GALERIJA KAPELICA; 2018 ; Linz Ars Eletronica https://m.youtube.com/watch?v=p3FCq3odGu0

V projektu ‘Neskončna vmesnost’ avtorica problematizira vmesno polje med objektivizirano medicinsko diagnozo in anomalijami, ki se tej vsiljeni objektivnosti izmikajo. Gledalec opazuje kulturo rakavih in sopostavljenih avtoričinih celic v inkubatorjih, ki jih običajna diagnostična praksa raziskuje s

 

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standardiziranimi postopki, ki so določeni z znanstvenim jezikom. Na podlagi določenih vrednosti se poda ocena o agresivnosti rakavih celic v vzorcu pacienta ali pa v primeru avtoričinih celic analizira vzorec s pomočjo pretočnega citometra. V testnem okolju umetniškega projekta opazovanje celičnih kultur poteka intuitivno s pomočjo zvoka in usmerjenih svetlobnih žarkov, ki naredijo zaznavno nekaj, kar je sicer nemerljivo / neulovljivo. V kvantni mehaniki velja, da je meritev tista, ki ‘nekaj naredi’ objektu merjenja. V znanstvenem poskusu ‘double-split experiment’ so znanstveniki potrdili, da se atom vede drugače, če ga opazujemo. Če atom ni opazovan, se vede kot val, sicer pa kot delec. Ta kvantni paradoks poznamo tudi v kvantni biologiji, od koder Založnik črpa navdih za umetniško postavitev, v kateri obiskovalec s svojo prisotnostjo / zaznavanjem vpliva na dogajanje v celični kulturi. Roger Penrose v knjigi ‘Emperor new mind: Concerning Computers, Minds and The Laws of Physics’ (1989) predlaga, da je odločitev o kolapsu valovne funkcije, ob izvedbi meritve in sklopitvi sistema na samo eno možno stanje, povezana z zavestjo in procesi, ki so neizračunljivi, ter da so s tem povezani tudi mikrotubuli v možganih. V testnem okolju instalacije ‘Neskončna vmesnost’ je tako obiskovalec tisti, ki povzroči sklopitev ali dekoherenco iz ponujene avdiovizualne superpozicije stanj (sistem obstaja v več stanjih hkrati) na eno samo možno stanje in tako sam fiksira določen sistem. Situacija je na moč podobna tehnikam za prilagajanje pogleda kot jih poznamo iz likovnih teorij videza, kjer se anamorfotični madeži v gledalčevem recepcijskem sistemu sestavijo v smiselne podobe.Renovation and restoration

INFINITE INBETWEEN 2017

GALERIJA KAPELICA; 2018 ; Linz Ars Eletronica https://m.youtube.com/watch?v=p3FCq3odGu0

In the project ‘Infinite Inbetweenness’ the author problematizes the intermediate field between objectified medical diagnosis and anomalies that evade this imposed objectivity. The viewer observes the culture of cancer and the author’s cells placed side by side in incubators, which conventional diagnostic practice investigates with
standardized procedures defined by scientific language. Based on certain values, an assessment of the aggressiveness of cancer cells in a patient sample is given or, in the case of the author’s cells, the sample is analyzed using a flow cytometer. In the test environment of the art project, the observation of cell cultures is carried out intuitively with the help of sound and directed light beams, which make something that is otherwise unmeasurable/uncatchable perceptible. In quantum mechanics, it is the measurement that ‘does something’ to the object of measurement. In the scientific experiment ‘double-split experiment’, scientists confirmed that an atom behaves differently if it is observed. If the atom is not observed, it behaves as a wave, but otherwise as a particle. This quantum paradox is also known in quantum biology, from which Založnik draws inspiration for an artistic installation in which the visitor influences the events in a cell culture with his presence / perception. Roger Penrose in his book ‘Emperor new mind: Concerning Computers, Minds and The Laws of Physics’ (1989) suggests that the decision to collapse the wave function when performing a measurement and coupling the system to only one possible state is related to consciousness and processes that are incomputable, and that microtubules in the brain are also related to this. In the test environment of the installation ‘Infinite Intermittency’, the visitor is the one who causes the coupling or decoherence from the offered audiovisual superposition of states (the system exists in several states simultaneously) to a single possible state and thus fixes a certain system. The situation is very similar to the techniques for adjusting the gaze as we know from visual theories of appearance, where anamorphic spots in the viewer’s reception system are assembled into meaningful images.

MOJCA ZALOŽNIK in GREGOR KRPIČ: MEJNA NEDOLOČENOST

2019

https://m.youtube.com/watch?v=h313SacRwlw

Zvočni inštrument Mojce Založnik in Gregorja Krpiča je zasnovan tako, da lahko celično kulturo opazujemo posredno in s tem zaznavamo submolekularne spremembe, ne da bi z meritvami posegali vanje. Skozi mikrofluidni kanal se s pomočjo zvočne pincete premika celica mišjega melanoma nad

teraherčni senzor, ki deluje kot nekakšen mikroskop za posamezne celice. Zaznana celica odda svoj zvočni odtis, ki ga posebej za to sestavljen modulator signala spremeni v vibracijo, ki udarja ob viseči zvon. V inkubatorju medij s celicami mišjega melanoma s pomočjo 100 MHz črpalke pripeljemo nad teraherčni senzor. V tem trenutku lahko z zvočno pinceto, ki deluje s pomočjo zvočnega generatorja SAW (Surface Acustic Waves), premikamo celice bolj natančno. Zvočna pinceta je prekrita z litijevim niobadom, na katerega so naparjene zlate diode, med katerimi je mogoče premikati celice tako, da jih vodimo natančno čez en kvadratni milimeter. Vsakič, ko celica zdrsne nad THz senzor, se njen spekterski odtis pojača in prevede v signal s pomočjo modularnega sintetizatorja, ki pošlje informacijo v zvočniško enoto. Ta s svojo membrano namesto običajne tkanine ali papirja uporablja steno keramičnega zvona, obešenega ob inkubatorju. Z zvenenjem zvona dobi informacija o celici bolj materialen zvok, ki ni zgolj preprosta sonifikacija materiala. Poskus, da bi s tem inštrumentom vzpostavili možnost posrednega opazovanja mutiranih celic (melanom), izhaja iz metafizičnega interesa avtorjev, ki poskušata ustvariti priložnost za dojemanje življenskih procesov na subcelični ravni, kjer se spremembe dogajajo na kvantni način. Inštrument, ki je na sledi mejni nedoločenosti, mora ostati inštrument, ki omogoča zaznavanje te nedoločenosti brez merjenja – tako kot nas uči kvantna biologija, to je, da se kvantnega dogodka ne da meriti s konvencionalnimi znanstvenimi inštrumenti. Umetniški inštrument avtorjev je potemtakem naprava, ki morebitno kvantno premeno zaznava v teraherčnem, elektro-optičnem spektru, kjer se materialnost zvoka in valovanje svetlobe prevajata eden v drugega. Zvočni odtis kot vso glasbo sprejemamo pretežno emotivno, kar je morebitni način dojemanja kvantnih paradoksov.

MOJCA ZALOŽNIK IN GREGOR KRPIČ LIMINAL INDETERMINANCY

2019

Maribor MRFU, Galerija Kapelica, 2019

https://m.youtube.com/watch?v=h313SacRwlw

The sound instrument by Mojca Založnik and Gregor Krpič is designed to allow us to observe cell culture indirectly and thus detect submolecular changes without interfering with the measurements. Through a microfluidic channel, a mouse melanoma cell is moved with the help of acoustic tweezers over a
17 terahertz sensor, which acts as a kind of microscope for individual cells. The detected cell emits its sound imprint, which a specially designed signal modulator converts into a vibration that strikes a hanging bell. In the incubator, the medium with mouse melanoma cells is brought over the terahertz sensor using a 100 MHz pump. At this point, the cells can be moved more precisely with the acoustic tweezers, which operate with the help of a SAW (Surface Acustic Waves) sound generator. The acoustic tweezers are covered with lithium niobate, on which gold diodes are vapor-deposited, between which cells can be moved so that they are guided precisely over one square millimeter. Each time a cell slides over the THz sensor, its spectral footprint is amplified and converted into a signal by means of a modular synthesizer, which sends information to the speaker unit. Instead of the usual fabric or paper, this uses the wall of a ceramic bell hung next to the incubator as its membrane. By ringing the bell, the information about the cell takes on a more material sound, which is not just a simple sonification of the material. The attempt to establish the possibility of indirect observation of mutated cells (melanoma) with this instrument stems from the metaphysical interest of the authors, who are trying to create an opportunity to perceive life processes at the subcellular level, where changes occur in a quantum manner. An instrument that traces the borderline indeterminacy must remain an instrument that enables the perception of this indeterminacy without measurement – ​​just as quantum biology teaches us, that is, a quantum event cannot be measured with conventional scientific instruments. The authors’ artistic instrument is therefore a device that detects a possible quantum transformation in the terahertz, electro-optical spectrum, where the materiality of sound and the wave of light translate into each other. We perceive the sound imprint, like all music, predominantly emotionally, which is a possible way of perceiving quantum paradoxes. INFINITE INBETWEEN: INFINITE INBETWEEN 2017; GALERIJA KAPELICA; 2018; Linz Ars Eletronica https://m.youtube.com/watch?v=p3FCq3odGu0 In the project ‘Infinite Inbetweenness’, the author problematizes the intermediate field between objectified medical diagnosis and anomalies that evade this imposed objectivity. The viewer observes a culture of cancer and the author’s cells placed side by side in incubators, which in conventional diagnostic practice are investigated with
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standardized procedures defined in scientific language. Based on certain values, an assessment is made of the aggressiveness of the cancer cells in the patient’s sample, or in the case of the author’s cells, the sample is analyzed using a flow cytometer. In the test environment of the art project, the observation of cell cultures is carried out intuitively with the help of sound and directed light beams, which make something perceptible that is otherwise unmeasurable/uncatchable. In quantum mechanics, it is said that the measurement is what ‘does something’ to the object of measurement. In the scientific experiment ‘double-split experiment’, scientists confirmed that an atom behaves differently if it is observed. If the atom is not observed, it behaves like a wave, otherwise it behaves like a particle. This quantum paradox is also known in quantum biology, from which Založnik draws inspiration for an artistic installation in which the visitor influences the events in the cell culture with his presence/perception. Roger Penrose in his book ‘Emperor new mind: Concerning Computers, Minds and The Laws of Physics’ (1989) suggests that the decision to collapse the wave function, when performing a measurement and coupling the system to only one possible state, is related to consciousness and processes that are incomputable, and that microtubules in the brain are also related to this. In the test environment of the installation ‘Infinite Betweenness’, the visitor is the one who causes coupling or decoherence from the offered audiovisual superposition of states (the system exists in several states simultaneously) to a single possible state and thus fixes a certain system. The situation is very similar to the techniques for adjusting the gaze as we know them from artistic theories of appearance, where anamorphic spots are assembled into meaningful images in the viewer’s reception system.

MOJCA ZALOŽNIK, GREGOR KRPIČ: DVOLOMNOST

2020

https://www.youtube.com/watch?v=mQ5WA6HzcNI

V umetniški instalaciji, ki se je razvila v samostojno umetniško-raziskovalno enoto, avtorja razvijata sistem za detekcijo celic v teraherčnem spektru in posredno opazujeta kvantno podcelično dinamiko. V ta namen so postavili zvočno pinceto za vodenje celic nad teraherčnim senzorjem in zvončasto zvočno napravo, ki oddaja zvočni odtis celice.

In the art installation, which has developed into an independent art-research unit, the authors are developing a system for detecting cells in the terahertz spectrum and indirectly observing quantum sub-cell dynamics. For this purpose, they have set up sonic tweezers to lead the cells above the terahertz sensor and a bell-shaped sound instrument, which emits the sound imprint of the cell. www.kersnikova.org

Expert collaboration and development: Dr. Aleksander Sešek, Dr. Andrej Švigelj, Tadej Krmac, Dr. Borut Pečar, Matic Potočnik | Video: Hana Jošić | Acknowledgements: Prof. Janez Trontelj, Laboratory of Microelectronics and Dr. Danilo Vrtačnik, Laboratory of Microsensor Structures and Electronics at the Faculty of Electrical Engineering, Dr. Marc Dusseiller, Dr. Philippe Marmottant, Laboratoire Interdisciplinaire de Physique (LIPhy), CNRS et Université de Grenoble Alpes

Mojca Založnik PANELI

2022

Dimenzije: 175 cm – dolžina Višina : 160 cm- cca
Širina 30 cm

V postavitivi bom uporabila 5 steklenih plošč na katerih so vgravirane linije dveh žarkov, ki po eni strani prehajata skozi stekelno prizmo, pa drugi strani pa sta pod Thz virom. Na sredini je točka, kjer sta žarka povezana in se v perspektivičnem pogledu bližata neskončnosti. Ta točka, pa je simbolično presvetljena tudi s Thz virom in senzorjem, ki zaznava spekter svetlobe, ki pade izven vidnega.

In the installation I will use 5 glass plates on which are engraved the lines of two rays, which on one side pass through a glass prism, and on the other side are under a Thz source. In the middle is a point where the two rays connect and in perspective approach infinity. This point is also symbolically illuminated by a Thz source and a sensor that detects the spectrum of light that falls outside the visible.

Anatomija Beline: MAJDA GREGORIČ, NINA KOŽELJ, JAN OUTRATA, MOJCA ZALOŽNIK
Galerija Prečna Kamnik: 9.9.2023 – 21. 10 2023

Koncept se ukvarja s sestavo porcelana in njegovim filtriranjem. Velikost delčkov porcelana, kar ga loči od glin je cca. 0,002 mm, uporabljeni filtri pa segajo od 0,001 mm do 0,0005, 0,0003 in 0,0002 mikrometra…Osnovna ideja je spoznavanje materiala, ki prehaja čez filtre velikih sit različnih velikosti, ki skozi spustijo vedno manjše delčke. Le te sem spustila na papir, hkrati pa žgala. Porcelan želim ujeti v njegovi snovnosti, hkrati pa ga redčiti, ko material izgine. Končna ideja je priti do faze, ko material izgine – nekakšna dematerializacija.

Spodaj so porcelanaste forme nastale po vlivanju iz kalupa. Izhodni material je 12 litrov tekočega porcelana. Logika sledi zgornji, vendar sedaj ne gre za redčenje materiala do izginotja, ampak za izginevanje ulite forme. Vsaka naslednja je manjša za natanko velikost forme, ki jo od osnovnega volumna odvzame prejšnja forma. Na koncu materiala zmanjka, prav tako na koncu forme ni več.

Želela sem doseči hkratno logiko dematerializacije materiala skozi sita z dovolj majhnim filtrom, po drugi strani pa redčenje in izginevanje forme. Gre za enak princip, kjer pa pri obeh ne moremo prikazati neskončnosti, nanjo lahko samo sklepamo iz linearne logike dematerializacije in izginevanja forme. Zaporedju v enaki linaearni logiki sledi naslednja faza. Oko zazna tudi korake vmes, naše zaznave pa neskončno in neizmerljivo in neulovljivo na katero skušam z materialom pokazati, tako da ga redčim dokler ne izgine tudi najmanjši delec porcelana in formo, ki izgine, ker vedno ostane manjši del volumna za vlivanje.

Anatomy of White

1. Prečna Gallery Kamnik: 9.9.2023 – 21. 10. 2023
   The concept deals with the composition of porcelain and its filtering. The size of porcelain particles, which separates it from clay, is approx. 0.002 mm, and the filters used range from 0.001 mm to 0.0005, 0.0003 and 0.0002 micrometers…The basic idea is to get to know the material that passes through filters of large sieves of different sizes, which let smaller and smaller particles through. I let these pass onto paper, while simultaneously firing. I want to capture porcelain in its materiality, while at the same time diluting it when the material disappears. The final idea is to reach the stage when the material disappears – a kind of dematerialization.
   Below are the porcelain forms created after casting from a mold. The starting material is 12 liters of liquid porcelain. The logic follows the above, but now it is not about thinning the material to the point of disappearance, but about the disappearance of the cast form. Each subsequent one is smaller by the exact size of the form that the previous form takes from the basic volume. In the end, the material runs out, and in the end, the form is no more.
   I wanted to achieve the simultaneous logic of dematerialization of the material through sieves with a sufficiently small filter, and on the other hand, the thinning and disappearance of the form. It is the same principle, but in both cases we cannot show infinity, we can only infer it from the linear logic of dematerialization and disappearance of the form. The sequence in the same linear logic is followed by the next phase. The eye also perceives the steps in between, and our perceptions are infinite and immeasurable and elusive, which I try to show with the material, by thinning it until even the smallest particle of porcelain disappears and the form disappears, because there is always a smaller part of the volume left for casting.

OLDER PROJECT

PRETOK – FLOW – 2006: razstava students in profesorji 2 + 1, Pedagoška fakulteta

Delo zajema odsek pretoka nekakšne cevi iz poliestrske smole in trtnih vej, ki je vmesnik za bakterijske petrijevke, ki so vnešene v ta vmesnik. Bakterijske petrijevke so bile avtoklavirane skupaj s sevi in plastiko v kovinskem nosilcu in so se temu primerno deformirale. Plastični skupki so nekakšni organski nosilci tega, kar je bilo včasih gojišče za živjenje, sedaj pa je vsaj večinoma znotraj še vedno gelan gel. Sedaj je sterilen in preobražen v organskih oblikah, ki so iz prozornih postale bele. Asociirale naj bi na pretok reke oziroma njen izsek. Hotela sem prikazati stanje, ki je vmes med živim in mrtvim oziroma sterilno, očiščeno, stanje pretoka, ki je vmes…ki povezuje tako eno kot drugo in je nekakšen prehod.

FLOW 2006

The work includes a section of the flow of a kind of pipe made of polyester resin and vine branches, which is an interface for bacterial petri dishes that are introduced into this interface. The bacterial petri dishes were autoclaved together with the strains and plastic in a metal holder and deformed accordingly. The plastic assemblies are a kind of organic carriers of what used to be a breeding ground for life, but now, at least for the most part, there is still a gel inside. It is now sterile and transformed into organic forms that have gone from transparent to white. They are supposed to be associated with the flow of a river or its section. I wanted to show a state that is in between the living and the dead, or sterile, purified, a state of flow that is in between…that connects both one and the other and is a kind of transition.

Reality log/ Environmental scan – 2007
DELAVNICA IN RAZSTAVA S STEPHANOM DOEPNERJEM/WORKSHOP AND EXHIBITION WITH

STEPHAN DOEPNER…P74

Delo je bilo postavljeno v okolje, ki je skeniralo galerijo in je skušalo najti povezavo z zunanjostjo. Za povezavo z zunanjostjo je bilo uporabljeno okno, ki pa je gledalo na dvoriščno stran na način, da ni bilo mogoče pogledati znotraj z zunanje strani. Okno nekako služi kot opisna metafora za pogled proti neskončnosti, kamor se nadaljuje sistem, ki je postavljen na tleh galerije. Vibrio sp. iz Škocjanskega zatoka je gojen na agarju in ločen s steklenimi pregradami v katerih je naraščajoča koncentracija soli. Glavni namen dela je povezati sistem s pogledom gledalca in s pogledom proti neskončnosti. Le tega reprezentira okno galerije kamor je silikonska ovojnica pripeta. Koncentracija soli linearno narašča proti

neskončnosti. Vpliva pa na produkcijo in barvo pigmenta prodigisionina, ki ga producira bakterija, ko ima višek hranil. Celoten sistem s soljo, agarjem in bakterijami je bil ovit v silikonski ovoj vezan na plastične nosilce in pritrjen na galerijsko okno. Z ezo (palička, ki je uporabljena za gojenje bakterij) je gledalec lahko s tekočo kulturo Vibrio sp. v flaški nekaj napisal ali narisal na površino agarja. Na ta način je vplival na notranjost sistema preko odprtin v silikonskem ovoju. Celoten sistem je kombinacija linearnega sistema, ki predstavlja bakterijsko rast. Barva kolonij je odvisna od koncentracije soli – predstavlja linearen sistem, ki je omejen s pogoji v gojišču; ta sistem pa je lahko sovplivan s strani gledalca, pogled in vpliv katerega je bolj naključen, kaotičen, nenadzorovan; tretji pogled pa je pogled proti neskončnosti, ki oba pogleda združuje. Nekaj kar ni vidno (koncentracija soli) pa vpliva na vidno podobo, ki se s časom še spreminja na agarju.

The work was placed in an environment that scanned the gallery and tried to find a connection with the outside. A window was used to connect with the outside, but it looked out onto the courtyard in a way that made it impossible to look inside from the outside. The window somehow serves as a descriptive metaphor for the view towards infinity, where the system placed on the gallery floor continues. Vibrio sp. from Škocjan Bay is grown on agar and separated by glass partitions in which there is an increasing concentration of salt. The main purpose of the work is to connect the system with the viewer’s view and with the view towards infinity. This is represented by the gallery window to which the silicone shell is attached. The salt concentration increases linearly towards
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infinity. It affects the production and color of the pigment prodigsionin, which is produced by the bacterium when it has an excess of nutrients. The entire system with salt, agar and bacteria was wrapped in a silicone shell tied to plastic supports and attached to the gallery window. With a stick (a stick used to grow bacteria), the viewer could write or draw something on the surface of the agar with a liquid Vibrio sp. culture in a flask. In this way, he influenced the interior of the system through the openings in the silicone shell. The entire system is a combination of a linear system that represents bacterial growth. The color of the colonies depends on the salt concentration – it represents a linear system that is limited by the conditions in the culture medium; this system, however, can be influenced by the viewer, whose view and influence is more random, chaotic, uncontrolled; and the third view is a view towards infinity, which combines both views. Something that is not visible (the salt concentration) affects the visible image, which changes over time on the agar.

METAMORFOZE – WHAT IS MY SOUND? 2006

V sodelovanju s Tino Dobrajc in Mitom Gegićem

Delo je bilo zasnovano kot postavitev v okviru študentskih metamorfoz z namenom postavitve ob postajališče mestnega avtobusa. Delo je sestavljeno iz treh lesenih škatel in dveh “mehkejših” diskov na katere so nameščene slike PCR produktov 16S rDNK izolatov bakterij izoliranih iz tal Ljubljanskega barja.

Kot vzor je služil filmski ustvarjalec Petr Kubelka, saj je podana tema, da naj bi delo predstavljalo neke vrste asociacijo na film, pri njem pa gre za filme, ki imajo arhitekturno zgradbo in so sestavljeni samo iz črno belih sličic, kot popolna redukcija na osnovno enoto slikovnega zapisa. PCR produkti izgledajo kot črn fragment na beli podlagi (ali obratno, odvisno od izbire filtra pri slikanju). Nameščeni so vzdolž oboda kolesarske gume in prevlečeni s steklenimi vlakni in premazani z epoksidno smolo. Iz kolesa strlijo 4 plastične paličke, ki nekako predstavljajo prenos nukleotidnega zaporedja (tu je predstavljen kot slika) preko 4 oligonukleotidnih začetnik (A, T, G, C) v aminokislino. V instalaciji pa se te štiri palčke dotaknejo 20 kitarskih strun, ki so nameščene na obod dveh od treh škatel, kjer prihaja do stika. Ko gledalec zavti kolo sproži kolo življenja, simboličen prepis v aminokilisno in ustvarja zvok, medtem ko vrteče se kolo postane filmski trak, ki se vrti in proizvaja gibljivo sliko.

Dva mehka diska asociirata na medvretenčno ploščico, tri trdne škatle pa na kosti, spoj me njimi omogoča gibanje in proizvodnjo življenja, podobe in zvoka hkrati.

METAMORPHOSE – WHAT IS MY SOUND? 2006

In collaboration with Tina Dobrajc and Mito Gegić
The work was conceived as an installation within the framework of student metamorphoses with the intention of being placed next to a city bus stop. The work consists of three wooden boxes and two “softer” discs on which are placed images of PCR products of 16S rDNA of bacterial isolates isolated from the soil of the Ljubljana Marshes.
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The filmmaker Petr Kubelka served as a model, as the theme given is that the work should represent a kind of association with film, but in his case it is films that have an architectural structure and consist only of black and white frames, as a complete reduction to the basic unit of image recording. The PCR products look like a black fragment on a white background (or vice versa, depending on the choice of filter when painting). They are placed along the circumference of a bicycle tire and are coated with fiberglass and coated with epoxy resin. Four plastic sticks are thrown from the wheel, somehow representing the transfer of a nucleotide sequence (here presented as an image) via four oligonucleotide primers (A, T, G, C) into an amino acid. In the installation, these four sticks touch 20 guitar strings placed on the perimeter of two of the three boxes, where they come into contact. When the viewer spins the wheel, the wheel of life is triggered, a symbolic transcription into amino acids and a sound is created, while the spinning wheel becomes a film strip that rotates and produces a moving image.
Two soft discs are associated with the intervertebral disc, and three solid boxes are associated with bones, the connection between them allows for movement and the production of life, image and sound at the same time.

 REDČENJE DO IZGINOTJA 2007

Na podstavku so glede na izbiro različnih gojišč postavljene različne mikrotitrske plošče. Vanje sem sterilno nalila štiri tipe gojišč, ki nekako reprezentirajo 4 različna očišča pogleda, saj vsako prikaže le določen del mikrobne združbe, ki na tem gojišču uspe zrasti. Koncentracija hranil približno ustreza tisti, ki jo imajo na voljo bakterije, ki živijo na koži

 

(koncentracija je precej nizka v primerjavi z običajnimi koncentracijami, ki se uporabljajo v laboratoriju). Vzorci so bili odvzeti s kože petim različnim ljudem s štirih delov njihovega telesa, ki so si ga izbrali sami. Vzorci so bili sterilno nanešeni za vsakega posameznika na dve različni gojišči. Dodana je še kontrolna mikrotitrska plošča, ki je nismo inokulirali z nobenim vzorcem, služi pa zato, da vemo, da je sprememba barve ali rasti bakterij ali gliv posledica rasti s kože in ne zunanje okužbe. Vsak vzorec sem nato stopenjsko (diskontinuirano – kot bi črno barvo svetlila do bele, vendar nebi prikazala vmesnih faz) redčila s sterilno fiziološko raztopino, kar bi približno zadostovalo, da se v zadnjih luknjicah (šest po vrsti) ali že prej (odvisno od začetnega števila mikroorganizmov na koži) pojavi sterilnost ali mesto, kjer ni več življenja (rasti) niti razgradnje (smrti). Prisotno je samo prozorno sterilno gojišče, ki je rahlo vlažno. Gre za nekakšno očiščenje.

Zanimalo me je mesto, kjer izgine fizična pojavnost življenja in smrti, hkrati pa se le to ne da interpretirati. Po drugi strani pa gre na isti plošči za dva različna pogleda – del vzorca, ki je nanešen v prve jamice, gre proti končnosti ali minevanju. Gre za rast bakterij (ki so vmes med življenjem in smrtjo, saj razgrajujejo mrtvo tkivo in ga vračajo v življenje s tem, da te ostanke vgrajujejo v svoje celice in s tem prispevajo h kroženju snovi), del pa je izbran s strani subjekta (del telesa s katerega je bil vzorec. Zanima me je tudi vpliv subjekta na to kar gledamo (izbira očišča) in pa izbira gojišča ( več različnih objektivnih pogledov). To omogoča, da se ustvarja povezava subjektivnega, objektivnega pogleda in pogleda, ki je izven določljivega (zadnja jamica). Bakterije opazujemo posredno preko TTC (barvni označevalec tetrazolium klorid), ki gojišče obarva rdeče, ko zazna produkte razgradnje, ki so posledica bakterijske rasti. Z lastno minljivostjo smo soočeni le posredno.

Če bi hotela Biolog plošče interpretirati s stališča znanosti (razcep glede gledanja in poimenovanja), bi slike teh plošč obdelal s programom, ki riše drevesa sorodnosti in bi na ta način povezovala te “ portrete “ med seboj.

DILUTION UNTIL EXTINCTION 2007

Different microtiter plates are placed on the base, depending on the choice of different culture media. I sterilely poured four types of culture media into them, which somehow represent 4 different points of view, since each shows only a certain part of the microbial community that manages to grow on this medium. The nutrient concentration approximately corresponds to that available to bacteria living on the skin
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(the concentration is quite low compared to the usual concentrations used in the laboratory). Samples were taken from the skin of five different people from four parts of their bodies, which they chose themselves. The samples were sterilely applied for each individual to two different culture media. A control microtiter plate is also added, which we did not inoculate with any sample, but serves to know that the change in color or growth of bacteria or fungi is the result of growth from the skin and not an external infection. I then gradually (discontinuously – as if I were brightening black to white, but not showing intermediate phases) diluted each sample with sterile saline, which would be approximately sufficient to cause sterility or a place where there is no more life (growth) or decomposition (death) in the last holes (six in a row) or even earlier (depending on the initial number of microorganisms on the skin). Only a transparent sterile culture medium is present, which is slightly moist. It is a kind of purification.
I was interested in the place where the physical appearance of life and death disappears, and at the same time this cannot be interpreted. On the other hand, there are two different views on the same plate – the part of the sample that is applied to the first holes goes towards finitude or passing away. It is about the growth of bacteria (which are between life and death, as they decompose dead tissue and bring it back to life by incorporating these remains into their cells and thus contributing to the circulation of matter), and a part is chosen by the subject (the part of the body from which the sample was taken. I am also interested in the influence of the subject on what we look at (choice of the clearing) and the choice of the culture medium (several different objective views). This allows for the creation of a connection between the subjective, objective view and a view that is beyond the definable (the last well). We observe the bacteria indirectly through TTC (the color marker tetrazolium chloride), which turns the culture medium red when it detects the decomposition products resulting from bacterial growth. We are only confronted with our own transience indirectly.
If the biologist wanted to interpret the plates from the point of view of science (the split in terms of viewing and naming), I would process the images of these plates with a program that draws trees of kinship and in this way connects these “portraits” with each other.
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PLOŠČA / BOARD – 2007

Celje, Galerija Hodnik, Študentske poletne premiere

Na plošči je na način filtra prenesen način razslojevanja dveh bakterijskih združb z vplivom, ki smo ga izbrali mi in ga označujemo kot neodvisno spremenljivko. Vsaka luknja je oznaka za eno bakterijo, ki hkrati odpira pot svetlobi. Način razslojevanja je prikazan po treh mesecih procesa rasti (v časovno prostorski skali) in ustavljen v eni točki v času. Gre za trenutke dokumetacije procesa življenja, vendar ne na način znanstvene dokumentacije procesa življenja, ki bi za to uporabila graf. Spremljevalna os in legenda točno določita kaj naj bi vizualizirani podatek pomenil. Z odstranitvijo legende in s tem da dejstvo označim kot okroglo, želim pogled odpreti tam, kjer ga znanost fiksira.

V te luknje so potem vstavljene epice z bakterijami iz te združbe, vendar je način izbiranja poljuben (bolj kaotičen kot prvi način izbire), zato niso prikazane vse in tudi ne sledijo prvotnemu načinu izbire. Te bakterije so bile skuhane na 100 stopinj Celzlija in s tem uničene. V te epice je bila potem nanešena hrana (gelan gel) in nekatere (ki so uspele tvoriti preživetvene oblike (spore) so po kuhanje ponovno zrasle in so vidne v obliki rumenih kroglic v gelu.

Luknje so oznake za točno določene bakterije, ki imajo svoje mesto v časovno prostorski skali, vendar pa je ta časovno prostorska skala le en način možnega gledanja oziroma

označevanja stvari. Dokument tako spremljanega procesa je graf. Spremljevalna os in legenda točno določita kaj naj bi vizualizirani podatek pomenil. Z odstranitvijo legende in s tem da dejstvo označim kot okroglo, želim pogled odpreti tam, kjer ga znanost fiksira. Vmes med epico (kjer je bakterija – označenec iz te mikrobne združbe) in oznako za to bakterije, se zgodi neke vrste prelom (kuhanje na 100 stopinj označuje smrt oz. prelom).

Soočeni smo z dvema stvarnostima: smrtjo in ponovno rastjo. Po G. Bachelardu (1998, 255) se bit zdi okrogla. Ta likovni element sem izbrala namesto numeričnega podatka, ki je stal v grafu. Ker perforira nosilec, se po eni strani odpira v neskončnost, po drugi strani pa epice stopajo v prostor proti gledalcu. Podoba iz pleksi stekla je model, kjer je položaj epic z izbiro spremenljivke točno določen. To je predhodni pogled. Edina spremenljivka je sedaj življenje samo.

BOARD – 2007

Celje, Galery Hodnik, Student summer premieres

The board is a filter-like representation of the stratification of two bacterial communities with an influence that we have chosen and which we designate as an independent variable. Each hole is a label for one bacterium, which at the same time opens the way for light. The stratification is shown after three months of growth (in a time-space scale) and stopped at one point in time. These are moments of documentation of the process of life, but not in the way of scientific documentation of the process of life, which would use a graph for this. The accompanying axis and legend specify exactly what the visualized data should mean. By removing the legend and by designating the fact as round, I want to open the view to where science fixes it.
Epiphytes with bacteria from this community are then inserted into these holes, but the selection method is arbitrary (more chaotic than the first selection method), so not all of them are shown and they do not follow the original selection method. These bacteria were boiled at 100 degrees Celsius and thus destroyed. Food (gellan gel) was then applied to these epics and some (which managed to form survival forms (spores) grew again after cooking and are visible in the form of yellow balls in the gel.
The holes are markers for specific bacteria that have their place in the time-space scale, but this time-space scale is only one way of possible viewing or
5 labeling of things. The document of the process monitored in this way is a graph. The accompanying axis and the legend define exactly what the visualized data should mean. By removing the legend and labeling the fact as round, I want to open the view to where science fixes it. Between the epic (where the bacterium is – a marker from this microbial community) and the label for this bacterium, a kind of break occurs (cooking at 100 degrees indicates death or a break).
We are faced with two realities: death and regrowth. According to G. Bachelard (1998, 255), being seems round. I chose this artistic element instead of the numerical data that was in the graph. Because it perforates the support, on the one hand it opens into infinity, and on the other hand the epics step into space towards the viewer. The Plexiglas image is a model where the position of the epics is precisely determined by the choice of a variable. This is a preliminary view. The only variable now is life itself.

ZDRUŽBA/COMMUNITY – 2007

Celje, Galerija Hodnik, Študentske poletne premiere

Kosi gline so vstavljeni v podlago, vanje pa je nekako naznačena oblika DNK, ki jo na sliki vidimo kot črn rahlo lobularen fragment. Zapisi na označevalcih (kamnih) za bakterije so dobljeni iz slik PCR produktov 16S rDNK izolacije iz bakterijske združbe. To obliko sem vrezovala v mehko glino. Glinene ploščice spominjajo na nagrobnike. Razporeditev v prostoru je namreč proces rasti mikrobne združbe v času, ki je spremljan v laboratoriju. Kar se je v času zgodilo prej, je sedaj tudi v prostoru spredaj. Ista točka oziroma teden v procesu določa tudi enak nosilec oziroma podlago. Postavitev upošteva diskontinuiranost v času in jo

vleče v prostor, vendar tu, če gledalec vidi postavitev s sprednje strani, pride do prekrivanja kamnov – časovno prej, je tudi v prostoru spredaj. Ker bi šlo za postavitev v kvadrat, je prostor tvorjen tako, da so med podlagami, kamor so vstavljeni kamni prazni prostori, kar opisuje način zajemanja – filtriranja resničnosti – in hkrati razlaga način delovanja filtra. Filter je hranilni gel, ki omogoči rast le 1-5 % bakterij iz tal in je na ta način selektiven saj omogoča videnje le enega majhnega dela celote. Ti kamni na podlagah so združeni in postavljeni

v prostor na način, kot sem ga uporabila v laboratoriju in je v bistvu zelo podoben perspektivičnemu gledanju.

Vendar kot navaja Detela (2005, 64) ena točka označevalca (kamna) lahko reprezentira več kot eno točko označenega pogleda. Kontakt dveh kamnov v pogledu gledalca, ki reprezentira različna označevalca, ne reprezentira nujno fizičnega kontakta dveh predmetov v označenem prostoru, temeveč je možno, da razmejujoča linija reprezentira tudi neoznačen prostor, razdaljo med njima (Detela 2005, 64). Tako dobim hkrati diskontinuiranost, ki je posledica časovne dokumentacije vertikalne in horizontalne redčitve in pa prekrivanje v prostoru, ki ga v času nisem mogla izmeriti.

COMMUNITY – 2007

Celje, Galery Hodnik, STUDENT SUMMER PREMIERES

Pieces of clay are inserted into the base, and a DNA shape is somehow indicated in them, which we see in the picture as a black slightly lobular fragment. The records on the markers (stones) for bacteria are obtained from images of PCR products of 16S rDNA isolation from a bacterial community. I carved this shape into soft clay. The clay tiles resemble tombstones. The arrangement in space is namely the process of growth of a microbial community over time, which is monitored in the laboratory. What happened earlier in time is now also in the space in front. The same point or week in the process also determines the same carrier or base. The installation takes into account the discontinuity in time and
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draws it into space, but here, if the viewer sees the installation from the front, there is an overlap of stones – earlier in time, it is also in the space in front. Since it would be a square arrangement, the space is created in such a way that there are empty spaces between the bases where the stones are inserted, which describes the method of capturing – filtering reality – and at the same time explains the way the filter works. The filter is a nutrient gel that allows the growth of only 1-5% of bacteria from the soil and is thus selective because it allows the viewing of only one small part of the whole. These stones on the bases are combined and placed
in the space in the way that I used in the laboratory and is essentially very similar to perspective viewing.
However, as Detela (2005, 64) states, one point of the marker (stone) can represent more than one point of the marked view. The contact of two stones in the viewer’s view, which represents different markers, does not necessarily represent the physical contact of two objects in the marked space, but rather it is possible that the demarcating line also represents the unmarked space, the distance between them (Detela 2005, 64). Thus, I simultaneously obtain a discontinuity that is a consequence of the temporal documentation of vertical and horizontal thinning, and an overlap in space that I could not measure in time.

16s rDNK

2007

Celje, Galerija Hodnik, Študentske poletne premiere

 Na steni oziroma pravilnem pravokotnem formatu 2,5 m x 1,5 m x 5 cm je 63 oprimkov oziroma kamnov nepravilnih oblik iz bele gline. Na njih je dešifriran zapis 16s r dnk bakterij iz mikrobne združbe tal ljubljanskega barja. Material bele gline in zapisa ni naključen. Zanima me problematka nastanka življenja. Po precej verjetnih teorijah, naj življenje nebi nastalo v prajuhi, saj ta ni omogočala zadostne koncentracije in bližine molekul dnk, ampak na površinah glin. Te so zaradi poziqvnega naboja lahko vezale dovolj veliko koncentracijo molekul dnk, ki so potrebne za nastanek življenja. Če se izrazim z biblijskim besediščem – “beseda je meso postala” (nastanek življenja) in prah si in v prah se povrneš (smrt). ali drugače, gre za podobno razmerje kot je tisto me jezikom in svetom; vmes je polje, ki je nedoločljivo, prav tako kot je nedoločljivo polje začetka in konca. Chartrand (2007, 1) vzporeja pridobivanje znanja z mitom o drevesu spoznanja dobrega in zlega, od katerega naj človek nebi jedel, saj bi drugače spoznal, da je umrljiv. Stavek iz geneze primerja s poseganjem v drevo življenja in smrt, ki ga vidi v obliki dnk heliksa. Jabes govori, da je beseda stalno reflektrana z ozadjem, z belino, z nepopisanimi robovi. Zapisana beseda je narejena iz praznine. Potrebuje se prostor praznega, tišina med eno besedo in drugimi, da bi besedo lahko prebrali. Zapisanega ne bi mogli prebrati, če ne bi bilo praznega prostora med besedami in drugimi, da bi besedo lahko prebrali. Prazni prostor med besedami in okrušek tišine omogoči, da izgovorjeno slišimo (Jabes 1995). Povezani smo z belim znakovne beline in črno znaka postane berljivo na njenem najbolj belem mestu (Jabes 1993). Njegove misli, je drugače potrebno umestiti v širši kontekst razumevanja sveta, katerega poglavitne enote so Bog, knjiga, puščava in beseda. Pomembna je njegova dialektka zapisanega in odsotnega, označenega in praznin, črke in beline (Strehovec 2003, 201). Sama postavitev kamnov ali fragmentov v format je določena s programom clustal x. Glede na dobljeno zaporedje, ki smo ga dešifrirali, je bila določena identiteta same bakterije, ki smo jo osamili. Identiteta se določa tako, da se dobljeno zaporedje primerja z bazo zaporedij vseh že dosedaj identificiranih bakterij in glede na odstotek sorodnosti z določeno že znano vrsto še neidentificirane bakterije. Na samem oprimku je tako zapis, preko katerega smo to bakterijo prepoznali (v obliki jezika molekule dnk, ki je sestavljena iz 4 črk: a,t, g, c) in njeno ime. Povezava med izvorom in oznako za bakterijo je vzpostavljena preko neposrednega vpisa oznake za bakterijo in fragmenta dnk, preko katerega smo ugotovili identiteto te bakterije. Čeprav je potrebno omeniti, da je ta dešifriran fragment po Baudrilardu v bistvu simulaker, saj je dešifriranje izvedeno na nakopiranem fragmentu, ne poznamo pa več originalne dnk. Povezavo med temi fragmenq določa sistem filogenetskega drevesa (drevo, ki določa izvor, tudi dolžine črt, narejenih z oglejem ustrezajo razcepu v zgodovini). Povezav nisem skrila, ampak razkrila, skrita je v bistvu cela računalniška baza. Neznan zapis se namreč vzporeja z že znanimi podatki v bazi in določi njihovo mesto glede na to kar že poznamo.

Prav tako se določi njihov izvor in povezave. Edina nedoločena spremenljivka je meja med življenjem in smrtjo.

16S rDNK

2007

Celje, Hodnik Gallery, Student Summer Premieres

On the wall or regular rectangular format of 2.5 m x 1.5 m x 5 cm there are 63 grips or stones of irregular shapes made of white clay. On them is deciphered the 16s r DNA record of bacteria from the microbial community of the Ljubljana Marsh soil. The material of the white clay and the record is not random. I am interested in the problem of the origin of life. According to quite plausible theories, life should not have originated in the primordial soup, since it did not allow for a sufficient concentration and proximity of DNA molecules, but on the surfaces of clays. Due to their positive charge, these could bind a sufficiently large concentration of DNA molecules, which are necessary for the origin of life. To express myself in biblical vocabulary – “the word became flesh” (the origin of life) and dust you are and to dust you shall return (death). Or in other words, it is a similar relationship to that between languages ​​and the world; in between is a field that is indefinable, just as the field of beginning and end is indefinable. Chartrand (2007, 1) parallels the acquisition of knowledge with the myth of the tree of the knowledge of good and evil, from which man should not eat, otherwise he would realize that he is mortal. He compares the sentence from Genesis to tampering with the tree of life and death, which he sees in the form of a DNA helix. Jabes says that the word is constantly reflected with the background, with whiteness, with unwritten edges. The written word is made of emptiness. A space of emptiness, silence between one word and the others is needed in order to read the word. We could not read the written if there were no empty space between the words and the others in order to read the word. The empty space between the words and the fragment of silence allows us to hear what is spoken (Jabes 1995). We are connected to the white of the sign’s whiteness and the black of the sign becomes legible at its whitest place (Jabes 1993). His thoughts, otherwise, need to be placed in a broader context of understanding the world, whose main units are God, the book, the desert and the word. His dialect of the written and the absent, the marked and the void, the letter and the white is important (Strehovec 2003, 201). The very placement of stones or fragments in the format is determined by the clustal x program. Based on the sequence obtained, which we deciphered, the identity of the bacterium itself, which we isolated, was determined. The identity is determined by comparing the obtained sequence with the database of sequences of all previously identified bacteria and according to the percentage of kinship with a certain already known type of yet unidentified bacteria. On the handle itself, there is the record through which we recognized this bacterium (in the form of the language of the DNA molecule, which consists of 4 letters: a, t, g, c) and its name. The connection between the origin and the label for the bacterium is established through the direct entry of the label for the bacterium and the DNA fragment through which we have determined the identity of this bacterium. Although it should be noted that this deciphered fragment according to Baudrillard is essentially a simulacrum, since the deciphering was carried out on a copied fragment, and we no longer know the original DNA. The connection between these fragments is determined by the system of the phylogenetic tree (the tree that determines the origin, even the lengths of the lines made with charcoal correspond to a split in history). I did not hide the connections, but revealed them, what is essentially hidden is the entire computer database. Namely, the unknown record is paralleled with already known data in the database and determines their place in relation to what we already know.

Their origin and connections are also determined. The only undetermined variable is the border between life and death.

DREVO RAZGRADNJE (2008)

Piran, Galerija Meduza, delo meseca septembra

dimenzija 1,5 m x 1,5 m x 1m

Delo skuša najti mejo med naravnim in umetnim. Rdeče zastekljene pike so vzete s konca procesa razgradnje hranil s strani bakterij. Ti prehranski profili99 so osnova za binarno matriko. Iz matrice smo izračunali dendrogram (drevo, ki je dvodimenzionalno). Veje določajo oddaljenost samih predmetov drug od drugega in od vira. Oddaljenost posamezne organske oblike pleksi stekla je torej določena računsko, keramične palice na zadnji strani pa nekako nakazujejo korenine – izvor. Zato sem se spraševal, kakšen vpliv ima to na naš pogled na naravo. 99 Rezultati, pridobljeni na eni takšni mikrotitrski plošči s 96 luknjami – test je standardiziran in se imenuje BIOLOGEcoplate.

v znanosti na predmet, zato organski deli nekako spominjajo na telo. Ti profili (rdeče nepravilne pike) se nekako pogrezajo v meso – glino in določajo njegovo lego. Razporeditev teh delov je bila izračunana v programu SPSS z metodo hierarhičnega združevanja v gruče (združevanje) in z Jaccardovim koeficientom.100 Podatki, vneseni z branjem s slik, posnetih ob določenem času ob koncu procesa in še nedigitalizirana. Torej digitalni sloj – prej omenjena matrika, določa položaj vizualnega – in to je posnetek zaustavitve procesa, ki je že tako izločen iz svojega okolja in ga vidimo le posredno – rdeča barva pomeni, da je prišlo do okvare. določenega hranila in s tem rast. Ker gre za profile bakterijske razgradnje (bakterije delujejo kot razgrajevalci, so nekako med življenjem in smrtjo), razporeditev organskih delov na krožniku še dodatno poudari razpad posameznega subjekta in se sprašuje o njegovem izvoru. Znanost namreč izbira del realnosti, ki ga bo preučevala; in analizira z več različnih vidikov ta delni pogled – delni pogled je v tem primeru iskanje fizioloških potencialov101 različnih bakterijskih skupnosti, medtem ko iščemo, kje se ti pogledi srečajo. Vrednost ali postavitev teh slik, dosežena s pridobivanjem dobljenih informacij – v našem primeru so prehranski profili bakterij iz različnih neznanih časov zaostanka opisani v skladu z znanimi merili in standardiziranimi testi102 ter tem bakterijam pripisuje vse iste kategorije različnih lastnosti, ki

• Uncategorized

omogočajo razvrščanje teh osebkov v določen vrstni red in primerjavo različnih asociacij glede na izbrano spremenljivko. Razvrščanje in umeščanje se izvaja po standardih oziroma bazah podatkov, ki služijo kot referenčni okvir. Ko je ta del končan, te slike ne potrebujejo več, pomembni so le podatki, ki se nato interpretirajo v skladu s predhodno postavljeno hipotezo. Gledalec bo torej soočen s podobami, ki so nekako model ali filtrirna realnost, ki nastane z neposrednim preslikavanjem bioloških podob v glinene plošče. Slike se nato v prostoru razporedijo glede na že interpretirane same sebe.

THE TREE OF DECOMPOSITION,

2008,

PIRAN, Galleria Medusa, Work of the month september

The work tries to find the boundary between the natural and the artificial. The red glazed dots are taken from the end of the process of nutrient decomposition by bacteria. These nutritional profiles99 are the basis for a binary matrix. From the matrix we calculated a dendrogram (a tree that is two-dimensional). The branches determine the distance of the objects themselves from each other and from the source. The distance of each organic form of plexiglass is therefore determined computationally, and the ceramic rods on the back somehow indicate the roots – the origin. So I wondered what impact this has on our view of nature. 99 Results obtained on one such 96-hole microtiter plate – the test is standardized and called BIOLOGEcoplate.
in science on an object, so the organic parts somehow resemble a body. These profiles (red irregular dots) somehow sink into the flesh – clay and determine its location. The arrangement of these parts was calculated in the SPSS program using the hierarchical clustering method (clustering) and the Jaccard coefficient.100 Data entered by reading from images taken at a certain time at the end of the process and not yet digitized. So the digital layer – the aforementioned matrix, determines the position of the visual – and this is a snapshot of the stopping of the process, which is already isolated from its environment and we see it only indirectly – the red color means that there has been a breakdown. of a certain nutrient and thus growth. Since these are profiles of bacterial decomposition (bacteria act as decomposers, they are somehow between life and death), the arrangement of organic parts on the plate further emphasizes the decay of an individual subject and asks about its origin. Science selects a part of reality to study; and analyzes this partial view from several different perspectives – the partial view in this case is the search for the physiological potentials101 of different bacterial communities, while looking for where these views meet. The value or placement of these images, achieved by obtaining the information obtained – in our case, the nutritional profiles of bacteria from different unknown lag times are described according to known criteria and standardized tests102 and all these bacteria are attributed the same categories of different properties, which then
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allow these specimens to be ranked in a certain order and compare different associations according to the chosen variable. The ranking and placement is carried out according to standards or databases that serve as a frame of reference. When this part is finished, these images are no longer needed, only the data is important, which is then interpreted according to the previously established hypothesis. The viewer will therefore be confronted with images that are somehow a model or filtering reality, created by directly mapping biological images onto clay tablets. The images are then arranged in space according to the already interpreted themselves.

MEJNI SISTEM, 2008

Galerija Pef, razstava diplomantke

dimenzije 2,5m x 1m x 75 cm – večja škatla
– 1,8mx1mx75cm – druga večja škatla
– 0,75cmx80cmx30cm – 4manjše škatle
– Študija in grafi izdelani na podlagi podatkov, ⁹¹ so služili kot podlaga za opravljeno delo. – Kako vstopimo v smrt – kot to dokončno možnost? V gledalčevi percepciji

– Predstavljam čas zaostanka, ⁹², vendar za prihodnost, kot čas, ki ga človek potrebuje, da izgine. Povezujem ga s časom zakasnitve sevov mikrobne skupnosti, da ocenim čas, ki ga ima posameznik, da izgine (to je čas, specifičen za subjekt). Temelji na ideji, da se v življenju pojavi podobno kot izgine, ostalo kodira.

– Postavitev spominja na eksperiment z mačkami, ki ga je predlagal Erwin Schröedinger.
– Meritev je tista, ki povzroči, da je objekt omejen na eno samo možnost. Iz vseh sočasnih možnih stanj (superpozicija) dobimo eno – in hkrati postavimo sistem. Znotraj tega že merjenega sistema sem izbrala pot, ki bo ustrezala temu sistemu (objekt bo postavljen tam, kjer je bil izmerjen, hkrati pa želim na tej točki iskati nedoločenost). Želim obratno – že vgrajeni sistem postaviti v nedoločeno stanje, omogočiti možnost simultanosti, ki pa je mogoča le z vstopom gledalca (subjekta opazovanja v škatlo). Postavitev je kot nekakšeno očišče, skozi katerega gledamo svet, ki nam je sicer neviden in zato potrebujemo razširitve. Gojišče, čas gojenja in redčenje asociacije predstavljajo več očišč, s katerimi želimo zajeti mikrobno pestrost v tleh. A ker v znanosti stremimo k objektivnosti in k temu, da se čim bolj izključujemo, sem s to postavitvijo skušal poseči prav v to vrzel. Gledalca želim postaviti v situacijo, ko fizično vstopi v to matrico – uleže se v škatlo. Na petrijevke sevov, iz katerih smo uspešno pomnožili DNK, sem namestila leče, kar pomeni, da smo znotraj danega očišča vnesli še eno novo, ki nam omogoča vpogled v genetsko strukturo organizma. Ko gledalec vstopi v škatlo, je znotraj minevajočega časa – je linearen in razdrobljen, vendar postavljen v trenutek, kjer je koncentrirana linearnost.
– izmerjeni sistem in negotovost. Osnova, ki določa združevanje, je hipoteza, ⁹⁶ ki je v znanosti preverjena. Primer spremljanja nenehnega procesa rasti, ki vodi do same manipulacije življenja v laboratoriju. Določanje kraja ali tedna, v katerem se je pojavila določena bakterija, je umetno in je v enem tednu; razmik med skupinami bolj kaže na to, kako – znanost interpretira realnost, to interpretacijo pa nato prenese v prostor. Delo deluje iz linearne perspektive (ki poudarja neenakomernost percepcije v znanosti).
– Znanost označi snov kot številko ali kot točko in statistično ovrednoti verjetnost, da snov sama ustreza tej vrednosti. Konstrukcija prozornih škatel služi prilagajanju merjenih elementov lastnim izmerjenim vrednostim (v tem primeru deformacije, ki so všite v isto konstrukcijo, določajo enak čas izolacije). Vstop v prozorno škatlo podvoji že opravljeno konzerviranje v namen delovnih bakterij (varjenje v PVC folijo) in zavedanje, da vstop v sistem nekako paralizira, ustavi, ubije, hkrati pa prepreči gnitje, a tudi rast. .
– 91 Lešnjak (Založnik) Mojca, (2012), Izolacija in karakterizacija mikrobne združbe iz tal Ljubljanskega barja,
– magistrsko delo, 2012, mentor izr. prof. Ines Mandič Mulec, 89 p.
– 92 Čas, ko se kolonija pojavi na plošči

BORDER SYSTEM,

2008

Pef Gallery, graduate exhibition

dimensions 2.5m x 1m x 75 cm – larger box

92 The time when a colony appears on a plate

1.8mx1mx75cm – second larger box

0.75cmx80cmx30cm – 4 smaller boxes

Study and graphs made on the basis of data, ⁹¹ served as the basis for the work done. – How do we enter death – as this final possibility? In the viewer’s perception

I present the lag time, ⁹², but for the future, as the time it takes a person to disappear. I connect it with the lag time of the strains of the microbial community to estimate the time an individual has to disappear (that is, the time specific to the subject). It is based on the idea that in life, what appears in the same way as it disappears, encodes the rest.

The installation is reminiscent of the cat experiment proposed by Erwin Schröedinger.

Measurement is what causes the object to be limited to a single possibility. From all simultaneous possible states (superposition), we obtain one – and at the same time we set up a system. Within this already measured system, I have chosen a path that will correspond to this system (the object will be placed where it was measured, but at the same time I want to look for indeterminacy at this point). I want to do the opposite – to place the already built-in system in an indeterminate state, to enable the possibility of simultaneity, which is only possible with the entry of the viewer (the subject of observation into the box). The setup is like a kind of eyepiece through which we view the world, which is otherwise invisible to us and therefore requires expansion. The culture medium, the cultivation time and the dilution of the association represent several eyepieces with which we want to capture the microbial diversity in the soil. But since in science we strive for objectivity and to exclude ourselves as much as possible, I tried to intervene in this gap with this setup. I want to put the viewer in a situation where they physically enter this matrix – they lie down in a box. I have placed lenses on the Petri dishes of strains from which we have successfully amplified DNA, which means that we have introduced another new one within the given space, which allows us to see the genetic structure of the organism. When the viewer enters the box, they are within the passing of time – it is linear and fragmented, but placed in a moment where linearity is concentrated.

a measured system and uncertainty. The basis that determines the grouping is a hypothesis, 96 which has been verified in science. An example of monitoring the continuous process of growth, which leads to the very manipulation of life in the laboratory. Determining the place or week in which a certain bacterium appeared is artificial and is within a week; the spacing between the groups is more indicative of how – science interprets reality, and then transfers this interpretation into space. The work works from a linear perspective (which emphasizes the unevenness of perception in science).

Science designates a substance as a number or as a point and statistically evaluates the probability that the substance itself corresponds to this value. The construction of transparent boxes serves to adapt the measured elements to their own measured values ​​(in this case, deformations that are sewn into the same construction determine the same isolation time). Entering a transparent box doubles the preservation already done for the purpose of working bacteria (welding into PVC foil) and the awareness that entering the system somehow paralyzes, stops, kills, and at the same time prevents decay, but also growth. .

91 Lešnjak (Publisher) Mojca, (2012), Isolation and characterization of microbial communities from the soil of the Ljubljana Marshes,

master’s thesis, 2012, mentor Assoc. Prof. Ines Mandič Mulec, 89 p.