Robots and avatars – our colleagues and playmates of the future?

ROBOTI IN AVATARJI

NAŠI SODELAVCI IN SOIGRALCI V PRIHODNOSTI Interdisciplinarna razstava Maribor, 5.—30. oktober 2012 MEDNARODNI FESTIVAL KIBLIX 2012 PRVI DEL

1

Organizacija in produkcija / Organisation and production: KID/ACE KIBLA, Maribor, SI

V sodelovanju z partnerji RA / In collaboration with RA partners: body>data>space, London, UK Altart, Cluj-Napoca, RU

Žirija / Selection board: Ghislaine Boddington (body>data>space, London, UK), Istvan Szakáts (Altart, Cluj-Napoca, RU), Aleksandra Kostič (KIBLA, Maribor, SI), David Sebal (National Theatre, London, UK), Mike Stubbs (FACT, Liverpool, UK), Cameron Bobro (artist, Santa Barbara, US), Peter Tomaž Dobrila (Public Institute ECC Maribor 2012, SI)

Mariborski izbor / Maribor selection: Aleksandra Kostič Programska shema / Programme scheme: Aleksandra Kostič Koncept razprav / Concept of debates: Ghislaine Boddington Vodja izobraževalnega programa KIBLIX / Head of KIBLIX educational program: Dejan Pestotnik Koordinacija izobraževalnega programa / Coordination of educational program: Brigita Galun, Tanja Grosman Vodstva po razstavi / Guided tours: Maja Vuksanovič Pardeilhan Postavitev razstave / Exhibition construction: Aleksandra Kostič, Simon Sedmak Oblikovanje elektronskih in tiskanih medijev / Layout of electronic and printed media: Samo Lajtinger, Snežana Štabi, Aleksandra Kostič Urejanje / Editing: Snežana Štabi, Aleksandra Kostič Tehnika / Technical matters: Simon Sedmak Prevodi / Translation: Helena Fošnjar Lektura / Proof reading: Mirjana Predojevič, Cameron Bobro Izdajatelj / Publisher: KID / ACE KIBLA Ulica kneza Koclja 9, Maribor, Slovenija Zanjo / Represented by: Aleksandra Kostić Edicija / Edition: TOX vozni res po tri tisočih / time table through tree thousand, leto 17, št. 40 / year 17, No 40 Tisk / Print: Repro Point d. o. o.

Slovenija, 2012 Copies / Naklada: 2000

Podpora / Support: Ministrstvo za izobraževanje, znanost, kulturo in šport Republike Slovenije / Ministry for education, science, culture and sport of the Republic of Slovenia Urad za mladino RS / Office of the Republic of Slovenia for Youth Mestna občina Maribor / Municipality of Maribor Ministrstvo za gospodarski razvoj in tehnologijo v okviru OP IPA SI-HR 2007–2013 / Ministry of economic development and technology in the framework of OP IPA SI-HR 2007–2013 S pomočjo programa javnih del Zavoda Republike Slovenije za zaposlovanje / With support of Employment Service of Slovenia (public works) S podporo Programa Kultura Evropske unije / With the support of the programme Culture of the European Union Maribor 2012 – Evropska prestolnica kulture / European Capital of Culture

Izvedba tega projekta je financirana s strani Evropske komisije. Vsebina publikacije je izključno odgovornost avtorja in v nobenem primeru ne predstavlja stališč Evropske komisije.

This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

2

Umetniki in dela / Artists and works Martin Hans Schmitt (DE)

Robotski svet / Robot world Louis Philippe Demers / Processing Plant (CA/DE)

Slepi robot / The blind robot Ruairi Glynn / Motive Colloquies (UK)

Družabna asimetrija / Sociable asymetry

12 14 16

Michael Takeo Magruder, Drew Baker, Erik Fleming, David Steele (UK)

Vizije naših skupnih sanj Visions of our communal dreams Marco Donnarumma (UK)

Glasba za meso II / Music for flesh II Martin Bricelj Baraga, Slavko Glamočanin / MoTA (SI)

Javni avatar / Public avatar Martin Bricelj Baraga (SI)

RoboVox Mey Lean Kronemann (DE)

lumiBots Sašo Sedlaček (SI)

Žicar 1.0 / Beggar Robot 1.0 Niki Passath (AT)

ZOE Gonçalo Lopes, André Almeida, Francisco Dias, Guilherme Martins (PT)

NAVI Matthieu Cherubini (CH)

rep.licants.org Aymeric Mansoux, Dave Griffiths, Marloes de Valk (FR, UK, NL)

Goli na Plutonu / Naked on Pluto Salvatore Iaconesi & Oriana Persico (IT)

Elektronski človek / The Electronic Man

18 20 22 23 24 26 28 30 32 34 36 3

ROBOTI IN AVATARJI

NAŠI SODELAVCI IN SOIGRALCI V PRIHODNOSTI Interdisciplinarna razstava Maribor, 5.–30. oktober 2012

PROGRAM MEDNARODNI FESTIVAL KIBLIX 2012 PRVI DEL Prizorišča: Multimedijski center KIBLA Ulica kneza Koclja 9, vhod iz Svetozarevske ulice, Maribor KIT KIBLA, Glavni trg 14, Maribor, Slovenija Roboti in avatarji – naši sodelavci in soigralci v prihodnosti je interdisciplinarna razstava, ki temelji na tehnoloških objektih in podaljških – kot so roboti, avatarji, virtualni svetovi, nosljive tehnologije, igralna okolja, interaktivna zabava. Prepleten sklop obsega izbrana umetniška dela na potujoči razstavi, delavničarske učne izkušnje, pogovore z umetniki in razprave.

2.–4. oktober 2012, 15.00–19.00 Delavnica: Vizije naših skupnih sanj (Visions of Our Communal Dreams) Mentorja: Michael Takeo Magruder in Drew Baker (UK) Prizorišče: KIT KIBLA, Glavni trg 14, Maribor 5. oktober 2012, 13.00–16.00 Martin Bricelj Baraga, Slavko Glamočanin / MoTA (SI): Javni avatar, interaktivni performans Prizorišče: KIT KIBLA, Glavni trg 14, Maribor 5. oktober 2012, 18.00–20.00 Razprava Roboti in avatarji 1. del: Etika in vedenje – robotov in avatarjev pri uporabi v resničnem svetu Kaj imajo povedati umetniki o specifičnem vprašanju etike in vedenja v odnosu do svojih del na razstavi ter kaj menijo o povezovanju le-tega z “resničnim svetom”, ki se odvija okrog nas.

Uvod in moderatorka: Ghislaine Boddington Govorci: Mey Lean Kronnermann, Michael Takeo Magruder, Niki Passath, Martin Hans Schmitt, Martin Bricelj Baraga Vabljeni strokovnjaki: Jože Slaček, Istvan Szakatz, Peter Tomaž Dobrila Prizorišče: MMC KIBLA, Ulica kneza Koclja 9

4

ROBOTS AND AVATARS

OUR COLLEAGUES AND PLAYMATES OF THE FUTURE Interdisciplinary exhibition Maribor, Slovenia, October 5–30, 2012

PROGRAMME INTERNATIONAL FESTIVAL KIBLIX 2012 PART ONE Venues: Multimedia Centre KIBLA Ulica kneza Koclja 9, entrance from Svetozarevska street Maribor, Slovenia KIT KIBLA, Glavni trg 14, Maribor, Slovenia Robots and avatars – our colleagues and playmates of the future is an interdisciplinary exhibition based on technological objects and extensions such as robots, avatars, virtual worlds, telepresence and real time presence in correlation to social creative places, cultural environments, interactive entertainment and play space. This interconnected framework of events comprises selected mobile exhibition artworks, workshop learning experiences, and artist interviews and debates.

October 2–4, 2012, 3–7 pm Learning experience: Visions of Our Communal Dreams Mentors: Michael Takeo Magruder and Drew Baker (UK) Venue: KIT KIBLA, Glavni trg 14, Maribor, Slovenia October 5, 2012, 1–4 pm Martin Bricelj Baraga, Slavko Glamočanin / MoTA (SI): Public avatar, interactive social experiment; online performance Venue: KIT KIBLA, Glavni trg 14, Maribor, Slovenia October 5, 2012, 6–8 pm Debate Robots and Avatars No. 1: Ethics and behaviours – of robots and avatars in real world usage Input to a specific question about ethics and behaviours in relationship to their work in the exhibition and how they see this relating to the “real world” evolving around us.

Introduction and moderation: Ghislaine Boddington Speakers: Mey Lean Kronnermann, Michael Takeo Magruder, Niki Passath, Martin Hans Schmitt, Martin Bricelj Baraga Experts: Jože Slaček, Istvan Szakats, Peter Tomaž Dobrila Venue: MMC KIBLA, Ulica kneza Koclja 9, Maribor, Slovenia

5

5. oktober 2012, 20.30 Otvoritev razstave Roboti in avatarji – naši sodelavci in sogovorniki v prihodnosti Prizorišče: MMC KIBLA, Ulica kneza Koclja 9, Maribor 5. oktober 2012, 21.00 Otvoritveni performans Marco Donnarumma (UK): Glasba za meso II (Music for flesh II) Prizorišče: KIT KIBLA, Glavni trg 14, Maribor Po performansu sledi druženje obiskovalcev in umetnikov 6. oktober 2012, 15.00–18.00 Delavnica: Klackerlaken/Clack Roach praktična delavnica za otroke in odrasle – gradimo svetleče, brezšivne robotke – vibrobotke Mentorica: Mey Lean Kronemann (DE) Prizorišče: MMC KIBLA, Ulica kneza Koclja 9, Maribor 6. oktober 2012, 19.00–21.00 Razprava Roboti in avatarji 2. del: Umetna inteligenca – evolucije v robotiki in virtualnih svetovih Beseda umetnikov o umetni inteligenci v povezavi z njihovimi razstavljenimi deli. Kaj menijo o povezovanju le-tega z “resničnim svetom”, ki se odvija okrog nas? Kje se bo v teh svetovih reprezentacije znašla umetna inteligenca čez deset let.

Uvod in moderatorka: Ghislaine Boddington Glavni govorec: Noel Sharkey Govorci: Louis Philippe Demers, Drew Baker, Suzana Uran, Marco Donnarumma, Ruairi Glyn Vabljeni strokovnjaki: Istvan Szakats, Peter Tomaž Dobrila, Cameron Bobro, Denis Savkić Prizorišča: MMC KIBLA, Ulica kneza Koclja 9 in KIT KIBLA, Glavni trg 14, Maribor 19. in 24. oktober 2012, med 9. in 12. uro Predstavitve in vodstva za šolarje Od 8. do 30. oktobra 2012 Vodstva po razstavi vsak dan (razen v nedeljo) vsako polno uro med 10. uro dopoldan in 17. uro popoldan – Maja Vuksanovič - Pardeilhan

Razstava je del projekta RACIF, ki ga koordinira body>data>space, London, Velika Britanija, s partnerjema AltArt, Cluj-Napoca, Romunija in KIBLA, Maribor, Slovenija.

Projekt RACIF podpira Program Kultura Evropske unije. Slovensko različico je finančno podprlo Ministrstvo za znanost, izobraževanje, kulturo in šport Republike Slovenije ter je nastal v koprodukciji Maribor 2012 – Evropska prestolnica kulture.

6

October 5, 2012, 8.30 pm Opening of the exhibition Robots and avatars – our colleagues and playmates of the future Venue: MMC KIBLA, Ulica kneza Koclja 9, Maribor, Slovenia October 5, 2012, 9 pm Opening performance Marco Donnarumma (UK): Music for flesh II Venue: KIT KIBLA, Glavni trg 14, Maribor, Slovenia After: social gathering/open communication between artists and audience October 6, 2012, 3–6 pm Learning experience: Klackerlaken/Clack Roach building solderless glowing vibrobots hands-on workshop for kids and grown-ups Mentor: Mey Lean Kronemann (DE) Venue: MMC, Ulica kneza Koclja 9, Maribor, Slovenia October 6, 2012, 7–9 pm Debate Robots and Avatars No. 2: Artificial Intelligence – evolutions in robotics and virtual worlds Inputs on AI in relationship to their work in the exhibition; how they see this relating to the “real world” evolving around us and where will AI be in these worlds of representation ten years from now.

Introduction and moderation: Ghislaine Boddington Key Speaker: Noel Sharkey Speakers: Louis Philippe Demers, Drew Baker, Suzana Uran, Marco Donnarumma, Ruairi Glyn Experts: Istvan Szakats, Peter Tomaž Dobrila, Cameron Bobro, Denis Savkić Venue: MMC KIBLA, Ulica kneza Koclja 9 and KIT KIBLA Glavni trg 14, Maribor, Slovenia October 19 and 24, 2012, from 9 till 12 am Presentations and guide tours for children October 8–30, 2012 Guided tours every day (except Sundays) each full hour from 10 am till 5 pm by Maja Vuksanovič - Pardeilhan

The exhibition is part of the RACIF project, coordinated by body>data>space, London, United Kingdom and partners AltArt, Cluj-Napoca, Romania and KIBLA, Maribor, Slovenia.

The project is supported by Programme Culture of the European Union. The Slovenian version is financially supported by the Ministry of Education, Science, Culture and Sport of the Republic of Slovenia and co-produced with Maribor 2012 – European Capital of Culture.

7

ROBOTI IN AVATARJI

NAŠI SODELAVCI IN SOIGRALCI V PRIHODNOSTI Interdisciplinarna razstava Maribor, 5.—30. oktober 2012 Roboti in avatarji – naši sodelavci in soigralci v prihodnosti je interdisciplinarna razstava, ki temelji na tehnoloških objektih in podaljških – kot so roboti, avatarji, virtualni svetovi, nosljive tehnologije, igralna okolja, interaktivna zabava. Prepleten sklop obsega izbrana umetniška dela na potujoči razstavi, delavničarske učne izkušnje, pogovore z umetniki in razprave.

Roboti in avatarji izhajajo iz pop-kulturnega podobotvorja in premisleka o sodobnih tehnologijah namenjenih novi resničnosti: kako si predstavljamo naše prihodnje odnose z robotskimi in avatarskimi sodelavci in soigralci v resničnosti in na kateri točki ta evolucija pokriva osebne meje živega in čutečega človeškega bitja?

Razstava predstavlja različne poglobljene izkušnje – od nenavadnih pristopov k socialnim omrežjem in njihovih ponovnih definicij in raziskavah o njihovih vplivih in slepih ulicah, preko virtualnih svetov, ki jih z dotikom spremenimo v digitalne točke, in skupinsko ustvarjenih pokrajin, ki raztezajo meje popularnih iger, do elektro-akustičnih bioloških podaljškov in nosljivih tehnologij ter interaktivnih robotskih elementov, s katerimi komuniciramo in se poskušajo odzivati na nas ali nas posnemati.

Razstava vključuje tri nova dela, nastala posebej za projekt Roboti in avatarji: Slepi robot (Louis Philippe Demers / Processing Plant), Družabna asimetrija (Ruairi Glynn / Motive Colloquies) in Vizije naših skupnih sanj (Michael Takeo Ma-

8

ROBOTS AND AVATARS

OUR COLLEAGUES AND PLAYMATES OF THE FUTURE Interdisciplinary exhibition Maribor, Slovenia, October 5—30, 2012 Robots and avatars – our colleagues and playmates of the future is an interdisciplinary exhibition based on technological objects and extensions such as robots, avatars, virtual worlds, telepresence and real time presence in correlation to social creative places, cultural environments, interactive entertainment and play space. This interconnected framework of events comprises selected mobile exhibition artworks, workshop learning experiences, and artist interviews and discussions.

Robots and Avatars departs from pop culture imagery and reimagines these technologies for a new reality: how do we envisage our future relationships with robotic and avatar colleagues and playmates, and at what point does this evolution cross our personal boundaries of what it is to be a living, feeling human being?

The exhibition presents a variety of immersive experiences – from unconventional approaches to social networks, their redefining and exploring their influences and dead ends, through virtual worlds rendered into pixels through the act of touch, collaborative landscapes stretching beyond the confines of popular gaming, to electro-acoustic biological extensions, wearable technologies and interactive robotic elements that affect and try to define us, to seemingly ordinary, human behavior imitating robots.

The exhibition involves three new works, produced as part of the Robots and Avatars project: The Blind Robot (Louis Philippe Demers / Processing Plant), Sociable Assymetry (Ruairi Glynn

9

gruder, Drew Baker, Erik Fleming, David Steele). Vsa tri so bila ustvarjena leta 2012.

Roboti in avatarji – naši sodelavci in soigralci v prihodnosti bo predstavila vizije in inovacije mednarodnih umetnikov, oblikovalcev in arhitektov, ki raziskujejo vpliv sodobnih tehnologij na delo in igro v prihodnosti in ki so se odzvali na javni mednarodni razpis. Razstavljena dela je izbrala komisija v sestavi Ghislaine Boddington (body>data>space, London, VB), Istvan Szakáts (Altart, Cluj-Napoca, Romunija), Aleksandra Kostič (KIBLA, Maribor, Slovenija), David Sebal (Digitalni oddelek pri National Theatre, London, VB), Mike Stubbs (FACT, Liverpool, VB), Cameron Bobro (neodvisni umetnik, Santa Barbara, ZDA) in Peter Tomaž Dobrila ( Javni zavod Maribor 2012 – Evropska prestolnica kulture, Slovenija).

Projekt Roboti in avatarji je vključen v evropsko leto “aktivnega staranja in medgeneracijske solidarnosti” 2012 in v okvir Evropske prestolnice kulture – Maribor 2012.

Razstava z interaktivnim izobraževalnim programom želi s pomočjo sodelovanja s šolami vzpodbuditi razvoj spretnosti in način razmišljanja, ki jih bodo mladi potrebovali na delovnih mestih prihodnosti, čeprav ta še niso izoblikovana.

Razstava Roboti in avatarji je bila prvič postavljena v FACT v Liverpoolu (VB) od 16. marca do 27. maja letos. V razširjeni verziji nagovarja različne publike v Mariboru od 5. do 30. oktobra v KIBLI in KIT-u, v koprodukciji z Evropsko prestolnico kulture – Maribor 2012. Potujoča razstava nadaljuje svojo pot v skrčeni obliki in bo med 5. in 18. novembrom 2012 v AltArt-u, Cluj-Napoca v Romuniji.

Razstavljajoči umetniki in dela: Louis Philippe Demers / Processing Plant (CA, DE): Slepi robot; Ruairi Glynn / Motive Colloquies (UK): Družabna asimetrija; Michael Takeo Magruder, Drew Baker, Erik Fleming, David Steele (UK): Vizije naših skupnih sanj; Niki Passath (AT): ZOE; Mey Lean Kronemann (DE): lumiBots; Sašo Sedlaček (SI): Žicar 1.0; Andre Almeida, Gonçalo Lopes, Francisco Dias, Guilherme Martins (PT): NAVI; Marco Donnarumma (UK): Glasba za meso II; Martin Bricelj Baraga, Slavko Glamočanin / MoTA (SI): Javni avatar, Martin Bricelj Baraga (SI): RoboVox; Aymeric Mansoux, Dave Griffiths, Marloes de Valk (FR, UK, NL): Goli na Plutonu; Salvatore Iaconesi, Oriana Persico / Art is Open Source (IT): Elektronski človek; Matthieu Cherubini (CH): rep.licants.org; Martin Hans Schmitt (DE): Robotski svet

10

/ Motive Colloquies) and Visions of Our Communal Dreams (Michael Takeo Magruder, Drew Baker, Erik Fleming, David Steele). All of these were created in 2012.

Robots and avatars – our colleagues and playmates of the future showcases the visions and innovations from international artists, designers and architects who have responded to an international public call for proposals with their projects exploring the impact of modern technologies on the future of work and play. The exhibited works were selected by the following committee: Ghislaine Boddington (body>data>space, London, UK), Mike Stubbs (FACT, Liverpool, UK), Aleksandra Kostič (KIBLA, Maribor, Slovenia), David Sebal (Digital department of National Theatre, London, UK), Istvan Szakáts (AltArt, Cluj-Napoca, Romania), Cameron Bobro (independent artist, Santa Barbara, USA) and Peter Tomaž Dobrila (Public Institute Maribor 2012 – ECC, Maribor, Slovenia).

The Robots and Avatars project is part of the European year for “active ageing and intergenerational solidarity” 2012 and Maribor 2012 – European Capital of Culture.

With an interactive educational program and by means of school interventions the exhibition aims to encourage the development of skills and thinking that will be indispensable to young people in future professions, though these are not yet formed.

The exhibition Robots and Avatars has presented at FACT, Liverpool (UK) from March 16 to May 27, 2012. In an extended version addresses the various audiences in Maribor on the locations of KIBLA and KIT between October 5 to 30, 2012, in co-production with Maribor 2012 – European Capital of Culture. The mobile exhibition continues its tour in a reduced version and finally stop at AltArt, Cluj-Napoca, Romania from 5th to 18th of November 2012.

Exhibiting artists: Louis Philippe Demers / Processing Plant (CA, DE): The Blind Robot; Ruairi Glynn / Motive Colloquies (UK): Sociable Assymetry; Michael Takeo Magruder, Drew Baker, Erik Fleming, David Steele (UK): Visions of Our Communal Dreams; Niki Passath (AT): ZOE; Mey Lean Kronemann (DE): lumiBots; Sašo Sedlaček (SI): Beggar 1.0; Andre Almeida, Gonçalo Lopes, Francisco Dias, Guilherme Martins (PT): NAVI; Marco Donnarumma (UK): Music for flesh II; Martin Bricelj Baraga, Slavko Glamočanin / MoTA (SI): Public avatar, Martin Bricelj Baraga (SI): RoboVox; Aymeric Mansoux, Dave Griffiths, Marloes de Valk (FR, UK, NL): Naked on Pluto; Salvatore Iaconesi, Oriana Persico / Art is Open Source (IT): The Electronic Man; Matthieu Cherubini (CH): rep.licants.org; Martin Hans Schmitt (DE): Robot world

11

Martin Hans Schmitt (DE)

Robotski svet / Robot world Svet robotov – srečanje s svojim alternativnim dvojnikom Zvrst: dokumentarec brez besed Dolžina: 61 minut Produkcijski format: Digital Betacam (PAL), 16:9 široko-zaslonska Režiser, urednik, izvršni producent: Martin Hans Schmitt Skladatelj: Matt Howden

Dokumentarec brez besed z naslovom Svet robotov prikazuje razvoj robotov od mehanskih mesečnikov do avtonomnih zaznavajočih bitij. Neoklasicistični violinist Matt Howden poudari sporočilo filma: takšni umetni ljudje so naši alternativni dvojniki.

Svet robotov je kompilacija. Material za enourni dokumentarec prihaja iz robotskih laboratorijev na univerzah, zasebnih posnetkov z industrijskih sejmov, vojaških arhivov in video predstavitev podjetij robotske industrije. Dodani so posnetki s starih, 16-milimetrskih filmov iz 1930ih. Dokumentarec brez besed je recikliran izdelek iz več kot sto ur posnetega materiala.

Svet robotov nima prepoznavne pripovedne strukture. Dokumentarec brez besed deluje na principu odprte strukture vzorca tematik. Ta tematski vzorec srečamo v posameznih delih filma, prikazuje pa dejstvo, da je konstrukcija robotov pravzaprav razvojne narave, kar velja za zunanjo in notranjo raven. Zunanja razvojna pot stroja se prične s “praživaljo” v obliki nano-robota, nato napreduje do razvojne stopnje rok, dlani in nog ter žuželkam podobnih bitij in se celo razvije v hladnokrvne živali, sesalce in humanoidne robote. Ta biološki razvoj spremlja posnemanje tipično človeških dejavnosti, kot so odkrivanje prostorov, igranje z otroki, udejstvovanje v vojnah ali izvajanje operacij na človeškem telesu. Ta posnemanja so nekakšna sled notranje razvojne linije robotov.

Glasba Matta Howdena se ovije okrog filma. Violina, ki jo pogosto povezujemo s človeškim glasom, je tukaj glas robotov: njihovega izraza, njihove funkcionalnosti in njihovih prizadevanj.

12

ENG

Robot world – a meeting with your alternate double Genre: non-verbal documentary Length: 61 min Production format: Digital Betacam (PAL), 16:9 Widescreen Director, Editor, Executive Producer: Martin Hans Schmitt Composer: Matt Howden

The non-verbal documentary Robot world depicts the evolution of robots from a mechanical somnambulist to an autonomous sensorium. The neoclassical violinist Matt Howden emphasizes the film’s message: these artificial people are our alternate doubles.

Robot world is a compilation. The source material for this onehour film comes from robot laboratories at universities, from private footage at industrial fairs, military archives and corporate videos from the robot industry. Motion pictures of old 16 mm films from the 1930’s were added. This non-verbal documentary was recycled from far in excess of one hundred hours of raw material.

There is no recognizable narrative structure to Robot world. This non-verbal documentary works with the open structure of a topic’s pattern. This thematic pattern can be found in the individual parts of Robot world and demonstrates that the construction of robots is in fact evolutionary. This applies to both, the exterior as well as the interior level. The exterior evolutionary line of machine beings begins with a “protozoon” in the form of nano-robots, advances to the development of arms, hands and legs as well as to insect-type swarm beings and even develops cold-blooded animals, mammals and humanoid robots.

This biological development is accompanied by an imitation of typically human activities such as discovering rooms, being a playmate for children, leading wars or performing operations on a human body. These imitations are like a trace of the interior evolutionary line of robots.

Matt Howden’s music wraps itself around the film; the violin, often linked to the human voice, is here the voice of the robots: their expression, their functionality, and their aspiration.

Martin Hans Schmitt je zaključil študij na univerzi za film in televizijo v Münchnu. Od leta 2003 deluje kot avtor raziskovalnih in izobraževalnih filmov za münchensko univerzo Ludwig-Maximilians. Nemški avtor filmov pa snema tudi stereoskopske 3D filme in esejistične dokumentarce.

ENG Martin Hans Schmitt has completed the University of Television and Film Mu-

nich. Since 2003, he produces research and instructional films for the LudwigMaximilian University Munich. The German filmmaker also produces stereoscopic 3D films and essayistic documentaries.

Martin Hans Schmitt (DE): Robot world (Robotski svet). Video still / prizor iz videa

13

Louis Philippe Demers / Processing Plant (CA/DE)

Slepi robot / The blind robot RACIF produkcija 2012 / RACIF production 2012 robotika / robotics

V polju interakcij med človekom in strojem se družabna robotika ukvarja z zapletenimi družbenimi pravili in vlogami, ki tvorijo njegovo osnovo. Takšni roboti ne opravljajo vsakodnevnih uslužnostnih nalog, kot je delo za tekočim trakom, temveč se z ljudmi povezujejo prav v njihovem – človeškem okolju. Tako imamo na primer robote v vlogi pomočnikov pri učenju, pri zdravstveni oskrbi ali v vlogi receptorjev. Pri Slepem robotu (The Blind Robot) gre za razumevanje stopnje odziva na intelektualni, čustveni ali fizični ravni, ki nastane, ko se družabni robot na intimen način dotakne osebe.

Slepega robota sestavlja tipična robotska okončina, opremljena z izoblikovano roko. V instalaciji bodo obiskovalci povabljeni, da sedejo pred napravo in se z njo podajo v neverbalen dialog.

Robot nežno raziskuje obiskovalčevo telo in predvsem obraz, podobno kot slepi ljudje prepoznavajo osebe in predmete. Na bližnjem zaslonu ali projekciji se nato izriše vizualni prikaz – okno s pogledom v robotovo dušo – tega, kar so “videli” njegovi prsti.

Na začetku je Slepi robot minimalističen kos mehanskega inženiringa. Osnova je pričeti z enim sodobnih kulturnih artefaktov – robotsko roko – in jo spremeniti iz natančnega orodja v krhek, nenatančen in čustveno nabit dejavnik. Slepi robot se ne osredotoča na uporabni vidik (na tehnično plat samega dotika), temveč na posledice, ki jih ima za telesno objektivnost in na subjektovo zavedanje teh posledic. Naša hipoteza je, da bo zaradi družbene vloge (slepote) dejanje dotika raslo v smeri potenciala čustvene povezave, ki se ustvari med človeškim obiskovalcem in robotom. Slepi robot postane umetniško in kritično raziskovanje znanstvenega razvoja na področju družabne robotike.

Louis Philippe Demers / Processing Plant (CA/DE): The blind robot (Slepi robot), RACIF produkcija 2012. Slika z dovoljenjem umetnika / Image courtesy the artist.

14

ENG

Within the realm of human-machine interactions, Social Robotics deals with the underlying complex rules and roles of the society. Such robots do not assume servile and mundane tasks, as in an assembly line, but rather connect with humans in their very own context. For instance, we find robots as learning assistants, as healthcare caregivers or as receptionists. The Blind Robot is about the understanding of the degrees of engagement, would it be either intellectual, emotional or physical, that are generated when a Social Robot intimately touches a person.

The Blind Robot comprises of a typical robotic arm equipped with an articulated hand. In this installation, visitors will be invited to sit in the front of this machine and engage into a nonverbal dialogue with this machine. The robot will delicately explore the body – mostly the face – of the visitor in a manner that recalls what the blind humans are doing to recognize a person or an object. On a nearby screen or projection, the machine will then produce a visual rendering – a window to the soul of the robot – of what its fingertips have “seen”.

At its onset, The Blind Robot is a minimalistic piece of mechanical engineering. The rationale is to start from a recent known cultural artefact – the robot arm – and transform it from a high precision tool into a fragile, imprecise and emotionally loaded agent. The Blind Robot project is not concerned with the aspect of use (technicality of touch itself ) but rather with the consequences for bodily objectivity and the subject’s awareness of those consequences.

Our hypothesis is that the social role (a blind) will augment the act of touching via the potential of the created emotional connection between the human visitor and the robot. The Blind Robot becomes an artistic and critical investigation of the scientific developments in Social Robotics.

Louis-Philippe Demers deluje kot performer in avtor instalacij velikega formata.

Glavni področji njegovega dela sta zabavna robotika in interakcijsko oblikovanje.

V preteklih dveh desetletjih je sodeloval pri več kot sto umetniških in odrskih produkcijah ter zgradil preko 300 naprav. Njegove projekte srečamo v gledališčih, opernih hišah, na postajah podzemne železnice, v muzejih umetnosti in znanosti, na glasbenih dogodkih in razstavnih prireditvah. Demers je poučeval na Oddelku za digitalne medije in razstavno oblikovanje ter scenografijo na nemški Hochschule für Gestaltung Karlsruhe – akademski ustanovi, članici svetovno znanega centra za umetnost in medijske tehnologije (ZKM, Nemčija). Nedavno se je pridružil raziskovalnemu centru za zabavo in interakcijo ter novoustanovljeni šoli za umetnost, oblikovanje in medije na tehnološki univerzi v Nanyangu (NTU, Singapur).

ENG Louis-Philippe Demers makes large-scale installations and performances. His

main areas of work are entertainment robotics and interaction design. Over the past two decades, he has participated in more than one hundred artistic and stage productions and has built more than 300 machines. His projects can be found in theatre, opera, subway stations, art museums, science museums, music events and trade shows. He was Professor of Digital Media and Exhibit Design/Scenography at the Hochschule für Gestaltung Karlsruhe, the academic institution affiliated to the world renowned Zentrum für Kunst und Medientechnologie (ZKM, Germany). Recently he joined the Interaction and Entertainment Research Centre and the newly founded School of Art, Design and Media at the Nanyang Technological University (NTU, Singapore).

15

Ruairi Glynn / Motive Colloquies (UK)

Družabna asimetrija / Sociable asymetry RACIF produkcija 2012 / RACIF production 2012 robotika / robotics

Grajeno človekovo okolje je vse bolj prepredeno z občutenjem, računskimi in drugimi najrazličnejšimi delujočimi mehanizmi, ob tem pa se virtualni in fizični svet spreminjata v hibrid. Stavbe postajajo vse bolj odzivne na naše dejavnosti, občutljive za naša čustva in dovzetne za naše geste. Stavbe postajajo roboti in avatarji in komunicirajo z nami v bližnji prihodnosti s pomočjo lastnih gibov in gest.

Družabna asimetrija predstavlja edinstvenega arhitekturnega robota, ki se na prvi pogled, medtem ko miruje, zdi preprosta stolpičasta struktura. Aluminijski okvir prav nič ne namiguje, da gre pravzaprav za živo in družabno bitje, ki oživi ob človeškem približevanju. Njegovi premiki so skrivnostni – tako človeški v kretnjah, pa vendar tako nečloveške oblike.

Pod vodstvom Ruairija Glynna, umetnika robotike in instalacij ter prejemnika mednarodnih nagrad, razvija ekipa evropskih arhitektov, performerjev, lutkarjev in načrtovalcev interakcije pod skupnim imenom Motive Colloquies delo, posvečeno oblikovanju kinetične in performativne arhitekture.

Ruairi Glynn (UK/IE), vodja ekipe Ciriaco Castro (ES), arhitekturno in računalniško oblikovanje, Amanda Levete Architects Sigridur Reynisdottir (IS), lutkar in performer Enrique Ramos (ES), arhitekt, direktor družbe ESC-Studio Nicholas Waters (UK), performer in koreograf Miriam Dall'Igna (BR), arhitektka in specialistka za digitalni proces izdelave, Fosters & Partners Hugo Mulder (NL), višji inženir, Arup Ruairi Glynn / Motive Colloquies (UK): Sociable asymetry (Družabna asimetrija), RACIF produkcija 2012. Slika z dovoljenjem umetnika / Image courtesy the artist.

16

ENG

As sensing, computation and actuation saturate our built environment, our virtual and physical worlds are hybridising. Our buildings are becoming responsive to our occupation, sensitive to our emotions and responsive to our gestures. Our buildings are becoming robots and avatars and communicate with us in the near future through their own movements and gestures.

The Sociable Asymetry is unique architectural scale robot that at first appearance when static is simply a towering structure.

The aluminium frame is giving no visual clues that it is in fact a living and sociable creature that comes to life as people draw closer. Its movements are uncanny, so human in motion, yet so inhuman in form.

Led by Ruairi Glynn, an internationally award winning robotics and installation artist, a European team of architects, performance artists, puppeteers and interaction designers collectively calling itself Motive Colloquies is developing work examining the design of kinetic and performative architecture.

Ruairi Glynn (UK/IE), Team leader Ciriaco Castro (ES), Architect & Computational Designer, Amanda Levete Architects Sigridur Reynisdottir (IS), Puppeteer & Performance Artist Enrique Ramos (ES), Architect, Director of ESC-Studio Nicholas Waters (UK), Performance Artist & Choreographer Miriam Dall’Igna (BR), Architect & Fabrication Specialist, Fosters & Partners Hugo Mulder (NL), Senior Engineer Arup Ruairi Glynn je kustos in umetnik instalacij. Od leta 2005 se ukvarja z razvojem interaktivnih robotskih okolij. Zanima ga gestikulativna interakcija med človekom in arhitekturo s pomočjo sistemov s senzornimi in servomotorji. Trenutno predava arhitekturno robotiko na Bartlett School of Architecture in načrtovanje interakcije na kolidžu Central Saint Martins v Londonu. S sodelovanjem med različnimi oblikovalskimi disciplinami preko digitalnih in analognih praks se Ruairi Glynn s svojimi študenti posveča razvoju odzivnih okolij, od hibridnih materialov in softver sistemov do instalacij arhitekturnega značaja.

ENG Ruairi Glynn is an installation artist and curator. Since 2005 he has been devel-

oping interactive robotic environments. His work examines gestural interaction between inhabitant and architecture, through the use of sensory and servo-motor actuated systems. He is Lecturer in Architectural Robotics at the Bartlett School of Architecture, University College London and Associate Lecturer in Interaction Design at Central Saint Martins, University of Arts London. Collaborating across design disciplines through digital and analogue practices, he and his students develop responsive environments, from hybrid materials and software systems up to architectural scale installations.

17

Michael Takeo Magruder, Drew Baker, Erik Fleming, David Steele (UK)

Vizije naših skupnih sanj Visions of our communal dreams RACIF produkcija 2012 / RACIF production 2012 splet virtualnih in fizičnih svetov / virtual/physical blended worlds Vizije naših skupnih sanj, v 1.0, 2011–12, je virtualno-fizična umetniška instalacija; raziskovanje vprašanj hibridnosti, utelešenja in kolektivne ustvarjalnosti v dobi avatarjev.

Vizije naših skupnih sanj je novomedijsko umetniško delo. Z združevanjem virtualnih, fizičnih in omrežnih okolij raziskuje vprašanja hibridnosti, utelešenja in kolektivne ustvarjalnosti, ki jih omogoča uporaba avatarjev in virtualnih svetov. Umetniško delo se odvija v dveh javnih prostorih – virtualnem in fizičnem – ki sta neločljivo povezana ter tako nudita možnost za rojstvo cele vrste kontekstov, situacij in izkušenj v polju mešane resničnosti.

Virtualna komponenta instalacije sestoji iz domišljijske gozdne pokrajine, ustvarjene s pomočjo odprtokodnega 3D aplikacijskega strežnika OpenSimulator. Ta sintetični, “živeči” metaverzum je določen z ustvarjalnimi težnjami njegovih prebivalcev avatarjev in se neizogibno povezuje z dinamičnim izborom fizičnih galerijskih prostorov. S pomočjo raznih lokacijsko-specifičnih portalov – od poglobljenih arhitekturnih projekcij in oken do manjših slikarskih artefaktov in kioskov – spremljamo pretok interakcij in izmenjav med virtualnim in fizičnim svetom. Njihovo potovanje omogoča uporaba telematskih vmesnikov, ki prebivalcem na obeh straneh omogočajo, da opazujejo drug drugega in svojo okolico ter na ta način ustvarjajo skrivnostne povezave in dialoge med obema svetovoma.

Michael Takeo Magruder (koncept, vodilni umetnik) Drew Baker (OpenSimulator oblikovanje in programiranje) Erik Fleming (OpenSimulator razvoj in vzdrževanje) David Steele (oblikovanje omrežij in programiranje na strežniški strani)

18

ENG Visions of our communal dreams v 1.0, 2011–12, is a virtual/physical art

installation exploring issues of hybridity, embodiment and collective creativity in the Avatar Age.

Visions of Our Communal Dreams is a new media artwork blending virtual, physical and networked environments that explores issues of hybridity, embodiment and collective creativity made possible through the use of avatars and virtual worlds.

The artwork is comprised of two public spaces – one virtual and one physical – that are inherently connected in order to create a series of mixed-reality contexts, situations and experiences.

The artwork’s virtual component consists of an imaginary forest landscape constructed using the open source 3D application server OpenSimulator. This synthetic, ‘living’ metaverse is defined by the creative aspirations of its avatar inhabitants and is intrinsically linked to a changing selection of gallery and public spaces in the real world. Live interactions and exchanges flow between the virtual and physical realms through various sitespecific ‘portals’ ranging from immersive architectural projections and windows to arrangements of small painterly artefacts and kiosks. These gateways are realised through telematic interfaces that allow residents from both discrete locations to gaze upon each other and their surroundings, thus creating uncanny connections and dialogues between the worlds.

Michael Takeo Magruder (concept and lead artist) Drew Baker (OpenSimulator modeling and programming) Erik Fleming (OpenSimulator development and administration) David Steele (network design and server-side programming) Michael Takeo Magruder (r. 1974, ZDA/Velika Britanija) je mednarodno priznan vizualni umetnik in raziskovalec s sedežem na oddelku za digitalne humanistične vede na King's College v Londonu. Dela z digitalnimi in novimi mediji, med drugim z informacijami v realnem času, poglobljenimi okolji, mobilnimi napravami in virtualnimi svetovi. V svoji praksi raziskuje koncepte, kot so medijske kritike in estetsko novinarstvo, digitalni formalizem in računska estetika ter uporaba tehnologij in sistemov informacijske dobe za raziskovanje omreženega medijsko bogatega sveta.

ENG Michael Takeo Magruder (b. 1974, US/UK) is an internationally recognised vis-

ual artist and researcher based in the Department of Digital Humanities, King’s College London who works with digital and new media including real-time data, immersive environments, mobile devices and virtual worlds. His practice explores concepts ranging from media criticism and aesthetic journalism to digital formalism and computational aesthetics, deploying Information Age technologies and systems to examine our networked, media-rich world.

Michael Takeo Magruder et al.: Vizije naših skupnih sanj v1.0: (virtualne) delavnice s študenti Weatherhead Media Arts College v Liverpoolu. / Visions of Our Communal Dreams v1.0: (virtual) workshops. Students from Weatherhead Media Arts College, Liverpool, 2012.

19

Marco Donnarumma (UK)

Glasba za meso II / Music for flesh II Zaključen projekt, 2011 Interaktivni glasbeni performans za okrepljeno telo (X-ti čut – tehnologija bioobčutenja) / Interactive music performance for enhanced body (Xth Sense Bionsensing Technology)

Delo predstavlja brezšivno posredovanje med človeškim biozvočnim potencialom in algoritemsko kompozicijo. Definira začasno kognitivno časovno območje, v katerem je performativni prostor povečan, raztegnjen, osvetljen, zatemnjen, narekuje pa ga realno-časovna rekonstrukcija prvinske izraznosti človeškega telesa.

Telo ni več molčeče, utelešena interakcija pa, ki je do sedaj ostajala nema, pridobi novo plast teksture, otipljivo globljo stopnjo interpretacije in predstavnosti, ki jo lahko intimno izkusi nastopajoči, hkrati pa se lahko slišno in vidno konkretizira ter se tako dotakne občinstva.

Računalnik občuti in stopi v interakcijo z mišičnim zvočnim potencialom človeških tkiv. Na ta način avtorjevo delo obravnava biološko telo kot sredstvo računske umetnosti.

“Stojim v temnem prostoru, v soju dveh žarometov. Performans se začne, ko obiskovalci stopijo v prostor. Med nastopom mišični gibi in tok krvi proizvajajo mehanska podkožna nihanja, ki so pravzaprav nizkofrekvenčna valovanja zvoka. Dva mikrofonska senzorja ujameta zvočno snov, ki izvira iz mojih okončin in jo pošljeta do računalnika. 'Prisluhniti' trenju mojega telesa tako pomeni razumeti moje kinetično vedenje. Posamezne geste, stopnje moči in vzorce prepozna računalnik v realnem času, nato pa, upoštevajoč te informacije, algoritmično upravlja z zvokom mojega telesa ter ga širi skozi oktofonični sistem.”

Marco Donnarumma (UK): Music for flesh II (Glasba za meso II), vaja, marec 2011 / inspace rehearsal, March 2011. Fotografija z dovoljenjem umetnika / Photo courtesy the artist.

20

ENG

The work is a seamless mediation between human biosonic potential and algorithmic composition. It defines a temporary cognitive time-zone in which the performance space is augmented, stretched, enlightened, obscured, dominated by a realtime reconstruction of a human body primal expressiveness.

Body is no longer silent, and the embodied interaction which was so far kept mute, now acquires a new textural layer, a tangible and profound level of interpretation and representation which can be at the same time intimately experienced by the performer, and audibly and visually externalized so to embrace the audience.

By enabling a computer to sense and interact with the muscular sonic potential of human tissues, the work approaches the biological body as a means for computational artistry.

“I stand in a dark room, hit with two spotlights. When the visitors enter the room the performance begins. During my performance muscle movements and blood flow produce subcutaneous mechanical oscillations, which are nothing but low frequency sound waves. Two microphone sensors capture the sonic matter created by my limbs and send it to a computer.

This develops an understanding of my kinetic behaviour by ‘listening’ to the friction of my flesh. Specific gesture, force levels and patterns are identified in real-time by the computer; then, according to this information, it manipulates algorithmically the sound of my flesh and diffuses it through an octophonic system.”

Novomedijski in zvočni umetnik, performer in učitelj Marco Donnarumma je bil rojen v Italiji, deluje pa v Londonu. Z nizanjem del s področja biomedijskih raziskav, glasbenih in gledaliških nastopov, sodelovalnih praks in subverzivnega kodiranja avtor opazuje stično točko med kritično ustvarjalnostjo in počlovečenimi tehnologijami. Za svoj biofizični sistem Xth Sense je prejel prvo nagrado na glasbenem natečaju Margaret Guthman Musical Instrument Competition, njegov izdelek pa je ameriško središče za glasbeno tehnologijo Georgia Tech Center for Music Technology leta 2012 imenovalo za “najbolj inovativen nov glasbeni instrument na svetu”. Nedavno je v vlogi kustosa uredil tudi publikacijo z naslovom Biotechnological Performance Practice (eContact!, 14.2). Trenutno s pomočjo štipendije Evropskega raziskovalnega sveta (ERC) piše doktorat v okviru raziskovalne skupine Embodied Audio Visual Interaction (EAVI) na univerzi Goldsmiths v Londonu, pod mentorstvom profesorja Ataua Tanake.

ENG New media and sonic artist, performer and teacher, Marco Donnarumma was

born in Italy and is based in London. Weaving a thread around biomedia research, musical and theatrical performance, participatory practices and subversive coding, Marco looks at the collision of critical creativity with humanized technologies.

His biophysical system Xth Sense won the first prize in the Margaret Guthman Musical Instrument Competition and was named the 2012 “world’s most innovative new musical instrument” by the Georgia Tech Center for Music Technology, US. Recently, he curated the publication Biotechnological Performance Practice (eContact!, 14.2). Currently, Marco is a ERC-funded PhD student for the Embodied Audio Visual Interaction (EAVI) Research Group at Goldsmiths University, supervised by Professor Atau Tanaka.

21

Martin Bricelj Baraga, Slavko Glamočanin / MoTA (SI)

Javni avatar / Public avatar interaktivni družbeni eksperiment, online performans interactive social experiment; online performance

Javni avatar je nov projekt, dokumentacija odnosa med virtualno resničnostjo ter našimi zaznavami sebe in družbe. Instalacija omogoča globalnemu občinstvu raziskovanje resničnih svetovnih lokacij na daljavo ter interakcijo z ljudmi in predmeti na teh lokacijah s pomočjo realno-časovnega nadzora človeškega poskusnega subjekta. Ob stiku digitalnega s fizičnim svetom so meje med seboj in drugim, med resničnostjo in simulacijo, neprestano na preizkušnji in ponovno definirane.

V času dogodkov se bodo uporabniki lahko prijavili na stran www.public-avatar.com. Vsak prijavljen uporabnik bo postavljen v čakalnico. Ko bo na vrsti, bo lahko določen čas dajal avatarju preprosta navodila (na primer “obrni se” + “levo”, “reci” + “živijo” itd.). Uporabniki bodo lahko preko video prenosa v živo spremljali, kaj Javni avatar vidi in sliši.

Projekt raziskuje resnično virtualnost, pri čimer mislimo na odmev virtualne resničnosti v resničnosti sami. Proučuje bistvo resničnosti ter raziskuje meje med virtualnim in resničnim.

Ob predpostavki, da virtualna resničnost, internetne aplikacije, omrežje in igre ne le odsevajo družbo in resničnost, pač pa tudi napovedujejo njun razvoj (npr. Ghost Recon), lahko rečemo, da Javni avatar raziskuje družbeno resničnost sedanjosti in prihodnosti.

ENG

Public Avatar a project documenting the relationship between virtual reality and our perceptions of self and society. This installation will allow a global audience to explore real-world locations remotely, and to interact with objects and people in those locations through real-time control of a human test subject. As digital and physical worlds collide, the boundaries between self and other, reality and simulation are constantly challenged and redefined.

Martin Bricelj Baraga, Slavko Glamocanin / MoTA (SI): Javni avatar / Public avatar.

22

During these events, users will be able to login at www.publicavatar.com. Each logged in user will be placed in a queue and wait for his turn, when he/ she will be able to give simple instructions (such as ‘Turn’+’Left’, ‘SAY’+’hello’ etc) to the avatar for a limited timed period. Users will be able to see and hear what Public Avatar sees and hears via live video stream.

The project explores real virtuality, by which we mean the echo of virtual reality in reality itself. It examines the essence of reality and explores the borders between virtual and real.

Presupposing that virtual reality, internet applications, networks and games not only reflect the society and reality, but also predict its development (e.g. Ghost Recon), we can say that Public Avatar explores social reality of the present and the future.

Martin Bricelj Baraga (SI)

RoboVox RoboVox je govoreči robot, ki vas vabi, da svoje misli in ideje v obliki tekstovnih sporočil pošljete preko izbrane SMS storitve. Če ste eden izmed tistih, čigar glas se ponavadi izgubi v množici, je RoboVox pravo orodje za vas: vaša mnenja, proteste ali ljubezenske izjave bo povedal na glas; vse, kar morate storiti, je poslati svoje sporočilo na 07593959917 v času trajanja razstave.

ENG

RoboVox is a talking robot which invites you to text your thoughts and ideas to a dedicated SMS service. A tool for an individual, whose voice usually gets lost in the crowd, RoboVox will say out loud your statement, protest or declaration of love, just text 07593959917 during the exhibition period.

Martin Bricelj Baraga je vizualni medijski umetnik in kulturni aktivist. Njegova interaktivna dela, avdio-vizualni performansi in sodelovanja raziskujejo odnos med človekom in strojem, družbene vidike sodobne pop kulture ter prihodnji monumentalizem in politične dimenzije naših posrednih resničnosti. Je direktor Festivala Pomladi v Ljubljani (festival elektronske glasbe in sorodnih umetnosti na prostem) in pobudnik umetniško-kuratorske iniciative MoTA – Museum of Transitory Art, prvega ljubljanskega rezidenčnega programa in mreže tujih umetnikov in kustosov na t. i. “vzhodu”.

ENG Martin Bricelj Baraga is a visual media artist and cultural activist. His interac-

tive works, audiovisual performances and collaborative work research the relation between man and machine, social aspects of contemporary pop culture, future monumentalism and political dimensions of our mediated realities. He is the director of Festival Pomladi in Ljubljana (an open air festival of electronic music and related arts) and started artistic-curatorial initiative MoTA – Museum of Transitory Art, which is the first AiR programme in Ljubljana and a network of foreign artists, curators in the so called ‘East’.

Martin Bricelj Baraga (SI): RoboVox. Galerijska postavitev v FACT / Installation view at FACT. Fotograf / Photographer: Brian Slater

23

Mey Lean Kronemann (DE)

lumiBots Skupinska robotska instalacija / swarm robot installation Razvoj robotske platforme: Mey Lean Kronemann in Philipp Urbanz robot platform developed by Mey Lean Kronemann and Philipp Urbanz

LumiBots je truma majhnih, samostojnih robotov, ki reagirajo na svetlobo. Na svojih repkih nosijo UV-LED diode, s pomočjo katerih puščajo fosforescentne sledi na posebni, v temi svetleči se podlagi. Sledi izginjajo počasi, tako da lahko poleg svežih in svetlejših opazujemo tudi starejše in temnejše: na ta način roboti ustvarjajo množico venomer spreminjajočih se podob.

Svetleče sledi niso le zapis gibanja robotov, pač pa imajo zanje še drug pomen: lumiBots jim lahko sledijo, svojim in tistim, ki jih za seboj puščajo ostali roboti; lahko jih tudi ojačijo ter tako ustvarijo mravljam podoben mehanizem.

Vedenje lumiBots robotkov ni vnaprej programirano, niti predvidljivo. Je odraz interakcije med posameznimi roboti, vplivov iz njihove okolice ter nič več kot dveh preprostih pravil: “pojdi tja, kjer je svetleje” in “spremeni smer, ko se sprožijo senzorji za trčenje”. Zaradi manjših nenatančnosti v strojni opremi so prav vsi edinstveni, četudi so bili zgrajeni in programirani na enak način. Roboti nimajo vgrajenega spominskega čipa, toda njihove svetleče sledi lahko razumemo kot nekakšen zunanji spomin.

LumiBots robotki so hkrati znanstveni in umetniški projekt.

Prikazujejo, kako iz preprostih pravil nastane nekaj kompleksnega in so nazoren prikaz temeljnih principov večplastnih sistemov, kot so ptičje jate, vreme ali globalni pojavi. Trenutni sistem sestavlja devet hemisferičnih robotov premera 12 cm na podlagi približnih dimenzij 1 m x 2 m v zatemnjenem prostoru.

Mey Lean Kronemann (DE): lumiBots. Fotografija z dovoljenjem umetnice. / Photo courtesy the artist. Photo / foto Michael Baumgartner

24

ENG

The lumiBots are a swarm of small, autonomous robots that react to light. Equipped with a UV-LED at their tail, they can leave phosphorescent trails on a glow-in-the-dark mat.

The trails slowly fade away, so that older, darker lines are visible as well as newer, brighter ones. In this way, generative images are created that consistently change.

The lines do not only tell the story of the robots’ movements, but have a deeper meaning for the lumiBots: They can follow the other robots’ as well as their own trails, and amplify them, thus creating an ant-trail-like mechanism.

The behaviour of the lumiBots is not pre-programmed and not predictable. It emerges from the interaction between the robots, influences from their surroundings, and just two simple rules: ‘Go where it is brighter’ and ‘Change direction when the bump sensors are triggered’. Due to small hardware inaccuracies they are all individuals, even though built and programmed the same. The robots do not have a memory chip, but the glowing trails can be seen as a kind of external memory.

The lumiBots are both a science and an art project. They visualize how complexity emerges from simple rules and illustrate the principle that underlies complex systems such as flocks of birds, the weather, or global phenomena. The system currently consists of nine hemispheric robots of 12 cm diameter in an arena of approx. 1m x 2m in a darkened room.

Mey Lean Kronemann je umetnica, hekerica in raziskovalka iz Berlina. Ukvarja se z raziskovanjem pojavitev, skupinskega vedenja ter vprašanjem, kako interakcija in pravila tvorijo kompleksne strukture. Pojavne interaktivne instalacije dojema kot napredno obliko generativnega oblikovanja oziroma umetnosti. Svoja dela je predstavila na več festivalih medijske umetnosti, kot so lab.30, Piksel in LiWoLi, ter mednarodnih konferencah DIS, ICRA in technarte. Prejela je nagrade treh festivalov, in sicer: Digital Sparks (častna omemba za schuechterne lichter, 2008), Japan Media Arts Festival (po izboru žirije za lumiBots, 2011) in Art of Engineering (nagrada za lumiBots, 2012).

Mey Lean Kronemann (r. 1982) je študirala interakcijsko oblikovanje v Malmu na Švedskem ter oblikovanje produktov in vmesnikov v Postdamu v Nemčiji, kjer je leta 2009 tudi diplomirala. Leta 2010 je bila članica društva raziskovalcev na univerzi za uporabne znanosti v Postdamu.

ENG Mey Lean Kronemann is an artist, hacker and researcher from Berlin, who ex-

plores the topic of emergence, swarm behaviour, and how interaction and rules generate complex structures. Mey defines emergent interactive installations as an advanced form of generative design/art.

Mey has presented and exhibited her works at several media art festivals including lab.30, Piksel, and LiWoLi, and international conferences including DIS, ICRA, and technarte. Her works were awarded by Digital Sparks (Honorary Mention for schuechterne lichter, 2008), Japan Media Arts Festival ( Jury Selection Work for lumiBots, 2011) and Art of Engineering (Prize award for lumiBots, 2012).

Mey Lean Kronemann (born 1982) has studied Interaction Design in Malmö, Sweden, and Product Design and Interface Design in Potsdam, Germany, where she graduated in 2009. In 2010, she was a research fellow at Potsdam University of Applied Sciences.

25

Sašo Sedlaček (SI)

Žicar 1.0 / Beggar Robot 1.0 robot za socialno ogrožene, 2006 / robot for materially deprived, 2006

Robot za socialno ogrožene je v celoti sestavljen iz odpadne računalniške opreme in nekaj rabljenih delov, ki jih je mogoče dobiti povsem brezplačno. Računalniki so danes tako rekoč obvezna oprema in kulturni kod, zato kot tehnologija niso več rezervirani le za privilegirane. 'Žicar' lahko nastopa v imenu socialno ogroženih, katerim zagotavlja anonimnost in ohranitev osnovnega človeškega dostojanstva. Vstopa lahko v beračem nedosegljiva okolja, kot so nakupovalna središča in družabne prireditve, kjer se zbira in zadržuje premožnejši del družbe, ki zmore več simpatij do marginaliziranih, če le ti komunicirajo v varni distanci s pomočjo tehnološkega vmesnika.

V zadnjih letih smo priča družbenim spremembam, ki vnašajo v splošno sliko družbe vedno večji procent revščine. V njej ali na pragu nje živijo različne marginalizirane skupine, kot so revni posamezniki in družine, begunci oziroma ostali prosilci za azil, ostareli, invalidi. Večina, v svojih domovih skrita pogledu javnosti, ne bo nikoli stopila na ulico in prosjačila, razen če jih v to ne prisilijo izredne razmere. Danes zaradi razširjenosti tehnologije poznamo nekaj novih načinov beračenja; internetno pošto s prosečimi sporočili, beraške internetne strani, beračenje v 'multiplayer' igrah in robota iz odpadne tehnologije.

Tehnična izvedba robota: Pavle & Sašo Sedlaček Govor: Speaker 1.1 / Sintetizator slovenskega jezika, Jure Leskovec, Inštitut Jožef Stefan Posebna zahvala: Sipronika d. o. o., KD Group d. d.

ENG

26

The robot for the materially deprived is constructed entirely from old computer hardware and a few spare parts that can be obtained at no cost. Computers are nowadays more or less treated as basic home equipment and cultural code, no longer reserved for a few privileged individuals as a technology. This is why ‘Žicar’ (Beggar) can step up in the name of the materially deprived, while at the same time preserving their anonymity

and dignity. It has access to areas normally off-limits to beggars, such as shopping malls and community events, where the richer part of the society frequents – the part of society that is only able to show some sympathy towards the marginalized if they communicate from a safe distance and via a technological interface.

The past few years have brought about social changes, which have introduced an increasing percentage of poverty into the general picture of the society. Living in poverty or on the fringe thereof are marginalized groups such as impoverished individuals and families, refugees and asylum seekers, elderly people, disabled people... Most of them, hidden from the public view confined in their homes, will never step onto the street to beg, except in most dire circumstances. Because of technology expansion today, there are many new ways of begging; e-mails with spare some change content, begging web sites, multiplayer games begging and a robot for materially deprived.

Technical realization of the robot: Pavle & Sašo Sedlaček Speech: Speaker 1.1 / Synthesizer of Slovene speech, Jure Leskovec, Jozef Stefan Institute Special thanks: Sipronika, d. o. o., KD Group, d. d.

Sašo Sedlaček je nedvomno eno osrednjih imen sodobne slovenske umetnosti. Je prejemnik številnih nagrad (OHO, Vida 11, Spaport, Zogo Toy itd.) in udeleženec treh umetniških rezidenc (v Nemčiji, na Japonskem ter v ZDA), ki je razstavljal po Sloveniji, na Japonskem in Tajvanu, v ZDA, Avstriji, Franciji, Belgiji, Italiji, Srbiji, Rusiji, Estoniji in drugod. Njegova dela so bila na ogled tudi na priznanih prizoriščih, kot sta Razstavna hiša dunajske secesije in Muzej umetnosti Lentos v Linzu, prav tako pa je sodeloval na nekaterih najpomembnejših mednarodnih bienalih in festivalih (Tajpej, Tajvan 2008 in Okagi, Japonska 2006).

Njegov projekt Veliki izklop (The Big Switch Off ) so nedavno prikazali v Projektnem prostoru Aksioma. Ukvarjal se je s problemom razprodaje frekvenčnega prostora (Manifesto 2008 in Infocalypse Now! 2007), še posebej pa je prepoznaven po svojih intervencijah v “potrošniške Meke”: z zidaki, izdelanimi iz reklamnih tiskovin, je zapiral vhode ljubljanskih veleblagovnic ( Just Do It!, 2003), z njimi zgradil prisluškovalno-bivalni paviljon v BTC Cityju (Zanka 2004); leta 2006 je po Cityparku in po ulicah Tokia ter Tajpeja sprehodil Žicarja (The Beggar), robota za socialno ogrožene, leto kasneje pa ga dal na izposojo ljubljanskim brezdomcem ipd.

ENG Sašo Sedlaček is, no doubt, one of the key figures of contemporary art in Slovenia.

He has received several awards (OHO, Vida 11, Spaport, Zogo Toy, etc.); he has been an artist-in-residence three times (in Germany, Japan and the United States); he has had exhibitions in Slovenia, Japan, Taiwan, the USA, Austria, France, Belgium, Italy, Serbia, Russia, Estonia, etc. – including established exhibition venues such as the Secession in Vienna and the Lentos Museum in Linz – and he has participated in major international biennials (Taipei, Taiwan 2008 and Ogaki, Japan 2006) and festivals.

His project The Big Switch Off was just on display at the Project Space Aksioma in Slovenia. He has recently problematised the sell-out of frequency space (Manifesto, 2008, and Infocalypse Now!, 2007) and he is particularly recognisable for his interventions into consumer Meccas: using bricks made of printed advertising materials, he closed the entrances to department stores in Ljubljana ( Just Do It!, 2003) and built a pavilion for eavesdropping and dwelling in BTC City (Loop, 2004); in 2006, he took the Beggar – a robot for the materially deprived, which he lent to the homeless people of Ljubljana the following year – for a walk around Citypark and the streets of Tokyo and Taipei; etc.

Sašo Sedlaček (SI): Žicar 1.0. Fotografija z dovoljenjem umetnika. / Photo courtesy the artist.

27

Niki Passath (AT)

ZOE robotika / robotics

ZOE je poskus predstavitve človeških in medosebnih odnosov s pomočjo strojnih mehanizmov; opis družbenih pojavov skozi principe gibanja, četudi so vzroki teh principov (še) neznani. Avtor pri projektu uporablja aktivne in re-aktivne objekte, katerih formalizirano vedenje sproža čustvo in življenje. Ne verjame, da so stroji sami inteligentni ali da čutijo. Čustva so nekaj izključno človeškega – z drugimi besedami, stroji in torej tudi roboti, nimajo čustev, lahko pa proizvedejo občutke zaradi svojega vedenja ter skozi njihovo uporabo. So torej nekakšna čustvena proteza.

Roboti niso videti kot živi zaradi svoje podobe, videz življenjskosti jim daje njihovo gibanje. Delujejo in reagirajo z okoljem.

Gledalec je tisti, v katerem sprožajo čustva: enkrat strah, drugič veselje, jezo, vdanost ali samo nerazumevanje. Tako izzvana čustva se navezujejo na domnevno vedenje stroja.

Vsak izmed omenjenih posameznih objektov je neodvisen, vendar skupaj z ostalimi deli ZOE tvorijo (inteligentno) povezavo.

Celotno gručo brez lastne telesnosti definira družbena skupina. Človeška sposobnost antropomorfoze je torej tista, ki v gledalcu ustvarja občutek družbene skupine, ki spada skupaj.

Performativno-instalacijska različica ZOE je interaktivna robotska upodobitev človeškega telesa in njegovih družbenih implikacij. Pri opazovanju in igri s posameznimi roboti ali s celotno skupino odpira ZOE nova stališča do strojev, robotskega in umetnega vedenja ter umetnega življenja.

Možen je ogled dodatnih fotografij, na katerih ZOE raziskuje zaledeneli otoček Suomenlinna v bližini mesta Helsinki na Finskem. Pri raziskovanju deloma prilagojenega zunanjega okolja se zdi, da ima robot enaka čustva in želje kot ljudje.

Niki Passath (AT): ZOE, Exploring Suomenllina.

Slika z dovoljenjem umetnika. / Image courtesy the artist.

28

ENG

ZOE is an attempt to represent human and interpersonal relationships through machinery, describing social phenomena through principles of movement, although the causes of these principles are (still) unknown. For this art project I use active and reactive objects whose formalized behaviour triggers emotion and life. In my point of view, machines are neither intelligent nor do they have feelings. Emotions entirely exist on the human side. In other words, machines and therefore robots do not bear emotions. But they can produce feelings because of their behaviours and during their utilization. They are some kind of emotional prosthesis.

The robots do not seem lifelike because of their appearance, but gain the appearance of vitality by their movements. They act and react with the environment. They create emotions in the viewer, once it is fear, other times it is joy, anger, resignation, or just a non-feeling of understanding. These aroused emotions correlate with the alleged behaviour of the machine.

Each of these individual objects is independent, but together with the other objects of ZOE they build a (intelligent) connection. The swarm without its own physicality is defined by the social group. The ability of the human to anthropomorphize creates in the recipient the appearance of a social group which belongs together.

The performative installation variation of ZOE is an interactive robotic representation of the human body and its social implications. By observing and playing with the individual robots or the whole group, ZOE opens new points of view towards machinery, robotic and artificial behaviour and artificial life.

Additionally there are photographs of ZOE exploring the icy island of Suomenlinna next to Helsinki, Finland, where the robot seems to be exploring the surrounding outdoor environment, and staged in a way, seeming to have the same emotions and desires as humans.

Niki Passath je umetnik na področju robotike, zanimata ga predvsem kiparski aspekt robotov in koncept umetne inteligence. Rojen je bil leta 1977 v Gradcu, trenutno pa živi in dela na Dunaju, kjer poučuje na univerzi za uporabne umetnosti – tam je diplomiral iz digitalne umetnosti, študiral pa je tudi violončelo na univerzi za glasbo in upodabljajočo umetnost v Gradcu ter arhitekturo na tehnični univerzi v Gradcu in šoli za arhitekturo Laungedoc Rousillon v Montpellieru. Je prejemnik nagrade Theodor Körner Prize za svoje delo z naslovom Architecture Mules, ki prevaja generativne oblikovne zmožnosti 3D programske opreme v realni prostor.

ENG Niki Passath (b. 1977, Graz) is a robotic artist and is engaged in his work with the

sculptural conditions of robots and the idea of artificial intelligence. He currently lives in Vienna and teaches at the University of Applied Arts Vienna, where he made his degree in digital art. Niki Passath also studied violoncello at the University of Music and Performing Arts in Graz and architecture at the Technical University in Graz and at the École d´Architecture Laungedoc Rousillon in Montpellier. He has received the Theodor Körner Prize for his work Architecture Mules, which translates generative design capabilities of 3D software into real space.

29

Gonçalo Lopes, André Almeida, Francisco Dias, Guilherme Martins (PT)

NAVI “Kljub zavidljivemu napredku na področju mobilne robotike v preteklem desetletju so sanje o tesnejšem sožitju med človekom in popolnoma samostojnimi umetnimi bitji še daleč od izpolnitve. Projekt NAVI zagovarja trditev, da je veliko teh zamisli že uresničljivih s pomočjo obstoječe tehnologije. Verjamemo, da lahko z ustvarjalno uporabo obstoječe strojne opreme bistveno povečamo primernost in uporabnost robotov v svetu. To želimo tudi ponazoriti s pomočjo dveh aplikacijskih domen, ki lahko dramatično spremenita način naše interakcije z roboti.

Pri prvi gre za izkoriščanje razširjene teleprezence z uporabo cenenih mobilnih robotskih platform, kot je recimo Magabot za premične računalniške sisteme. Uporabniki se preko Skypa povežejo s prenosnikom v rokah robota ter na ta način upravljajo in stopajo v interakcijo z oddaljenimi okolji, pri tem pa odpirajo vrata novi vrsti kulturne izmenjave v informacijski dobi.

Pri drugi aplikacijski domeni gre za izkoriščanje ogromne količine informacij, ki jih v človeškem okolju vsakodnevno uporabljamo za dajanje navodil in pri izbiri primernih dejanj, sedaj pa bi jih uporabili pri samostojnih robotih. Naše prepričanje je, da lahko to logiko prenesemo tudi na robote in s tem bistveno povečamo njihove možnosti za neodvisno vedenje, spet izključno z uporabo trenutno obstoječe tehnologije.

Predstaviti želimo funkcionalno realizacijo omenjenih aplikacijskih domen ob uporabi Megabot robotske platforme ter tehnologij strojne in programske opreme, ki smo jo razvili sami ali z zunanjimi sodelavci. Predstavili bomo robotsko teleprezenco in nekaj preprostih avtomatiziranih upravljalnih nalog, ki že lahko uspešno razbremenijo upravljanje vozil na daljavo.”

Gonçalo Lopes, André Almeida, Francisco Dias, Guilherme Martins (PT): NAVI. Slika Megabota / Megabot image

30

ENG

“Despite all the considerable advances in the field of mobile robotics achieved over the last decade, the dream of a more intimate symbiosis between humans and fully autonomous artificial beings is still far from fulfilled. Our claim is that many of these ideas can actually be turned into reality with currently existing technology. We believe that creative use of existing hardware can dramatically extend the relevance and utility of robots in the world and we intend to demonstrate this within two application domains that have the potential to dramatically shift the way we interact with robots today.

The first is to exploit augmented telepresence by using an inexpensive mobile robotic platform such as Magabot to give wheels to computer systems. By remotely connecting via Skype to a laptop carried by the robot, the human user will be able to navigate and interact with distant environments, opening the doors to a new kind of cultural exchange in the information age.

The second domain of application is to exploit the vast amount of information our human environment naturally provides to instruct and select appropriate actions in a fully autonomous robot. Our claim is that we can extend this logic to robots to significantly enhance their ability for autonomous behavior, again relying only on currently existing technology. ” Gonçalo Lopes je diplomiral iz računalništva in inženiringa na Universidade Nova de Lisboa (NOVA). Leta 2010 se je vpisal v program doktorskega študija Champalimaud Neuroscience, trenutno pa skupaj z Adamom Kampffom in Joem Patonom raziskuje možgansko gradnjo modelov sveta.

André Almeida ima za seboj bogato profesionalno pot v načrtovanju interakcije in razvoju programske opreme. Po sedmih letih dela in učenja v raziskovalnem laboratoriju YLabs tehnološke družbe YDreams’ se je specializiral za področje razširjene resničnosti, računalniškega vida in grafičnega računstva. Od nekdaj ga zanima tudi umetnost, posebej gledališče in performans.

Francisco Dias je 17 letni študent iz Lizbone. Zanimajo ga odprtokodne tehnologije, naredi-sam, hekanje, robotika, elektronika, računalniški vid teleprezenca in interakcija človek-stroj.

Guilherme Martins je vizualni umetnik, specializiran za ustvarjanje vizualnih vsebin za odrske nastope. Vse od leta 2007 se njegova vizualna okolja uporabljajo v plesu, operi, gledališču in performansih, sodeloval pa je tudi s številnimi priznanimi režiserji, kot so Rui Horta, Tiago Guedes in Anatoly Praudin.

ENG Gonçalo Lopes received his BSc degree in Computer Science and Engineering

at the Universidade Nova de Lisboa (NOVA), in 2006. In 2010, Gonçalo joined the Champalimaud Neuroscience PhD Programme and his now working with Adam Kampff and Joe Paton to understand how brains build models of the world.

André Almeida has an extensive professional background in interaction design and software development. After seven years of working and learning at YLabs, tech company YDreams’ research laboratory, André specialized in augmented reality, computer vision and graphical computing.

Francesco Dias is a 17 years old student from Lisbon. He is interested in open source technology, DIY, hacking things better, robotics, electronics, computer vision, telepresence and human-machine interaction.

Guilherme Martins is a visual artist specialized in the creation of visual contents for stage performances. Since 2007, his visual environments have been used in dance, opera, theater and performances and he has collaborated with renowned directors like Rui Horta, Tiago Guedes and Anatoly Praudin.

31

Matthieu Cherubini (CH)

rep.licants.org splet / online / igre web / online / gaming Švica 2011 / Switzerland 2011

rep.licants.org je spletna storitev, ki uporabnikom ponuja možnost namestitve (robota) umetne inteligence na njihovem Facebook ali/in Twitter računu. Z uporabo ključnih besed, vsebinsko analizo in analizo aktivnosti skuša robot posnemati aktivnost uporabnika ter jo celo izboljšati z dodajanjem informacij na njegov račun in vzpostavljanjem novih stikov. Socialna omrežja so prvi medij, ki družbeni uspeh osebe prikazujejo statistično (npr. število prijateljev na Facebooku ali sledilcev na Twitterju). Za veliko uporabnikov lahko želeni uspeh postane težka in zahtevna naloga, posebno ob prisotnosti določenih človeških lastnosti, kot so sramežljivost, introvertiranost ali osebni občutki manjvrednosti.

Roboti niso ustvarjeni z že izoblikovano izmišljeno osebnostjo, pač pa se njihova osebnost doda pravi osebnosti uporabnika, ki jo lahko oblikuje po svojih željah. Tako lahko robota označimo za virtualno protezo, ki jo uporabnik doda na svoj račun. Njegov namen je uporabniku omogočiti oblikovanje takšne digitalne osebnosti, kakršno bi si v resnici želel ter mu s tem pomagati pridobiti boljši družabni sloves. Robota pa lahko dojamemo tudi kot grožnjo, saj pravzaprav izkrivlja resničnost podobe 'kdo je res kdo' ter v bistvu prikazuje revščino naših družabnih interakcij v tem, čemur pravimo socialna omrežja.

Matthieu Cherubini: rep.licants.org, 2011. Galerijska postavitev v FACT Liverpool / Installation view at FACT, photo Brian Slater

32

ENG

rep.licants.org is a web service allowing users to install an artificial intelligence(bot) on their Facebook and/or Twitter account.

From keywords, content analysis and activity analysis, the bot attempts to simulate the activity of the user, to improve it by feeding his account and to create new contacts with other users.

Social networks are the first medium showing the social success of a person via a statistical way (eg number of friends on Facebook or followers on Twitter). For many users, reaching the hoped-for success can become a tough and difficult task. Especially when some human factors such as shyness, introversion or personal worthless are present.

The bot does not born with a fictitious identity, but will be added to the real identity of the user to modify it at his convenience. Thus, this bot can be seen as a virtual prosthesis added to an user’s account. With the aim to help him to forge a digital identity of what he would really like to be and by trying to build a greater social reputation for the user. Moreover, this bot can be perceived as a threat by defrauding even more the reality of who is really who on social networks and by showing the poverty of our social interactions on these so-called social networks.

Matthieu Cherubini (r. 1984) je leta 2011 končal magisterij iz medijskega oblikovanja na univerzi za umetnost in oblikovanje v Ženevi ter osvojil nagrado Master Design fundacije AHEAD. Pred tem je leta 2009 diplomiral iz računalništva na univerzi za uporabno znanost v Švici. Njegova dela so bila predstavljena na festivalu Lift10 v Ženevi (2010), milanskem pohištvenem sejmu (2010), festivalu FILE v São Paulu (2011), umetniškem središču Centro Multimedia del Centro Nacional de las Artes (for Transitio_MX) v Mehiki (2011) ter festivalu amber’11 v Istanbulu (2011). Matthieu Cherubini živi in dela v Lozani v Švici.

ENG Matthieu Cherubini (b. 1984) graduated from the Geneva University of Art and

Design in 2011, where he earned his Master degree in Media Design as well as the Price 2011 Master Design from la Fondation AHEAD. Prior to that he received a Diploma of Engineer in Computer Science from the University of Applied Sciences of Western Switzerland in 2009. He has exhibited at Lift10, Geneva, 2010; Milan Furniture Fair, Milan, 2010; FILE 2011, São Paulo, 2011; Centro Multimedia del Centro Nacional de las Artes (for Transitio_MX), México, 2011 and amberFestival’11, Istanbul, 2011. Matthieu Cherubini lives and works in Lausanne, Switzerland.

33

Aymeric Mansoux, Dave Griffiths, Marloes de Valk (FR, UK, NL)

Goli na Plutonu / Naked on Pluto splet / online / igre / web / online / gaming

Goli na Plutonu predstavlja idejo igrivega, pa vendar skaljenega sveta on-line igric, razvitega s pomočjo odprtokodne programske opreme, v posmeh potuhnjeno agresivnim lastnostim marsikatere “družabne programske opreme”. Mestece z imenom Elastični Versailles je animirano s pomočjo čudaške kombinacijske logike 57-članske skupnosti robotov umetne inteligence, ki v igrico prenašajo podatke, zbrane na Facebooku. Ekipa robotov Goli na Plutonu, ki jih le stežka ločimo od drugih agentov v tem tekstovnem okolju, igra vlogo disfunkcionalnih čuvajev: njihova sredstva za nadzor dostopa uničujejo sodelujoči, ki jih nato roboti elastično “zdravijo”. Igralci premagujejo omejitve igre z oblikujem ekip ter skušajo dokončno sesuti sistem in pobegniti iz njega. Roboti o aktivnostih poročajo na blogu in Twitterju in igralce nenehno zasipavajo s kliki, izjavami, dreganji in ponudbami ter sejejo kaos med lastnimi in prijateljevimi podatki, pri tem pa ustvarjajo bolj ali manj zavajajoče povezave z nepopisno naraščajočo hitrostjo.

Goli na Plutonu karikira razcvet virtualnih posrednikov, ki spravljajo naše osebne podatke in zahrbtno preoblikujejo naša online okolja in profile, pri čemer poudarjajo dvomljive simbole glavnih družabnih omrežij: prijatelje kot merljivo in potrošno on-line dobrino, premišljeno izdelane osebnosti, zrežirane, da bi ustvarile občutek “zaupnosti”, preračunljivo objavljanje “zasebnih” podatkov pa kot samo-oglaševanje. Glas razuma je v tej igri končno – tako upamo – glas igralcev, ki ji uspejo ubežati.

Oktobra 2011 je Goli na Plutonu prejel nagrado VIDA 13.2.

ENG

Naked on Pluto proposes a playful yet disturbing online game world, developed with Free/ Libre Open Source Software, which parodies the insidiously invasive traits of much ‘social software’. The city of ‘Elastic Versailles’ is animated by the Aymeric Mansoux, Dave Griffiths, Marloes de Valk (FR, UK, NL): Naked on Pluto (Goli na Plutonu). Spletna stran / Web site

34

quirky combinatorial logics of a community of fifty seven AI bots that glean Facebook data from subscribers to the game.

Naked on Pluto’s bot crew, which are hard to distinguish from other agents in this text-based environment, are dysfunctional gatekeepers whose access-control means are broken by the participants only to be elastically “healed” by the bots. Players attempt to override the game’s restrictions, teaming up in order to ultimately crash and escape from the system. Reporting on activities via a blog and Twitter, and issuing a constant stream of incitations to click, declare, poke and buy, the bots run havoc with one’s own and one’s friends’ data, generating more or less spurious links with chillingly escalating speed.

Naked on Pluto caricatures the proliferation of virtual agents that harvest our personal data to insidiously reshape our online environments and profiles, highlighting the ambivalent hallmarks of major social networks: friends as quantifiable and commodifiable online assets, personas carefully fashioned contrived to impart a sense of ‘intimacy’, and disingenuous publishing of ‘private’ data as self-advertising. The emergence of intelligence in this game is ultimately, hopefully, that of the players who manage to escape from it. In October 2011, Naked on Pluto was awarded with the VIDA 13.2. prize.

Marloes de Valk (NL) je nizozemska (softver) umetnica. Študirala je zvok in sliko na Kraljevem konservatoriju v Haagu ter se specializirala za področje abstraktnih kompozicijskih računalniških iger, interakcijo med človekom in računalnikom (HCI) ter računalniška sesutja. Je tudi nekdanja članica umetniškega kolektiva GOTO10, ki je pomagala pri razvoju puredyne GNU/Linux distribucije in nastanku make art festivala. Trenutno sodeluje z Aymericom Mansouxjem in Daveom Griffithsom pri projektu družabnih računalniških iger.

Aymeric Mansoux (FR) je umetnik in medijski raziskovalec. Je začetnik projektov, kot so make art festival, Puredyne GNU/Linux in antologija FLOSS+Art. Piše tudi doktorat na centru za kulturne študije univerze Goldsmiths v Londonu, kjer raziskuje ustvarjalne nesporazume med umetnostjo in politiko znotraj copyleft prakse.

Dave Griffiths (Velika Britanija) dela kot samozaposleni umetnik in programer: v glavnem sodeluje z umetniškim laboratorijem FoAM art laboratory ter nastopa kot član skupine slub, ki se poslužujejo t. i. livecoding-a (improviziranega interaktivnega programiranja). Je avtor instalacij in odprtokodne programske opreme ter voditelj delavnic na temo računalniških iger, glasbe in LISP programskega jezika.

ENG Marloes de Valk (NL) is a Dutch (software) artist. She studied Sound and Image

at the Royal Conservatory in the Hague, specializing in abstract compositional computer games, HCI and crashing computers. She is editor of FLOSS Art (OpenMute, 2008) as well as the Digital Artists’ Handbook (folly and GOTO10, 2008). She is a former member of artist collective GOTO10, and has helped develop the puredyne GNU/Linux distribution and make art festival. She is currently collaborating with Aymeric Mansoux and Dave Griffiths on a social gaming project.

Aymeric Mansoux (FR) is an artist and media researcher. He has initiated projects such as: the make art festival, Puredyne GNU/Linux and the FLOSS+Art anthology. He is also a PhD student at the Centre for Cultural Studies, Goldsmiths, University of London (UK) researching on the creative misunderstandings between art and politics within copyleft practices.

Dave Griffiths (UK) works as a self employed artist/programmer, mainly working with the FoAM art laboratory and performs as part of slub – a livecoding band.

He creates installations, open source software and teaches workshops around the themes of games, music and the lisp programming language.

35

Salvatore Iaconesi & Oriana Persico (IT)

Elektronski človek / The Electronic Man splet / online / igre / web / online / gaming

Ob proslavljanju stoletnice rojstva Marshalla McLuhana je nastal Elektronski človek, globalni performans, ki mu je uspelo ustvariti sintetičen, digitalni čut za tisoče ljudi. Nalepke s QR kodami in podobo Elektronskega človeka so preplavile mesta po vsem svetu. Ljudje najrazličnejših narodnosti so pristali na sodelovanje pri tem globalnem performansu: s pomočjo pametnih telefonov so skenirali kode, nato pa podatke o svojem čustvenem stanju prispevali skupnemu povezovalnemu telesu, ki se je izoblikovalo skozi njihove prispevke.

Med potekom performansa je torej na tisoče ljudi preneslo aplikacijo za mobilne telefone in vsakič, ko je nekdo skeniral nalepko, so zavibrirali telefoni vseh drugih. Vibracija, fizični dražljaj v žepih ljudi stimulira njihova telesa kot nov, sintetični čut, ki v trenutku reagira na digitalno interakcijo kjerkoli na svetu. Zgovoren primer, kako lahko tehnologije medsebojno povezujejo ljudi vseh kultur, narodnosti in ozadij. Od danes naprej z vsakim skeniranjem ene izmed QR kod globalnega performansa zavibrirajo telefoni približno 40 tisoč ljudi širom po svetu.

“Elektronski človek, tako kot pred-pismeni človek, odstrani ali izloči človeka kot celoto. Njegovo informacijsko okolje je pravzaprav njegov centralni živčni sistem.” McLuhan, Counterblast, 1969.

Avtorji performansa so FakePress Publishing in Art is Open Source, ob podpori revije MediaDuemila Magazine in univerze “La Sapienza” iz Rima ter pod znanstvenim vodstvom profesorja Derricka de Kerchkove.

Salvatore Iaconesi & Oriana Persico / Art is Open Source (IT): The Electronic Man (Elektronski človek). Slika z dovoljenjem umetnikov. / Image courtesy the artists.

36

ENG

Created in occasion of Marshall McLuhan’s Centennial Celebrations, the Electronic Man is a global performance which has managed to create a synthetic digital sense for thousands of people. Stickers with QRCodes and the image of the Electronic Man have been disseminated in cities all over the world. People from all nationalities have agreed to participate to the planetary performance by scanning the codes using their smartphones and contributing their emotional states to the connective body that took shape through their contributions.

As the performance moved along thousands of people downloaded a smartphone application: whenever anyone scans one of the stickers, everyone else’s phone vibrates. A vibration, a physical stimulation right in the pockets of people, stimulating their bodies as a new synthetic sense instantly reacting to a digital interaction happening anywhere in the world. A suggestive example of how technologies can interconnect people from all cultures, nationalities and backgrounds. As of today, whenever anyone scans one of the QRCodes of the performance, around 40 thousand people’s smartphones vibrate, across all continents.

“Electronic man like pre-literate man, ablates or outers the whole man. His information environment is his own central nervous system.” McLuhan in Counterblast, 1969.

The performance has been created by FakePress Publishing and Art is Open Source, with the support of MediaDuemila Magazine and of The University of Rome “La Sapienza”, under the scientific direction of professor Derrick de Kerckhove.

Salvatore Iaconesi (xDxD.vs.xDxD) in Oriana Persico (penelope.di.pixel) predlagata novo vrsto umetnosti, ki bo združevala poetiko in politiko, telesa in arhitekture, skvote, revolucionarne poslovne modele. Združen v zasebnem in poklicnem življenju, par deluje pod okriljem znamk Art is Open Source ter FakePress Publishing, s svojimi dejanji pa želita udejanjiti možno vizijo sveta, kjer umetnost združuje znanost, politiko, antropologijo in ekonomijo. Salvatore in Oriana sta utemeljitelja izraza NeRVi – NeoRealismo Virtuale (Virtualni NeoRealizem), z njim najlažje opišeta svoje udejstvovanje – vizijo sveta, v katerem se lahko fluidno prepletajo mnogotere plasti digitalnih in analognih resničnosti.

ENG Salvatore Iaconesi (xDxD.vs.xDxD) and Oriana Persico (penelope.di.pixel)

propose a new form of art, bringing together poetics and politics, bodies and architectures, squats, revolutionary business models. United in life and professionally, the duo operates under the brand of Art is Open Source and FakePress Publishing, performing actions focused on enacting a possibilistic vision of the world in which art unites sciences, politics, anthropology and economy. Salvatore and Oriana have defined the term NeRVi – NeoRealismo Virtuale, Virtual NeoRealism – to describe their actions: the vision of a world in which multiple layers of digital and analog relaties can fluidly interweave.

37

DELAVNICE Delavnica: Vizije naših skupnih sanj (Visions of Our Communal Dreams) Mentorja: Michael Takeo Magruder in Drew Baker (UK) Datum: 2., 3. in 4. oktober 2012, 15.00–19.00 Prizorišče: KIT KIBLA, Glavni trg 14, Maribor Delavnica Vizije naših skupnih sanj (The Visions of Our Communal Dreams) omogoča udeležencem pridobitev različnih znanj na področju digitalnih medijev in procesih, povezanih z ustvarjanjem v virtualnih okoljih kot sta Second Life in Open Simulator. V okviru tri dnevne delavnice se razvijajo orodja za razvoj umetniških del domišljijske gozdne pokrajine. Fokus delavnice je v pridobivanju znanja za kreiranje digitalnih vsebin, kot so avatarji in virtualni svetovi. http://vimeo.com/41011107 Delavnica: Klackerlaken Mentorica: Mey Lean Kronemann (DE) Datum: 6. oktober 2012, 16.00–18.00 Prizorišče: MMC KIBLA, Ulica kneza Koclja 9, Maribor Klackerlacken je šklopotajoči ščurek in je napadalna vrsta. Je križanec med majhnim mehanotroničnim motorčkom in LED diodo. Ko oživi, postane rožljajoča in svetlikajoča se žuželka.

Kako brez spajkanja izdelati mehansko žuželko – šklopotajočega ščurka? Kako delujejo LED diode in motorčki, s katerimi lahko kreiraš majhne svetleče žuželke? Delavnica je namenjena otrokom od osmega leta starosti naprej.

Video prezentacija delavnice Klackerlacken: http://meyleankronemann.de/klackerlaken/ Predstavitev The Experts, RoboTour 2012 Gregor Krušič, Aleš Stojak, Egon Mežič (SI) Mentorja: Monika Pocrnjić in Denis Savkić (SI) Datum: 19. in 24. oktober 2012 med 9. in 12. uro Prizorišče: MMC KIBLA, Ulica kneza Koclja 9, Maribor Ekipa študentov elektrotehnike-elektronike na Fakulteti za elektrotehniko, računalništvo in informatiko v Mariboru je izdelala robota v okviru samostojnih priprav za tekmovanje na svetovnem tekmovanju RoboTour 2012 v Pragi. Za udeležbo na tekmovanju RoboTour je potrebno razviti in izdelati robota, ki je sposoben avtonomno prevažati tovor po urbanem okolju.

Na tekmovanju je robot postavljen na zahtevano lokacijo v parku in obremenjen s petimi kilogrami tovora. Z vnosom koordinat se določi cilj, kam naj robot pripelje tovor. Robot s pomočjo GPS-a pridobi svojo trenutno lokacijo in si zamisli pot. Nato se s pomočjo kamere in laserskega skenerja premika po predvideni poti do cilja. Pri tem ne sme zapeljati z vozišča, mora pa se izogniti pešcem in ostalim oviram na poti.

RoboTour: http://robotika.cz/competitions/robotour//en Prijava na delavnice: http://kiblix.org/kiblix2012/ra/

38

LEARNING EXPERIENCE Workshop: Visions of Our Communal Dreams Mentors: Michael Takeo Magruder and Drew Baker (UK) Date: October 2–4, 3 pm to 7 pm Location KIT KIBLA, Glavni trg 14, Maribor, Slovenia The Visions of Our Communal Dreams workshop will give participants the opportunity to learn various digital media skills and processes that are related to working within shared virtual environments like Second Life and OpenSimulator. During the 3-day event, participants will use their newly learned skills to collaborate with members of the Visions of Our Communal Dreams creative team to develop resources for the artwork’s communal virtual forest. The workshops focus is teaching participants digital content creation skills concerning avatars and virtual worlds. http://vimeo.com/41011107 Workshop: Klackerlaken Mentor: Mey Lean Kronemann (DE) Date: October 6, 4 pm to 6 pm Venue: MMC KIBLA, Ulica kneza Koclja 9, Maribor, Slovenia The Klackerlake (clack roach) is an invasive species: A crossbreed of vibrobot and LED-Throwie, a rattling and glowing bug.

In this workshop, children (and grown-ups) learn how to build their own solderless glowing vibrobot. Participants first explore how LEDs and motors work, and can then build their own designs. This workshop is suitable for children age 8 or older.

Videopresentation of workshop: http://meyleankronemann.de/klackerlaken/ Showcase The Experts, RoboTour 2012 Gregor Krušič, Aleš Stojak, Egon Mežič (SI) Mentors: Monika Pocrnjić and Denis Savkić (SI) Dates: October 19 and 24, 9 am to 12 am Venue: MMC KIBLA, Ulica kneza Koclja 9, Maribor, Slovenia A team of students from the Faculty of electrical engineering and computer science in Maribor set out to produce a robot as part of their individual preparations for joining the international RoboTour 2012 competition in Prague. Entering the RoboTour competition requires developing and building a robot, capable of autonomous cargo transport in an urban environment. In the competition itself, the robot is positioned to a specified location in the park and loaded with five kilograms of cargo. Entering the coordinates determines the desired destination. Using the GPS system the robot acquires its current location, calculates a possible route, and then moves along that route with the help of a camera and a laser scanner. It is not allowed to drive off the course, and has to avoid pedestrians and other obstacles on its way.

RoboTour: http://robotika.cz/competitions/robotour//en Application for the workshops: http://kiblix.org/kiblix2012/ra/

39

www.kiblix.org Niki Passath (Avstrija): ZOE, Exploring Suomenllina (raziskovanje Suomenlline).

Fotografija z dovoljenjem umetnika. / Image courtesy the artist.