AMILOID HIDROKSIAPATIT

Skica postavitve z dvema steklenima obročema, robotsko roko in BCI (Brain computer interface)/Sketch of the setup with two glass rings, a robotic arm and a BCI (Brain computer interface).

Robotska roka/Robotic arm

BCI – Brain computer interface (vmesnik med možgani in računalnikom)/BCI – (brain computer interface)

Glavna referenca za postavitev je osnovana na merjenih podatkih iz članka Wang in sod. (2021). Eksperiment se ukvarja s gojenjem biofilma genetsko spremenjene E.coli in vpliva svetlobe na produkcijo biofilma z vsebnostjo amiloida in hidroksiapatita. Med eksperimentom so uspeli tvoriti kompozite, ki se jih lahko prostorsko regulira. Trdijo, da je izločanje in tvorba ekstracelularnega matriksa lahko kontrolirana s svetlobo in na ta način lahko vplivamo na tvorjenje biofilma v prostoru in času na način, da omogoča naknadno tvorbo kompozitov.

Začeli so s testiranjem indukcije kontrole biofilma s pomočjo projektorja modre svetlobe, ki je projiciral barvne vzorce prirejene v programu za obdelavo slik. Projiciramo ga na tekoče bakterijske kulture v polistirenskih (PS) petrijevkah. Barvanje je nakazalo, da je projiciran vzorec svetlobe pravilno reprezentiran kot bakterijski biofilmi, ki rastejo v vzorcih. Preko noči je bil medij kulture biofilma nadomeščen s 1,5 x SBF (simulated body fluid) za naknadno mineralizacijo z hidroksiapatitom. Po 7 dnevni mineralizaciji so generirani kompoziti ohranili originalni vzorec. Detajlna morfološka karakterizacija s scanning elektronskim mikroskopom je nakazala da so površine vzorčastih biofilmov prekrite z letvam podobni mineralizirani HA (hidroksi apatit) strukturi. 

Kot referenco sem vzela štiri intenzitete svetlobe, ki smo jih izbrali glede na referenco v Wang in sod. (2021). Uporabila bom dva različna pogleda. Enega, kjer so vse štiri spremenljivke skupaj. Nosi jih krožna oblika, ki je reprezentirana in projecirana preko teraherčnega vira, ki je nameščen nad manjšo krožno obliko v steklenem obroču. V manjši postavitvi so svetlobni vzorci pretvorjeni v zvok, ki ga lahko gledalec doživi. Gledalcu hočem omogočiti, da doživi izkušnjo zvoka in svetlobe skupaj, saj se lahko pretvarjata eden v drugega v območju teraherčnega valovanja. Prej sintetični pogled bo razdeljen na štiri različne lastnosti (presevnosti svetlobe) in bo še vedno povezan z eno, ki določa hipotezo v katerega so ti deli potopljeni, sedaj pa bodo odprti k gledalcu in k neskončnosti.

Uporabila bom steklen obroč, ki omogoča delno prepusten pogled na rast bakterijskega biofilma, hkrati pa omogoča usmerjanje Led luči na bakterije,  ki so na eni strani odprt k tlom in nosi strukturo rasti biofilma, ki je povezana z rastjo vzorcev narejenih v illustratorju. Na eni strani LED žarnice omogočajo rast biofilma v obliki vzorca. Na drugi strani pa je ta vzorec projeciran kot senca. Na drugi strani steklenega obroča pa bo gledalec lahko doživel svetlobne vzorce in različne debeline biofilma kot zvok. Prav tako bo možno vplivati na zvok preko pretvorbe s teraherčno frekvenco, ki bo prav tako vplivala na zvok, kar bo mogoče videti kot majhne spremembe v projeciranih vzorcih svetlobe. 

Izdelujemo konstrukcijo živega biofilma. Izolacija bakterij iz okolja ustvari pogoje za konstrukcijo. Rada bi, da gledalec zazna, da izolacija organizmov iz okolja omogoči konstruiran pogled na svet – nekakšen umeten pogled na organizem. Na eni strani je nesmrten, na drugi strani pa izmerjen, vpisan v čas. Izolacija po eni strani pomeni smrt, ker ni več živeč v okolju. Če se organizem izvzame iz okolja je nekako kastriran, saj ni več povezan s svojim izvornim okoljem. Rada bi, da gledalec omogoči povezavo med življenjem in rastjo, saj so bakterije sedaj postavljene znotraj biofilma, ki je zmožen rasti in mineralizacije (preko hidroksi apatita). Tako lahko tvori strukture, ki so na eni strani žive na drugi strani pa trdne in stabilne. Prav tako skušam ohraniti znanstveno potrjena dejstva Wanga in sod. (2021) in uporabiti te podatke, ki so vertikalno povezani z neskončnostjo preko Thz pretvornika, ki omogoča povezavo svetlobe in zvoka in horizontalno poveže gledalca s samim sabo in z okolico na drugi strani. Gledalec je gledan in gleda hkrati (Thz vir in Ag ogledalo, ki projecira nazaj svojo projekcijo). Instalacija si prav tako zastavlja vprašanje kje se rast in dekompozicija sklopita in kje se povežeta z neskončnostjo. Kdo ima nadzor nad to točko, ki ne more biti definirana in je lahko eno ali drugo? Je točka možnosti, da si lahko eno ali drugo (kvantna superpozicija – telo je umrljivo in neumrljivo hkrati). Če je ta točka definirana lahko govorimo samo o prehodnosti, totalni definiranosti in dokumentaciji. Ideja gre do osnovne plošče preživetja, reproduktivnosti in povezave z življenjem samim. Pokaže nam gradnjo pozicij moči preko jemanja energije izvora življenja, kajti za nadzor nad to točko moramo nadzirati samo osnovo nastanka življenja. Kje je ta energija uporabljena za nastanek novega življenja in kje za ohranjanje pozicij moči? Kaj če ta točka ni več direktna – je izmerjena, kot je to narejeno v znanosti in preko analitičnega pogleda. Ali je lahko znanstveni pogled ideološki (čeprav naj nebi bil povezan z gledalcem)? Glede na Van Fraasna (2008)  meritev ni mimetična, ampak postavi organizem v točno določen logični prostor.

Prav tako drži, da je pred meritvijo in določitvijo pozicije objekta ta v vseh možnih stanjih hkrati (kvantna superpozicija). Instalacija hoče odpreti fiksno mesto do neskončnosti vseh možnih stanj in iti izven meritve v Thz regijo, ki to odprtje v neskončnost in svobodo lahko omogoči. 

Povezava Snaillovega zakona odboja in odseva  s pogledom gledalca omogoči vplivati na zvok, ki je projiciran iz Thz vira, ki modro svetlobo projicirano na biofilm prevaja v zvok. Gledalec lahko tako posredno vpliva na rast in produkcijo biofilma.

Fenomeni, ki se zgodijo na meji, kjer odsev in odboj tekmujeta med sabo. Svetloba se odbije če zadane površino pod dovolj nizkim kotom, odseva se pa, če pade na površino pod dovolj visokim kotom. Kaj se zgodi, če se vir svetlobe premakne tako, da se spremeni vpadni kot? Točno kje se en fenomen začne in drugi konča? V diagramu naj bo QP enako PR, predpostavimo pa različne vrednosti za QPQ’. Naj se Q premakne proti vodni površini – s tem se poveča kot odboja od pravokotnice. R se  v našem diagramu pomakne navzgor in proti levi. Vendar opazimo, da je razdalja Q’P vedno večja kot R’P. Kaj se zgodi ko Q in Q’ sovpadeta?

Skica: Snaillov zakon/Skica Snaill’s law

Kaj se zgodi, če se vir pomakne še naprej. Edini odgovor znotraj te teorije je da se svetloba v neki točki (kritični kot) ne več odbija ampak popolnoma odseva, in da je to kar se zgodi nenadoma velik skok k razdalji pod površino – singularnost – diskontinuiteta v naravi. Mogoče celo kontradikcija v teoriji, ki je sprejeta glede na tradicionalno načelo v času ko je Wilebrord Snell postavil ta zakon – da narava ne dela preskokov.

Ali v naravi res obstaja ta enormna diskontinuiteta preskokov? Ta fenomen lahko najdemo na ravni opazovalca – ki je lahko plavalec ali riba. Vendar pa je ekstrapolacija kaj se zgodi v majhnem neveljavna. To je le točka kjer model ni več veljaven, kjer idealizacija doseže  svojo omejitev dopustnosti. (Bas van Fraasen – znanstvena reprezentacija 2008).

Rada bi točko, kjer se odboj in odsev srečata – sovpadata povezala z vstopom gledalca – in teorijo meritve – tukaj bi se povezala vidno in nevidno (Thz in Led emitirana svetloba). Zapisi Thz pa bi se pretvorili v zvok. Hkrati se podoba rasti biofilma projecira skozi večji stekleni obroč. Točka vstopa pogleda je povezana s problemom meritve in kvantno fiziko, kjer je svetloba hkrati delec in val – dokler ne pogledamo – takrat potem odboj in odsev prehajata eden v drugega – podoba biofilma – video se pretvarja v zvok – svetlobo. 

Presežno – Neskončno  

Podoba – Odsev

Odsev – Podoba

Točka loma, kjer vstopa gledalec (vidno – nevidno) – Snaillov zakon.

Programer določi dve formuli eno za svetlobni žarek n=1 ki vstopa pod različnimi koti od 1 stopinje do 180 stopinj – odvisno koliko je fizično mogoče – kaj se zgodi s kotom v steklu – odboj na drugi strani. Izračunaj za vsak vpadni kot odbojni kot – to potem premika robotska roka. Dve robotski roki, ki med seboj komunicirata – ena za odboj, druga za odsev. Tehnologija, ki nam govori o presežnem. Kako sprogramirati roko, da bo kazala na del, ki ni več merljiv?

Hkrati bi se na panelih ukvarjala z prikazovanjem biofilma na steklenih panelih (znanstvena ilustracija), ki bi služili kot podlaga na kateri je steklen obroč, ki služi za osnovo ujetja LED luči, hkrati pa je dovolj prosojen, da omogoči pogled gledalcu. Paneli so dimenzije 30 x 60 – tekta steklo – vanje je vgraviran biofilm, v plasteh pa slike biofilma prenešene na steklo in žgane.

BCI  – video – predvajanje slik biofilma. Amiloid – snov se dokaže s congo red, hidroksiapatiti pa z barvilom kristal vijolično. Obe barvili sta uporabljeni za dokaz, da bakterije res proizvedejo obe substanci. Dvolomnost je lastnost nekaterih prozornih optičnih materialov, da je lomni količnik odvisen od smeri polarizacije – ki je definirana kot smer električnega polja. Na primer, opazimo ga pri kristalnem kremenu, kalcitu, safirju in rubinu, tudi v nelinearnih kristalnih materialih, kot so LiNbO₃ (Litijev niobat – ki je uporabljen v zvočni pinceti), LBO in KTP.

Amiloid je asociacija in dejansko stanje kot plak v možganih, srcu, živčevju, tkivih…Gre za neozdravljivo bolezen, ki povzroča počasno propadanje tkiva, srca, živčevja. Bakterije pod vplivom modre svetlobe producirajo amiloid. Modra svetloba deluje kot stikalo, ki reče genu na katerem je zapis za amiloid, naj se prepiše.

Amiloid dojemam kot nekakšen plak v možganih, tkivih, srcu, ki počasi vpliva na propad organizma. Odpove mu srce, pozablja dogodke, ljudi,… Amiloid – netopni beljakovinski sprimki, se kopičijo v različnih tkivih in organih, kar povzroči strukturne in funkcijske motnje.

Amiloid – slika produciranega amiloida bakterije E. coli pod mikroskopom (M. Založnik)/Amyloid – image of amyloid produced by E. coli bacteria under a microscope (M. Založnik).

Spremenjene bakterije izločajo pod vplivom modre svetlobe amiloid, ko pa jih damo v gojišče SBF(simulated body fluid) – pa hidroksi apatit. Nekako izločajo dva skupka, ki bi bila drugače smrtna – vsaj amiloid pri človeku ali pa povzroča hude funkcijske motnje. Hidroksi apatit pa je sestavina školjk klapavic oziroma njihove lupine. Amiloid je nekakšna težko razgradljiva snov, mehka, organska, hidroksi apatit pa anorganska. Skupaj tvorita biofilm. Bakterije so ustvarili z namenom, da tvorijo žive kompozite.

Gre za asociacijo na umetno reguliranje življenja, dobimo pa produkte, ki govorijo o nas samih– se pravi smo skupek spremenjenih beljakovin in okostenelosti. Oboje ni povezano z življenjem.

Gre za dva psihološka ekstrema v človeku – amiloid kot skupek degeneriranih beljakovin, ki motijo našo percepcijo, čutenje in fiziološko delovanje, hidroksiapatit pa vsaj pri školjkah klapavicah deluje kot zaščita, oklep, pri nas pa gre za nekakšno okostenelost, zastoj v življenju, obstanek na mestu. Pri ljudeh pa je glavna sestavina kosti. Patološke kalcifikacije hidroksiapatita najdemo tudi pri tumorju dojk ali pa kalcifikacijah v epifizi.

Bakterije so regulirane s svetlobo – s pomočjo svetlobe producirajo snov, ki jo izločajo iz svoje celice. Ko naše telo proizvede to beljakovino, se ta kopiči v naših tkivih in počasi vodi k propadu organizma.

Amiloid se barva s kongo rdečim in pri testiranju pod navzkrižno polarizirano svetlobno mikroskopijo kongo rdeče obarvana amiloidna območja kažejo dvolomnost, ki velja za specifično značilnost amiloidoze.

Dvolomnost oziroma birefringence pa je lastnost veliko kristalov, med drugim tudi litijevega niobata – kristal, ki se uporablja v nelinearni optiki.

Dvolom je mogoče opaziti v amiloidnih plakih, kot jih najdemo v možganih bolnikov z Alzheimerjevo boleznijo, ko jih obarvamo z barvilom, kot je kongo rdeče. Spremenjeni proteini, kot so lahke verige imunoglobulina, se nenormalno kopičijo med celicami in tvorijo fibrile. Več gub teh vlaken se poravna in prevzame beta – nagubano konformacijo lista. Kongo rdeče barvilo se vstavi med gube in, če ga opazujemo pod polarizirano svetlobo, povzroči dvolomnost (vir wikipedija).

Amiloidoza je bolezen, pri kateri se amiloid (netopni beljakovinski sprimki), ki  ga običajno ne najdemo v telesu, kopiči v različnih tkivih in organih, kar v njih povzroči strukturne in funkcijske motnje. Pri amiloidoznih boleznih lahko amiloide odkrijemo v ledvicah, jetrih, možganih in drugih človeških in živalskih organih. Razvoj nevrodegenerativnih človeških bolezni, kot sta Alzheimerjeva bolezen in Parkinsonova bolezen, naj bi bil posledica kopičenja netopnih amiloidnih plakov v živčnem tkivu. Amiloid moti tudi funkcijo ledvic, najdemo ga pri sindromu karpalnega kanala,…

Kongo rdeče velja za zlati standard, ki se uporablja v veliki večini histopatoloških laboratorijev za identifikacijo amiloida v tkivih. Pri testiranju pod navzkrižno polarizirano svetlobno mikroskopijo kongo rdeče obarvana amiloidna območja kažejo dvolomnost, ki velja za specifično značilnost amiloidoze.

Obstaja veliko oblik amiloidoze. Vzrok primarne amiloidoze ni znan. Vendar pa je bolezen povezana z nenormalnostmi plazemskih celic, kot je multipli mielom, ki je lahko povezan tudi z amiloidozo. Pri sekundarni amiloidozi obstaja amiloidoza poleg druge bolezni, kot so tuberkuloza, okužbe kosti, revmatoidni artritis, družinska sredozemska vročina (dedna motnja) ali granulomatozni ileitis (vnetje dela črevesja). Tretja oblika je dedna amiloidoza.

HIDROKSIAPATIT

Hidroksiapatit je prisoten v kosteh in zobeh; kost je sestavljena predvsem iz kristalov HA, vmešanih v kolagenski matriks – 65 do 70 % mase kosti predstavlja HA. Podobno HA predstavlja 70 do 80 % mase dentina in sklenine v zobeh. (vir Wikipedija).

To kar umetno ustvarjamo nas omrtviči in ubije, čeprav nam daje navidezno zaščito.

Bakterije so tukaj samo v funkciji biološke tovarne – one te produkte izločajo, da gradijo funkcionalne kompozite, ki jih lahko opazujemo v različnih delih spektra svetlobe. Pod Thz virom – kjer se svetloba in zvok srečata dobimo povišan signal Thz tam kjer je tvorjen kompozit. Ta signal smo pretvorili v zvok. Slika – video in zvok se lahko preklapljata iz enega v drugega.

Dvolomnost nam s pomočjo polarizirane svetlobe ta žarek razcepi – se pravi gre pot svetlobe v dve smeri – omogoča to kvantno sprepletenost, ko enkrat vidimo, pa spet ne vidimo; ko gre za živo materijo/mrtvo materijo. Ljudje, ki imajo amiloidne plake in kalcifikacije so še živi, pa vendar v sebi nosijo potencialno smrtnost.

Bakterije so tukaj »izkoriščane« kot tovarne, vendar pa znajo oba nam potencialni smrtni substanci uporabiti za to da tvorijo biofilm – oziroma nekakšno bakterijsko mesto oziroma arhitekturo, ki njim omogoča bivanje in izmenjavo snovi.

Sev E. coli je bil sproduciran kot testni sev z namenom tvoriti uporabne biokompozite, ki se jih lahko uporablja v različne namene.

Amiloid lahko beremo kot nekakšno degeneriranost na eni strani in hidroksiapatit kot okostenelost na drugi strani. Oboje se nanaša na prepričanja, ideologije, družbo, polariziranost.

S celotno postavitvijo želim nekako povezati vidno in nevidno in oboje izpostaviti odprtosti pogleda. Tako pod Thz svetlobo, kot pod vidno svetlobo. Rada bi tudi povezala vidno in nevidno – svetloba Thz kot tista, ki nam prikaže območje kjer je možna kvantna sprepletenost – svetlobe in zvoka – vsaj bližamo se temu področju in pa vidna svetloba – kjer se odboj in odsev lahko spreminjata s pogledom gledalca.

Pri vidni svetlobi si lahko pomagamo z vmesniki – BCI (Brain computer interface), robotsko roko in Snaillovim zakonom, kjer primerjamo dva različna vpadna kota in se prek pogleda gledalca lahko spreminja vpadni kot in bliža točki singularnosti.

Skica E. coli biofilm, teraherčni senzor s teraherčnim virom, zvočna črpalka/Sketch of E. coli biofilm, terahertz sensor with terahertz source, sonic pump

AMILOID – HIDROKSIAPATIT

The main reference for the setup is based on the measured data from the article by Wang et al. (2021). The experiment deals with the cultivation of a biofilm of genetically modified E. coli and the effect of light on the production of a biofilm containing amyloid and hydroxyapatite. During the experiment, they managed to form composites that can be spatially regulated. They claim that the secretion and formation of extracellular matrix can be controlled by light and in this way we can influence the formation of biofilm in space and time in a way that allows the subsequent formation of composites.

They started by testing the induction of biofilm control using a blue light projector that projected color patterns adjusted in an image processing program. It is projected onto liquid bacterial cultures in polystyrene (PS) petri dishes. The coloring indicated that the projected light pattern correctly represented the bacterial biofilms growing in the samples. Overnight, the biofilm culture medium was replaced with 1.5 x SBF(simulated body fluid) for subsequent mineralization with hydroxyapatite. After 7 days of mineralization, the generated composites retained their original pattern. Detailed morphological characterization using a scanning electron microscope indicated that the surfaces of the patterned biofilms were covered with a lath – like mineralized HA (hydroxyapatite) structure.

As a reference, I took four light intensities, which we chose according to the reference in Wang et al. (2021). I will use two different views. One, where all four variables are together. They are carried by a circular shape, which is represented and projected via a terahertz source, which is placed above a smaller circular shape in a glass ring. In the smaller setup, the light patterns are converted into sound, which the viewer can experience. I want to allow the viewer to experience sound and light together, as they can transform into each other in the terahertz wave range. The previously synthetic view will be divided into four different properties (light translucencies) and will still be connected to one that determines the hypothesis in which these parts are immersed, but now they will be open to the viewer and to infinity.

I will use a glass ring that allows a partially permeable view of the growth of the bacterial biofilm, while at the same time allowing the LED light to be directed at the bacteria, which are on one side open to the ground and carry the structure of the biofilm growth, which is related to the growth of the patterns made in Illustrator. On the one hand, they allow the growth of the biofilm in the form of a pattern. On the other side, this pattern is projected as a shadow. On the other side of the glass ring, the viewer will be able to experience the light patterns and different thicknesses of the biofilm as sound. It will also be possible to influence the sound through conversion with a terahertz frequency, which will also affect the sound, which will be seen as small changes in the projected light patterns.

We are making a construction of a living biofilm. The isolation of the bacteria from the environment creates the conditions for the construction. I would like the viewer to perceive that the isolation of organisms from the environment enables a constructed view of the world – a kind of artificial view of the organism. On the one hand, it is immortal, and on the other hand, it is measured, inscribed in time. On the one hand, isolation means death, because it is no longer living in the environment. If an organism is removed from the environment, it is somehow castrated, because it is no longer connected to its original environment. I would like the viewer to enable the connection between life and growth, because the bacteria are now placed within a biofilm that is capable of growth and mineralization (via hydroxyapatite). In this way, it can form structures that are, on the one hand, alive, and on the other hand, solid and stable. I also try to preserve the scientifically confirmed facts of Wang et al. (2021) and use this data, which is vertically connected to infinity via a Thz converter, which enables the connection of light and sound and horizontally connects the viewer with themselves and their surroundings on the other hand. The viewer is watched and watches at the same time (Thz source and Ag mirror, projecting back its projection). The installation also asks the question of where growth and decomposition converge and where they connect with infinity. Who has control over this point that cannot be defined and can be one or the other? It is the point of possibility that you can be one or the other (quantum superposition – the body is mortal and immortal at the same time). If this point is defined, we can only talk about transience, total definition and documentation. The idea goes to the basic board of survival, reproducibility and connection with life itself. It shows us the construction of positions of power by taking the energy of the origin of life, because to control this point we must control the very basis of the emergence of life. Where is this energy used for the emergence of new life and where for the maintenance of positions of power? What if this point is no longer direct – it is measured, as is done in science and through an analytical view. Can the scientific view be ideological (although it is not supposed to be connected to the viewer)? According to Van Fraasen (2008), measurement is not mimetic, but places the organism in a specific logical space.

It is also true that before the measurement and the manifestation of the object’s position in all possible states simultaneously (quantum superposition). The installation wants to open a fixed place to the infinity of all possible states and go beyond measurement into the Thz region, which can enable this opening to infinity and freedom.

The connection of Snail’s law of reflection and refraction with the viewer’s gaze allows for influencing the sound projected from the Thz source, which translates the blue light projected onto the biofilm into sound. The viewer can thus indirectly influence the growth and production of the biofilm.

Phenomena that occur at the boundary where reflection and refraction compete with each other. Light is reflected if it hits a surface at a sufficiently low angle, but is reflected if it hits the surface at a sufficiently high angle. What happens if the light source is moved in such a way that the angle of incidence changes? Exactly where does one phenomenon begin and the other end? In the diagram, let QP equal PR, but assume different values ​​for QPQ’. Let Q move towards the water surface – this increases the angle of reflection from the perpendicular, R moves up and to the left in our diagram. However, we notice that the distance Q’P is always greater than R’P. What happens when Q and Q’ coincide?

What happens if the source moves further? The only answer within this theory is that at some point (the critical angle) the light is no longer reflected but completely reflected, and that what happens is a sudden big jump to the distance below the surface – a singularity – a discontinuity in nature. Perhaps even a contradiction in the theory that is accepted according to the traditional principle at the time when Wilbrod Snell established this law – that nature does not make leaps.

Does this enormous discontinuity of leaps really exist in nature? This phenomenon can be found at the level of the observer – who can be a swimmer or a fish. However, extrapolation of what happens in the small is invalid. This is just the point where the model is no longer valid, where the idealization reaches its limit of admissibility. (Bas van Fraasen – scientific representation 2008).

I would like to connect the point where the reflection and the refraction meet – coincide with the entry of the viewer – and the theory of measurement – ​​here I would connect the visible and the invisible (Thz and Led emitted light). The Thz records would be converted into sound. At the same time, the image of the biofilm growth is projected through a larger glass ring. The entry point of the view is related to the problem of measurement and quantum physics, where light is both a particle and a wave – until we look – then the reflection and the reflection pass into each other – the image of the biofilm – the video is converted into sound – light.

Transcendent – Infinite

Image – Reflection

Reflection – Image

Point of refraction, where the viewer enters (visible – invisible) – Snail’s law.

The programmer determines two formulas one for a light beam n=1 that enters at different angles from 1 degree to 180 degrees – depending on how much is physically possible, – what happens to the angle in the glass – the reflection on the other side. Calculate for each angle of incidence the reflection angle – this is then moved by the robotic arm. Two robotic arms that communicate with each other – one for reflection, the other for refraction. Technology that tells us about the transcendent. How to program a hand to point to a part that is no longer measurable?

At the same time, the panels would deal with displaying biofilm on glass panels (scientific illustration), which would serve as a base on which there is a glass ring, which serves as the basis for capturing LED lights, but is also transparent enough to allow the viewer to see. The panels are 30 x 60 cm in size – tempered glass – the biofilm is engraved into them, and in layers the transferred images of the biofilm are transferred to the glass and fired.

BCI – video – playing images of biofilm – amyloid – Congo red and Chrystal violet for hidroksiapatit – the dyes were used to prove that bacteria really produce both substances. Birefringence is a property of some transparent optical materials, such that the refractive index depends on the direction of polarization – which is defined as the direction of the electric field. For example, it is observed in crystalline quartz, calcite, sapphire and ruby, also in nonlinear crystalline materials such as LiNbO₃ (Lithium Niobate – which is used in acoustic tweezers), LBO and KTP.

Amyloid is an association and actual condition as a plaque in the brain, heart, nervous system, tissues… It is an incurable disease that causes slow tissue, heart, nervous system deterioration. Bacteria under the influence of blue light produce amyloid. Blue light acts as a switch that tells the gene on which the record for amyloid is written, tells it to be transcribed.

I perceive amyloid as a kind of plaque in the brain, tissues, heart, which slowly affects the collapse of the organism. His heart fails, he forgets events, people,… Amyloid – insoluble protein aggregates, accumulate in various tissues and organs, which causes structural and functional disorders.

Genetically modified bacteria secrete amyloid under the influence of blue light, but when placed in SBF(simulated body fluid) culture medium – hydroxyapatite. Somehow they secrete two aggregates that would otherwise be fatal – at least amyloid in humans or causes severe functional disorders, and hydroxyapatite is a component of mussel shells or their shells. Amyloid is a kind of hard-to-degrade substance, soft, organic, and hydroxyapatite is inorganic. Together they form a biofilm. Bacteria were created with the intention of forming living composites.

It is an association with artificial regulation of life, but we get products that speak about ourselves – that is, we are a collection of modified proteins and ossification. Both are not related to life.

These are two psychological extremes in humans – amyloid as a collection of degenerated proteins that disrupt our perception, sensation and physiological function, while hydroxyapatite, at least in mussels, acts as protection, armor, while in us it is a kind of ossification, stagnation in life, staying in place. In humans, it is the main component of bone. Pathological calcifications of hydroxyapatite are also found in breast tumors or calcifications in the pineal gland.

Bacteria are regulated by light – with the help of light, they produce a substance that they secrete from their cells. When our body produces this protein, it accumulates in our tissues and slowly leads to the collapse of the organism.

Amyloid is stained with Congo red and when tested under cross-polarized light microscopy, Congo red-stained amyloid areas show birefringence, which is considered a specific characteristic of amyloidosis.

Birefringence is a property of many crystals, including lithium niobate, a crystal used in nonlinear optics.

Birefringence can be observed in amyloid plaques, such as those found in the brains of Alzheimer’s patients, when stained with a dye such as Congo Red. Altered proteins, such as immunoglobulin light chains, accumulate abnormally between cells and form fibrils. Several folds of these fibrils straighten out and assume a beta-pleated sheet conformation. The Congo Red dye is inserted between the folds and, when viewed under polarized light, causes birefringence (source Wikipedia).

Amyloidosis is a disease in which amyloid (an insoluble protein aggregate), which is not normally found in the body, accumulates in various tissues and organs, causing structural and functional disorders in them. In amyloidosis, amyloids can be detected in the kidneys, liver, brain, and other human and animal organs. The development of neurodegenerative human diseases such as Alzheimer’s disease and Parkinson’s disease is thought to be the result of the accumulation of insoluble amyloid plaques in nervous tissue. Amyloid also interferes with kidney function, is found in carpal tunnel syndrome,…

Congo red is considered the gold standard used in the vast majority of histopathology laboratories for the identification of amyloid in tissues. When tested under cross-polarized light microscopy, Congo red-stained amyloid areas show birefringence, which is considered a specific feature of amyloidosis.

There are many forms of amyloidosis. The cause of primary amyloidosis is unknown. However, the disease is associated with plasma cell abnormalities, such as multiple myeloma, which may also be associated with amyloidosis. In secondary amyloidosis, amyloidosis exists alongside another disease, such as tuberculosis, bone infections, rheumatoid arthritis, familial Mediterranean fever (a hereditary disorder) or granulomatous ileitis (inflammation of part of the intestine). The third form is hereditary amyloidosis.

HYDROXYAPATITE

Hydroxyapatite is present in bones and teeth; bone is composed primarily of HA crystals embedded in a collagen matrix – 65 to 70% of bone mass is HA. Similarly, HA accounts for 70 to 80% of dentin and enamel in teeth. (source Wikipedia).

What we artificially create numbs and kills us, although it gives us apparent protection.

The bacteria here are only in the function of a biological factory – they secrete these products to build functional composites that can be observed in different parts of the light spectrum. Under a Thz source – where light and sound meet, we get an increased Thz signal where the composite is formed. We converted this signal into sound. Image – video and sound can be switched from one to the other.

Birefringence, with the help of polarized light, splits this beam – that is, the path of light goes in two directions – allows us this quantum entanglement, when we see once, and then we don’t see again; when it comes to living matter/dead matter. People who have amyloid plaques and calcifications are still alive, but they carry potential mortality within them.

Bacteria are “exploited” here as factories, but both of us can use these potentially deadly substances to form a biofilm – or a kind of bacterial place or architecture that allows them to live and exchange substances.

The E. coli strain was produced as a test strain with the aim of creating useful biocomposites that can be used for various purposes.

Amyloid can be read as a kind of degeneration on the one hand and hydroxyapatite as ossification on the other side. Both relate to beliefs, ideologies, society, polarization.

With the entire installation I want to somehow connect the visible and the invisible and expose both to the openness of the view. Both under Thz light and under visible light. Thz light as the one that shows us the area where quantum entanglement is possible – of light and sound – at least we are approaching this area and visible light – where reflection and reflection can change with the viewer’s gaze.

With visible light we can use interfaces – BCI, robotic arm and Snail’s law, where we compare two different angles of incidence and through the viewer’s gaze the angle of incidence can change and approach the singularity point.

ZVOČNO RESNONANČNA KUPOLA – WGM

Soobstoj prepletanja zvoka in svetlobe, ki je vidno v THz spektru in se kaže skozi vzpostavitev in prekinitev stika z opazovalcem.

Konstrukcija lasersko – mikrofluidne komore omogoča vzpostavitev okolja, ki lahko zvok in svetlobo prenese na celično raven. V celici se vzpostavi WGM (zvočno resonančna kupola). V območju femtosekund – območju 10^-15, poskušamo pokriti spekter te dvojnosti/enosti in hkrati prikazati to kot razcep ter ponovno vzpostaviti ta odnos na eni in nato na drugi strani. THz območje je območje dvojnosti, definirano kot meja med električnim in optičnim spektrom, kjer se svetloba in zvok lahko prevajata v drugega. Elektrooptični kristal lahko deluje kot modulator spektra in lahko povzroči dvolomnost (to pomeni, da ima dva različna lomna količnika) – razdeli žarek na dva dela in omogoči prikaz THz spektra.

Kako povezati notranjost in zunanjost sveta in celice s pomočjo tehnologije in pogleda/vida. Da bi dosegli dvojnost svetlobe/zvoka na celični ravni in hkrati omogočili gledalcu dostop do te superpozicije stanj. Želim ujeti povezavo med notranjostjo in zunanjostjo ter jo prikazati skozi območje, kjer se svetloba in zvok prevajata drug v drugega.

Kako ujeti trenutek/dualnost kvantnega stanja superpozicije, če to območje ni zaznavno v vidnem spektru? V kvantno koherentnem vesolju so vsa bitja lokalizirana kot delci/trdni predmeti in delokalizirana kot kvantne valovne funkcije. WGM (zvočne resonančne kupole so izdelane iz porcelana in povezane z gledalcem) z ogledali, ki prenašajo svetlobo in zvok v celice, gledalec pa lahko z njimi komunicira. Ti WGM bi se razlikovali glede na premer in jakost ter bi omogočali oddajanje različnih frekvenc. Z dotikom, pogledom, elektromagnetnim poljem in vplivanjem na zvok gledalec prenaša svoj signal v celico. Signal, ki ga oddaja celica, se prikaže kot optični signal – kot slika v THz območju, ki se zruši v en ali drug signal, odvisno od pogleda gledalca.

Heisenbergovo načelo negotovosti obravnava sistematično napako – motnjo kvantnega sistema, ki jo povzroči meritev/opazovalec/merilna naprava. Iz Heisenbergovega načela lahko sklepamo, da krajša kot je dolžina laserskega žarka, daljši je spekter. Heisenberg je pokazal, da komutativni odnos pomeni implicitno negotovost ali v Bohrovem jeziku komplementarnost. Nobene od dveh spremenljivk, ki nista komutativni, ni mogoče hkrati meriti – bolj natančno kot je ena definirana, manj natančno lahko določimo drugo. Zato se različni deli znotraj spektra izničijo znotraj nelinearnega kristala. To povzroči dielektrično polarizacijo, ki generira THz val.

Laser bi v celico namestili na tri načine, opisane v članku Humar in sod. (2015). Najprej bi poskušali ugotoviti lasersko aktivnost v maščobnih celicah mene same ali pa bi namesto tega uporabili prašičje maščobne celice. V naslednjem koraku bi omogočili okolje za injiciranje rdečega barvila nile red, pomešanega s kapljico maščobe, ki deluje kot WGM. Ko vanj posvetimo z laserskim žarkom, vzbudi svetlobo specifične valovne dolžine, ki je povezana z značilnostmi tkiva. Tretji možen način je uporaba fluorescentnih kroglic, prevlečenih s fluorokromi, ki jih celice absorbirajo, če jih pustimo v kulturi nekaj ur. Zvok bi se pretvoril v svetlobni signal skozi območje, kjer se frekvence zbližajo, z namenom, da vstopi v območje zunaj merljivega ali da se vzpostavi stanje, preden se izvede meritev ali pogled. V namestitvi bi se zvok (v mikrofluidni napravi) in laserska svetloba v celicah ujemala, nato pa bi se prenesla v mikrofluidno komoro in osvetlila z laserjem. V notranjosti komore so priključeni 4 IDT (interdigitalni pretvorniki, prevlečeni z zlatom, ki delujejo kot anoda in katoda), ki pomagajo pretvoriti zvok v mehansko silo, ki premika celice (frekvenca okoli 35 MHz). Hkrati bi se metoda lahko uporabljala kot znotrajcelična metoda za zdravljenje z zvokom in svetlobo s frekvencami, ki običajno ne morejo prenesti v tkivo.

Elektromagnetni spekter je funkcija frekvence – na spodnjem koncu lahko »vidimo« radio (FM), na višjem pa je to del, sega v vidno svetlobo. S strani vidne svetlobe uporabljamo fotonske naprave, kot je laser, za zaznavanje tega dela spektra. Zaznavanje THz valov je elektrooptično vzorčenje. V kristal se pošlje optični žarek – tako se generira THz val. Nato se sinhronizira z drugim optičnim žarkom. THz območje je območje nelinearnega.

THz območje – področje nelinearne optike, za katero je treba uporabiti zelo kratke laserske impulze (femtosekundni impulzni laser), ki se pošljejo skozi nelinearni kristal (litijev niobat, cinkov telurid – elektrooptični material), kar ustvari THz valovanje. Tudi to je nelinearen proces. Cinkov telurid in litijev niobat se pogosto uporabljata za generiranje impulzov teraherčnega sevanja in teraherčnega slikanja, ko je kristal tega materiala izpostavljen impulzu svetlobe visoke intenzivnosti, ki je krajši od pikosekunde. To povzroči impulz teraherčne frekvence z nelinearnim optičnim procesom, ki se imenuje optična rektifikacija. Nasprotno pa izpostavljenost kristala cinkovega telurida teraherčnemu sevanju povzroči optično dvolomnost (ali dvojno lomljenje – razgradnja svetlobe v dva žarka, kot je prečkanje anizotropnega materiala) in spremembo polarizacije svetlobe, ki prihaja skozenj. Zato deluje kot elektrooptični detektor. Postane kot kristalna krogla, po drugi strani pa, če THz val ni dostavljen, ni izotropnega učinka – deluje kot steklo.

Skica, 2 porcelanasta inkubatorja, porcelanasta kupola z manjšimi porcelanastimi kupolami, miza/Sketch, 2 porcelain incubators, porcelain dome with smaller porcelain domes, table

WHISPERING GALLERY MODE

Coexistence of sound and light intertwinment, which is made visible in THz spectrum and shown through establishment and interruption of the contact with the observer.

The construction laser – microfluidics chamber enables the set up of environment that can bring sound and light onto the cell level. In the cell the WGM (whispering gallery mode) is established. In the area of femtoseconds –  the 10 ^-15 area, we are trying to cover the specter of this duality/oneness and at the same time show this as split and setting up again this relationship on one and then on the other side. THz area is an area of duality defined as border between electro and optical specter and where light and sound can be translated into another. Electrooptical chrystal can work as an modulator of the spectre and can cause birefringence (it means it has two different refractive index) – splitting the ray into two parts and enables the displaying of THz spectre.

How to connect the inside and outside of the world and the cell through technology and the look/view. To get the duality light/sound on the cell level and at the same time enable the viewer with the access to this superposition of states. I want to catch the connection between inside and outside and show it through the area where light and sound converge.

To catch the instant/duality of the quantum state of superposition This area is not perceptible in the visible spectrum. In quantum coherent universum all beings are localised as particle/solid object and delocalised as quantum wave functions. I want ot connect outside and inside WGM (whispering gallery modes – sound resonant cupolas are made out of porcelain and connected with the viewer) with mirrors, which transfer light and sound to cells and the viewer can interact with them. These WGM would differentiate according to diameter and soundness and would enable to broadcast different frequencies. With touch, view, EM field and affecting the sound the viewer transports his signal to the cell. Signal that cell broadcasts is shown as optical signal – as a picture in THz area, which colapses into one or the other signal depending from the look of the viewer. 

Heisenberg uncertanty principle deals with systematic erorr – the disturbance of quantum system  which is caused by measurement/ the observer/measurement device. From Heisenbergs principle we can infer that the shorter the length of the laserbeam, the longer the spectrum. Heisenberg showed that commutative relationship implicit uncertainty or im Bohr’s language complementarity. Each of the two variables which are not commutable cannot be simultaneously mesured – the more one is precisely defined, less definitely we can determine the other. That is why differetnt parts inside the spectrum get nullified inside the nonlinear chrystal. This causes dielectric polarisation that generates THz wave.

Laser would be put inisde the cell with the three ways described in article Humar et all. (2015). First we would try to establish laser activity in the fat cells of the author or we would use pig fat cells instead. In the next step we would enable the environment for injecting nile red mixed with fat droplet – which acts like a WGM. When it is brightened up with the laser beam it excites the light of specific wavelength, which is connected with tissue characteristics. The third possible way is to use fluorescent beads covered with fluorochromes, which are engulfed by the cells if you leave them in a culture for a few hours. The sound would be translated into light signal through area where the frequencies converge with the intention to enter into the area outside the measurable or to establish a state before the measurement or the view happens. In the instalation sound (in the microfluidics device) and laser light would coincide in the cells which would be transfered into microfluidics chamber and lightened up with laser. Inside the chamber is connected to 4 IDT (interdigital transducers plated with gold which act like anode and cathode) which help to transfer sound into mechanical force that moves the cells around (frequency aroud 35 Mhz). At the same time the method could be used as intracellular method for healing with sound and light with frequencies that normally cannot be transfered into the tissue.

Electromagnetic spectrum is a function of frequency – on the lower end we can “see” Radio (FM), on the higher it is a part that is with visible light. From the side of the visible light we use fotonic devices such as laser for detecting this part of a spectrum. Detection of THz wave is electrooptical sampling. Into the chrystal an optical beam is sent – that is how THz wave is generated. Then it is synchronised with another optical beam. THz area – the area of nonlinear optics would be used for which a very short laser pulses must be used (femtosecond pulse laser), which are send through non – linear chrystal (lithium niobat, zinc telurid – electrooptical material) which would generate THz wave. Which is also a non – linear process. Zinc tellurid and lithium niobat is often used for generating pulses of terahertz radiation and terahertz imaging when the chrystal of this material is exposed to the pulse of light of high intensity that is shorter than picosecond. This delivers a pulse of terahertz frequency through nonlinear optical process, which is named optical rectification. On the contrary the exposure of the chrystal of zinc tellurid to terahertz radiation causes that the optical birefringence (or double refraction – is the decomposure of light into two beams as is crossing the anizotrophic material)  is shown and it changes the polarisation of light which comes through it. That is why it acts as electrooptical detector. It becomes like a chrystal ball, on the other side if the THz wave is not delivered, there is no isotrophic effect – it acts like a glass.

Skica postavitve laserskega sistema/Sketch of the layout of the laser system

HLADILNI STOLP

Iz materialov porcelan, kevlar, bakterijski biofilm in lateks bi izdelala konstrukcijo, ki služi kot neke vrste muzej za diagnoze – kot simulacija arhiva brisov z rakavimi in predrakavimi brisi, kjer se živo dokumentira, arhivira in shranjuje. Bolj v obliki slik in diagnoz, saj je direktno ohranjanje živega v tem primeru težavno. 

Je simulacija arhiva brisov materničnega vratu, je nekakšno skladišče, ki kopiči in zadržuje pred propadom. Brisi se dejansko jemljejo z vhoda  – materničnega vratu, kjer je eno od mest, kjer lahko pride do oploditve. Se pravi bi celotna oblika shrambe spominjala na maternico, hkrati pa bi bil v njej stolp, kjer se stopnjujejo diagnoze od blažjih do predrakavih in rakavih sprememb višje stopnje. Celotna konstrukcija bi bila iz več materialov –  bila bi iz lateksa (ki je material, ki preprečuje oploditev) in moje poročne obleke, ki ne služi več svojemu namenu, je le simulacija, spomin na nekaj kar ne obstaja več tako v realnosti, kot v družbenem kontekstu. Instalacija je kot nekakšno orjaško skladišče, nekaj kar omogoča, da življenje postane skladišče za točke odvzete v času. Zanima me kako je kodiran sistem? Sistem, ki je vzpostavljen je družbeno in politično določen. Vse ženske, ki so zajete, so zajete zato, ker obstaja nekaj neko pravilo, nekaj nad, ki pogojuje vzorec.

Nekakšna sluzasta pregrada, kjer gledalec vstopa v maternični vrat kot simulacijo oploditve oziroma v izvor prehoda; vstopa v smrt ali v rojstvo. Ko vstopa v prostore spomina sluzaste pregrade med časom in nečasom, med telesom in ničem, med kodiranimi rezultti in svetlobo, med tkivom in sluzjo.

Z instalacijo se sprašujem kako simulirati povezavo, da bo hkrati oboje. Kje je izvor bolečine – v oddaljenosti od pristnosti. Ko si v nečasu bolečine ni, ko vstopaš v čas si telo, ki je minljivo in s tem odmiranjem nosiš bolečino smrti, odmiranja in bivanja. Kako ponazoriti to težo?  Delo je hkrati objektivno in subjektivno. Znotraj je stolp eliptične oblike iz večjih stekelnih plošč, kjer so s pomočjo postopka fuzije stekla in aplikacije posameznih slik rakavih in predrakavih sprememb predstavljene stopnje od blagih do hudih predrakavih sprememb. Le te plošče so prekrite z bakterijskim biofilmom bakterije E. coli, ki je bila spremenjena, tako, da tvori biofilm različnih debelin odvisno s kakšno svetlobo je osvetljena. Na vrhu tega stolpa je Thz vir (Thz svetloba se lahko uporablja za diagnostiko med rakavimi in predrakavimi spemembami, vendar še ni uvedena v splošno prakso). Drugače je to nekakšna izvorna svetloba. Pridobljena pa je s pomočjo Thz generatorja. Stolp iz plošče rakavih in predrakavih sprememb po obliki in funkciji asociira na obliko hladilnega stopla v Šostanju, ki ga je projektiral moj dedek. Citat navajam zato, ker je to neke vrste družinska identifikacije – pri gradnji je sodeloval moj dedek, ki je zato izumil obliko stolpa – za kar se potrebuje manj betona, hkrati pa je tudi lepši in bolj funkcionalen. Da je omogočil gradnjo stolpa pa je izumil še neke vrste premični opaž, ki je omogočal lažjo in in funkcionalnejšo gradnjo, saj ni bilo potrebno graditi gradbenih odrov od tal do vrha, ampak je enonadstropni gradbeni oder potoval od enega nadstropja do drugega. Citiram in izrabljam obliko, ker menim, da gre pri procesu ustavitve, zamrznitve in dokumentacije življenja, za podobno povezanost ali nepovezanost med prej in sedaj. Ne potrebuješ več podstati spodaj, da drži tvojo sedanjost ampak samostojiš na neki »ideji« znotraj časa in v tem trenutku. Da gre za hladilni stolp ni naključje, saj, saj si znotraj časa, hkrati pa si zamrznjen v času na kar asociira sama funkcija stolpa. Sedaj ne bo šlo za gradnjo ampak za proces, kjer se dogaja ravno obratno. Že dokončan in zamrznjen proces bo prek posega na voljo gledalcu za »odmrznitev«. Vstop v nekaj, kar se je že zgodilo bo možen tako prek delov nepovezanih s celoto – kot samostojen delček v času, ali pa prek odprtja vseh odprtin kot celota. Hkrati bo okrog stolpa narejen nekakšen šotor iz tkanine simulacije moje poročne obleke, kevlarja in porcelanastih plošč naparjenih s Tollensovim testom, ki tvori zrcalo.  Da lahko vstopaš v zgodovino potrebuješ podatke in nek okvir skozi katerega gledaš. 

Stolp kot bližanje vrhu – izvoru svetlobe, kjer so na dnu težje diagnoze, proti vrhu pa se dogaja nekakšno zdravljenje – selekcija brisov.

Hladilni stolp je del zgodovine, kjer je del zgodovine zamrznjen, del pa pretočen in odprt v času, kjer s svojim delovanjem »živiš« kot telo. Ko vstopaš v čas si telo, ki je minljivo, hkrati nosiš tudi bolečino odmiranja, bivanja. Kako ponazoriti to težo? Da ko se utelesiš si smrten in s tem nosiš bolečino minevanja. Kako ponazoriti in zakodirati prisotnost telesa, hkrati pa hočeš prikazati le njegove lupine, le nekaj kar telo določa, ga umešča in določuje. In telo umestiti v določujoče pozicije zbirk, vzorcev, celic, arhivov… Nekaj mojega osebnega povezati s kolektivnim – z zbirko. Brise žensk – predstavljene bodo slike predrakavih in rakavih sprememb hkrati z označenimi diagnozami bodo na steklenih ploščah, te pa bodo prekrite z biofilmom bakterije E. Coli, ki v času s pomočjo vzbujanja z modro LED svetlobo in v različnih gojiščih tvori biofilm iz amiloida in hidroksi apatita. To sta sestavini, ki nekako asociirata na biofilm, ki zamegljuje pogled na dejansko stanje, ki okosteni ali želatinizira življenje še dodatno. Amiloid kot beljakovina, ki drugače nastaja v telesu kot produkt patološkega procesa, ki se ponavadi konča s smrtjo in hidroksiapatit kot produkt školj klapavic (ki pa ga sedaj dela bakterija) in asociira enako na okostenelost in nekakšen solni steber (primer Lotova žena iz stare zaveze, ki se spremeni v solni steber, ko se ozre nazaj). Ta biofilm asociira na družbene vzorce, na vsajene kode gledanja, ki so nam dani kot taki in v njih ne dvomimo, kot neka dogma, ki zamegljuje pogled in moti jasnost zaznave.

Skušam povezati različna področja, ki pa se vsa povezujejo, ko gre za identiteto mene in kolektivnega, objektivnega in subjektivnega. En del bo res predstavljen kot dokument – slike brisov predstavljene na steklu s pomočjo tiska in fuzije, na njih pa biofilm, ki je hkrati »živ«, saj je tvorba bakterij, ki v njem živijo, hkrati pa snov taka kot je onemogoča jasen pogled, onemogoča določiti in videti jasno kje je živo in kje gre za vstop v smrt. Kot nekakšen družbeni motilec, kot luskine, ki nam onemogočajo videti jasno in »odmrzniti« zgodovino in izstopiti iz smrti.

Sama oblika asociira tako na maternico – lateks, kupola, kevlar, porcelan, hkrati pa ima spodaj odprtino – maternični vrat, ki omogoča oploditev in prepoznavo (zrcalo v Tollensovem testu) in lateksa, ki je prepredena z dvojnim kodom – dostop do materničnega vratu, ki omogoča oploditev ali pa jo preprečuje, po drugi strani pa preprečuje okužbo s HPV virusom, ki je virus, ki dokazano povzroča raka materničnega vratu. Oblika je zmes – nekakšen svod preko katerega dojemamo neskončnost in segamo preko nje preko bolečine do življenja. Na vrhu je svod odprt v nebo in spodaj bi lahko nosil špice, tako kot v mišnici, sedaj pa je na vrhu Thz vir, ki presvetljuje plošče spodaj in nekako omogoča prepoznavo stopnje predrakavih in rakavih sprememb, hkrati pa spominja na kvatni paradoks, saj v Thz viru lahko beremo stvari hkrati – odvisno od tega kako se prikazujejo – kot podobo (svetlobo) ali kot zvok. 

Vhod je mogoč spodaj in spominja na matenični vrat, ki je odprtina, kjer se zgodi oploditev ali pa pride do okužbe s HPV virusom in do raka materničnega vratu. HPV virus se vgradi v gen, pri teh pa potem odpovedo mehanizmi popravljanja in omogočajo nemoteno deljenje celic, kar potem vodi do rakavih in predrakavih sprememb. Tako je oznaka za nastanek življenja združena z oznako za njegov konec, hkrati pa se srečujeta v paradoksu kjer neskončnost telesa oziroma celice pomeni smrt, končnost oziroma utelešenje neskončnosti v končnost pa šele omogoča življenje. Celotna postavitev ima po površini razporejena kukala podobna mikroskopskemu pogledu, ki omogoča pogled znotraj, vendar omogoča distanco.

Skica Hladilni stolp, kevlar, srebren porcelan, stelkene plošče (fuzija in sitotisk slik), LED luči/Sketch Cooling tower, kevlar, silvered porcelain, glass panels (fusion and screen printing on glass), LED lights

COOLING TOWER

From the materials porcelain, kevlar, bacterial biofilm and latex I would make a kind of construction that serves as a kind of museum for diagnoses – as a kind of simulation of a smear archive with cancerous and precancerous smears, where the living is documented, archived and stored. More in the form of images and diagnoses, since directly preserving the living is difficult in this case.
It is a simulation of a cervical smear archive, it is a kind of warehouse that accumulates and keeps it from decay. The swabs are actually taken from the entrance – the cervix, where one of the places where fertilization can occur. That is, the entire shape of the warehouse would resemble the uterus, but at the same time there would be a tower in it, where diagnoses are graded from mild to precancerous and higher – grade cancerous changes. The entire construction would be made of several materials – it would be made of latex (which is a material that prevents fertilization) and my wedding dress, which no longer serves its purpose, is just a simulation, a memory of something that no longer exists in reality or in the social context. The installation is like a kind of giant warehouse, something that allows life becomes a warehouse for points taken in time. I am interested in how the system is coded. The system that is established is socially and politically determined. All women who are captured are captured because there is some rule, something above, which conditions the pattern.
A kind of mucous barrier, where the viewer enters the cervix as a simulation of fertilization or the source of transition; enters death or birth. When they enter the spaces of memory, a kind of mucous barrier between time and timelessness, between the body and nothingness, between coded results and light, between tissue and mucus.
With the installation I ask how to simulate a connection so that it is both at the same time. Where is the origin of pain – in the distance from authenticity. When you are in timelessness, there is no pain, when you enter time, you are a body that is fleeting and with this dying you carry the pain of death, dying and being. How to illustrate this weight? The work is both objective and subjective. Inside is an elliptical tower made of larger glass panels, where the stages of precancerous changes from mild to severe are presented using the glass fusion process and the application of individual images of cancerous and precancerous changes. Only these panels are covered with a bacterial biofilm of the E. Coli bacteria, which has been modified so that it forms a biofilm of different thicknesses depending on the light it is illuminated with. At the top of this tower is a Thz source (Thz light can be used for diagnostics between cancerous and precancerous changes, but has not yet been introduced into general practice). Otherwise, it is a kind of source light. It is obtained using a Thz generator. The tower made of a slab of cancerous and precancerous changes, in its form and function, is reminiscent of the shape of the cooling tower in Šostanj, which was designed by my grandfather. I quote this because it is a kind of family identification – my grandfather participated in the construction and invented the shape of the tower – which requires less concrete, but is also more beautiful and functional. To enable the construction of the tower, he also invented a kind of movable formwork, which enabled easier and more functional construction, since it was not necessary to build scaffolding from the ground to the top, but a single – story scaffolding traveled from one floor to the next. I quote and use the shape because I believe that the process of stopping, freezing and documentation and life is about a similar connection or disconnection between the past and the present. You no longer need a foundation below to hold your present, but you stand independently on some “idea” within time and in this moment. It is no coincidence that it is a cooling tower, because you are within time, and at the same time you are frozen in time, which is associated with the very function of the tower. Now it will not be about construction, but about a process where the opposite happens. An already completed and frozen process will be available to the viewer for “thawing” through the intervention. Entry into something that has already happened will be possible both through the work unrelated to the whole – as an independent fragment in time, or through the opening of all the openings as a whole. At the same time, a kind of tent will be made around the tower from a fabric simulation of my wedding dress, kevlar and porcelain plates steamed with the Tollens test, which forms a mirror. In order to enter history, you need data and a frame through which you look.
The tower as approaching the top – the source of light, where at the bottom there are more difficult diagnoses, and towards the top there is a kind of treatment – the selection of smears.
The cooling tower is a part of history, where part of history is frozen, and part is fluid and open in time, where you “live” as a body through your actions. When you enter time, you are a body that is fleeting, and at the same time you also carry the pain of dying, of being. How to illustrate this weight? That when you incarnate, you are mortal and thus carry the pain of passing away. How to illustrate and encode the presence of the body, while at the same time wanting to show only its shells, only something that the body determines, places and determines. And to place the body in a certain determining positions of collections, samples, cells, archive… Something of my personal to connect with the collective – with the collection. Smears of women – images of precancerous and cancerous changes will be presented, along with marked diagnoses, they will be on glass plates, which will be covered with a biofilm of the E. Coli bacteria, which over time, with the help of excitation with blue LED light and in various culture media, forms a biofilm of amyloid and hydroxyapatite. These are two components that somehow associate with a biofilm that blurs the view of the actual situation, which ossifies or gelatinizes life even further. Amyloid as a protein, which is otherwise produced in the body as a product of a pathological process that usually ends in death, and hydroxyapatite as a product of mussel shells (which is now made by bacteria) and associates the same with ossification and a kind of pillar of salt (the example of Lot’s wife from the Old Testament, who turns into a pillar of salt when she looks back). This biofilm associates with social patterns, with implanted codes of seeing, which are given to us as such and we do not question them, like a single dogma that blurs the view and disrupts the clarity of perception.

I am trying to connect different areas, but they are all interconnected when it comes to the identity of myself and the collective, objective and subjective. One part will indeed be presented as a document – ​​images of smears presented on glass using printing and fusion, and on them a biofilm that is at the same time “alive”, because the formation of bacteria that live in it, and at the same time the substance as it is, prevents a clear view, prevents us from determining and seeing clearly where there is life and where there is an entry into death. As a kind of social disruptor, like scales that allow us to see clearly and “unfreeze” history and emerge from death.

The shape itself is associated with the uterus – latex, dome, kevlar, porcelain, but at the same time it has an opening at the bottom – the cervix, which allows fertilization and recognition (the mirror in the Tollens test) and latex, which is interwoven with a double code – access to the cervix, which allows fertilization or prevents it, and on the other hand prevents infection with the HPV virus, which is a virus that has been proven to cause cervical cancer. The shape is a mixture – a kind of vault through which we perceive infinity and reach beyond it, beyond pain, to life. At the top, the vault is open to the sky and below it could carry spikes, just like in a mousetrap, but now at the top there is a Thz source, which illuminates the panels below and somehow allows recognition of the degree of precancerous and cancerous changes, while at the same time it is reminiscent of a quantum paradox, because in the Thz source we can read things at the same time – depending on how they are displayed – as an image (light) or as sound.

The entrance is possible from below and resembles the cervix, which is the opening where fertilization occurs or where HPV infection and cervical cancer occur. The HPV virus is integrated into the gene, and in these cases the repair mechanisms fail and allow for unhindered cell division, which then leads to cancerous and precancerous changes. Thus, the sign for the origin of life is combined with the sign for its end, and at the same time they meet in a paradox where the infinity of the body or cell means death, while the finitude or the embodiment of infinity into finitude only enables life. The entire installation has peepholes arranged on the surface similar to a microscopic view, which allows a look inside, but allows for distance.

TKANJE SVETLOBE IN ZVOKA

Povezali bi zvočno svetlobno pokrajino, ki je projecirana na kombučino gobo v kateri se dogaja preplet celic mojega imunskega sistema in bakterijske združbe izolirane iz mojih iztrebkov (mikrobna združba je značilna za vsakega posameznika glede na tip prehrane in biološko – imunske povezave – naj bi vplivala na tvorbo celic imunskega sistema). Za tvorbo zvoka bi uporabili teensy mehanizem (ali katerikoli mehanizme, zvočno komponento, ki lahko producira zvok) in se nanj lahko igra in lahko gledalec sovpliva. Za tvorbo svetlobnih podatkov pa kombinacijo logike sumerskih glinenih tablic in Jaccardovega mehanizma tkanja, kar bi uporabili za tkanje svetlobnih vzorcev.

Zvok in svetlobo bi skušala povezovati preko logike, ki so jo uporabili Sumerci, ko so prvič zapisali informacijo na glineno tablico. Slikovni zapis je bil zapis zvoka. Slika znaka na sumerski glineni tablici, je bila slika zvoka, ki ga je reprezentiral (eye + dear – idea). To kar je bilo narisano je bil predmet z določenim zvokom – slikovni znak so uporabili le zaradi zvoka, ki ga je simbol ob izgovorjavi proizvedel. S kombinacijo različno slišajočih slik so Mezopotamci lahko izrazili katerokoli idejo. Informacije shranjene kot simboli na glinenih tablicah kot govorjeni zvoki. Sumerske ploščice so simbolni zapis zvoka, ki ga upodobljeni predmet proizvede.

Uporabili bi naluknjane tablice iz porcelana – kot nekakšna povezava sumerske logike  in s pomočjo Jaccardovega weaving mehanizma  tkali zvok s pomočjo svetlobe v prostoru. 

Jaccard punched cards kar pomeni Jaccardove naluknjane tablice. Jaccard je 1804 izumil mehanizem tkanja, ki je s pomočjo teh kartic omogočal zapise kateregakoli vzorca. Slika – punched card (naluknjane kartice – končana tkanina). S pomočjo kodiranja – luknja ali prazen prostor – lahko predstavi katerokoli slikovno informacijo. Slika – preko luknjane ploščice potem dobimo končno tkanino, mi pa bi s pomočjo slikovnih vzorcev in konverzije preko Thz mehanizma tkali zvok.

Na eni strani zvok, svetloba in uporaba optogenetike  – kjer uporabimo svetlobo in genetsko spremenjene fotoreceptorje, ki regulirajo ekspresijo bakterijskih genov glede na odziv na specifično valovno dolžino svetlobe. Uporabili bi modelni organizem Caenohabditis elegans – približno 1 mm dolg črv, katerega življenska doba je okrog 18 dni. V prebavilih črva bi naselili gensko spremenjeno bakterijo E.coli. Njen metabolizem oziroma metabolizem mikrobne združbe te bakterije pa je povezan z dolgoživostjo gostitelja. Na drugi strani pa se to splete preko zvočnih mehanizmov in (teens zvočil, ki se jih da programirati preko svetlobne kode), ki gre preko naluknjanih porcelanastih pločic, ki so nadomestilo (oz. Jaccardove ploščice narejene iz porcelana) Jaccardovih ploščic skozi dvojno svetlobno zvočno sito na tretje trdno žilje iz porcelana. Nanj je nameščena kombučina goba, kot substrat za gojenje mikrobne združbe iz mojih prebavil, na drugi strani kombučine gobe pa so izolirane celice mojega imunskega sistema. Ta dvojnost se pretaka preko kombučine gobe, kot žilja, kjer se to dvoje srečuje. Vmes pa je vmesnik kjer se tke podatkova baza projicirana iz sovplivanja svetlobe in zvoka dobljenega iz projiciranih podatkov v teraherčnem ali spektru absolutne svetlobe (primarna svetloba – domnevajo, da naj bi sodelovala pri nastanku vesolja). Različni čustveni vzorci so povezani s točno določenimi vzorci fiziološkega odziva. Zgledovali bi se po članku kjer so gledali EEG odziv v možganih v različnih tipov možganskih valov – alfa, beta, gama, theta in delta ob ogledu filmov, ki vzbujajo določna čustva. Ponavadi funkcioniramo v beta stanju zavesti.Te vzorce bi projecirali preko teensy mehanizma in Jaccardovih ploščic – združena informacija pa bi bila na eni strani speljana preko Thz generatorja na kombučino gobo, po drugi strani pa bi bila programirana in spreminjana preko sistema umetne inteligence. Umetna inteligenca nekako poskuša vstopiti v uncertainty – negotovost človeških emocij. Je set pravil, ki nam pomaga doseči neko objektivno funkcijo.  Glede na Shoshano Zuboff surveillance (nadzorni) kapitalizem terja osebno človeško izkušnjo, ki jo fabricira v napoved človekovega vedenja. Osebna človeška izkušnja je terjana kot prosti vir surovega materiala kot napovednika človeškega vedenja. Velika količina bogastva in moči se akumulira v t.i. novih trgih s človeškim vedenjem kjer se prodajajo napovedi o našem vedenju, prav tako je proizvodnja dobrin in storitev podrejena novim sredstvom vedenjskega spreminjanja.

Polje kjer se križata absolutna vidnost in absolutna nevidnost (uporaba metamaterialov – imajo negativni refraktorni index, ki lahko objekt zakrijejo da postane neviden) pokrije cel spekter. Prikazovanje je odvisno od pogleda gledalca, ki pa je le delen subjektiven pogled. Nekako želim prikazati absolutno kontrolo in polje, ki se temu izmika in je polje nedoločenosti, polje svobode, polje izven ideologije, polje neskončnosti.

Uporabili bi čim širši zvočni spekter in cel svetlobni spekter, ki pa gre izven tako svetlobne, kot zvočne lestvice. Materializirana neskončnost, ki pa se nikoli ne zmore materializirati ali prikazati, lahko jo sopostavim kot absolutno dvojnost popolne vidnosti in popolne nevidnosti. Želim prikazati, da gre za frekvenčni nadzor nad celotnim poljem odprtosti in zaprtosti, vidno, slušno polje pa je pogojeno od samega gledalca in družbenega nadzora vidnosti/nevidnosti, ki pa je določeno s trenutno kodo, ki je podlaga tehnologije, ki je trenutno podprta.

Zanima me vpliv lastne percepcije (moje in gledalčeve) na celice imunskega sistema (kako gledamo in zaznavamo barve, objekte v povezavi s kvantno biologijo – pigment rhodopsin – ali pigment  v očesu naj bi deloval po principu kvantne biologije).

To želim povezati z dojemanjem barv, sistemom videnja in zaznavanja in ustvarjanja optične iluzije na celični in telesni  ravni, saj tisto kar je narejeno nevidno ne more biti izmerjeno (možna uporaba metamaterialov  z negativnim refraktivnim indeksom). 

Sistem bi postavili na vmesen prepusten zid iz kombučine gobe – biofilma iz česar bi naredili preplet žil v biofilmu iz kombuče, nanj pa bi dodali tudi oba rastna medija za rast celic imunskega sistema, in pa bakterijske mikrobne združbe. Zid bi se na eni strani bi odpiral proti celicam mojega imunskega sistema, ki bi jih v žile uvedli preko gojišča. Očiščena kombučina goba – biofilm obeta, da bi lahko ustvarili umetne žile, na način da bi s pomočjo plazme združili tkanino in kombučino gobo in tako dobili umetno žilje. Adhezija med tekstilom in bakterijsko celulozo poteka tako, da se tekstil predhodno obdela, nato pa se ga vstavi v medij za rast bakterijske celuloze. Na tekstilu se naredi gladek film na eni strani. Žile iz bakterijske celuloze se dela po kalupu (palica narejena s 3d tiskom ali silikatna ali porcelanasta palička). Ta bi bila v stekleni epruveti potopljena v gojišče z bakterijami, ki producirajo bakterijsko nanocelulozo. Kombučina goba je že sama po sebi elektroprevodna, z dodatkom materialov – grafit,…etc pa bi to prevodnost zvišali. Lahko cel zid regulirali prek električnega kroga (anoda, katoda, da bi lahko celice potovale po žilah, podobno kot delci DNK v gelu za elektroforezo).

Potrebno bi bilo vso stvar zapreti v kar velik boks in skrbeti za vlažnost. Dodan bi bil dovod kisika, ki omogoča rast bakterij, ki tvorijo biofilm.

Na drugi strani pa bi iz mojega blata izolirali mikrobno združbo, ki bi se prek te kombučine gobe povezovala z mojim imunskim sistemom. Obstaja namreč zelo močna povezava med mikrobno združbo prebavil in imunskim sistemom (70 % celic imunskega sistema nastaja v prebavnem traktu. Imunski sistem (kaj zaznavamo kot svoje, kaj kot tuje)  – kako zaznavamo barve (vidimo del barvnega spektra, ki se ne absorbira…podobno kot imunski sistem izloči vse kar ni moje…živo). Na tej ravni skušam povezovati percepcijo sveta z biološkim tkivom, ki vzpostavlja življenje. Iz svojega blata pa bi izolirala mikrobno združbo, tako da bi le temu dodala pufer, stresala, počakala, da se vsebina posede, potem pa iz zgornjega sloja pufra del tekočine nacepila na že prej pripravljena gojišča. Izraslo združbo bi potem lahko gojili tako, da ločimo posamezne kulture in jih gojimo do zadostne celične gostote in jih naknadno združujemo na biofilmu iz kombuče ali pa jih nacepimo direktno. Kulture lahko tudi zamrznemo v glicerolu in tekočem hranilnem gojišču za morebitno večkratno uporabo. To mikrobno združbo bi umetno kontrolirali preko ukazov umetne inteligence (določaš kaj raste, kaj ne..…kodiranje družbenih programov..etc..) v povezavi z lastno percepcijo in percepcijo gledalca, ki bi vplivala na celice imunski sistema na drugi strani. Celice mojega imunskega sistema bi izolirali iz moje krvi po postopku izolacije na ficollu ali pa bi pustili, da se eritrociti posedejo in vzeli vmesni del, kjer so B in T limfociti.

Na koncu gre za prepletanje meje življenje smrt v okviru biopolitike, tehnologije na eni strani in telesa na drugi strani in sistema kaj je znotraj in kaj je zunaj in kdo to določa v povezavi s točko, ki pade izven vseh merljivosti, ideologij, časa in prostora. Uporabili bi Thz generator, saj je Thz polje, kjer se križata svetloba in zvok in je nekako po Hiroki (Hito) Shima frekvenca srca oziroma kjer lahko govorimo o absolutni vidnosti (slišnosti) in nevidnosti hkrati v nasprotju s poljem umetne inteligence, ki bi projicirala sfabricirane podatke o čustvenih odzivih in vriva področje nadzora v polje svobode.

Skica, teensy zvočila – porcelan, Thz vir, kaljeno steklo/pleksi (znotraj kombuča žilje, mikrobna združba mojih prebavil, celice mojega imunskega sistema (zaprt hranilni sistem), Jaccardove naluknjane kartice (porcelan/steklo)/Sketch, teensy sound devices – porcelain, Thz source, tempered glass/plexiglass (inside kombucha vessels, microbial community of my digestive tract, cells of my immune system (closed nutrient system), Jaccard punched cards (porcelain/glass)

WEAVING LIGHT AND SOUND
We would connect a sound light landscape projected onto a kombucha mushroom in which the intertwining of my immune system cells and bacterial communities isolated from my feces occurs (the microbial community is specific to each individual depending on the type of diet and biologically – immune connections – are said to affect the immune system). To create sound, we would use a teensy mechanism (or any mechanism, sound component that can produce sound) and it can be played with and the viewer can interact with it. To create light data, we would use a combination of the logic of Sumerian clay tablets and the Jaccard weaving mechanism, which we would use to weave light patterns.
I would try to connect sound and light through the logic that the Sumerians used when they first wrote information on a clay tablet. The image record was a record of sound. The image of the sign on the Sumerian clay tablet was an image of the sound it represented (eye + dear – idea). What was drawn was an object with a certain sound – the pictorial sign was used only because of the sound that the symbol produced when pronounced. By combining differently audible images, the Mesopotamians could express any idea. Information stored on clay tablets was expressed as symbols on clay tablets – as spoken sounds. Sumerian tablets are a symbolic record of the sound that the depicted object produces.
They would use punched porcelain tablets – as a kind of connection of Sumerian logic and, using the Jaccard weaving mechanism, weave sound with the help of light in space.

Jaccard invented a weaving mechanism in 1804, which allowed the recording of any pattern using these cards. Picture – punched card (punched cards – finished fabric). With the help of coding – a hole or an empty space – it can represent any image information. The image – through the perforated plate we then get the final fabric, and we would weave sound using image patterns and conversion via the Thz mechanism.
Sumerian plates are a symbolic record of the sound that the depicted object produces.

On the one hand, sound, light and the use of optogenetics – where we use light and genetically modified photoreceptors, which regulate the expression of bacterial genes in response to a specific wavelength of light. We would use the model organism Caenohabditis elegans – an approximately 1 mm long worm, whose lifespan is around 18 days. The worm’s digestive tract would be populated with genetically modified E.coli bacteria. Its metabolism or the metabolism of the microbial community of this bacterium is related to the longevity of the host. On the other hand, this is woven through sound mechanisms and (teens sound devices that can be programmed through a light code) that goes through perforated porcelain tiles that are a replacement for (or Jaccard tiles made of porcelain) Jaccard tiles through a double light sound screen to a third solid porcelain vein. On it is placed a kombucha mushroom, as a substrate for growing the microbial community from my digestive tract, and on the other side of the kombucha mushroom are isolated cells of my immune system. This duality flows through the kombucha mushroom, as a vein where these two meet. In between is an interface where a database is woven projected from the interaction of light and sound obtained from projected data in the terahertz or absolute light spectrum (primary light – they assume that it is supposed to participate in the creation of the universe). Different emotional patterns are associated with specific patterns of physiological response. We would be inspired by an article where they looked at the EEG response in the brain in different types of brain waves – alpha, beta, gamma, theta and delta when watching movies that evoke certain emotions. We usually function in a beta state of consciousness. These patterns would be projected through the teensy mechanism and jacquard tiles – and the combined information would be routed through a Thz generator to a kombucha sponge on the one hand, and on the other hand, it would be programmed and changed by an artificial intelligence system. Artificial intelligence somehow tries to enter into uncertainty – the uncertainty of human emotions. It is a set of rules that helps us achieve some objective function. According to Shoshana Zuboff, surveillance capitalism demands personal human experience, which it fabricates into a prediction of human behavior. Personal human experience is demanded as a free source of raw material as a predictor of human behavior, A large amount of wealth and power is accumulated in the so-called. new markets with human behavior where predictions about our behavior are sold, as well as the production of goods and services is subordinated to new means of behavioral change.

The field where absolute visibility and absolute invisibility intersect (the use of metamaterials – they have a negative refractive index, which can obscure an object to make it invisible) covers the entire spectrum. The display depends on the viewer’s view, which is only a partial subjective view. Somehow I want to show absolute control and a field that evades this and is the field of indeterminacy you, the field of freedom, the field beyond ideology, the field of infinity.
We would use the widest possible sound spectrum and the entire light spectrum, which goes beyond both the light and sound scales. Materialized infinity, which can never be materialized or displayed, can be juxtaposed as the absolute duality of complete visibility and complete invisibility. I want to show that it is a matter of frequency control over the entire field of openness and closure, and the visible and auditory field is conditioned by the viewer himself and the social control of visibility/invisibility, which is determined by the current code, which is the basis of the technology that is currently supported.
I am interested in the influence of our own perception (mine and the viewer’s) on the cells of the immune system (how we see and perceive colors, objects in connection with quantum biology – the pigment rhodopsin – or the pigment in the eye is supposed to work according to the principle of quantum biology).
I want to connect this with color perception, the system of vision and perception and the creation of optical illusions at the cellular and bodily level, because what is made invisible cannot be measured (possible use of metamaterials with a negative refractive index).
The system would be placed on an intermediate permeable wall made of kombucha mushroom – biofilm, from which we would make a network of veins in the kombucha biofilm, and we would also add both growth media for the growth of immune system cells, and bacterial microbial communities. On one side, the wall would open towards my immune system cells, which would be introduced into the veins via a culture medium. The purified kombucha mushroom – biofilm promises to be able to create artificial veins, by combining the fabric and kombucha mushroom with the help of plasma, thus obtaining artificial veins. The adhesion between the textile and bacterial cellulose occurs by pre-treating the textile, and then inserting it into the medium for the growth of bacterial cellulose. A smooth film is created on one side of the textile. Bacterial cellulose vessels are made from a mold (a rod made with 3D printing or a silicate or porcelain rod). This would be immersed in a glass tube in a culture medium with bacteria that produce bacterial nanocellulose. The kombucha sponge is electrically conductive by itself, but with the addition of materials – graphite, etc., this conductivity would be increased. The entire wall could be regulated via an electrical circuit (anode, cathode so that cells could travel through the vessels, similar to DNA particles in an electrophoresis gel).
It would be necessary to enclose the whole thing in a fairly large box and take care of the humidity. An oxygen supply would be added, which would enable the growth of bacteria that form the biofilm.
On the other hand, a microbial community would be isolated from my feces, which would connect with my immune system through this kombucha sponge. There is a very strong connection between the microbial community of the gastrointestinal tract and the immune system (70% of the cells of the immune system are produced in the digestive tract. The immune system (what we perceive as our own, what as foreign) – how we perceive colors (we see a part of the color spectrum that is not absorbed…similar to how the immune system eliminates everything that is not mine…alive). At this level, I try to connect the perception of the world with the biological tissue that establishes life. I would isolate a microbial community from my feces by simply adding buffer, shaking, waiting for the contents to settle), then inoculate part of the liquid from the upper layer of buffer onto previously prepared culture media. The grown community could then be cultivated by separating individual cultures and growing them to a sufficient cell density and subsequently combining them on a kombucha biofilm or inoculating them directly. The cultures could also be frozen in glycerol and liquid nutrient medium for possible repeated use. This microbial community would be artificially controlled via artificial intelligence commands (you determine what grows, what does not…coding social programs…etc..) in connection with your own perception and perception the viewer, which would affect the cells of the immune system on the other side. The cells of my immune system would be isolated from my blood by the isolation process on ficoll or we would let the erythrocytes settle and take the intermediate part, where the B and T lymphocytes are.
In the end, it is about the interweaving of the boundary of life and death within the framework of biopolitics, technology on the one hand and the body on the other and the system of what is inside and what is outside and who determines this in connection with a point that falls outside all measurability, ideologies, time and space. We would use a Thz generator, because Thz is the field where light and sound intersect and is somehow, according to Hiroki (Hito) Shima, the frequency of the heart or where we can talk about absolute visibility (audibility) and invisibility at the same time, in contrast to the field of artificial intelligence, which would project fabricated data on emotional responses and intrude the field of control into the field of freedom.

RAZSTAVNA LUKNJA

Izhajam iz slike The Anatomy Lesson of Dr. Nicolaes Tulp, ki sem jo videla na naslovnici knjige Patologija.

Truplo ot izvor neskončnosti, nekaj telesnega, umrljivega deluje  kot izvor svetlobe, kot tista točka, ki jo gledamo izven sebe – analiziramo drugo telo, pa jo ne moremo telesno doseči. Sebe vidimo na mestu odsotnosti telesa. Kako to upodobiti danes? Telo se je včasih dojemalo kot celota, danes pa ga analiziramo parcialno, kako je torej nekaj kar je del neke celote, ki jo ni več prinaša smrt, vendar je še ni tu, je pa znotraj telesa. Ob opazovanju pa je zunaj telesa in del zbirke, del politike,…

Telo razpade na osnovne gradnike, celice, te pa so del zbirke. Nekaj je hkrati smrt, po drugi strani pa svetloba. Obsevanje celic, telesa. Neskončno se lahko uniči le z neskončnim, da postane končno. Smrt je del življenja. Ker če je živo ne more biti mrtvo – je paradoksno. Ker ko se življenje konča ni več živo, če je pa mrtvo je izvor neskončnosti. Ali je lahko končno, ko je končano izvor neskončnosti? Prej pa ne…ali smo oboje hkrati. Poskus obvladovanja življenja in smrti, tako da jih shranjujemo obvarujemo pred koncem v zbirko, le da s tem konec nekoliko odložimo.

Linearnost, kjer lahko pride do vstopa v linearnost kadarkoli…..linearnost v neskončnost in v linearnosti prehodi v neskončnost.

Človek neskončnost, človek zamrznitev,…koda posrednost…Kako živeti v nepravem virtualnem svetu,..telo je pa končno…se neskončnost preseli v virtualno…

Realnost – rezanje – kodiranje – matrika – iskanje zakona – hipoteze, ki jih ureja…

Sistem kjer sta delo in gledalec soočena. Obstaja pa mesto kjer se sistem in gledalec poklopita, nekakšna slepa pega sistema, ki ima povezavo s hipotezo ali idejo, ki določa numerično razporeditev v samem delu, podobno kot v očesu. Gre za predvajanje podob – slepa pega je, kjer ni signala ni prenosa…

Ukvarjam se z razstavno luknjo…med letom 2008 (september) in 2015. V bistvu razstavljam projekt, ki ga ni, je pa sestavljen iz preteklega dela v letu 2008 in bodočega dela v letu 2010. Sedanjost torej sestoji iz spomina na preteklost in upanja, da nedelovanje sedaj, ko je v bistvu stanje na mestu in vzdrževanje stanja ne bo ostalo tako tudi v prihodnje. Vsako stanje je pogojeno z identiteto, ki jo zavzemam v družbi. V letu 2008 sem imela dve razstavi…. Ali je leto 2009 le vmesnik….ki vodi v nadaljne delo,..ali pa s spominom na preteklost in upanjem na prihodnost skušam zapolniti vrzel, ki je sedaj,…….Pozicija v sistemu?

Vzdržujem fiktivno osebo, ki je več ni, ker s tako identiteto kot jo imam sedaj ne morem delovati. Razstavljam,…samo sebe, ki me več ni…sem izginila iz družbene mreže. Zabeležena ostajam samo kot Mojca Lešnjak,… Vse sledi za tem kar je bilo so zabrisane. Vmes med umetnostjo in znanostjo obstaja prazen prostor – indeksacija z obema naenkrat rezultira v izginotju. Sem tisto vmes kar ni definirano. Zasedam prostor izven sistema in ga pokrivam s projekti, ki tudi niso bili v sistemu. Tisto kar ni v sistemu nima vira, ki bi ga ohranjalo pri življenju, ostaja zunaj. Če naredim presek med svojima identitetama ugotovim, da se ena in druga v družbenem polju izključujeta, in da je njun presek nič, ne morem biti oboje hkrati, čeprav sem oboje hkrati in ta praznina ali nepripadnost kateremukoli sistemu je delno posledica sledenja obema identitetama.

Čas med prej in sedaj, jaz prej in sedaj, projekti med prej in sedaj,…kaj je z indeksacijo,…jaz sem bila takrat neindeksirana, obstajala sem kot neka oseba, ki to bo, sedaj pa nima ne časa in prostora, da se uresniči, njena uresničitev temelji na preteklem delu in prihodnjih uresničljivih projektih. Povezana je s statusom kdo si in kako si se umestil. Kje se umestiš v sistemu? Kaj če si že po indeksaciji tak, da nisi umeščen v sistem,…

Raznolikost je samo navidezna, pobrana iz realnega sveta, v bistvu je pa generirana z eno spremenljivko, ki določa vidno, vse ostalo se ne umešča v sistem. Ideologija ali možnost in sobivanje različnosti ni platforma odločanja je samo krinka za drugo podstat, ki se napaja pri drugem viru.

Delo, ki omogoča indeksacijo je postavljeno v neko drugo polje, ki pa se ne prekriva z poljem umetnosti, samo delo v umetnosti pa ne omogoča napajanja iz vira.

Prijavljam časovno obdobje v življenju, ki je hkrati tudi pogoj za udeležbo, ki pa je prazno, v njem ni ničesar, kar bi sodilo v umetniški sistem. Prijavljam tudi osebo, ki je v tem času ni bilo več, ker je drugače označena in pade tako v druge družbene kategorije. Projekt spominja na npr. iskanje po bazi podatkov, kjer če bi vpisali Ime Mojca Založnik, časovno obdobje: ….2009, 2010 bi se izpisalo: ni zadetkov. Projekt postavlja pod vprašanje kriterije izbora za razne razpise, kjer sistem izbire pogojuje način indeksacije projekta in s tem tudi način dela, izbora in identitete. Ne bom več delal to kar želim, ampak nekaj da bom prepoznan, da bom lahko povezan, da bom v mreži, da bom sploh lahko obstajal. Projekt govori o tem, kaj se zgodi, če tega ni,…kaj če se »zgodi “neobstoj…ničelna točka v sistemu,…neke vrste slepa pega”. Slepa pega je v bistvu mesto, kjer vidni živec prenese sporočilo do možganov, da se ti zavedo informacije, Mesto zavesti, je hkrati mesto neobstoja,…mesto niča…skupaj se prekrivata. To je moje mesto, mesto kjer delujem, mesto kjer pride do prekrivanja enega in drugega je mesto, ki ga sistem ne zazna. Ali lahko sistem zazna nekaj kar še ne obstoja, če so kriteriji že vnaprej določeni? Vloga  slepe pege pri opazovanju zunanjega sveta  je v tem, da je sliko sveta brez popačenja nemogoče oblikovati (slepa pega je v tem smislu metafora, vzeta iz fizionomije: slepa pega je točka,  kjer je je optični živec pripet k živčnemu  deblu in kjer zato ni živčinih senzorjev  za oblikovanje vizulane podobe. Podoba, ki jo ustvarijo naši možgani, kljub temu zadovoljivo odseva zunanji svet, saj s slepo pego lahko lepo  zapolnimo z izpeljavami iz celotne slike, čeprav dejansko ne moremo vedet, kaj se dogaja na področju, ki ga slepa pega pokriva. 
Tako pač skušam funkcionirati tudi v umetnosti, ker izhajam ravno iz te točke oziroma obdobja v času, ki je prazno oziroma podobno slepi pegi, zato si potem skonstruiram mesto svojega delovanja na ta način, da vključim svoje pretekle projekte in svoje načrte za prihodnje projekte, da skušam zapolniti to prazno mesto. To mesto je torej nujno konstrukt realnosti. Pogoji razkrivajo mene samo in sistem funkcioniranja umetniškega sistema.

Mesto indeksacije, je hkrati mesto slepote. Mesto kjer ne vidimo. Se pravi, če so kriteriji določeni, je s tem omejena svoboda. Ne morem povedati ničesar drugega, ker je to moje mesto, edino mesto kjer lahko delujem in imam svobodo, ki pa seveda ni umeščena,…vzdržujem ga tako, jo v sebi ohranjam, na zunaj mi drugi določijo potem drugo identiteto, s katero pa se ne identificiram. Vsak sistem ima neko okostje in nekatere parametre, ki ga definirajo.

V povezavi s tem se ukvarjam s sistemom diagnostike raka. Ali se sistem ukvarja sam s sabo? Da sistem ki se ukvarja z diagnostiko in zdravljenjem raka, se ne ukvarja z rakom samim in njegovimi posledicami? Ukvarja se na tehnični ravni, ne pa s samo smrtnostjo kot tako, tisto kar sistem najbolj določa, tisto ni vidno in tudi ni pod vprašajem – sam sistem deluje iz slepe pege – ta slepa pega pa je mesto, ki bi omogočila refleksijo….vendar jo ne more, saj jo zaseda sam subjekt (analitik)…mesto neskončnosti je pokrito z razumsko analizo, kar omogoča neke vrste slepoto, da analiziraš – mrtvo telo, hkrati pa le tega ne dojameš kot mrtvo telo ali del telesa, ampak kot objekt analize. Ko si znotraj samega sebe, samega sebe ne moreš analizirati razen z neke zunanje točke. Kje je torej pozicionirana slepa pega, kjer gre za prenos informacij iz telesnega v zavedanje…tam kjer se to zgodi…kjer se razumsko povezuje s telesnim…ta točka je hkrati točka slepote. Organ videnja omogoča prenos, vendar pot po katerm signal poteka onemogoča zavedanje in videnje samega sebe. Nekdo, ki se ukvarja s smrtjo, se bo s tem ukvarjal le na telesnem, mehanskem nivoju, do zavedanja tega pa ne pride, ker je ravno tam kjer se prenos dogaja to pokrito s samim sabo. Kako simulirati sistem, da se ta točka razkrije? Kako omogočiti gledalcu, da vstopa v ta tok informacij in hkrati ven iz njega…je točka slepe pege hkrati točka življenja in smrti?

EXHIBITION HOLE

I am referring to the painting The Anatomy Lesson of Dr. Nicolaes Tulp, which I saw on the cover of the book Pathology
A corpse from the source of infinity, something corporeal, mortal acts as a source of light, as that point that we look at outside ourselves – we analyze another body, but we cannot physically reach it. We see ourselves in the place of the absence of the body. How to depict this today? The body used to be perceived as a whole, but today we analyze it partially. How is it then something that is part of a whole brings death, but it is not here yet, but it is inside the body. When observed it is outside the body and part of a collection, part of politics,…
The body disintegrates into its basic building blocks – cells, and these are part of a collection. Something is at the same time death, and on the other hand light. The irradiation of cells of the body. The infinite can only be destroyed by the infinite, to become finite. Death is part of life. Because if it is alive it cannot be dead…it is paradoxical. Because when life ends it is no longer alive, but if it is dead it is the source of infinity. Can it be finite when it is finished the source of infinity? Rather not – or are we both at the same time? An attempt to master life and death by storing them away, preserving them from the end in a collection, only by doing so we postpone the end a little.
Linearity, where entry into linearity can occur at any time. Linearity into infinity and in linearity transitions into infinity.
Man – infinity, man – freezing, code – indirectness. How to live in an unreal virtual world – virtual, but the body is finite…than infinite moves into virtual…

Reality – cutting – coding – matrix – searching for law – hypotheses that govern them…

System where the work and the viewer are confronted, but there is a place where the system and the viewer coincide – a kind of blind spot of the system, which has a connection with the hypothesis or an idea that determines the numerical arrangement in the work itself – similar than in the eye. It is about the reproduction of images, a blind spot is where there is no signal, no transmission…

I am dealing with an exhibition gap – between 2008 (September) and 2015. In essence, I am exhibiting a project that does not exist, but it is composed of past work in 2008 and future work in 2010. The present therefore consists of the memory of the past and the hope, that inaction now, when in essence the status quo is in place and maintaining the status quo will not remain so in the future. Every status is conditioned by the identity that I occupy in society. In 2008 I had two exhibitions… Is 2009 just an interface, which leads to further work, or am I trying to fill the gap that is now, position in the system, with the memory of the past and hope for the future.
I am maintaining a fictitious person who no longer exists, because with the identity that I have now, I cannot act. Only myself, who is no longer me…I have disappeared from the social network. ,… All traces of what was are erased. In between art and science there is an empty space – indexing with both results in disappearance at once. I am that in between that which is not defined. I occupy a space outside the system and cover it with projects that were not in the system either. What is not in the system has no source that would keep it alive, it remains outside. If I make an intersection between my two identities, I find that one and the other are mutually exclusive in the social field, and that their intersection is nothing, I cannot be both at the same time, although I am both at the same time and this emptiness or non – belonging to any system is partly a consequence of following both identities.
Time between before and now, me before and now, projects between before and now. What about indexation? I was unindexed then, I existed as a person who will be someone, but now has neither the time nor the space to realize it, its realization is based on past work and future realizable projects. It is connected to the status of who you are and how you have positioned yourself. Where do you position yourself in the system? What if after indexation you are such that you are not positioned in the system.
Diversity is only apparent, picked up from the real world, but in essence it is generated by one variable that determines the visible, everything else is not positioned in the system,…ideology or the possibility and coexistence of diversity is not a platform for decision – making, it is only a cover for another substance that is fed from another source.
The work that enables indexation is placed in some other field, which does not overlap with the field of art, and the work in art itself does not allow feeding from the source.
I am reporting a period of time in my life, which is also a condition for participation, but which is empty, there is nothing in it that would belong to the artistic system. I am also reporting a person who was no longer there at that time, because she is marked differently and thus falls into other social categories. The project is reminiscent of, for example, a search in a database, where if you enter the name Mojca Založnik, time period: ….2009, 2010, it would say: no results. The project questions the selection criteria for various tenders where the system of choice conditions the way the project is indexed and thus also the way of working, choosing and identity. I will no longer do what I want, but something to be recognized, to be connected, to be in the network, to be able to exist at all. The project is about what happens if this is not there, what if “non-existence – a zero point in the system, a kind of blind spot” happens. The blind spot is essentially the place where the optic nerve transmits the message to the brain, so that it becomes aware of the information. The place of consciousness is at the same time the place of non – existence,…the place of nothingness…they overlap together. This is my place, the place where I act, the place where one and the other overlap, the place that the system does not detect. Can the system detect something that does not yet exist, if the criteria are already predetermined? The role of the blind spot in observing the outside world is that it is impossible to form a picture of the world without distortion (in this sense, the blind spot is a metaphor taken from physiognomy: the blind spot is a point where the optic nerve is attached to the nerve trunk and where there are therefore no nerve sensors to form a visual image. The image created by our brains nevertheless reflects the outside world satisfactorily, because we can fill the blind spot nicely with derivations from the entire image, even though we cannot actually know what is happening in the area covered by the blind spot.
This is how I try to function in art, because I start from this point or period in time that is empty or similar to the blind spot, so I then construct the place of my action in such a way that I include my past projects and my plans for future projects, to try to fill this empty place. This place is therefore necessarily a construct of reality. Conditions reveal me only and the system of functioning of the artistic system.

The place of indexation is at the same time a place of blindness. A place where we do not see. That is to say, if the criteria are determined, freedom is thereby limited. I cannot say anything else, because this is my place, the only place where I can act and have freedom, which of course is not placed. I maintain it like this, I preserve it within myself, on the outside others then determine another identity for me, with which I do not identify. Every system has a certain skeleton and certain parameters that define it.

In connection with this, I am dealing with the cancer diagnostic system. Does the system deal with itself? That the system that deals with the diagnosis and treatment of cancer does not deal with cancer itself and its consequences? It deals with it on a technical level, not with mortality as such, what the system determines most is not visible and is not even in question – the system itself operates from a blind spot – and this blind spot is a place that would allow reflection….but it cannot, because it is occupied by the subject (analyst) himself…the place of infinity is covered by intellectual analysis, which allows a kind of blindness, to analyze – a dead body, and at the same time you do not perceive it as a dead body or a part of the body, but as an object of analysis. When you are inside yourself, you cannot analyze yourself except from some external point. So where is the blind spot positioned, where it is about the transfer of information from the physical to awareness…where this happens…where the intellectual connects with the physical…this point is also the point of blindness. The organ of vision enables transmission, but the path along which the signal travels prevents awareness and seeing oneself. Someone who deals with death will deal with it only on a physical, mechanical level, and awareness of this does not occur, because precisely where the transmission occurs, it is covered with itself. How to simulate the system so that this point is revealed? How to enable the viewer to enter this flow of information and at the same time exit it… is the blind spot point at the same time the point of life and death?