Mojca Založnik

1. PRETOK – FLOW – 2006, Galerija Pef, Razstava 1+1 Profesorji in študenti

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

FLOW – 2006, Pef Gallery, Exhibition 1+1 Professors and Students

Work is a some kind of pipe from poliester resin and vine brancehs. It works as a kind of intermediary for bacteria Petri dishes who have been put inside. The petri dishes were autoclaved with plastic in a metal carrier and were accordingly deformed. Plastic sets are somehow an organic carrier for what was a medium for living bacteria cells. Now only glean gel is inside. It is sterile and transformed into organic shapes which are white. They associate on the section of the flow of the river. I wanted to show the state that is in-between the living and the dead or otherwise sterile, cleaned state of the flow, which is in-between, it connects the two states and is a kind of passage.

Reality log/ Environmental scan – 2007 

DELAVNICA IN RAZSTAVA S STEPHANOM DOEPNERJEM, P74 Galerija

Delo je bilo postavljeno v okolje, ki je skeniralo galerijo in je skušalo najti povezavo z zunanjostjo. Za povezavo z zunanjostjo je bilo uporabljeno okno, ki pa je gledalo na dvoriščno stran na način, da ni bilo mogoče pogledati znotraj z zunanje strani. Okno nekako služi kot opisna metafora za pogled proti neskončnosti, kamor se nadaljuje sistem, ki je postavljen na tleh galerije. Vibrio sp. iz Škocjanskega zatoka je gojen na agarju in ločen s steklenimi pregradami v katerih je naraščajoča koncentracija soli. Glavni namen dela je povezati sistem s pogledom gledalca in s pogledom proti neskončnosti. Le tega reprezentira okno galerije kamor je silikonska ovojnica pripeta. Koncentracija soli linearno narašča proti neskončnosti. Vpliva pa na produkcijo in barvo pigmenta prodigisionina, ki ga producira bakterija, ko ima višek hranil. Celoten sistem s soljo, agarjem in bakterijami je bil ovit v silikonski ovoj vezan na plastične nosilce in pritrjen na galerijsko okno. Z ezo (palička, ki je uporabljena za gojenje bakterij) je gledalec lahko s tekočo kulturo  Vibrio sp. v flaški nekaj napisal ali narisal na površino agarja. Na ta način je vplival na notranjost sistema preko odprtin v silikonskem ovoju. Celoten sistem je kombinacija linearnega sistema, ki predstavlja bakterijsko rast. Barva kolonij je odvisna od koncentracije soli – predstavlja linearen sistem, ki je omejen s pogoji v gojišču; ta sistem pa je lahko sovplivan s strani gledalca, pogled in vpliv katerega je bolj naključen, kaotičen, nenadzorovan; tretji pogled pa je pogled proti neskončnosti, ki oba pogleda združuje. Nekaj kar ni vidno (koncentracija soli) pa vpliva na vidno podobo, ki se s časom še spreminja na agarju.

WORKSHOP AND EXHIBITION WITH STEPHAN DOEPNEr, P74 Gallery

Work was set in an environment, which scanned the gallery and tried to find the connection with the outside. For the connection with the outside window was used, which was looking on the exterior with the way that did not allow the views from the outside side. The window acts as a kind of a metaphor for the view toward infinity toward which the system which is set on the floor of the gallery continues.Vibrio sp. from the Škocjan creek is cultivated on agar and divided with glass barriers in which is the ascending concentration of salt. The main purpose of the work is to connect the system with the view of the viewer and with the view toward infinity. This represents the window of the gallery to which the silicon veil is attached. The concentration of salt is linearly reaching infinity. It affects on the production and colour of prodigisionin, which is produced by bacteria when she has a surplus of nutrients. The whole system with salt, agar and bacteria was wrapped in a silicon veil on a plastic sticks and tied on a gallery window. With the era – plastic stick used to transfer bacteria onto a plate the viewer could draw something on the agar surface. The whole system is a combination of a linear system which represents bacterial growth. The colour of the colonies is dependant from the concentration of salt – it represents a linear system which is limited with conditions in the media; this system could then be influenced from the viewer – the view and effect which is more chaotic, influenced by chance, uncontrolled. The third view is a view toward infinity, that combines both views. Something that is not visible (concentration of salt) is effecting the image, which is changing on the agar with time.

3. METAMORFOZE – WHAT IS MY SOUND? V sodelovanju s Tino Dobrajc in Mitom Gegićem

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

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

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

Work was made as a set during the student metamorphoses with the intention to set the work near the bus station. The work is made of three void wooden boxes and two “softer” disks on which pictures from PCR products of 16S rDNK from isolates from bacteria isolated from Ljubljana marsh soil. As a reference i took a filmmaker Petr Kubelka, because the given theme somehow suggested an association on film because of the closeness to cinema. He made films in which we can see an architectural composition and are made up of black and white pictures as a total reduction to a basic element of image record. PCR products look like a black fragment on a white surface (or vice versa dependant from the choice of filter when taking pictures). They are set up on a circumference of a bicycle wheel and coated with epoxy resin. From the wheel 4 plastic stick are sticking out and somehow represent the transfer of nucleotide sequence (here represented as picture) through 4 oligonucleotides (A, T, G, C) into amino acid. In installation these 4 sticks touch the 20 quitter strings, which are set on a circumference of the two of the void boxes. When the viewer puts the wheel in motion it triggers the symbolic transcript into amino acid and makes a sound. The wheel in motion becomes a filmstrip, which turns and makes a moving image.

4. REDČENJE DO IZGINOTJA 2007

Na podstavku so glede na izbiro različnih gojišč postavljene različne mikrotitrske plošče. Vanje sem sterilno nalila štiri tipe gojišč, ki nekako reprezentirajo 4 različna očišča pogleda, saj vsako prikaže le določen del mikrobne združbe, ki na tem gojišču uspe zrasti. Koncentracija hranil približno ustreza tisti, ki jo imajo na voljo bakterije, ki živijo na koži (koncentracija je precej nizka v primerjavi z običajnimi koncentracijami, ki se uporabljajo v laboratoriju). Vzorci so bili odvzeti s kože petim različnim ljudem s štirih delov njihovega telesa, ki so si ga izbrali sami. Vzorci so bili sterilno nanešeni za vsakega posameznika na dve različni gojišči. Dodana je še kontrolna mikrotitrska plošča, ki je nismo inokulirali z nobenim vzorcem, služi pa zato, da vemo, da je sprememba barve ali rasti bakterij ali gliv posledica rasti s kože in ne zunanje okužbe. Vsak vzorec sem nato stopenjsko (diskontinuirano – kot bi črno barvo svetlila do bele, vendar nebi prikazala vmesnih faz) redčila s sterilno fiziološko raztopino, kar bi približno zadostovalo, da se v zadnjih luknjicah (šest po vrsti) ali že prej (odvisno od začetnega števila mikroorganizmov na koži) pojavi sterilnost ali mesto, kjer ni več življenja (rasti) niti razgradnje (smrti). Prisotno je samo prozorno sterilno gojišče, ki je rahlo vlažno. Gre za nekakšno očiščenje.

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

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

Dilution until extinction, Pef

On the white setup are set different microtiter plates which are set according to a use of a view. I poured 4 different types of media, which somehow represent 4 different views of the viewer. Each of the media can show us only a certain part of microbial community, which could grow on this media. The concentration of nutrients is approximately the one which is available to the bacteria which live on the skin (the concentration is sufficiently lower than that that is normally used in a laboratory). The samples were taken from five different people from four parts of their bodies, which they chose themselves. The samples from each individual were sterile transferred to two different media. Also a control microtiter plate was added, which was not inoculated. It serves as a control to know wheather if the change of colour was a consequence of growth from the skin and not outside infection. Each sample was then stepwise (discontinuously as a black collar would be lightened into white, but intermediate phases would not be shown) diluted with sterile physiological solution, which would be sufficient that sterility would appear in the last wholes (six in the row or even earlier dependant on the starting number of microorganisms). This is a place where there is no more life (growth) neither decomposition (death). Only a transparent sterile medium is present, which is slightly humid. We are dealing with a some kind of purification.

I was interested in a place, where physical appearance of life and death disappears, also at teh same time it cannot be interpreted. On the other hand we are having two different views on the same plate. A part of a sample which is applied in the first whole goes toward finitude and passing away. We are dealing with a growth of bacteria (which are in-between life and death, because they decompose death tissue and they put him into life, because they install the decomposed tissue into their cells and with this they contribute to the circularity of substances). Another part is chosen from the side of the subject (subject s part of the body). I am also interested in on the effect of subject on that of what we are viewing (the choice of the view) and the choice of the substrate (a multitude of the different objective views). This enables that the connection of subjective and objective view with the view that is outside the definable (the last whole). Bacteria are observed indirectly through TTC (tetrazolium chloride – a colored marker), which colours the substrate in red when the products of decomposition occur. We are facing our own mortality only indirectly.

If I wanted to interpret Biolog plates from the standpoint of science (a split in viewing and naming) I would process this pictures with a program which draws the trees of relatedness and I would connect this portress between themselves.

5. PLOŠČA / BOARD – 2007

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

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

Luknje so oznake za točno določene bakterije, ki imajo svoje mesto v časovno prostorski skali, vendar pa je ta časovno prostorska skala le en način možnega gledanja oziroma označevanja stvari. Dokument tako spremljanega procesa je graf. Spremljevalna os in legenda točno določita kaj naj bi vizualizirani podatek pomenil. Z odstranitvijo legende in s tem da dejstvo označim kot okroglo, želim pogled odpreti tam, kjer ga znanost fiksira. Vmes med epico (kjer je bakterija – označenec iz te mikrobne združbe) in oznako za to bakterije, se zgodi neke vrste prelom (kuhanje na 100 stopinj označuje smrt oz. prelom).

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

BOARD 2007

On the plate is in the way of the filter transferred a way of stratification of two bacterial communities with the influence that was determined by us and is labeled as an independent variable. Each whole is a mark for one bacterium, which at the same time opens a way toward light. A way of stratification is shown after threee months of the process of growth (in a time – space scale) and stopped at a particular point in time. We are dealing with the moments of of the documentation of the process of life, but not in the way of scientific documentation of the process of life, which would use a graph. Trailing axis and legend determine what the visual data should mean. With the removal of the legend and with that that the fact is marked as round I want to open the view in the place that is fixed in science.

In these wholes the epics with bacteria from this community are then placed. But the way of choice is more arbitrary (more chaotic than the firs way of choice), that is why not all of them are shown and they also do not follow the first way of choice. This bacteria were boiled on the 100 degrees celsius and with that destroyed. In these epicas was then given food (gellan gel and nutrients) and some of them that managed to make viable spore forms grew again in the form of different coloured spheres in the gel.

The wholes are the mark for the exact bacteria, which have their place in the space – time scale. But this scale is only one way of viewing and labelling things. Inbetween the epic and (where is the bacteria from the community – the labeled is) and with the label for the bacteria a kind of break happens (boiling on the 100 degrees Celsius is a kind of death or break).

We are dealing with two realities. After G. Bachelard (1998, 255) the essence appears round. I chose this fine arts element was chosen instead of numerical data that stood in the graph. Because the carrier is perforated is in one way opened to the infinity and on the other side epics stand toward the viewer. The image of plexiglass glass is a model, where the position of the epics is determined with choice of the variable. This is predetermined view. The only variable is now the life itself.

6. ZDRUŽBA/COMMUNITY – 2007

Kosi gline so vstavljeni v podlago, vanje pa je nekako naznačena oblika DNK, ki jo na sliki vidimo kot črn rahlo lobularen fragment. Zapisi na označevalcih (kamnih) za bakterije so dobljeni iz slik PCR produktov 16S rDNK izolacije iz bakterijske združbe. To obliko sem vrezovala v mehko glino. Glinene ploščice spominjajo na nagrobnike. Razporeditev v prostoru je namreč proces rasti mikrobne združbe v času, ki je spremljan v laboratoriju. Kar se je v času zgodilo prej, je sedaj tudi v prostoru spredaj. Ista točka oziroma teden v procesu določa tudi enak nosilec oziroma podlago. Postavitev upošteva diskontinuiranost v času in jo vleče v prostor, vendar tu, če gledalec vidi postavitev s sprednje strani, pride do prekrivanja kamnov – časovno prej, je tudi v prostoru spredaj. Ker bi šlo za postavitev v kvadrat, je prostor tvorjen tako, da so med podlagami, kamor so vstavljeni kamni prazni prostori, kar opisuje način zajemanja – filtriranja resničnosti – in hkrati razlaga način delovanja filtra. Filter je hranilni gel, ki omogoči rast le 1-5 % bakterij iz tal in je na ta način selektiven saj omogoča videnje le enega majhnega dela celote. Ti kamni na podlagah so združeni in postavljeni v  prostor na način, kot sem ga uporabila v laboratoriju in je v bistvu zelo podoben perspektivičnemu gledanju. 

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

COMMUNITY, Celje, The gallery of contemporary art Celje, Hodnik Gallery, Student summer premieres

The pieces of clay are inserted into the base, into them is somehow engraved the shape of the DNA, which can be seen on the picture as a black lobulated fragment. The inscriptions on the white clay rocks for bacteria are somehow made out of pictures from PCR products 16S rRDNA isolates from bacterial community. This shape was engraved in a soft clay. The clay tiles resemble tombstones. The set up in space is the process of growth of the microbial community in time which was monitored in laboratory. What happened in time before is now in the front in space. The same point or the week in the process determine the same carrier or base. The set up somehow considers the discontinuity in time and is somehow dragged into space. But now what happened in time earlier is somehow also in space in front. If there would be a set up in a square the space is formed in a way that between the bases are empty spaces which describes the way of capturing – filtering reality – and also explains how the filter works. Filter is a nourishing gel, which enables the growth of only 1 – 5 % of the bacteria from the soil and is thus selective because it only enables growth of only small part of the whole. This stones on the base are put together in a way that was used in a laboratory and is somehow very resemblant to a perspective viewing.

But as Detela states (2005, 64) one point of the labeled (stone) can represent more than one point of the labeled view. The contact of the two stones in a view of the viewer, which can represent two different signifiers does not represent necessarily a physical contact of the two subjects in a labeled space. But it is possible that the demarcation line represents also the nonlabeled space, the distance between them (Detela 2005, 64). In this way I get the discontinuity, which is a consequence of time documentation of vertical and horizontal dilution and also the overlap in space which I could not measure.

7. 16s rdnk na steni oziroma pravilnem pravokotnem formatu 2,5 m x 1,5 m x 5 cm je 63 oprimkov oziroma kamnov nepravilnih oblik iz bele gline. na njih je dešifriran zapis 16s r dnk bakterij iz mikrobne združbe tal ljubljanskega barja. material bele gline in zapisa ni naključen. zanima me problematika nastanka življenja. po precej verjetnih teorijah, naj življenje nebi nastalo v prajuhi, saj ta ni omogočala zadostne koncentracije in bližine molekul dnk, ampak na površinah glin. te so zaradi pozitivnega naboja lahko vezale dovolj veliko koncentracijo molekul dnk, ki so potrebne za nastanek življenja. če se izrazim z biblijskim besediščem – “beseda je meso postala” (nastanek življenja) in prah si in v prah se povrneš (smrt). ali drugače, gre za podobno razmerje kot je tisto me jezikom in svetom; vmes je polje, ki je nedoločljivo, prav tako kot je nedoločljivo polje začetka in konca. chartrand (2007, 1) vzporeja pridobivanje znanja z mitom o drevesu spoznanja dobrega in zlega, od katerega naj človk nebi jedel, saj bi drugače spoznal, da je umrljiv. stavek iz geneze primerja s poseganjem v drevo življenja in smrti, ki ga vidi v obliki dnk heliksa. jabes govori, da je beseda stalno reflektirana z ozadjem, z belino, z nepopisanimi robovi. zapisana beseda je narejena iz praznine. potrebuje se prostor praznega, tišina med eno besedo in drugimi, da bi besedo lahko prebrali. zapisanega ne bi mogli prebrati, če ne bi bilo praznega prostora med besedamo in drugimi, da bi besedo lahko prebrali. prazni prostor med besedami in okrušek tišine omogoči, da izgovorjeno slišimo (jabes 1995). povezani smo z belim znakovne beline in črno znaka postane berljivo na njenem najbolj belem mestu (jabes 1993). njegove misli, je drugače potrebno umestiti v širši kontekst razumevanja sveta, katerega poglavitne enote so bog, knjiga, puščava in beseda. pomembna je njegova dialektika zapisanega in odsotnega, označenega in praznin, črke in beline (strehovec 2003, 201). sama postavitev kamnov ali fragmentov v format je določena s programom clustal x. glede na dobljeno zaporedje , ki smo ga dešifrirali, je bila določena identitea same bakterije, ki smo jo osamili. identiteta se določa tako, da se dobljeno zaporedje primerja z bazo zaporedij vseh že dosedaj identificiranih bakterij in glede na odstotek sorodnosti z določeno že znano vrsto še neidentificirane bakterije. na samem oprimku je tako zapis, preko katerega smo to bakterijo prepoznali (v obliki jezika molekule dnk, ki je sestavljena iz 4 črk: a,t, g, c) in njeno ime. povezava med izvorom in oznako za bakterijo je vzpostavljena preko neposrednega vpisa oznake za bakterijo in fragmenta dnk, preko katerega smo ugotovili identiteto te bakterije. čeprav je potrebno omeniti, da je ta dešifriran fragment po baudrilardu v bistvu simulaker, saj je dešifriranje izvedeno na nakopiranem fragmentu, ne poznamo pa več originalne dnk. povezavo med temi fragmenti določa sistem filogenetskega drevesa (drevo, ki določa izvor, tudi dolžine črt, narejenih z oglejm ustrzajo razcepu v zgodovini). povezav nisem skrila, ampak razkrila, skrita je v bistvu cela računalniška baza. neznana zapis se namreč vzpoeja z že znanimi podatki v bazi in določi njihovo mesto glede na to kar že poznamo. pra v tako določi njihov izvor in povezave. edina nedoločena spremenljivka je meja med življenjem in smrtjo.

16S rDNK On the wall or the rectangle wall size 2,5 m x 1,5 m x 5 cm there is a 63 holds or stones of irregular shape from white clay. On them is a transcript of 16S rDNK of bacteria from microbial community from Ljubljana marsh soil. The material of white clay is not coincidental. I am interested in the problematic of emergence of life. From the very probable theories life did not emerge from primordial soup, because it didn’t enable sufficient concentration and closeness of molecules of DNA but on the surfaces of clay. They are positively charged and they could bound sufficient concentration of DNA molecules which are needed for life to emerge. If I express myself with biblical thermes “the word became flesh” (the emergence of life) and you are dust and to dust you will return. Or otherwise said we are dealing with the similar relationship than that between the language and the world; in-between is a space which is undetermined, also the filed of beginning and the end is undetermined. Chartrand (2007, 1) somehow relates the retrieving of the knowledge with the myth of the tree of knowledge of knowing good and evil from which the man should not eat bacuse he will see he is mortal. The compares the sentence from genesis with the interference into the tree of life and death, which he sees in the shape of DNK helix. James says that the word is constantly reflected with the background, the whiteness, with unsigned borders. The written word is made from from emptiness. It needs the space of emptiness, the silence between one word and another so that the word could be read. The written word could not be read if there would not be an empty space between one word and another so that the written word could be read. The empty spaces between the words and the crumb of silence enables that the spoken can be heard (James, 1995). We are connected with the white of characters in the black of the signifier becomes readable on their most white space (Jabes , 1993). His thoughts must somehow be placed in the wider context of understanding the world, whose main words are God, book, desert and the word. His dialectic of the written and absent, the signified and empty spaces, the word and the whiteness is important (Strehovec 2003, 201). The whole set up of stones or the fragments into the format is determined with the program Clustal X. According to a given sequence which was transcribed the identity of the isolated bacteria was determined. Identity is determined in a way that the given sequence is compared with the base of already determined base of of sequences of the already identified bacteria and according to the percentage of relatedness with the certain already known species. On the white hold is the sequence through which the bacteria was identified (in the language of the molecule DNK, which is composed of the 4 letters A,T,G,C) and her name. The connection between the origin and label of bacteria is made through a direct transcription of the label for bacteria and the DNA through which the identity was established.

It must me said that this transcribed fragment is a simulacrum (after Baudrillard), because the transcription is done on the already copied fragment, we do not know the original DNK. The connection between these fragments is made through a system of phylogenetic tree (the tree that determines the origin, also the longitude of lines somehow determine the split in history). The connections were not hidden, but revealed, hidden is the whole computer base. The unknown record is paralleled with the already known data from the computer base and his position is deterimined according to what we already know. Also the origin and the connections are determined. The only undetermined variable is the border between life and death.

8.DREVO RAZGRADNJE (2008)

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

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

v znanosti na predmet, zato organski deli nekako spominjajo na telo. Ti profili (rdeče nepravilne pike) se nekako pogrezajo v meso – glino in določajo njegovo lego. Razporeditev teh delov je bila izračunana v programu SPSS z metodo hierarhičnega združevanja v gruče (združevanje) in z Jaccardovim koeficientom.100 Podatki, vneseni z branjem s slik, posnetih ob določenem času ob koncu procesa in še ne

digitalizirana. Torej digitalni sloj – prej omenjena matrika, določa položaj vizualnega – in to je posnetek zaustavitve procesa, ki je že tako izločen iz svojega okolja in ga vidimo le posredno – rdeča barva pomeni, da je prišlo do okvare. določenega hranila in s tem rast. Ker gre za profile bakterijske razgradnje (bakterije delujejo kot razgrajevalci, so nekako med življenjem in smrtjo), razporeditev organskih delov na krožniku še dodatno poudari razpad posameznega subjekta in se sprašuje o njegovem izvoru. Znanost namreč izbira del realnosti, ki ga bo preučevala; in analizira z več različnih vidikov ta delni pogled – delni pogled je v tem primeru iskanje fizioloških potencialov101 različnih bakterijskih skupnosti, medtem ko iščemo, kje se ti pogledi srečajo. Vrednost ali postavitev teh slik, dosežena s pridobivanjem dobljenih informacij – v našem primeru so prehranski profili bakterij iz različnih neznanih časov zaostanka opisani v skladu z znanimi merili in standardiziranimi testi102 ter tem bakterijam pripisuje vse iste kategorije različnih lastnosti, ki jih nato omogočajo razvrščanje teh osebkov v določen vrstni red in primerjavo različnih asociacij glede na izbrano spremenljivko. Razvrščanje in umeščanje se izvaja po standardih oziroma bazah podatkov, ki služijo kot referenčni okvir. Ko je ta del končan, te slike ne potrebujejo več, pomembni so le podatki, ki se nato interpretirajo v skladu s predhodno postavljeno hipotezo. Gledalec bo torej soočen s podobami, ki so nekako model ali filtrirna realnost, ki nastane z neposrednim preslikavanjem bioloških podob v glinene plošče. Slike se nato v prostoru razporedijo glede na že interpretirane same sebe.

THE TREE OF DECOMPOSITION (2008), Medusa Gallery Piran

dimensions 1,5 m x 1,5 m x 1 m

The work tries to find the border between the artificial and the natural. The red glassy dots are taken from the end of the process of the decomposition of the nutrients that were made by bacteria. This nutrient profiles are somehow the base for binary matrix. From the matrix the dendrogram was calculated (the tree that is two-dimensional). The branches determine the distance of subjects from one another and from the source. The distance of one organic shape is determined numerically, the ceramic slabs somehow show the roots – the origin. That is why I was asking what kind of effect this has on our view on nature. The results were deterimned on the micrometer plate with 96 wholes – the test is standardised and is named BIOLOGEcoplate.

The organic parts somehow resemble the body. This profiles (the red irregular dots) somehow sink into flesh – clay and determine its position. The position of these parts was calculated in the SPSS program with the method of hierarchical clustering with Jaccard coefficient. The data that were inserted from the reading of pictures taken at the certain time at the end of the process and was not yet digitalised. So the digital slice – the beformentioned matrix determines the position of the visual. This is the recording of the end of the process which is already taken from its environment and can be seen only indirectly. The red colour means that it came to the decomposition of certain substance and with that we determine growth. Because we are dealing with bacterial profiles of decomposition (bacteria act as a decomposers of and are somehow between life and death). The set up of organic shapes on the plate only enhances the decomposition of the certain subject and is asking about its origin. Science selects the part of reality which is studied and analyses from many aspects this partial view – the partial view in this case is looking for physiological potential of different bacterial communities, while we are looking where these views meet. The value or the set up of these pictures is made with the retrieving of the given information – in our case these are the nutritional profiles from different retardation times (time the bacteria needs to grow on the plate) determined with the already known measures and standardised tests and the bacteria are then attributed different different categories of different characteristics according to a given variable. The sorting and the placement is done after the standards or the bases of facts, which act as a referential frame. When this part is over these pictures are no longer needed, only the data are important, which are then interpreted in accordance with the before given hypothesis. The viewer is then faced with images, which are somehow the model or the filter of reality, which is done with the direct inscription of biological images into clay tablets. The images are then placed in space according to the already interpreted selves.

9. MEJNI SISTEM 2008

– dimenzije 2,5m x 1m x 75 cm – večja škatla

– 1,8mx1mx75cm – druga večja škatla

– 0,75cm x 80cm x 30cm – 4manjše škatle

– Študija in grafi izdelani na podlagi podatkov, ki so služili kot podlaga za opravljeno delo.

– Kako vstopimo v smrt – kot to dokončno možnost? V gledalčevi percepciji predstavljam čas zaostanka, (retardacijski čas), vendar za prihodnost, kot čas, ki ga človek potrebuje, da izgine. Ujemanje med pogledi – statistična mera za ujemanje med opazovalci) Povezujem ga s časom retardacije sevov mikrobne skupnosti (čas, ki ga bakterijski sev potrebuje, da se pojavi na plošči), da ocenim čas, ki ga ima posameznik, da izgine (to je čas, specifičen za subjekt). Temelji na ideji, da se življenje pojavi podobno kot izgine.

– Postavitev spominja na miselni eksperiment z mačko, ki ga je predlagal Erwin Schröedinger.

– Meritev je tista, ki povzroči, da je objekt omejen na eno samo možnost. Iz stanja

sočasnih možnih stanj (superpozicija) dobimo eno – in hkrati postavimo sistem. Znotraj tega že merjenega sistema sem izbrala pot, ki bo ustrezala temu sistemu (objekt bo postavljen tam, kjer je bil izmerjen, hkrati pa želim na tej točki iskati nedoločenost.

Želim obratno – že vgrajeni sistem postaviti v nedoločeno stanje, omogočiti možnost simultanosti, ki pa je mogoča le z vstopom gledalca (subjekta opazovanja v škatlo). Postavitev je kot nekakšeno očišče, skozi katerega gledamo svet, ki nam je sicer neviden in zato potrebujemo podaljške. Gojišče, čas gojenja in redčenje predstavljajo več očišč, s katerimi želimo zajeti mikrobno pestrost v tleh. A ker v znanosti stremimo k objektivnosti in k temu, da se čim bolj izključujemo, sem s to postavitvijo skušala poseči prav v to vrzel. Gledalca želim postaviti v situacijo, ko fizično vstopi v to matrico – uleže se v škatlo. Na petrijevke sevov, iz katerih smo uspešno pomnožili DNK, sem namestila leče, kar pomeni, da smo znotraj danega očišča vnesli še eno novo, ki nam omogoča vpogled v genetsko strukturo organizma. Ko gledalec vstopi v škatlo, je znotraj minevajočega časa – je linearen in razdrobljen, vendar postavljen v trenutek, kjer je skoncentrirana linearnost.

– Izmerjeni sistem in negotovost. Osnova, ki določa združevanje, je hipoteza, 96 ki je v znanosti preverjena. Primer spremljanja nenehnega procesa rasti, ki vodi do same manipulacije življenja v laboratoriju. Določanje kraja ali tedna, v katerem se je pojavila določena bakterija, je umetno in je v enem tednu; razmik med skupinami bolj kaže na to, kako znanost interpretira realnost, to interpretacijo pa nato prenese v prostor. Delo deluje s stališča linearne perspektive (ki poudarja neenakomernost percepcije v znanosti).

– Znanost označi snov kot številko ali kot točko in statistično ovrednoti verjetnost, da snov sama ustreza tej vrednosti. Konstrukcija prozornih škatel služi prilagajanju merjenih elementov lastnim izmerjenim vrednostim (v tem primeru deformacije, ki so všite v isto konstrukcijo, določajo enak čas izolacije). Vstop v prozorno škatlo podvoji že opravljeno konzerviranje v namen ohranitve bakterij (varjenje v PVC folijo) in zavedanje, da vstop v sistem nekako paralizira, ustavi, ubije, hkrati pa prepreči gnitje, a tudi rast.

THE BORDER SYSTEM, Pef Gallery, Graduate exhibition, 2008

• dimensions 2,5 m x 1m x 75cm – bigger box
• 1,8 m x 1m x 75 cm – another bigger box
• 0,75cm x 80 cm x 30 cm – 4 smaller boxes
• The study and graphs made on the basis of data, that served to set the boxes into space. How do we enter into death – as a last determined possibility? In viewers perception I am representing retardation time (a time needed for bacteria to appear on the plate), but for the future as time a man needs to disappear. I am connecting it with the time of retardation of microbial community so that I can somehow evaluate time that an individual has to disappear (it a time specific for a subject). It is based on the idea that the appearance of life is somehow similar to the disappearance of life – it is undetermined. The set up is similar to the thought experiment of Erwin Schroedinger. The measurement is the one that causes that the object is limited to one possibility. From the state of many possible states we get one – and at the same time we set the system. Inside this already measured system I chose a way which would fit this system (the object would be set up there where it was measured, but at the same time I want to seek indeterminacy in the exact same point.) I want to do the opposite – to set up the already measured system in an undetermined state and to enable the possibility of simultaneity, which is only possible with the entrance of the viewer (the subject enters the box). The set up is somehow like a viewing point through which we view the world which is at the same time for us invisible and for what we need expansions. The culturing medium, time of cultivation and dilution represent many viewing points with which we want to achieve the microbial diversity in soil. But in science we want to achieve objectivity and to that that we exclude ourselves as much as possible I tried to set the viewer into this gap. I want to set the viewer into the situation that he physically enters into the matrix – he lies down in the box. O the Petri dishes of strains from which we successfully multiplied DNA I set up the lenses which means that inside the already given viewing point another was put in. This one enables us to enter the genetical structure of the organism. When the viewer is set into the box he is inside of the passing time – he is linear and fragmented, but he is set up in a moment where there is concentrated but set up in moment where linearity is concentrated – the measured system and uncertainty. The basis which determines the association is a hypothesis which is science is verified. The example of the continuous process of growth which leads to the manipulation to a life in a laboratory. The determination of a space and time in which one bacteria grew is artificial and is in one week. The distance between the groups shows more how science interprets reality, this interpretation is then taken into space. The work works from linear perspective. Science labels matter as a number or as a point and statistically values the probability that the same matter suits the measured value. The construction of transparent boxes serves as seting up of measured elements to the own measured values (in this case the deformation which are vowen into the same construction, they determine the time of isolation). The entrance into the transparent box doubles the already preserved bacteria (welding into PVC foil) to somehow see that entrance into the system somehow paralyses, stops, kills, but at the same time disables rotting, but also growth.