Robotanika: Genesis

Published on May 19th, 2017

[lang_si] Robotanika  s podnaslovom Geneza je obširna razstava/ performativno okolje v Cirkulaciji 2 v Tobačni Ljubljana in poteka od 23. maja do 8. junija 2017.  Razstava/ situacija je na nek način tudi obeleženje desetletnice delovanja iniciative Cirkulacija 2. V tem času gostimo štiri izredno zanimive umetnike, katerih specifične estetske pristope bomo izpostavili s posebnimi celovečernimi dogodki. To so: Lars Vaupel (Nemčija), Ewa Justka (Poljska), Adam Donovan (Avstralija) in Karl Heinz Jeron (Nemčija).

Spored dogodkov:
torek, 23. maj ob 20.30: Otvoritev Robotanike/ Geneze
petek, 26. maj ob 21.00: Ewa Justka /  ZVOK=SVETLOBA || SVETLOBA=ZVOK?
torek, 30. maj ob 21.00: Adam Donovan
torek, 6. junij ob 21.00: Karl Heinz Jeron / Opera Robotanica

Domači sodelujoči: Boštjan Čadež, Dominik Mahnič, Boštjan Leskovšek, Borut Savski, Stefan Doepner.

robotanika

Foto Boštjan Leskovšek

Projekt Robotanika je pristop k razstavi in dogodkom, ki ga v Cirkulaciji 2 razvijamo v zadnjem enoletnem obdobju. V letu 2016 smo že izvedli dva uvodna performensa Cirkulacije 2 pod naslovom Robotanični vrt (v Velenju in v Trstu), ki sta služila za praktično preverjanje novonastajajočega principa, ki pa je v sedanji obliki razširjen in namnožen še z povabljenimi tujimi umetniki in dodatnimi principi. Uvodna performensa sta dala slutiti, da je koncept za obiskovalce izjemno komunikativen, saj so bili odzivi tako v Velenju kot v Trstu izjemno dobri.

Podnaslov Geneza vzpostavlja biblijsko alegoriko in vnaša mitologije o začetku in koncu sveta. Geneza je seveda rojstvo sveta.

Osnovna značilnost razstave Robotanika je “pogled od spodaj”, kar pomeni, da so naprave bistveni dejavniki situacije, ki na pojavnem nivoju obsega gib, zvok in svetlobo. Ti pogledi se s pomočjo projekcij multiplicirajo na vse štiri strani sveta/ stene, kar kreira pretežni prostor naprav – neke vrste sodobni rajski vrt, v katerem je človek morda le še obiskovalec – objekt na projekciji. To ni neka katastrofična podoba sodobnega sveta, ampak nasprotno.

Osnovna forma je 14-dnevna razstava/ instalacija vseh objektov, medijev in principov, ki v prostoru sobivajo. Vsi objekti/ principi izkazujejo stopnjo avtonomije v njihovem polju obnašanja. To je lahko rezultat naključja, naključnega algoritma, ali pa interaktivnega ali generativnega obnašanja. Kakofonija navzkrižnega medsebojnega vplivanja je morda lahko cvrket rajskih ptic. Ali pa strašljivo rjovenje iz mračnega pragozda.

Osnovne objekte, programe, principe priskrbijo in dodatno razvijejo sodelujoči domači umetniki, ki tudi nosijo levji delež pri celotni postavitvi. Razstava je tako tudi nekakšen pregled čez desetletno produkcijo umetnikov, ki sodelujejo pri Cirkulaciji 2.

V času razstave eden za drugim prihajajo in odhajajo povabljeni tuji umetniki in dodajajo svoje objekte in pristope, ter jih potem čez teden dni tudi odnesejo. Zato se spreminja tudi razstavni park objektov/ rajski vrt,  razstava pa ima tako tudi več vrhuncev.

K izvedbi projekta smo povabili izjemno kvalitetne mednarodne umetnike: Karl Heinz Jeron (Nemčija), Ewa Justka (Velika Britanija / Poljska), Adam Donovan (Avstralija / Avstrija) in Lars Vaupel (Nemčija), ki so bili seznanjeni z osnovnim konceptom razstave in vsi tudi prepoznali možnosti takšnega pristopa. Predvsem mlajši med njimi so trenutno na vrhuncu aktualnosti in polni zagona, starejši pa sodijo med uveljavljene očete kibernetske umetnosti, ki poleg mladostnosti pristopa vnašajo tudi širšo perspektivo modrosti in distance do zgolj trendovskega. Gostujoči umetniki bodo prispevali svoje obstoječe objekte/ naprave, ki so enostavne ali kompleksne robotizirane (pripete ali premične) instalacije, enostavni avdio-video sintetizatorji, itd.

Lars Vaupel
Hamburg/ Nemčija. Umetnik, razvijalec naprav, programer. Diplomiral iz elektrotehnike. Kot razvojni inženir delal za več podjetij v Hamburgu, vzporedno razvijal svoje lastne umetniške projekte in opravljal tehnično podporo za umetniška dela drugih umetnikov. Od leta 2003 samozaposlen. Soustanovitelj umetniške skupine F18 v Hamburgu. Razvoj in izdelava šestnogega robota “Exoskeleton” za Stelarca. Restavracija umetniškega dela/ stroja za slikanje Angele Bulloch „Blue Horizon“. Razstava „Zufalls Spuren“ v Cabaret Voltaire/Zürich (2007). Sodelovanje pri koncertu/ performensu strojev skupine BBM Phaenomenale v Wolfsburguv Nemčiji (2007). Predelava instalacije „SEEK“ iz leta 1969 za delo Lutza Dammbecka “Rereeducation“ v galeriji COMA v Berlinu. Sodelovanje pri razstavi Digital Arts Week 2007 / Zürich z robotom za risanje. Z BBM: reaktivacija dveh EXPO2000 robotov za galerijo G5 v Muenchenu. Stalno sodelovanje pri projektih Stefana Doepnerja (Robot Partner, itd.).

Ewa Justka
Ewa_500Poljska. Je glasbenica elektronske noise glasbe, umetnosti zvoka. Trenutno živi v Londonu, kjer dela magisterij na področju računalniške umetnosti na Goldsmiths College-u. Je tudi samouk pri gradnji elektronskih zvočnih instrumentov, ki predstavljajo pomemben del njenega umetniškega ustvarjanja. Njeno področje umetniškega raziskovanja temelji na materialnosti objektov, njihove narave vibracij (človeško telo, telo rastlin, elektronska vezja, sprememba njihovega makro in mikro okolja in odnosi med prvim in drugim). Raziskuje tudi načine kvazi-neposrednega vplivanja/ zaznavanja, ki jih v opraksi izvaja na zvočnih performensih, interaktivnih instalacijah, pri razvijanju DIY elektronike, namenskih poškodbah naprav, rastlin – in pri sodelovanjih. Z umetnostjo skuša zaznati koncept materialnosti skritega, pravi sama. Nastopila je na festivalih kot so: Loop Festival, Sonic Acts Academy, Supernormal Festival, Club Transmediale, STEIM, Colour out of Space, Beam Festival, Cafe Oto, in še na mnogih drugih. Leta 2015 je nastopila tudi na festivalu Kiblix v Mariboru.
http://ewajustka.tumblr.com/

Adam Donovan
Adamavstralski umetnik, ki živi in deluje na Dunaju. Samodeklarira se kot umetnik na področju hibridne umetnosti – razpete med umetnost, znanost in tehnologijo. Njegovo delo obsega nelinearno akustiko/ zvok, robotske skulpture, VR interaktivna okolja („game engine“) in zaznavanje prostora s kamero. Donovano delo povezuje zelo specializirano področje akustične znanosti z vizualnimi umetnostmi. Od leta 1996 je polje njegovih raziskav usmerjen zvok in akustične leče ter na podlagi tega ustvarjal interaktivne instalacije. Sodelovanje z znanstveniki je zanj ključno, saj na ta način pridobi znanja za razvoj njegovih prototipov za razstave. Na tem področju interdisciplinarne umetnosti je Donovan danes med najbolj prodornimi umetniki pri razvoju in vključevanju inovativnih fizikalnih metod v umetniških instalacijah. Dela: 2015: Saturn 3 (WRO Media Art Biennial, Wrocław Poljska), 2015: Psychophysics Machines (Den Haag, Nizozemska), 2014: Hot particle, Always Forever Now, timelessness and the currency of new media (das weisse haus, Dunaj Avstrija), 2013: Parabolic Swimming (Swiss Mechatronic Art Society, Wildhause Švica), 2013: Curious Tautophone(Poolloop Festival, Zurich Švica).
http://adamdonovan.net/

Karl Heinz Jeron
emaf2012_Hermes_A.vonBrill_01živi in deluje v Berlinu. Med leti 1999-2006 predavatelj na področju multimedijske umetnosti na Umetnostni akademiji v Berlinu. Sodelovanja na medijskih festivalih: 1993 Ostranenie, Bauhaus Dessau, 1994 MedienBiennale Leipzig, 1995 Ars Electronica – Linz Austria, 1996 European Media Art Festival Osnabrück, 1997 Documenta X Kassel, 1999 Expo Destructo London, 1999 Internet Art Exhibition Tokyo; 1999 Net_condition ZKM Karlsruhe, 1999 Prix Ars Electronica Linz, itd.. Novejša dela: 2006 A la recherche du temps perdu (SPACE gallery, London), 2007 Will Work For Food (HTTP gallery, London in Istanbul Contemporary Art Museum, Turčija), 2011 Narrative/Identity (AC Institute NY, Transmediale, Berlin), 2011 Fresh Music For Rotten Vegetables (Tank London), 2012 Blower (ŠKUC Ljubljana), PIXXELPOINT 2014 (Nova Gorica), Fruity Oscilator s Theremidi Orchestra (Ksevt Slovenija), 2015 Hermes Opera (Athens Digital Arts Festival). Njegovo delo, ki je najbolj zanimivo za projekt Robotanika: Geneza, je Hermes opera, kjer uporablja veliko število dokaj enostavnih zvočečih naprav/ robotov, ki segibljejo in pojejo.
http://jeron.org/

Metafore projekta
Koncept naprav smo razširili na “principe”, kar zajema tudi nematerialne (“manj materialne”) oblike dejavnikov: zelo dolge radijske valove/ dejavnost kozmičnih žarčenj, temperaturne spremembe, zvočne in svetlobne zaznave, zaznave zemeljskega magnetnega polja, nelinearne elektronske ter softverske odločitve in transformacije. Vse to so dejavniki, ki jih bomo vključili in ki bodisi prispevajo pogled od spodaj, a tudi pogled od zgoraj.

Ta dvojnost pogledov ima na eni strani opraviti tako z inteligenco, kulturo, civilizacijo, pregledom nad celoto, kot tudi z nadzorom, ki je pogosto omejujoča/ prepovedujoča kategorija. Druga plat je individualni pogled, v praksi pri nekaterih primerih realiziran z malo brezžično kamero (video-pogled), pri drugih pa z zvokom ali drugačnimi podatki. To predstavlja zaznave “od spodaj”, kar v našem primeru razumemo kot polje individualnosti, poljubnosti – osebne svobode. Metafora s človeško družbo je jasna. Vmesni prostor je seveda tisti, ki sugerira realnost: vpetost med idejama odprtega in zaprtega.

V umetniški praksi se pogosto zoperstavlja ta dva principa kot red in nered, kot klasična forma in odprta forma. Naše polje interesa ni alegorija katerekoli od obeh skrajnosti, ampak sobivanje. Prostor se razpre le ob soobstoju obeh determinant. Seveda to ni brezkonfliktna situacija. Sodobni rajski vrt mora biti za vse, ki zmorejo hkrati sprejemati svobodo in zamejenost.

Praktične izvedbe “dejavnikov”
Kot rečeno pomen naprav/ principov ni več v tem, da so to naša orodja, ampak da so osamosvojeni dejavniki. Dejavniki (naprave/ principi) so lahko “naravni” (svetloba, temperatura, magnetno polje), vendar so v vseh primerih prenešeni/ pretvorjeni/ spremenjeni – linearno ali nelinearno, digitalno ali analogno. Poleg tega so lahko povsem programski, kar pomeni da nastajajo/ obstajajo v obliki logičnega (programskega) jezika. Tudi v tem primeru je jezik tisti, ki prinaša smisel/ motiv/ gibanje. Gre le za derivat človeškega jezika. Spet biblijska metafora: “Najprej je bila beseda in beseda je bila Bog” (Geneza).

Projekt vključuje razvojno fazo, ki poteka tako na napravah “od spodaj”, kot tudi na napravah “od zgoraj”. Spodnje naprave so precej v domeni avtorskih pristopov posameznih sodelujočih, medtem ko so zgornje naprave (tiste, ki determinirajo omejitve) stvar prejšnjega dogovora. To pomeni, da se je treba dogovoriti in vključiti tehnično izvedbo determinante prostora. To lahko poteka na tri načine:
a.) centralno nadzorno oko (po navadi video kamera),
b.) matrično polje signalov, ki mapira prostor (običajno IR svetilniki),
zanimivo pa je tudi
c.) inteligenca roja (“swarm”), kjer se dejavniki organizirajo s preprostim zaznavanjem sosednjih objektov – in
prilagajanjem (samoorganizacija; možna tehnična izvedba RFID). Za ta nadzorni del se bo potrebno dogovoriti o enostavnem identifikacijskem protokolu.

MZKPodporniki:

Projekt Robotanika/ Geneza sofinancira Ministrstvo za kulturo Republike Slovenija

MOLŠtiriletni program Cirkulacije 2 sofinancira Mestna občina Ljubljana

 

[lang_en]Robotanica/ subtitled Genesis is an exhibition / performative situation running intensely from 23rd May to 8th June 2017 at Cirkulacija 2 in Tobačna Ljubljana.  Exhibition is also a festivity of 10 years of Cirkulacija 2 initiative activities.

During the time we host four international artists, whose specific aesthetic approaches are put to front by special performative events: Lars Vaupel (DE/ Hamburg), Ewa Justka (PO/GB/London), Adam Donovan (AU/A/Zürich) and Karl Heinz Jeron (DE/ Berlin).

Schedule of events:
tuesday, 23rd May at 20.20: Opening of Robotanikka/ Genesis
friday, 26th May at 21.00: Ewa Justka / SOUND=LIGHT || LIGHT=SOUND?
tuesday, 30th May at 21.00: Adam Donovan
tuesday, 6th June at 21.00: Karl Heinz Jeron / Opera Robotanica

Residents: Boštjan Čadež, Dominik Mahnič, Boštjan Leskovšek, Borut Savski, Stefan Doepner.

robotanika

Robotanica project is a special exhibition and events approach that we’ve been developing in the last year. In 2016 we performed twice under the title of Robotanical Garden (Velenje/ Slovenia and in Trieste/ Italy). The two occasions were the testing grounds for the new principle, that is now expanded and multiplied by invited artists and additional objects and principles. The introductory performences confirmed that the concept of exhibition is extremely communicative for the visitors and their responses were very good.

The Genesis subtitle introduces the biblical allegory and adds the mythology of the beginning and the end of the world. Genesis is of course the birth of the World.

The basic attribute of Robotanica approach is “the view from below”, meaning that the devices themselves are the main actuators (actors) of the situation, which encompasses move, light and sound. This views are multiplied by the projections to the four corners of the world/ walls – creating predominantly a space of devices – a kind of contemporary Garden of Eden where a Human might only be a visitor – an object in the projection. Not a catastrophic image of modern world – on the contrary!

The presentation form is a 14-day exhibition/ installation of objects, media and principles that coexist in space. All objects/ principles show some measure of autonomy  in their domains of behavior. It can be the result of coincidence, random algorithm, or interactive or generative behavior. The cacophony of cross-related inter-influencing might be the chirping of the birds of paradise. Or the terrifying roaring coming from the dark forest…

The majority of objects, principles are provided and developed by the resident artists. This represents the backbone of the exhibition. So, the exhibition is also a kind of overview of the ten years of production by some of the artists participating at Cirkulacija 2 events.

In the time of exhibition the guest arrive and depart one after another – adding their objects and approaches, and taking them back home. Thus the exhibition park of devices constantly varies and the exhibition has multiple peaks.

We invited extremely dedicated international artists : Karl Heinz Jeron (DE/ Berlin), Ewa Justka (Poland/GB/London), Adam Donovan (Australia /  Zűrich) and Lars Vaupel (DE/ Hamburg), that have greeted the possibilities of Robotanica exhibition concept. Especially the younger artists invited are at the peak of their activities, while the matures are estebleshed as for-runners of cybernetic arts. This should keep some distance to the usual trendy-hype approaches. The artists will provide their moving objects / devices, simple or complex robotized installations, simple audio-video synthesizers, electromagnetic receivers, scanners, etc.

Lars Vaupel
Hamburg/ Germany. Artist, electronic devices developer, programmer. Worked for a couple of businesses in Hamburg as development engineer – in parallel developed his own artistic projects and providing technical support to other artists. Freelancer form 2003. Co.founder of art group F18 in Hamburg. Development and building of a six-legged “Exoskeleton” robot for Stelarc. Art-works restauration of Angela Bulloch’s „Blue Horizon“ painting machine. Exhibition „Zufalls Spuren“ in Cabaret Voltaire/Zürich (2007). Participation at machines performance concert BBM Phaenomenale in Wolfsburgu in Germany (2007). Adaptation of „SEEK“ installation from 1969 for Lutz Dammbeck’s work “Rereeducation“ in COMA gallery in Berlin. Digital Arts Week 2007 exhibition in Zürich with drawing robot. With BBM: reactivation of two  EXPO2000 robots for G5 gallery in Munich. Permanent collaboration with Stefan Doepner’s projects (Robot Partner series, etc.).

Ewa Justka
Ewa_500Poland/ GB/ London. Electronic music, noise, sound art, musician. Currently in London on master’s degree studies of computer arts at Goldsmiths College. Self-taught builderof electronic sound instruments – an important part of her artistic work. Her area of work is based on reasearch of materiality of objects, the nature of their vibration (human body, body of plants’ bodies, electronic circuits, the changes of their macro and micro locations and relations between the former and latter). Explores the principles of quasi-direct influencing/ sensing. All this is presented at her live performances, interactive installations, in her DIY electronics, etc. In art she tries to sense the concept of the materiality of the hidden, she says. She performed at festivals: Loop Festival, Sonic Acts Academy, Supernormal Festival, Club Transmediale, STEIM, Colour out of Space, Beam Festival, Cafe Oto, etc. In 2015 she appeared at Kiblix festivalin Maribor.
http://ewajustka.tumblr.com/

Adam Donovan
Adamaustralian artist, works in Zűrich/ Switzerland, recently in Vienna/ Austria. Self-declared as hybrid arts artist – pinned between art, science and technology. His work is in the areas of non-linear acoustics/ sound, robotic sculptures, VR interactive space („game engine“) and sensing the space with camera. Donovan’s work combines the very specialized field of acoustic science with visual arts. From 1996 his field of research is directive sound and acoustic lenses with which he created some interactive installations. Participation with scientists is necessary, giving him the knowledge to develop his prototypes. In the field of interdisciplinary arts Donovan is using some of the most innovative physics methods. Works: 2015: Saturn 3 (WRO Media Art Biennial, Wrocław Poljska), 2015: Psychophysics Machines (Den Haag, Nizozemska), 2014: Hot particle, Always Forever Now, timelessness and the currency of new media (das weisse haus, Dunaj Avstrija), 2013: Parabolic Swimming (Swiss Mechatronic Art Society, Wildhause Švica), 2013: Curious Tautophone (Poolloop Festival, Zurich Švica).
http://adamdonovan.net/

Karl Heinz Jeron
emaf2012_Hermes_A.vonBrill_01lives and works Berlin. From 1999-2006 lecturer of multimedia arts at Arts Academy Berlin. His work makes use of surprisingly simple concepts of building up machines that produce complex function/ dynamics. For Robotanica: Genesis his work Hermes opera could be very interesting – the singing sounding robots. He has many ideas – let’s wait and see. Participation at media festivals: 1993 Ostranenie, Bauhaus Dessau, 1994 MedienBiennale Leipzig, 1995 Ars Electronica – Linz Austria, 1996 European Media Art Festival Osnabrück, 1997 Documenta X Kassel, 1999 Expo Destructo London, 1999 Internet Art Exhibition Tokyo; 1999 Net_condition ZKM Karlsruhe, 1999 Prix Ars Electronica Linz, itd.. Novejša dela: 2006 A la recherche du temps perdu (SPACE gallery, London), 2007 Will Work For Food (HTTP gallery, London and Istanbul Contemporary Art Museum, Turkey), 2011 Narrative/Identity (AC Institute NY, Transmediale, Berlin), 2011 Fresh Music For Rotten Vegetables (Tank London), 2012 Blower (ŠKUC Ljubljana), PIXXELPOINT 2014 (Nova Gorica), Fruity Oscilator with Theremidi Orchestra (Ksevt Slovenija), 2015 Hermes Opera (Athens Digital Arts Festival).
http://jeron.org/

Project’s metaphors
The concept of devices is expanded to the “principles”, which encompasses also non-material (“less material”) forms of actuators: electromagnetic waves/ cosmic ray activity, changes in temperature, sound and light sensing, sensing of the earth magnetic field, non-linear electronic and software decisions and transformations/ perturbations. All these are actors, that will be included and either add the view from below, or even the view from above.

On one side this duality of views has to do with intelligence, culture, civilization, the overview of the whole, as with overseer, control – mostly a restrictive/ prohibiting category. The other side is the view of the individual, in machines often realized with a webcam (video-view), or with sound or other form of data/ signals. This represents the sensing from below – in our case we promote it as area of individuality, coincidence – the personal freedom. Metaphor with human sociaety is clear. The intermediate space suggests the reality: spanned between ideas of the open and the closed.

In artistic practices both principles are superimposed as order and chaos, as classical form or open form. Our field of interest is not allegory of any of the two radical positions, but coexistence of both coordinates. The space opens up only with both determinants present. Not a situation without conflicts!

Practical implementations of “actors”
As described, the meaning of devices / principles is not anymore that they provide some immediate function for us (tools), but are liberated entities. Actors/ actuators can be “natural” (light, temperature, electro-magnetic field), but are always transferred/ transformed/ changed – in linear or non-linear fashion – digitally or analogue. They can even be computer programs, meaning that they appear/ sustain themselves in the form of logic language. In this case it is again the language bringing the meaning/ motivation/ movement. Of course, it is a derivation of the human language. A biblical metaphor: “In the beginning was the Word, and the Word was with God” (Genesis).

Robotanica: Genesis project has an active development phase being performed on the devices “from below”, and also on the devices “from above”. The below devices are in the domain of their authors, while the above devices  (“the ones determining the limits; prohibitions”) are the matter of agreement. The central control can be some of these:
a.) central eye (usually video camera),
b.) a matrix of beakons mapping the space (usually IR lighthouses),
interesting would be also to check
c.) the intelligence of a swarm, where the actors organize themselves by sensing the most immediate colleagues – and adapt (self-organization; can be possible with RFID). A very simple protocol should be used.

MZKSupported by:

Robotanica/ Genesis project is supported by the Ministry of Culture of Republic of Slovenia

MOLFour year program of Cikrulacija 2 is supported by the City of Ljubljana