersed projections on the vast exhibition area of KIBLA portal, we once again explore the broad area of visual science, where various technological, social, cultural and artistic interpretations are combined into a single experimental event. With their aesthetics and informativeness, such events exceed the widespread perception of audiovisual as something merely entertaining, illustrative and, especially, as a ready-made, pulp consuming of images, sounds and contents. These events are particularly designed by an expansive force of sound and image mediums, “exploding” outside of their well-established frames by using original technologies (analogue, digital, liquid, air and light), while expanding the familiar boundaries and conventions of cinematographic experiences by introducing novel authors poetics.

We are establishing a program which opens up the unprecedented possibilities of cinema’s re-definition and image and sound experimentation; thus offering us a new extensive insight and understanding of modern cinematography.

— Marko Ornik, uho; oko: 46

Aleš Hieng Zergon Partitura za 20 nihajev Music score for 20 oscillations — glasbeni performans

Partitura za 20 nihajev je glasbeni performans, sestavljen iz 20 zvočnih fragmentov, izvedenih v 20-ih minutah. Fragmenti predstavljajo kombinacije samplov, terenskih posnetkov in zvočnih kulis, generiranih v živo z uporabo analognih sintetizatorjev ter efektov.

Aleš Hieng Zergon (SI) je DJ, producent elektronske glasbe ter zvočni umetnik, ki deluje tudi v polju avdio-vizualnih performansov in na širokem področju DIY elektronike. Zanimata ga tako klubska glasba kot tudi sonični in avdio-vizualni eksperimenti. Njegove stvaritve segajo od deep housa in techna do idm, noisa in abstraktne drone glasbe. V zadnjih letih se je uveljavil kot eden najplodnejših slovenskih ustvarjalcev, z rednimi nastopi in live acti doma in na tujem ter nastopanjem ali DJ-anjem po klubih, galerijah in koncertnih dvoranah ... www.zergon.org

— music performance

Music score for 20 oscillations is a music performance composed of 20 sound fragments performed in 20 minutes. The fragments represent combinations of samples, field recordings and soundscapes, live-generated by means of analog synthesizers and effects.

Aleš Hieng Zergon (SI) is a DJ, producer of electronic music and sound artist who also works in the field of audiovisual performances and in the vast field of DIY electronics.

Hieng is interested in club music as well as in sonic and audiovisual experimentations. His sounds range from deep house and techno to idm, noise and abstract drone music. In the last years he has established himself as one of most creative artists in Slovenia with regular performances and live acts abroad and at home, playing or dj-ing in clubs, galleries and concert halls ... www.zergon.org sreda, 7. 10. / Wednesday, October 7, 20.00 47

IZLAND vs jesusonecstasy — AV nastop

Zvočno svetlobna instalacija Izland vs jesusonecstasy je avdio vizualni live act, kjer se celoten material ustvari v realnem času, skozi prepletanje inspiracije, improvizacije in dialoga med ustvarjalci ter gre tako pri avdiu kot pri videu za enkraten, neponovljiv nastop. Tokratni dogodek bo izveden na relaciji Maribor–Berlin. Jesusonecstasy bo live act streamal iz Berlina preko interneta neposredno in izključno na Mfru-Kiblix. Zvočna povezava bo v obe smeri. Z uporabo povratnega signala v kombinaciji s prvotnim nastane delay efekt, ki bo z vsako ponovitvijo zvenel bolj popačeno zaradi kompresije in napak, ki nastanejo pri prenosu. Izland bosta nastalo glasbo opremila z vizualijami, v živo ustvarjenimi na samem dogodku.

IZLAND (SI) – Gašper Milkovič-Biloslav & Marko Vivoda razvijata nove pristope VJ-anja, kjer na preseku analognih tehnologij v živo mešata različne tekočine v organske vzorce.

Med drugim oblikujeta vizualne podobe koncertov zasedbe Silence in dua Random Logic. jesusonecstasy (SI) – Mitja Cerkvenik je producent analogne elektronske glasbe, razvija elektronske inštrumente in efekte ter ustvarja zvok za gledališke predstave in kratke filme.

— AV performance

The sound & light installation of Izland vs jesusonecstasy is an audio-visual live act, where the entire material is created in real-time, through the intertwinement of inspiration, improvisation and dialog between the performers. It is thus a unique and unimitable performance both in terms of audio and video. This time, the event will be performed on the route Maribor–Berlin. Jesusonecstasy will be streaming the live act via internet from Berlin directly and exclusively to Kiblix. The sound connection will be provided in both directions. Using a reverse signal in combination with the original one creates a delay effect, which will sound more and more distorted with each repetition, due to the compression and errors caused during the transmission. The created music will be equipped with live-created visuals at the event itself.

IZLAND (SI) – Gašper Milkovič-Biloslav & Marko Vivoda develop new approaches to VJ-ing: at the crossroads of analog technologies their live performances include mixing various liquids into organic patterns. Among other, they create visuals for the concerts of duos Silence and Random Logic. jesusonecstasy (SI) – Mitja Cerkvenik produces analog electronic music, develops electronic instruments and sound effects, and creates sound for theater performances and short films. sreda, 7. 10. / Wednesday, October 7, 20.30 48

Emiljo AC — DJ nastop

Emiljo AC (SI) je okrajšava za Emiljo Albert Cassagrande. Čeprav ime Emiljo A. C. ali Emiljo Albert Cassagrande morda asociira na renesančnega učenjaka, je to daleč od realnosti.

Gre namreč za 16-letnika, ki se je rodil na obrežju reke Drave, v Sloveniji. Z glasbo se je začel ukvarjati po podobnih vzorcih kakor drugi ustvarjalci elektronske glasbe, čeprav se je v njegovem primeru vse začelo stopnjevati precej hitreje. Vse se je začelo že pri šestih letih, ko je od svojih prijateljev prejel nepričakovano darilo – svoj prvi hip hop album. Poslušal ga je neprestano in kmalu postal obseden z zvoki glasbenih skupin kot so Wu Tang Clan, DJ Premier, Lord Finesse in drugi legendarni pionirji hip hop glasbe. Nato so se stvari začele odvijati povsem “naravno” in pri dvanajstih je Emiljo AC že pričel ustvarjati lastne ritme.

Na njegovo ustvarjanje je delno vplivalo delo svetovno znanega slovenskega glasbenega producenta Gramatika. Čeprav je prvenstveno pristaš hip hop glasbe, v svoje izdelke vključuje tudi zvočne ritme sodobnih različic elektronskega hip hopa, zraven pa vmeša še zgodnje cut’n’paste tehnike. S poglabljanjem njegovega glasbenega poznavanja se veča tudi zahtevnost njegovega glasbenega ustroja.

Poleg tega pa v rokavu skriva še enega aduta – čas je namreč zagotovo na njegovi strani.

— DJ performance

Emiljo AC (SI) is short for Emiljo Albert Cassagrande.

While the name might lead you to believe he’s a renaissance scholar, he was actually born only 16 years ago on the banks of Drava river in Slovenia. His story about how he got into making music seems to follow a familiar pattern in electronic music. Everything just unfolded a little earlier than with most. And it started with an unexpected gift… When he was six years old his friend gave him a hip hop album. He listened to it obsessively and soon got hooked on Wu Tang Clan, DJ Premier, Lord Finesse and other pioneering hip hop legends. Things evolved naturally and at the age of 12 he was already making beats of his own, partly drawing inspiration from a fellow Slovenian producer, Gramatik, who was already making big waves around the global electronic music scene. Emiljo’s brand of music was obviously influenced by the early hip hop he grew up on, but he’s not shy about also including contemporary variations of electro hip hop and mix them with those early cut’n’paste techniques. His beats are starting to become more and more intricate as his musical knowledge expands. And besides that, he has another important thing going for him – time is certainly on his side. sreda, 7. 10. / Wednesday, October 7, 21.30 49

— eksperimentalno zvočnovizualni performans

Aisen Caro Chacin & Robertina Šebjanič Utekočinjena kultura Utekočinjena kultura (Liquid Culture) je eksperimentalno zvočno-vizualni performans, ki raziskuje globine zvočne percepcije in vodne akustike. Potopitveni vizualno-zvočni performans je začetek serije vmesnikov, ki prinašajo izkušnjo v tekočem okolju, kjer udeleženec postane del nihanja zvočnih in podzvočnih nosilnih valov.

Aisen Caro Chacin (US), rojena v Bostonu, je regenerirajoča se kompozicija celic, ki tvorijo žensko, Venezuelko, Španko in Američanko ter žival, katera migracijska pot ni vezana na letne čase, temveč na priložnost, kaos in možnost. Njen glavni fokus je Human Computer Interaction HCI – izumljanje in oblikovanje novih zaznavnih vmesnikov in odkrivanje meja digitalnih medijev. Leta 2013 je magistrirala v New Yorku na Univerzi Parsons, na oddelku za oblikovanje in tehnologijo, kjer je tudi poučevala med leti 2013 do 2015 (kreativno in fizično računalništvo). Trenutno se posveča oblikovanju in izumljanju podpornih naprav znotraj svojega doktorskega študija na Univerzi Tsukuba na Japonskem. http://www.aisencaro.com/ Robertina Šebjanič (SI) je intermedijska umetnica. V svojih delih se ukvarja z vzpostavitvijo razmerij med humanističnimi in naravoslovnimi znanostmi (umetnostjo in znanostjo). V zadnjih letih je njeno raziskovanje usmerjeno predvsem na področje bioarta, živih sistemov, AV performansov, noise in zvočne umetnosti ter postavitve interaktivnih ambientalnih odzivnih potopitvenih okolij. Vsebinsko svoje ideje in koncepte pogosto realizira v sodelovanju z drugimi avtorji, zato njena dela utelešajo interdisciplinarnost in neformalno integracijo. Je članica mednarodne neformalne skupnosti Hackteria network, BioTehna laboratorija v Ljubljani, Ljudmile v Ljubljani in Theremidi Orchestra. Študirala je na Šoli uporabnih umetnosti Famul Stuart na ALUO v Ljubljani ter na Valand School of Fine Arts v Göteborgu na Švedskem. http://robertina.net/ 50

— experimental visual – sound performance

Liquid Culture Liquid Culture is an experimental visual-sound performance that explores the depths of sound perception and water acoustics.

This submersive visual-sound performance is the beginning of a series of interfaces that bring the experiencer into a liquid environment, to become part of the ebb and flow of sonic and subsonic carrier waves.

Aisen Caro Chacin (US), born in Boston, is a regenerating composition of cells that produce a woman, a Venezuelan, a Spaniard, an U.S. American, and an animal whose patterns of migration are not based on seasons, but rather chance, chaos, and opportunity.

Her radar is on Human Computer Interaction HCI – designing new perceptual interfaces; and discovering the limits of digital media.

She received an MFA in Design and Technology from Parsons in NYC, where she taught Physical and Creative Computing. She is currently designing assistive devices as PhD candidate for the program of Empowerment Informatics at University of Tsukuba, Japan. www.aisencaro.com Aisen Caro Chacin, EMP PhD Candidat University of Tsukuba

Robertina Šebjanič (SI) is an intermedia artist. Her art practice evolves around the fields of humanist and natural sciences.

For several years her research focus has been oriented towards the field of bio-art, living systems, AV performances, noise/ sound art, installations and interactive ambiental responsive immersive environments. The context for her ideas and concepts is often realized in collaboration with other authors, which is why her works embody interdisciplinarity and informal integration. She is a member of the HackteriaLab network, the UR Institute, Ljudmila Ljubljana and Theremidi Orchestra. She studied at the Famul Stuart School of Applied Arts and sculpture at the Academy of Fine Arts and Design in Ljubljana (SI), as well as at the Valand School of Fine Arts in Gothenburg (SE). http://robertina.net/

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Kasia Justka electr°cute — AV performans

Performans je iskanje popolne organske sinhronizacije z oscilacijami podob v zvoke in obratno. Gre za »pogovor z elektriko«.

Kasia Justka (PL) je multimedijska umetnica, delujoča v Berlinu. Pri delu črpa iz svoje obsedenosti z medijem elektrike in nenavadnimi organskimi zvoki. Njene stvaritve lahko dojemamo kot nekakšne molitve k nepojmljivi moči, ki jo posedujejo elektronski sistemi in omrežja ... S tem konceptualnim okvirjem oblikuje dinamične namestitve in oblike iz primitivnih oblik entropije. Ob uporabi svetlobe, zvoka, podob in objektov kot orodij, je v svojih intuitivnih in analogno osnovanih performansih sodelovala s številnimi glasbeniki, gledališči, galerijami, klubi, modnimi oblikovalci, umetniki ter celo vrsto drugih uveljavljenih institucij in osebnosti, ki delujejo na različnih področjih kreativnega sektorja.

Performance electr°cute is analog based, visual-audio performance, in search of perfect organic synchronisation. Oscillating images into the sounds and the other way around. Its about conversation with electricity.

Kasia Justka (PL) is a multimedia artist based in Berlin. Her work capitalizes on her obsessions with the medium of electricity and weird organic sounds. Her art can be seen as invocations to the vast power inherent within electronic systems and networks... With this conceptual frame in mind Kasia fashions a dynamic order and form from primitive entropy. Using light, sound, images and objects as her tools, her Intuitive and analogue based performances have led to collaborations with musicians, theaters, galleries, clubs, fashion designers, artists and a whole host of other respected luminaries working in different disciplines within the creative spectrum. http://electr-cute.tumblr.com/ https://www.facebook.com/electrcute?fref=ts četrtek, 8. 10. / Thursday, October 8, 20.30 52

Louise Harris IC2 — AV performans

Projekt ic2 je zasnovan v obliki live, avdio-vizualnega, beat-and-noise performansa.

Ustvariti skuša sistem simbioze, v katerem odločitve, ki jih na licu mesta, torej v živo, sprejme performerka, vplivajo na AV komponente dela, toda v katerem so tudi same AV komponente v interakciji ena z drugo, kar povzroči nastanek določenih pojavov, ki jih performerka ne more neposredno nadzorovati. V sistem je vgrajen tudi element kaotičnosti, ki ravno tako generira nepredvidljive AV rezultate.

Louise Harris (UK) je elektronska in AV skladateljica. Poleg tega dela kot predavateljica na oddelku za sonične in avdiovizualne prakse na Univerzi v Glasgowu. Louise je specialistka za ustvarjanje avdio-vizualnih odnosov z uporabo elektronske glasbe ter računalniško ustvarjenih vizualnih okolij, v čistih medijskih ali performativnih kontekstih. Njena avdiovizualna dela so bila predstavljena na številnih mednarodnih prireditvah, med drugim po Evropi ter v ZDA, Kanadi, Avstraliji in na Japonskem. www.louiseharris.co.uk

— AV performance

ic2 is a live, audiovisual, beat-and-noise-based performance work. The intention is to create a symbiotic system, in which live decision-making by the performer impacts on both the audio and visual components of the work, but also in which both the audio and visual components can interact with one another, causing behaviors that are not directly controlled by the system performer. There is also an element of chaotic behavior built into the system, causing unpredictable audio and visual outcomes.

Louise Harris (UK) is an electronic and audiovisual composer. She is also a Lecturer in Sonic and Audiovisual Practices at The University of Glasgow. Louise specialises in the creation of audiovisual relationships utilizing electronic music and computer-generated visual environments, in both fixed media and performance contexts. Her audiovisual work has been performed and exhibited nationally and internationally, including across Europe, USA, Canada, Australia and Japan. www.louiseharris.co.uk četrtek, 8. 10. / Thursday, October 8, 21.00 53

LADYBIRDORIUM live: DREAMS Glasba/Music: LadyBird (vokal, beatbox, prečna flavta, pikolo, kljunasta flavta, synth, looper/vocal, beatbox, flute, piccolo, wood pipe, synth, looper) Ideja, oblikovanje in montaža filma/Idea, design and editing of the film: LadyBird Snemanje filma in produkcija performansa/Recording of the film and performance production: Črton Video manipulacija in oblikovanje luči/Video manipulation and light design: Barbato Oblikovanje zvoka/Sound design: Danijel Bauman Kostumografija/Costume design: Activator Dolžina/Length: 42 min. četrtek, 8. 10. / Thursday, October 8, 21.30 “Ne kaj, temveč kako” je vodilna misel vokalistke, flavtistke, komponistke in performerke LadyBird, ki svojega ustvarjalnega polja ne omejuje z zvrstmi in drugimi obstoječimi normami, temveč si slednje postavlja sama oz. kot pravi, sledi tistemu, kar ji zveni dobro. V kompozicijskem smislu jo zanima eksperimentiranje ter pretvarjanje znanja in razmišljanja o glasbi, ki ju črpa iz življenja in študija muzikologije, v samosvoj glasbeni izraz, kot vokalistko pa pristno in prvinsko izražanje osebnega doživljanja sveta z različnimi barvami glasu in zvoki ter poigravanjem z zlogi in besedili. Pred časom se je začela ukvarjati tudi z videom.

Z intermedijskim umetnikom Nevenom Kordo in producentom Črtom Lipovškom v različnih vlogah sodelujejo že skoraj desetletje. LADYBIRDORIUM live: Dreams je njihov najnovejši skupni projekt, plod večletne ustvarjalne rasti in iskanja izraznih rešitev. LadyBird med 42 minut dolgim filmom, posnetim z I-phonom, na looper nasnemava vokale in inštrumente, to pa se občasno prepleta še s posnetki govorov vplivnih osebnosti in glasbo iz filma.

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“The question is not what but how” is the guiding idea of a vocalist, flautist, composer and performer LadyBird, who doesn’t set boundaries to her creative field using genres or other existing norms, she sets them only by herself and pursues what sounds pleasant to her ears. In terms of composition, she is interested in experiments and tries to convert her musical knowledge and her idea of music, both stemming from her life and musicology studies, into a peculiar musical expression. As a vocalist, she is interested in providing authentic and primal expressions of her experience of the world through different timbres and sounds, and through playing with syllables and texts. A while ago she also took up video making.

She has been collaborating for almost a decade with Neven Korda (Barbato), intermedia artist, and Črt Lipovšek (Črton), producer, in various roles. LADYBIRDORIUM live: Dreams is their latest project, a result of a long-term creative growth and a search for expressive solutions.

During a 42-minute movie, filmed with an iPhone, LadyBird records vocals and instruments on a loop recorder, while these sounds occasionally mingle with recordings of speeches by influential people and film music.

—performans / performance promo video (live clips): https://www.youtube.com/watch?v=rq01zcfbe8q uradni napovednik/official trailer: https://www.youtube.com/watch?v=tufg44pwpya ‘drops’ loop: https://www.youtube.com/watch?v=dach98qcao8 web: www.ladybirdbarbara.com

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DJ Nati Katchi — DJ nastop

Nati Katchi, del kolektiva Suchi, je na svojem popotovanju čez različne oblike glasbenega ustvarjanja in sodelovanja odkrila svojo zasvojenost z basi in umazanimi ritmi. Z bass, UK garage, breakbeat, elektro, nu funk, house ritmi je zatresla že marsikatero plesišče v Sloveniji in tujini. V Zagrebu je na DJ tekmovanju na ex-yu področju osvojila 3. mesto.

— DJ nastop

DJ Nati Katchi, a part of Suchi collective, has uncovered her base and dirty rhythm addiction on her voyage through various forms of musical creation and cooperation. She shook up the dance floor on different locations throughout Slovenia and abroad with her UK garage, breakbeat, electro, nu funk and house rhythms. She won a 3rd place on a DJ competition of ex-Yu countries in Zagreb. četrtek, 8. 10. / Thursday, October 8, 22.30

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Jens Vetter, Karol Kagan I THINK I SPIDER —performans

Jens Vetter ustvarja neobičajne ritmične zanke v realnem času, združuje sferične zvočne pokrajine, nastale z uporabo analognih sintetizatorjev in teremina, ter prilagojene playstation krmilnike, ki jih uporabi kot nove instrumente. V njegovih improvizacijah srečamo samo-programirane zvoke in okolja v SuperCollider-ju.

Karol Kagan ustvarja vizualije v živo, na podlagi algoritemskih vzorcev, ki so namenjeni dekonstrukciji in ponovnemu sestavljanju med samim nastopom. petek, 9. 10. / Friday, October 9, 20.00 —performance

Jens Vetter is creating unorthodox rhythmic loops in real-time, merging spherical sound scapes created with analog synthesizers and theremin as well as with hacked playstation controllers which are modified to be used as new instruments. His improvisations involve self-programmed sounds and environments in SuperCollider.

Karol Kagan is generating live-visuals, based on algorithmic patterns, that are prepared to be deconstructed and rebuilt during the performance.

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Octex live A/V — AV nastop & DJ set

Vedno razvijajoči se hibridni performans, ki raziskuje preplet analognega z digitalnim, avdia z videom, v katerem se koščki v naprej pripravljenih vzorcev vpletajo v trenutno modularno improvizacijo, zlivajočo se v sinestetično pokrajino zamikajočega se časa in prostora.

Jernej Marušič aka Octex je eden najbolj profiliranih in mednarodno priznanih slovenskih producentov elektronske glasbe, ki se giblje nekje med klubom in avantgardo, raziskujoč meje dub estetike in sub-basovskih frekvenc, postavljenih v različne ritmične časovne okvirje. Svojo glasbo je prispeval k mnogim izdajam raznih tujih in domačih založb (Mute, EFA, STHLM, Public Records) ter remiksiral glasbenike, kot so Laibach, Marko Furstenberg, Gabriel Le Mar, Ultra Red ... Pod novim psevdonimom Pavemental je letos izdal prvenec z naslovom Streeteepy, namenjen raziskovanju bolj urbanih hip hop ritmov. S svojim živim avdio/vizualnim nastopom se redno predstavlja po festivalih in klubih širom Evrope, kot so ARS Electronica (Linz), Club Transmediale (Berlin), ISEA (Helsinki), Dis-patch (Beograd), Exit (Novi Sad), White Night (Riga), Flussi (Avellino), 7epta/8ogdoa (Chalkidiki) ...

V zadnjih letih se je navdušil tudi nad improvizirano glasbo in se pričel predstavljati s solo improviziranimi nastopi z modularnim sintetizatorjem ali v nastopih z drugimi glasbeniki. http://www.octex.si/ — AV performance & DJ set

Always evolving hybrid performance exploring the interplay between analog and digital, audio and video in which fragments of prerecorded material intertwine with live modular improvisation resulting in an immersive synesthetic soundscape of shifting time and space.

Jernej Marušič aka Octex is one of most profiled and internationally established Slovenian electronic artists, operating somewhere in between club and avant-garde, exploring the boundaries of dub aesthetics and sub bass frequencies, placed in variable rhythmical time frames. His releases have appeared under numerous labels (Mute, EFA, STHLM, Public Records), and his list of remixes includes artists such as Laibach, Marko Furstenberg, Gabriel Le Mar, Ultra Red … Under the new alias Pavemental he recently released the debut Streeteepy, which focuses on his unique take on urban hip hop beats.

He is performing his audio-visual live set at festivals and clubs across Europe, such as ARS Electronica (Linz), Club Transmediale (Berlin), ISEA (Helsinki), Dis-patch (Belgrade) Exit (Novi Sad), White Night (Riga), Flussi (Avellino), 7epta/8ogdoa (Chalkidiki) ... In recent years, he developed a new interest in improvised music, performing solo impro-sessions centered around a modular synthesizer, or performing with other musicians. http://www.octex.si/ petek, 9. 10. / Friday, October 9, 20.30 & 22.30 58

Wo0, Incredible Bob Peoplemeter —AV nastop

Peoplemeter je novi expanded cinema projekt dvojice beograjskih umetnikov, video umetnika Incredible Boba ter eksperimentalnega kitarista in zvočnega umetnika WoO-ja. Performans sestoji iz sinhronizirane video projekcije, modrih laserjev, neonskih žic in luči z živo elektroniko. Pri videu so uporabljene podobe nastale s pomočjo mikroskopov, endoskopov in drugih tehnik, njegovi protagonisti pa so roboti, živeči v post-digitalnem svetu medijskih signalov, frekvenc, oscilacij in drugega medijskega odpada.

Glasbo v živo izvajata WoO na kitari z efekti in Bob, ki v živo kreira elektronsko glasbo.

Peoplemeter je bil premierno predstavljen na Festivalu MUTEK 2013 v Mexico Cityju (kinodvorana IMAX) ter kasneje izveden v Kasslu, Timisoari, Atenah, Zagrebu in Beogradu.

WoO (RS) je eksperimentalni kitarist in zvočni umetnik. Navdih črpa od pionirjev elektronske glasbe, eksperimentira z mobilnimi napravami, kot so mobilni telefoni, daljinci, medijske naprave, računalniška oprema in podobno, pri čemer skuša njihove frekvenčne interference ujeti preko svojega kitarskega magneta. „Ozvočujoč zrak“ s svojo kitaro, WoO ustvarja čaroben, meditativen, s frekvencami in oscilacijami napolnjen zvočni svet. Zvočna atmosfera, distorzijski drone zvok, visoki alikvoti in analogni elektronski zvoki – vse to najde prostor v njegovih kompozicijah.

petek, 9. 10. / Friday, October 9, 21.15

Incredible Bob (RS) je na mednarodni medijski umetniški sceni prisoten že več kot desetletje, njegova dela pa so bila prikazana na preko 300 festivalih po svetu, med drugim na dogodkih: MUTEK, Transmediale, TodaysArts, European Media Art Festival itd. Bob je nastopal v živo z vrsto umetnikov, kot so Actress, Deadbeat, Murcof, Sutekh, Dan Deacon, Mats Gustafsson, DJ Rupture, Laurent Garnier, The ORB, Tiga in številni drugi.

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—AV performance

Peoplemeter is a new expanded cinema performance created by Incredible Bob, video artist and WoO, experimental guitarist and sound artist.

The performance is comprised of a synchronized video projection, blue lasers, neon wires, and lights with live electronic music. The video consists of imagery shot with microscopes, endoscopes and other techniques, and the protagonists are robots living in a post digital world of media signals, frequencies, oscillations and other media junk. Live music is performed

by WoO playing guitar with effects and Bob playing live electronic music.

Peoplemeter premiered on MUTEK Festival 2013 in Mexico City in IMAX cinema, and was performed in Kassel, Timisoara, Athens, Zagreb, Belgrade.

WoO (RS) is an experimental guitarist and sound artist. Taking clues from electronic music pioneers, he experiments with mobile devices such as mobile phones, remote controls, media devices, computer equipment and similar, to capture their frequency interferences through his guitar magnets.

“Amplifying the air” through his guitar, WoO creates a magical sound-world that is rich in frequency, oscillating and meditative. Soundscape ambience, distortion drones, high pitch harmonics and analog electronic sounds all find their place inside of his compositions.

Incredible Bob (RS) is present for over a decade on international media scene and his works have been shown in more than 300 festivals around the world including MUTEK, Transmediale, TodaysArts, European Media Art Festival, and others. Bob performed live with Actress, Deadbeat, Morphosis, Murcof, Mika Vainio, Dan Deacon, Mats Gustafsson, DJ Rupture, Laurent Garnier, The ORB, Tiga, Dasha Rush, and many others.

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sreda, 7. 10. 2015 Wednesday, October 7 20.00 Aleš Hieng Zergon Partitura za 20 nihajev Music score for 20 oscillations 20.30 Izland vs jesusonecstasy AV nastop / AV performance 21.30 Emiljo AC DJ nastop / DJ performance četrtek, 8. 10. 2015 Thursday, October 8 20.00 Aisen Caro Chacin & Robertina Šebjanič Utekočinjena kultura / Liquid Culture eksperimentalno zvočno-vizualni performans / experimental visual – sound performance 20.30 Kasia Justka electr°cute AV performans / AV performance 21.00 Louise Harris IC2 AV performans / AV performance 21.30 LADYBIRDORIUM live: DREAMS 22.30 DJ Nati Kachi petek, 9. 10. 2015 Friday, October 9 20.00 Jens Vetter, Karol Kagan I THINK I SPIDER performans / performance 20.30 OCTEX live A/V 21.15 Wo0, Incredible Bob Peoplemeter AV nastop / AV performance 22.00 OCTEX DJ set 23:59 AGD Gustaf – LIFT ME UP official after party Boki Batina (youreup crew), USELESS D.I. (diablo loco REC.), Theejay (Bass Fighters)

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Izobraževalni program/educational programe

predstavitve, predavanje in delavnice/presentations, lectures and workshops

Ars Electronica animacije

Ars Electronica Animation Festival predstavlja izbrana dela, ki so le del vseh vnosov v kategoriji animacije/film/VFX, ki so prispeli na naslov Prix Ars Electronica 2014. Ponuja pregled perspektiv in stališč umetnikov po vsem svetu in prepričljivo dokumentira ne le eksplozivno rast žanra, ampak tudi njeno čudovito vsebinsko in slogovno raznolikost.

Ars Electronica animation screening

The Ars Electronica Animation Festival is a compilation selected from all the entries in the 2014 Prix Ars Electronica’s Computer Animation/Film/VFX category. It offers an overview of the positions and perspectives of artists worldwide, and impressively documents not only the genre’s explosive growth but also its marvelous content- and stylistic diversity.

četrtek, 8. 10. / Thursday, October 8, 12.30

Slovenski 3D animirani film

Letošnji festival MFRU-KIBLIX 2015 predstavlja izbrano produkcijo slovenskih 3D animiranih filmov. V skoraj celi uri programa si bomo lahko ogledali izbor oziroma kvalitetno produkcijo slovenskih 3D animiranih filmov.

Skupno trajanje programa: 54 minut.

Slovenian 3D animated film

This year’s MFRU-KIBLIX 2015 festival presents a selection from the production of Slovenian 3D animated films. In a nearly sixty-minute program, we will be able to see the selected quality productions of Slovenian 3D animated films. Duration: 54 min.

1. Daphne’s new broom (3 min) – Aleš Mav, 2008 2. Prekmandeljc (3 min) – Dušan Kastelic, 2002 3. Palčica / Thumbelina (16 min) – Boris Dolenc, 2009 4. Zadnje kosilo / The last lunch (4 min) – Miha Šubic, 2011 5. Crash / Trčenje (2 min) – Jure Prek, 2008 6. Happy Birthday (4 min) – Damir Grbanovič, 2014 7. Eko Smetnjaki / Eco Binz (4 min) – Iztok H. Šuc, 2013 8. Maček Muri – Prvi del: Rojstni dan Muri the cat – Part one: Birthday (10 min) – Boris Dolenc, 2013 9. Čikorja an’ kafe / Chicory’n’coffe (8 min) – Dušan Kastelic, 2008

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Art rebel 9 Simulacija planiških poletov Planica Virtual Ski Flying — 3 D model VR Oculus Rift

S pomočjo Oculus Rift tehnologije navidezne resničnosti so lahko prvič v zgodovini planiških poletov letos poleteli tudi navijači. Prepričljivo izkušnjo v svetu navidezne resničnosti (VR) na platformi Oculus Rift so omogočili natančen 3D model planiške skakalnice, prostorski zvok in predvsem dognana fizika simulacije. In odzivi strokovnjakov in publike so odlični!

Art rebel 9 je podjetje, specializirano za zasnovo in izvedbo animirane računalniške grafike (2D in 3D), vrhunskih uporabniških izkušenj navidezne in razširjene resničnosti (VR, AR), post produkcijo in posebne učinke za film in TV oglase, barvne korekcije za film in TV oglase (Teleking).

—3 D model VR Oculus Rift

For the first time in history, ski-jumping fans were able to fly on a FIS World Ski Jump finals this year in Planica with the help of Oculus Rift technology. An immersive experience was made possible by recreating Planica’s flying hill environment in virtual reality with a detailed physical simulation and surround audio support, generating lots of positive acceptance and smiling faces.

Art rebel 9 is a company specialized in the conceptualization and realization of computer graphics animations (3D, 2D), premium experiences in VR and AR installations, post production and visual effects for advertising and feature films, color grading for advertising and feature films (Teleking). četrtek, 8. 10. / Thursday, October 8, 13.30 64

četrtek, 8. 10. / Thursday, October 8, 16.00

Maja Murnik Novi prostori umetnosti – onstran gravitacije

V zadnjem času se skuša umetnost dobesedno odtrgati od tal in poseči tudi v svetove, kjer je poprej nismo poznali – na primer v vesolje. Eden takih je projekt Voyager / 140 AU (Miha Turšič, Špela Petrič), pa tudi drugi projekti postgravitacijske in vesoljske umetnosti (recimo japonski ArtSat), ob katerih se zastavljajo vprašanja o tehnoloških oblikah življenja, emancipirani tehnologiji, povezovanju umetnosti in znanosti, razširjenem konceptu percepcije, o gibanju in potovanju, pa tudi o (človeškem) telesu ter njegovi težnosti. Vprašanja so podobna tistim, ki jih odpirajo avatarski performansi, narejeni na platformi spletne skupnosti Second Life (npr. Gazira Babeli, re-enactmenti tandema 0100101110101101.ORG, ZeroG SkyDancers itd.).

Maja Murnik (SI) je doktorirala iz filozofije in teorije vizualne kulture na Fakulteti za humanistične študije v Kopru ter diplomirala iz primerjalne književnosti in iz dramaturgije v Ljubljani. Delala je kot asistentka na Fakulteti za humanistične študije v Kopru in kot odgovorna urednica revije za gledališče Maska. Sedaj je samozaposlena v kulturi; piše kritike in članke ter občasno predava na konferencah doma in v tujini. Je soustanoviteljica Inštituta za nove medije in elektronsko literaturo in raziskovalka pri njem. http://www.inm.site90.net/

Maja Murnik New art spaces – beyond gravity

Recently art has been trying to literally take its feet off the ground and reach out to worlds, where it has not previously existed – for example space. One of such projects is Voyager / 140 AU (Miha Turšič, Špela Petrič), as well as other projects of post-gravitational and space art (such as the Japanese ArtSat), which pose questions about technological forms of life, emancipated technology, combining art and science, the expanded concept of perception, about movement and traveling, but also about the (human) body and its gravity. The questions resemble those raised by avatar performances, created on the platform of the Second Life web community (e. g. Gazira Babeli, re-enactments of the tandem 0100101110101101.ORG, ZeroGSkyDancers, etc.).

Maja Murnik (SI) holds a PhD in Philosophy and Theory of Visual Culture (at the Faculty of Humanities, Koper, Slovenia). She graduated in comparative literature and in theater studies in Ljubljana. She has worked as an Assistant at the Faculty of Humanities Koper, as an art critic, and as editor-in-chief of the journal of performing arts Maska. Currently she works as a freelancer in culture, writing critiques and articles and occasionally lecturing at conferences home and abroad. She is co-founder and researcher at the Institute of New Media Art and Electronic Literature. http://www.inm.site90.net/

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petek, 9. 10. / Friday, October 9, 13.00

Martin Kusch Predstavitev oddelka za digitalno umetnost Predstavitev opisuje poslanstvo sodelujočih pri izvajanju izobraževalnih in umetniško-raziskovalnih dejavnosti na oddelku za digitalno umetnost Univerze uporabnih umetnosti na Dunaju. Digitalna umetnost je sestavni del temeljnega raziskovalnega dela in razvoja inovativnih estetskih in družbeno relevantnih oblik dejavnosti na presečišču kulture, tehnologije, ekonomije in znanosti. Oblikovalske metode in strategije digitalne umetnosti so uporabljane v kontekstu, kjer ekonomski in politični interesi sicer podpirajo uporabo digitalnih artefaktov, vendar hkrati omejujejo njihov družbeni vpliv zaradi specifičnih standardizacijskih procesov. Naš namen je uporabljati obstoječe medijske tehnologije ter razne naprave in komunikacijska orodja na način, ki namerno in načrtno presega njihovo konvencionalno rabo, ter s tem odpirati nove možnosti, s katerimi bodo lahko digitalni umetniki izvajali družbeno kritične, spremembam naklonjene umetniško-estetske intervencije.

Martin Kusch (AT) je študiral zgodovino umetnosti, filozofijo in slikarstvo v Berlinu ter medijske umetnosti pri Petru Weiblu na Univerzi uporabnih umetnosti na Dunaju, kjer od leta 1997 tudi sam poučuje. Je projektni vodja full dome laboratorija na oddelku za digitalno umetnost Univerze uporabnih umetnosti na Dunaju in direktor projekta E/M/D/L. Kot ustanovitelja in umetniškega so-direktorja platforme kondition pluriel ga posebej zanimajo transformacijski procesi elektronskih medijev v performativnih kontekstih ter kako digitalne tehnologije vplivajo na naše zaznavanje telesa in vesolja.

Martin Kusch Presentation of the Digital Art Department This presentation describes the mission of the teaching and artistic research activities of the Digital Art Department at the University of Applied Arts in Vienna. Digital art constitutes the fundamental research and development of innovative aesthetic and socially relevant forms of activity at the intersection of culture, technology, economy, and science. The design methods and strategies of digital art are deployed in a context where economic and political interests support the use of digital artifacts, but at the same time, limit their social impact due to specific standardization processes. The aim is to use existing media technologies and various devices and communication tools in a manner that deliberately transgresses their conventional purpose, thus opening up new possibilities for digital artists to carry out socially critical, altering artistic-aesthetic interventions.

Martin Kusch (AT) studied art history, philosophy and painting in Berlin, and media arts with Peter Weibel at the University of Applied Arts in Vienna, where he has also been teaching since 1997. He is the project leader of the fulldome-lab at the Dept. for Digital Art, University of Applied Arts Vienna and director of the E/M/D/L project. Founder and artistic co-director of the Media performance group kondition pluriel, he is particularly interested in the transformation processes of the electronic media inside performative contexts, and on how digital technologies influence our perception of the body and space.

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petek 9. 10. / Friday, October 9, 16.00

Tomaž Grušovnik Ni alternativne kulture brez alternativne produkcije Predavanje in pogovor z dr. Tomažem Grušovnikom nadaljuje temo, ki smo jo odprli na prejšnjem Mednarodnem festivalu računalniških umetnosti: vprašanje umetniške in kulturne produkcije – in nujnih pasti – v času zrelega tržnega gospodarstva. Tokrat bomo razpravljali o tem, ali je to, kar radi imenujemo “alternativa”, v vseprežemajočem okviru tržnega gospodarstva (kapitalizma) sploh še možno. Že Karl Marx je namreč poudaril, da imamo v primeru kulture opraviti z “nadstavbo”, ki je – tako kot vsa duhovna produkcija – zgolj posledica razmerij, ki vladajo na nivoju materialne produkcije dobrin.

Umetnice in umetniki, kulturnice in kulturniki, ki torej funkcionirajo po načelu trženja in promoviranja svojih intelektualnih stvaritev, pri čemer so svoje produkte tako kot prodajalci prisiljeni promovirati kot “novosti” in “inovacije” na kulturnem trgu, lahko potemtakem le stežka govorijo o “alternativnosti” svojega početja. Je torej beseda “alternativen” zgolj okrasni pridevnik – morda celo marketinški trik –, če je hkrati ne spremlja tudi alternativni način produkcije, ki se razlikuje od načinov proizvajanja vseh ostalih dobrin v našem družbenem sistemu?

Dr. Tomaž Grušovnik (SI) je docent za filozofijo vzgoje in izobraževanja na Pedagoški fakulteti Univerze na Primorskem. Ukvarja se s filozofijo edukacije, okoljsko in medvrstno etiko ter teorijo filma. Večkrat je razstavljal po Sloveniji, nekaj tudi v tujini.

Tomaž Grušovnik There is no alternative culture without alternative production The lecture and discussion with Tomaž Grušovnik is a follow-up on a topic addressed during the former International festival of computer arts: the issue of artistic and cultural production – and their pitfalls – in the era of mature market economy. We will be discussing whether what we like to call “alternative” is even a possibility within the ubiquitous grip of a (capitalist) market economy. Namely, as Karl Marx had already pointed out, in the case of culture we are dealing with a “superstructure”, which – like any form of spiritual production – is but a mere consequence of the relations that govern at the level of material goods production. Therefore, the artists and cultural workers that function according to the principle of marketing and promoting their intellectual creations, given that they are, much like vendors, forced to promote their products as “novelties” and “innovations” on the cultural market, can hardly describe their activity as being “alternative”. Is it then, that the word “alternative” has become a mere decorative adjective – perhaps even a marketing trick – if it is not supported by an alternative mode of production, which differs from the modes of production of all the other goods in our social system?

Tomaž Grušovnik (SI), PhD, is assistant professor of philosophy of education at the University of Primorska, Faculty of Education. His current research is dedicated to philosophy of education, environmental and inter-species ethics and theory of film. He has exhibited on several occasions in Slovenia and abroad.

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petek, 9. 10. / Friday, October 9, 17.00

Janez Strehovec Umetnost, ki pomaga ljudem

Sodobna umetnost, oprta na nove medije in tehnologije (digitalna umetnost, medijska umetnost, postinternetska umetnost) se umešča na presečišče umetnosti-kotjo-poznamo, novih medijev in tehnologij, omrežene ekonomije, (post)politike ter bio in tehno-znanosti. S temi področji stopa v intenzivne interakcije, ki vključujejo tudi medsebojno vplivanje, prevzemanje metodoloških naprav in pristopov, zamenjavo področij delovanja, hibridiziranje in amalgamiranje. Pri tem je pomembno, da umetnost nikakor ni pasiven in drugorazredni člen v teh interakcijah, kar pomeni, da se enostavno ne scientificira, ekonomizira in politizira, ampak lahko opažamo vstop umetniških inovacij tudi na druga področja, ki se artificirajo, postajajo podobna umetnosti.

Izr. prof. dr. Janez Strehovec (SI) je direktor Inštituta za novomedijsko umetnost in elektronsko literaturo in raziskovalec pri njem. Na ALUO, Univerza v Ljubljani, honorarno predava teorijo novomedijske umetnosti.

Janez Strehovec Art that helps people

Contemporary art, relying on new media and technologies (digital art, media art, post-internet art) is found at the intersection of art-as-we-know-it, new media and technologies, internet economy, (post)politics and bio- and techno-science. It interacts intensively with these fields, which includes reciprocity, adaptation of methodological devices and approaches, exchanging areas of operation, hybridization and amalgamation. It is important in this respect that art is by no means a passive and second-rate link in these interactions, which means it is simply not scientificized, economized and politicized, but that there is a growing trend of artistic innovations entering into other fields, which become artified; they are becoming kindred to art.

James Bridle: Drone Shadow 007: The Lavender Hill Drone, 26 June 2014.

Associate professor Janez Strehovec (SI), PhD, is director of the Institute of New Media Art and Electronic Literature and a researcher. He is a part-time lecturer in New Media Art Theory at the Academy of Fine Arts and Design in Ljubljana.

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Predstavitve Presentations

Preddogodki Pre-events, September 2015 Miha Horvat, dr. Orest Jarh, Monika Pocrnjič, Kreator Lab četrtek, 8. 10. / Thursday, October 8, 11.00–12.30 Katedra za tekstilne materiale in oblikovanje, Fakulteta za strojništvo, Univerza v Mariboru / Department of textile materials and design, Faculty of Mechanical Engineering, University of Maribor, Slovenia (Sonja Šterman) FERI, Fakulteta za elektrotehniko, računalništvo in informatiko, Univerza v Mariboru Faculty of Electrical Engineering, Computer Science and Informatics, University of Maribor, Slovenia (Suzana Uran) Interface Culture – Univerza v Linzu Kunst Universität Linz – Interface Culture, Austria (Maša Jazbec) Other words – literary circuit for small and minority languages (Peter Tomaž Dobrila) petek, 9. 10. / Friday, October 9, 11.00–12.30 LIO Lab – dizajn v Mariboru, Fakulteta za strojništvo, Univerza v Mariboru / LIO Lab – design in Maribor, Faculty of Mechanical Engineering, University of Maribor, Slovenia (Vojko Pogačar) Visoka šola za umetnost, Univerza v Novi Gorici School of Arts, University of Nova Gorica, Slovenia Oddelek za likovno umetnost, Pedagoška fakulteta, Univerza v Mariboru Department of Fine Arts, Faculty of Education, University of Maribor, Slovenia AC-DC: Augmented City – The Space for Digital Creative Citizenship (Cameron Bobro)

Spremljevalni program Accompanying program sreda, 7. 10. / Wednesday, October 7, 16.00–18.00 četrtek in petek, 8. in 9. 10. / Thu. & Fri., October 8–9, 9.00–18.00

Planetarij Planetarium

Prizorišče / Location: Glavni trg, Maribor / Main Square Planetarij omogoča popolno simulacijo gibanja objektov v vesolju v preteklosti, sedanjosti in prihodnosti. Prehodi planetov, simulacija sončevih in luninih mrkov, spoznavanje ostalih objektov v vesolju (meglice, galaksije) ter ostale osupljive informacije o prostoru, ki nas obdaja. Prav tako si lahko ogledate filme v kupolni projekciji v območju 540 stopinj, kar daje popolnoma novo dimenzijo okolja okoli nas.

Planetarium enables a simulation of movement of objects in the universe from the past, the present and the future. You can observe the transition of planets, the simulation of lunar and solar eclipses, and learn about other objects in the universe (nebulae, galaxies) by discovering amazing facts about the space that surrounds us. You can also watch movies in the dome projection in the range of 540 degrees, which provides a whole new dimension of the environment around us.

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IZOBRAŽEVALNI PROGRAM MFRU KIBLIX 2015 / USTVARJALNICE DELAVNICA ART: UINO ROBOTI četrtek, 8. 10. in petek, 9. 10. (10.00–13.00) Tematika projekta je intermedijska robotizacija vsakodnevnih naprav z delnim uvajanjem nove funkcionalnosti preko Arduino senzorjev, motorjev in drugih komponent.

Mentor: Matjaž Lenhart, mag. inž. rač. in inf. tehnol., asistent izr. prof. Dušana Zidarja, spec., predstojnika Oddelka za likovno umetnost PEF UM. DELAVNICA ARDUINO četrtek, 8. 10. in petek, 9. 10. (9.00–15.00) Arduino je preprosta mikrokrmilniška platforma, s katero lahko vodimo enostavne ali zahtevnejše procese za domačo ali profesionalno uporabo. Na delavnici se bomo podrobneje spoznali z osnovami dela z Arduino moduli, vhodno-izhodnimi moduli ter zunanjimi komponentami in senzorji.

Mentor Milan Rotovnik je strokovnjak za področje elektronike in avtomatike, laborant in raziskovalec na Fakulteti za elektrotehniko, računalništvo in informatiko (UM FERI).

ROBOCUP DANCE četrtek, 8. 10. in petek, 9. 10. (9.00–15.00) RoboCupJunior je svetovno robotsko tekmovanje, na katerem lahko sodelujejo učenci osnovnih šol (9 do 14 let) in dijaki srednjih šol (15 do 19 let). http://www.robobum.uni-mb.si http://www.rcj.robocupjunior.org

Dr. Suzana Uran je profesorica asistentka na Fakulteti za elektrotehniko, računalništvo in informatiko (FERI) Univerze v Mariboru; dejavna je na Inštitutu za robotiko in v Laboratoriju za kognitivne sisteme v mehatroniki.

“VEČ KOT ROBOTI” četrtek, 8. 10. in petek, 9. 10. (10.00–15.00) FIRST® LEGO® League (FLL) je raziskovalno-izobraževalni program s poudarkom na robotiki, ki ga v Sloveniji organizira in izvaja Zavod Super Glavce. Udeleženci na ustvarjalnici sestavljajo in programirajo avtonomnega robota ter rešujejo misije na FLL polju.

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Ključni pojmi in predmetne povezave: razmišljanje »out of the box«, naravoslovje, matematika, logika, tehnična znanja, računalništvo, programiranje, robotika, projektno delo, skupinsko delo Mentorica in vodja programa je Natalija Premužič, soustanoviteljica Zavoda Super Glavce (2012), vodja programa in tekmovanja znotraj projekta FIRST® LEGO® League (FLL) v Sloveniji od leta 2011.

LIGHT ME UP četrtek, 8. 10. in petek, 9. 10. (10.00–15:00) Ustvarjalnica LIGHT ME UP je pripravljena z namenom spodbuditi željo po raziskovanju svetlobe, tako umetne kot naravne.

Letošnje leto je Mednarodno leto svetlobe in tehnologij, povezanih s svetlobo. Vse, kar je potrebno prinesti s seboj, je želja po luči, želja po svetlobi in mogoče tudi želja po razsvetljenju.

Monika Pocrnjić je umetnica in hekerca, ki rada razstavlja in sestavlja ter ob tem spreminja funkcijo predmetov v majhne umetniške artefakte. Pogosto so te umetnine sestavljene iz analognih ali digitalnih naprav, mobitelov, računalniških komponent, rastlin, ipd.

ROBOPLUG četrtek, 8. 10. in petek, 9. 10. (10.00–15.00) Robotski plug je bil ustvarjen v ideji, da lahko uporabnik iz daljave, na primer iz stanovanja, upravlja robota in na dvorišču odstrani sneg. Plug je ročno izdelan po meri (d: 100 cm, š: 70 cm in v: 40 cm + 30 cm s kamero; teža: 70 kg), poganja pa ga motor invalidskega vozička. Upravlja se ga s pomočjo pametnega telefona in aplikacije, ki uporabniku prikazuje sliko kamere na robotu in kontrole zaslona. Pametni telefon je povezan preko wi-fi omrežja.

Ključni pojmi in predmetne povezave: robotika, tehnologija, programiranje, računalništvo, tehnično oblikovanje, oblikovanje uporabnih predmetov Aleš Stojak je soustanovitelj INBOT mednarodnega inštituta za robotiko, katerega cilj je razvijati inovativne robotske rešitve. Študira elektroniko na Fakulteti za elektrotehniko, računalništvo in informatiko Univerze v Mariboru.

Tadej Tofant je študent FKKT Maribor, smer Kemijska tehnologija. Pred kratkim je diplomiral iz Bionike na VSŠ Ptuj. Je eden izmed treh ustanoviteljev INBOT inštituta, ki se ukvarja z razvojem visokotehnoloških rešitev za industrijo.

Arne Korsika je ustanovitelj podjetja SUDO (visokotehnološkega start upa). Študira informacijske tehnologije na Univerzi v Mariboru in Bioniko na Višji strokovni šoli Ptuj. Je soustanovitelj INBOT mednarodnega inštituta za robotiko, kjer razvija programsko opremo za robote.

ROBOTIKA ZA VSAKOGAR petek, 9. 10. (10.00–15.00) Ustvarjalnica ponuja vpogled v svet robotike in izdelavo robota. Njena skrivnost je v tem, da omogoča vsakemu posamezniku, z znanjem ali brez, da ustvari svojega robota, ki se bo samostojno vozil po labirintu.

Ključni pojmi in predmetne povezave: robotika, tehnika, tehnično oblikovanje, logika, naravoslovje, kreativno razmišljanje.

Mentorja: Gregor Krušič, Sandra Janžekovič ROBOPIONIRČEK sobota, 10. 10. (9.30–14.00) Robopionirček je ustvarjalni program Malih ustvarjalcev in je namenjen otrokom od 6 do 11 let. Tovrstno neformalno izobraževanje ponuja otrokom priložnost, da se skozi igro sestavljanja in razdiranja gradnikov lego kock ter programiranja soočijo in spoznajo s konstrukcijskimi in logičnimi problemi.

Ključni pojmi in predmetne povezave: robotika, matematika, logika, fizika, programiranje, naravoslovje, tehnika, umetnost, kreativno razmišljanje Mentor ustvarjalnice je Jure Pikl, po izobrazbi profesor fizike in tehnike, ki poučuje na OŠ Primoža Trubarja v Laškem.

PRODUKCIJA ELEKTRONSKE GLASBE sobota, 17. 10. Kulturni Inkubator Mentorja: Blaž Vrečko in KID Alphawave

EDUCATIONAL PROGRAM MFRU KIBLIX 2015 / CREATIVE WORKSHOPS ART:UINO ROBOTS WORKSHOP Thu. & Fri., October 8–9 (10.00–13.00) The project deals with the intermedia robotization of everyday devices, introducing in part a new functionality by means of Arduino sensors, motors and other components.

Mentor: Matjaž Lenhart, MA in computer science and information technologies, assistant professor to Dušan Zidar, head of the Department of fine arts at the Faculty of education, University of Maribor.

ARDUINO WORKSHOP Thu. & Fri, October 8–9 (9.00–15.00) Arduino is a simple microcontroller platform that allows us to perform the basic or advanced processes for domestic or professional use. The workshop provides an opportunity to become acquainted with the basics of working with Arduino modules, input-output modules, and external components and sensors.

Milan Rotovnik is an expert in the fields of electronics and automatic engineering, lab worker and researcher at the Faculty of Mechanical Engineering, Computer Sciences and Informatics (FERI), University of Maribor.

ROBOCUP DANCE Thu. & Fri, October 8–9 (9.00–15.00) RoboCupJunior is a worldwide robotic competition for pupils of elementary (age 9 to 14) and secondary schools (age 15 to 19).

Suzana Uran, PhD, assistant professor, University of Maribor, Faculty of Electrical Engineering and Computer Science – FERI, Institute for Robotics, Laboratory for cognitive systems in mechatronics.

“MORE THAN ROBOTS” Thu. & Fri, October 8–9 (10.00–15.00) The FIRST® LEGO® League (FLL) is a research and educational program with an emphasis on robotics, which has been organized and conducted in Slovenia by the Super Glavce institute. The creative workshop participants construct and program an autonomous robot for problem-solving in the FLL field.

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Key words and subject links: thinking out of the box, natural sciences, mathematics, logic, technical skills, computer sciences, programming, robotics, project work, group work. The mentor and head of the program is Natalija Premužič, co-founder of the Super Glavce institute (2012), and program and competition manager within the project FIRST ®LEGO® League (FLL) in Slovenia since 2011.

LIGHT ME UP Thu. & Fri, October 8–9 (10.00–15.00) The creative workshop LIGHT ME UP is designed with the purpose of stimulating the wish to explore light, both natural and artificial. This year is the International year of light and light-based technologies.

Hence the only thing you need to bring is the desire for light(ing), and perhaps even the desire for illumination.

Monika Pocrnjić is an artist and hacker who likes to disassemble, compose and alter the function of objects to transform them into small artistic artifacts. Very often, these art pieces are composed from analogue or digital devices, mobile phones, computer component, plants, etc.

ROBOPLUG Thu. & Fri October 8–9 (10.00–15.00) The roboplug was designed with the idea of a distant user, located, for example, inside his house, controlling a robot so that it clears the snow from the backyard.

The plug is hand-made and customized (l: 100 cm, w: 70 cm and h: 40 cm + 30 cm including the camera; weight: 70 kg), and driven by a wheelchair motor. It is controlled via a smartphone with an application that displays the image from the camera attached to the robot, and screen controls.

The smartphone is connected through a Wi-Fi network.

Key words and subject links: robotics, technology, programming, computer sciences, technical design, designing useful objects Aleš Stojak is one of the co-founders of the INBOT international institute of robotics. He studies electrical engineering at the Faculty of Mechanical Engineering, Computer Sciences and Informatics at the University of Maribor.

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Tadej Tofant is a student at the Faculty of Chemistry and Chemical Technology, University of Maribor, Department of Chemical Technology. He is also one of the three co-founders of the INBOT institute that deals with developing high-tech solutions for the industry.

Arne Korsika is the founder of the SUDO (high-tech startup). He studies information technology at the University of Maribor, and Bionics at Higher vocational college of Ptuj. He is the co-founder of the INBOT international institute for robotics where he develops software for robots.

ROBOTICS FOR EVERYONE Friday, October 9 (10.00–15.00) The creative workshop offers an insight into the world of robotics and hands-on robot construction. It is designed to enable everyone, regardless of their level of knowledge or expertise, to build their own robot, which will be able to drive around the labyrinth autonomously.

Key words and subject links: robotics, technical sciences, tehnical design, logic, natural sciences, creative thinking Mentors: Gregor Krušič, Sandra Janžekovič ROBOPIONEER Saturday, October 10, (9.30–14.00) The Robopioneer is a creative program by Mali ustvarjalci, and is intended for children aged 6 to 11. This kind of informal education offers the children a chance to confront and get to know construction-related and logical problems, as well as programming, by playing with, assembling and disassembling Lego blocks.

Key words and subject links: robotics, mathematics, logic, physics, programming, natural sciences, technical sciences, art, creative thinking The creative workshop mentor is Jure Pikl, a professor of physics and technical education at the Primož Trubar Elementary School in Laško.

ELECTRONIC MUSIC PRODUCTION Saturday, October 17, Kulturni Inkubator Mentors: Blaž Vrečko and KID Alphawave

Foto arhiv Photo archive KIBLIX in MFRU, 2014 73

MFRU-KIBLIX 2015 LIFT ME UP umetnost–tehnologija–znanost Art–Technology–Science Maribor, Slovenija Festival in razstava, oktober 2015 Festival and Exhibition, October 2015 Produkcija Production Mladinski kulturni center Maribor Youth Cultural Centre Maribor Zanj / Represented by Maja Malus Azhdari, direktorica / Director MFRU – Mednarodni festival računalniške umetnosti/ IFCA – International Festival of Computer Arts KID / ACE KIBLA Zanj / Represented by: Aleksandra Kostič, predsednica / President KIBLIX – mednarodni odprtokodni festival International Open Code Festival MFRU-KIBLIX 2015 selektorji selectors Nina Jeza, Aleksandra Kostič, Marko Ornik, Jože Slaček Kuratorji Curators Aleksandra Kostič, Nina Jeza Postavitev razstave in festivala Installation of the exhibition and festival events Simon Sedmak, Dejan Ozimič, Jure Vekjet Koordinatorice festivala Festival coordinators Sonja Gregorn, Nina Jeza, Mirjana Predojevič, Irena Pamič (izobraževalni program/educational programme) Producenti festivalske platforme Producers Peter Lubej – KIBLIX Nina Jeza – MFRU Soproducent festivalske platforme Co-producer of festival platform uho; oko: zavod za umetnost in tehnologijo Institute for art and technology Maribor Fotodokumentacija Photo documentation © Avtorji / Respective authors Objavljeno z dovoljenjem umetnic in umetnikov Courtesy of the artists/authors

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Podpora Support Mestna občina Maribor / Municipality of Maribor Ministrstvo RS za kulturo / Ministry of the Republic of Slovenia for Culture Ministrstvo RS za izobraževanje, znanost in šport, Urad RS za mladino / Ministry of the Republic of Slovenia for Education, Science and Sports, Office of the Republic of Slovenia for Youth Zavod RS za zaposlovanje / Employment Service of Slovenia Program EU Kreativna Evropa / Creative Europe programme of the European Union Sponzorji Sponsors Soundbiro, President, Kommunio, Europlakat, Plinarna Maribor, Adin d.o.o., M-vina, Romani Kafenava Partnerji Partners Zveza prijateljev mladine Maribor Ministrstvo za kulturo Črne gore / Ministry of Culture Montenegro Ars Electronica Hostel Pekarna Art rebel 9 X-OP uho; oko: zavod za umetnost in tehnologijo Institute for art and technology Maribor Uradni prevoznik Transportation by Slovenske železnice Prizorišča Venues KIBLA PORTAL Valvasorjeva ulica 40 MMC KIBLA Ulica kneza Koclja 9 GT22 Glavni trg 22 Centralna Postaja Koroška cesta 5 Kulturni Inkubator Koroška cesta 18

Del projekta je financiran iz EU programa Kreativna Evropa. / Supported by the EU program Creative Europe.

Izvedba tega projekta je financirana s strani Evropske komisije. Vsebina komunikacije je izključno odgovornost avtorja in v nobenem primeru ne predstavlja stališč Evropske komisije. / The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsi­ble for any use which may be made of the information contained therein.

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www.mfru-kiblix.si ISBN 978-961-6304-39-9 76