{"id":8,"date":"2025-03-30T09:20:03","date_gmt":"2025-03-30T09:20:03","guid":{"rendered":"https:\/\/mojcazaloznik.com\/?page_id=8"},"modified":"2025-08-30T19:47:29","modified_gmt":"2025-08-30T19:47:29","slug":"my-account","status":"publish","type":"page","link":"https:\/\/mojcazaloznik.com\/?page_id=8","title":{"rendered":"Prihodnji projekti\/Future projects"},"content":{"rendered":"

AMILOID HIDROKSIAPATIT<\/p>

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Skica postavitve z dvema steklenima obro\u010dema, robotsko roko in BCI (Brain computer interface)\/Sketch of the setup with two glass rings, a robotic arm and a BCI (Brain computer interface).<\/p>

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Robotska roka\/Robotic arm<\/p>

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BCI – Brain computer interface (vmesnik med mo\u017egani in ra\u010dunalnikom)\/BCI – (brain computer interface)<\/p>

Glavna referenca za postavitev je osnovana na merjenih podatkih iz \u010dlanka 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 izlo\u010danje in tvorba ekstracelularnega matriksa lahko kontrolirana s svetlobo in na ta na\u010din lahko vplivamo na tvorjenje biofilma v prostoru in \u010dasu na na\u010din, da omogo\u010da naknadno tvorbo kompozitov.<\/p>

Za\u010deli so s testiranjem indukcije kontrole biofilma s pomo\u010djo projektorja modre svetlobe, ki je projiciral barvne vzorce prirejene v programu za obdelavo slik. Projiciramo ga na teko\u010de bakterijske kulture v polistirenskih (PS) petrijevkah. Barvanje je nakazalo, da je projiciran vzorec svetlobe pravilno reprezentiran kot bakterijski biofilmi, ki rastejo v vzorcih. Preko no\u010di je bil medij kulture biofilma nadome\u0161\u010den s 1,5 x SBF (simulated body fluid) za naknadno mineralizacijo z hidroksiapatitom. Po 7 dnevni mineralizaciji so generirani kompoziti ohranili originalni vzorec. Detajlna morfolo\u0161ka karakterizacija s scanning elektronskim mikroskopom je nakazala da so povr\u0161ine vzor\u010dastih biofilmov prekrite z letvam podobni mineralizirani HA (hidroksi apatit) strukturi. <\/p>

Kot referenco sem vzela \u0161tiri intenzitete svetlobe, ki smo jih izbrali glede na referenco v Wang in sod. (2021). Uporabila bom dva razli\u010dna pogleda. Enega, kjer so vse \u0161tiri spremenljivke skupaj. Nosi jih kro\u017ena oblika, ki je reprezentirana in projecirana preko teraher\u010dnega vira, ki je name\u0161\u010den nad manj\u0161o kro\u017eno obliko v steklenem obro\u010du. V manj\u0161i postavitvi so svetlobni vzorci pretvorjeni v zvok, ki ga lahko gledalec do\u017eivi. Gledalcu ho\u010dem omogo\u010diti, da do\u017eivi izku\u0161njo zvoka in svetlobe skupaj, saj se lahko pretvarjata eden v drugega v obmo\u010dju teraher\u010dnega valovanja. Prej sinteti\u010dni pogled bo razdeljen na \u0161tiri razli\u010dne lastnosti (presevnosti svetlobe) in bo \u0161e vedno povezan z eno, ki dolo\u010da hipotezo v katerega so ti deli potopljeni, sedaj pa bodo odprti k gledalcu in k neskon\u010dnosti.<\/p>

Uporabila bom\u00a0steklen obro\u010d,\u00a0ki omogo\u010da delno prepusten pogled na rast bakterijskega biofilma, hkrati pa omogo\u010da usmerjanje Led lu\u010di na bakterije,\u00a0\u00a0ki 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 \u017earnice omogo\u010dajo rast biofilma v obliki vzorca. Na drugi strani pa je ta vzorec projeciran kot senca. Na drugi strani steklenega obro\u010da pa bo gledalec lahko do\u017eivel svetlobne vzorce in razli\u010dne debeline biofilma kot zvok. Prav tako bo mo\u017eno vplivati na zvok preko pretvorbe s teraher\u010dno frekvenco, ki bo prav tako vplivala na zvok, kar bo mogo\u010de videti kot majhne spremembe v projeciranih vzorcih svetlobe.\u00a0<\/p>

Izdelujemo konstrukcijo \u017eivega biofilma. Izolacija bakterij iz okolja ustvari pogoje za konstrukcijo. Rada bi, da gledalec zazna, da izolacija organizmov iz okolja omogo\u010di konstruiran pogled na svet – nekak\u0161en umeten pogled na organizem. Na eni strani je nesmrten, na drugi strani pa izmerjen, vpisan v \u010das. Izolacija po eni strani pomeni smrt, ker ni ve\u010d \u017eive\u010d v okolju. \u010ce se organizem izvzame iz okolja je nekako kastriran, saj ni ve\u010d povezan s svojim izvornim okoljem. Rada bi, da gledalec omogo\u010di povezavo med \u017eivljenjem in rastjo, saj so bakterije sedaj postavljene znotraj biofilma, ki je zmo\u017een rasti in mineralizacije (preko hidroksi apatita). Tako lahko tvori strukture, ki so na eni strani \u017eive na drugi strani pa trdne in stabilne. Prav tako sku\u0161am ohraniti znanstveno potrjena dejstva Wanga in sod. (2021) in uporabiti te podatke, ki so vertikalno povezani z neskon\u010dnostjo preko Thz pretvornika, ki omogo\u010da povezavo svetlobe in zvoka in horizontalno pove\u017ee 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 vpra\u0161anje kje se rast in dekompozicija sklopita in kje se pove\u017eeta z neskon\u010dnostjo. Kdo ima nadzor nad to to\u010dko, ki ne more biti definirana in je lahko eno ali drugo? Je to\u010dka mo\u017enosti, da si lahko eno ali drugo (kvantna superpozicija – telo je umrljivo in neumrljivo hkrati). \u010ce je ta to\u010dka definirana lahko govorimo samo o prehodnosti, totalni definiranosti in dokumentaciji. Ideja gre do osnovne plo\u0161\u010de pre\u017eivetja, reproduktivnosti in povezave z \u017eivljenjem samim. Poka\u017ee nam gradnjo pozicij mo\u010di preko jemanja energije izvora \u017eivljenja, kajti za nadzor nad to to\u010dko moramo nadzirati samo osnovo nastanka \u017eivljenja. Kje je ta energija uporabljena za nastanek novega \u017eivljenja in kje za ohranjanje pozicij mo\u010di? Kaj \u010de ta to\u010dka ni ve\u010d direktna – je izmerjena, kot je to narejeno v znanosti in preko analiti\u010dnega pogleda. Ali je lahko znanstveni pogled ideolo\u0161ki (\u010deprav naj nebi bil povezan z gledalcem)? Glede na Van Fraasna (2008)  meritev ni mimeti\u010dna, ampak postavi organizem v to\u010dno dolo\u010den logi\u010dni prostor.<\/p>

Prav tako dr\u017ei, da je pred meritvijo in dolo\u010ditvijo pozicije objekta ta v vseh mo\u017enih stanjih hkrati (kvantna superpozicija). Instalacija ho\u010de odpreti fiksno mesto do neskon\u010dnosti vseh mo\u017enih stanj in iti izven meritve v Thz regijo, ki to odprtje v neskon\u010dnost in svobodo lahko omogo\u010di. <\/p>

Povezava Snaillovega zakona odboja in odseva  s pogledom gledalca omogo\u010di 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.<\/p>

Fenomeni, ki se zgodijo na meji, kjer odsev in odboj tekmujeta med sabo. Svetloba se odbije \u010de zadane povr\u0161ino pod dovolj nizkim kotom, odseva se pa, \u010de pade na povr\u0161ino pod dovolj visokim kotom. Kaj se zgodi, \u010de se vir svetlobe premakne tako, da se spremeni vpadni kot? To\u010dno kje se en fenomen za\u010dne in drugi kon\u010da? V diagramu naj bo QP enako PR, predpostavimo pa razli\u010dne vrednosti za QPQ’. Naj se Q premakne proti vodni povr\u0161ini \u2013 s tem se pove\u010da kot odboja od pravokotnice. R se\u00a0\u00a0v na\u0161em diagramu pomakne navzgor in proti levi. Vendar opazimo, da je razdalja Q’P vedno ve\u010dja kot R’P. Kaj se zgodi ko Q in Q’ sovpadeta?<\/p>

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Skica: Snaillov zakon\/Skica Snaill’s law<\/p>

Kaj se zgodi, \u010de se vir pomakne \u0161e naprej. Edini odgovor znotraj te teorije je da se svetloba v neki to\u010dki (kriti\u010dni kot) ne ve\u010d odbija ampak popolnoma odseva, in da je to kar se zgodi nenadoma velik skok k razdalji pod povr\u0161ino \u2013 singularnost \u2013 diskontinuiteta v naravi. Mogo\u010de celo kontradikcija v teoriji, ki je sprejeta glede na tradicionalno na\u010delo v \u010dasu ko je Wilebrord Snell postavil ta zakon \u2013 da narava ne dela preskokov.<\/p>

Ali v naravi res obstaja ta enormna diskontinuiteta preskokov? Ta fenomen lahko najdemo na ravni opazovalca \u2013 ki je lahko plavalec ali riba. Vendar pa je ekstrapolacija kaj se zgodi v majhnem neveljavna. To je le to\u010dka kjer model ni ve\u010d veljaven, kjer idealizacija dose\u017ee  svojo omejitev dopustnosti. (Bas van Fraasen \u2013 znanstvena reprezentacija 2008).<\/p>

Rada bi to\u010dko, kjer se odboj in odsev sre\u010data \u2013 sovpadata povezala z vstopom gledalca \u2013 in teorijo meritve \u2013 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 ve\u010dji stekleni obro\u010d. To\u010dka vstopa pogleda je povezana s problemom meritve in kvantno fiziko, kjer je svetloba hkrati delec in val \u2013 dokler ne pogledamo \u2013 takrat potem odboj in odsev prehajata eden v drugega \u2013 podoba biofilma – video se pretvarja v zvok – svetlobo. <\/p>

Prese\u017eno \u2013 Neskon\u010dno\u00a0\u00a0<\/p>

Podoba \u2013 Odsev<\/p>

Odsev \u2013 Podoba<\/p>

To\u010dka loma, kjer vstopa gledalec (vidno \u2013 nevidno) – Snaillov zakon.<\/p>

Programer dolo\u010di dve formuli eno za svetlobni \u017earek n=1 ki vstopa pod razli\u010dnimi koti od 1 stopinje do 180 stopinj – odvisno koliko je fizi\u010dno mogo\u010de – kaj se zgodi s kotom v steklu – odboj na drugi strani. Izra\u010dunaj za vsak vpadni kot odbojni kot – to potem premika robotska roka.\u00a0Dve robotski roki, ki med seboj komunicirata – ena za odboj, druga za odsev. Tehnologija, ki nam govori o prese\u017enem. Kako sprogramirati roko, da bo kazala na del, ki ni ve\u010d merljiv?<\/p>

Hkrati bi se na panelih ukvarjala z prikazovanjem biofilma na steklenih panelih (znanstvena ilustracija), ki bi slu\u017eili kot podlaga na kateri je steklen obro\u010d, ki slu\u017ei za osnovo ujetja LED lu\u010di, hkrati pa je dovolj prosojen, da omogo\u010di pogled gledalcu. Paneli so dimenzije 30 x 60 – tekta steklo – vanje je vgraviran biofilm, v plasteh pa slike biofilma prene\u0161ene na steklo in \u017egane.<\/p>

BCI\u00a0\u00a0\u2013 video \u2013 predvajanje slik biofilma. Amiloid – snov se doka\u017ee s congo red, hidroksiapatiti pa z barvilom kristal vijoli\u010dno. Obe barvili sta uporabljeni za dokaz, da bakterije res proizvedejo obe substanci. Dvolomnost je lastnost nekaterih prozornih opti\u010dnih materialov, da je lomni koli\u010dnik odvisen od smeri polarizacije \u2013 ki je definirana kot smer elektri\u010dnega polja. Na primer, opazimo ga pri kristalnem kremenu, kalcitu, safirju in rubinu, tudi v nelinearnih kristalnih materialih, kot so LiNbO3<\/sub> (Litijev niobat – ki je uporabljen v zvo\u010dni pinceti), LBO in KTP.<\/span><\/p>

Amiloid je asociacija in dejansko stanje kot plak v mo\u017eganih, srcu, \u017eiv\u010devju, tkivih…Gre za neozdravljivo bolezen, ki povzro\u010da po\u010dasno propadanje tkiva, srca, \u017eiv\u010devja. Bakterije pod vplivom modre svetlobe producirajo amiloid. Modra svetloba deluje kot stikalo, ki re\u010de genu na katerem je zapis za amiloid, naj se prepi\u0161e.<\/p>

Amiloid dojemam kot nekak\u0161en plak v mo\u017eganih, tkivih, srcu, ki po\u010dasi vpliva na propad organizma. Odpove mu srce, pozablja dogodke, ljudi,… Amiloid – netopni beljakovinski sprimki, se kopi\u010dijo v razli\u010dnih tkivih in organih, kar povzro\u010di strukturne in funkcijske motnje.<\/p>

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Amiloid – slika produciranega amiloida bakterije E. coli pod mikroskopom (M. Zalo\u017enik)\/Amyloid – image of amyloid produced by E. coli bacteria under a microscope (M. Zalo\u017enik).<\/p>

Spremenjene bakterije izlo\u010dajo pod vplivom modre svetlobe amiloid, ko pa jih damo v goji\u0161\u010de SBF(simulated body fluid) – pa hidroksi apatit. Nekako izlo\u010dajo dva skupka, ki bi bila druga\u010de smrtna – vsaj amiloid pri \u010dloveku ali pa povzro\u010da hude funkcijske motnje. Hidroksi apatit pa je sestavina \u0161koljk klapavic oziroma njihove lupine. Amiloid je nekak\u0161na te\u017eko razgradljiva snov, mehka, organska, hidroksi apatit pa anorganska. Skupaj tvorita biofilm. Bakterije so ustvarili z namenom, da tvorijo \u017eive kompozite.<\/p>

Gre za asociacijo na umetno reguliranje \u017eivljenja, dobimo pa produkte, ki govorijo o nas samih\u2013 se pravi smo skupek spremenjenih beljakovin in okostenelosti. Oboje ni povezano z \u017eivljenjem.<\/p>

Gre za dva psiholo\u0161ka ekstrema v \u010dloveku – amiloid kot skupek degeneriranih beljakovin, ki motijo na\u0161o percepcijo, \u010dutenje in fiziolo\u0161ko delovanje, hidroksiapatit pa vsaj pri \u0161koljkah klapavicah deluje kot za\u0161\u010dita, oklep, pri nas pa gre za nekak\u0161no okostenelost, zastoj v \u017eivljenju, obstanek na mestu. Pri ljudeh pa je glavna sestavina kosti.\u00a0Patolo\u0161ke kalcifikacije hidroksiapatita najdemo tudi pri tumorju dojk ali pa kalcifikacijah v epifizi.<\/p>

Bakterije so regulirane s svetlobo – s pomo\u010djo svetlobe producirajo snov, ki jo izlo\u010dajo iz svoje celice. Ko na\u0161e telo proizvede to beljakovino, se ta kopi\u010di v na\u0161ih tkivih in po\u010dasi vodi k propadu organizma.<\/p>

Amiloid se barva s kongo rde\u010dim in pri testiranju pod navzkri\u017eno polarizirano svetlobno mikroskopijo kongo rde\u010de obarvana amiloidna obmo\u010dja ka\u017eejo dvolomnost, ki velja za specifi\u010dno zna\u010dilnost amiloidoze.<\/p>

Dvolomnost oziroma birefringence pa je lastnost veliko kristalov, med drugim tudi litijevega niobata \u2013 kristal, ki se uporablja v nelinearni optiki.<\/p>

Dvolom je mogo\u010de opaziti v amiloidnih plakih, kot jih najdemo v mo\u017eganih bolnikov z Alzheimerjevo boleznijo, ko jih obarvamo z barvilom, kot je kongo rde\u010de. Spremenjeni proteini, kot so lahke verige imunoglobulina, se nenormalno kopi\u010dijo med celicami in tvorijo fibrile. Ve\u010d gub teh vlaken se poravna in prevzame beta – nagubano konformacijo lista. Kongo rde\u010de barvilo se vstavi med gube in, \u010de ga opazujemo pod polarizirano svetlobo, povzro\u010di dvolomnost (vir wikipedija).<\/p>

Amiloidoza je bolezen, pri kateri se amiloid (netopni beljakovinski sprimki), ki\u00a0 ga obi\u010dajno ne najdemo v telesu, kopi\u010di v razli\u010dnih tkivih in organih, kar v njih povzro\u010di strukturne in funkcijske motnje. Pri amiloidoznih boleznih lahko amiloide odkrijemo v ledvicah, jetrih, mo\u017eganih in drugih \u010dlove\u0161kih in \u017eivalskih organih. Razvoj nevrodegenerativnih \u010dlove\u0161kih bolezni, kot sta Alzheimerjeva bolezen in Parkinsonova bolezen, naj bi bil posledica kopi\u010denja netopnih amiloidnih plakov v \u017eiv\u010dnem tkivu. Amiloid moti tudi funkcijo ledvic, najdemo ga pri sindromu karpalnega kanala,…<\/p>

Kongo rde\u010de velja za zlati standard, ki se uporablja v veliki ve\u010dini histopatolo\u0161kih laboratorijev za identifikacijo amiloida v tkivih. Pri testiranju pod navzkri\u017eno polarizirano svetlobno mikroskopijo kongo rde\u010de obarvana amiloidna obmo\u010dja ka\u017eejo dvolomnost, ki velja za specifi\u010dno zna\u010dilnost amiloidoze.<\/p>

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, oku\u017ebe kosti, revmatoidni artritis, dru\u017einska sredozemska vro\u010dina (dedna motnja) ali granulomatozni ileitis (vnetje dela \u010drevesja). Tretja oblika je dedna amiloidoza.<\/p>

HIDROKSIAPATIT<\/p>

Hidroksiapatit je prisoten v kosteh in zobeh; kost je sestavljena predvsem iz kristalov HA, vme\u0161anih v kolagenski matriks \u2013 65 do 70 % mase kosti predstavlja HA. Podobno HA predstavlja 70 do 80 % mase dentina in sklenine v zobeh. (vir Wikipedija).<\/p>

To kar umetno ustvarjamo nas omrtvi\u010di in ubije, \u010deprav nam daje navidezno za\u0161\u010dito.<\/p>

Bakterije so tukaj samo v funkciji biolo\u0161ke tovarne – one te produkte izlo\u010dajo, da gradijo funkcionalne kompozite, ki jih lahko opazujemo v razli\u010dnih delih spektra svetlobe. Pod Thz virom – kjer se svetloba in zvok sre\u010data dobimo povi\u0161an signal Thz tam kjer je tvorjen kompozit. Ta signal smo pretvorili v zvok. Slika – video in zvok se lahko preklapljata iz enega v drugega.<\/p>

Dvolomnost nam s pomo\u010djo polarizirane svetlobe ta \u017earek razcepi – se pravi gre pot svetlobe v dve smeri – omogo\u010da to kvantno sprepletenost, ko enkrat vidimo, pa spet ne vidimo; ko gre za \u017eivo materijo\/mrtvo materijo. Ljudje, ki imajo amiloidne plake in kalcifikacije so \u0161e \u017eivi, pa vendar v sebi nosijo potencialno smrtnost.<\/p>

Bakterije so tukaj \u00bbizkori\u0161\u010dane\u00ab kot tovarne, vendar pa znajo oba nam potencialni smrtni substanci uporabiti za to da tvorijo biofilm – oziroma nekak\u0161no bakterijsko mesto oziroma arhitekturo, ki njim omogo\u010da bivanje in izmenjavo snovi.<\/p>

Sev E. coli je bil sproduciran kot testni sev z namenom tvoriti uporabne biokompozite, ki se jih lahko uporablja v razli\u010dne namene.<\/p>

Amiloid lahko beremo kot nekak\u0161no degeneriranost na eni strani in hidroksiapatit kot okostenelost na drugi strani. Oboje se nana\u0161a na prepri\u010danja, ideologije, dru\u017ebo, polariziranost.<\/p>

S celotno postavitvijo \u017eelim 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 \u2013 svetloba Thz kot tista, ki nam prika\u017ee obmo\u010dje kjer je mo\u017ena kvantna sprepletenost \u2013 svetlobe in zvoka \u2013 vsaj bli\u017eamo se temu podro\u010dju in pa vidna svetloba \u2013 kjer se odboj in odsev lahko spreminjata s pogledom gledalca.<\/p>

Pri vidni svetlobi si lahko pomagamo z vmesniki – BCI (Brain computer interface), robotsko roko in Snaillovim zakonom, kjer primerjamo dva razli\u010dna vpadna kota in se prek pogleda gledalca lahko spreminja vpadni kot in bli\u017ea to\u010dki singularnosti.<\/p>

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Skica E. coli biofilm, teraher\u010dni senzor s teraher\u010dnim virom, zvo\u010dna \u010drpalka\/Sketch of E. coli biofilm, terahertz sensor with terahertz source, sonic pump<\/p>

AMILOID – HIDROKSIAPATIT<\/p>

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.<\/p>

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.<\/p>

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.<\/p>

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.<\/p>

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.<\/p>

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.<\/p>

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.<\/p>

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 \u200b\u200bfor 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?<\/p>

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 \u2013 a singularity \u2013 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 \u2013 that nature does not make leaps.<\/p>

Does this enormous discontinuity of leaps really exist in nature? This phenomenon can be found at the level of the observer \u2013 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).<\/p>

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 – \u200b\u200bhere 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 \u2013 until we look \u2013 then the reflection and the reflection pass into each other \u2013 the image of the biofilm – the video is converted into sound – light.<\/p>

Transcendent \u2013 Infinite<\/p>

Image \u2013 Reflection<\/p>

Reflection \u2013 Image<\/p>

Point of refraction, where the viewer enters (visible \u2013 invisible) – Snail’s law.<\/p>

The programmer determines two formulas one for a light beam n=1 that enters at different angles from 1 degree to 180 degrees \u2013 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?<\/p>

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.<\/p>

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<\/sub> (Lithium Niobate – which is used in acoustic tweezers), LBO and KTP.<\/p>

Amyloid is an association and actual condition as a plaque in the brain, heart, nervous system, tissues\u2026 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.<\/p>

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,\u2026 Amyloid – insoluble protein aggregates, accumulate in various tissues and organs, which causes structural and functional disorders.<\/p>

Genetically modified bacteria secrete amyloid under the influence of blue light, but when placed in SBF(simulated body fluid) culture medium \u2013 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.<\/p>

It is an association with artificial regulation of life, but we get products that speak about ourselves \u2013 that is, we are a collection of modified proteins and ossification. Both are not related to life.<\/p>

These are two psychological extremes in humans \u2013 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.<\/p>

Bacteria are regulated by light \u2013 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.<\/p>

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.<\/p>

Birefringence is a property of many crystals, including lithium niobate, a crystal used in nonlinear optics.<\/p>

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).<\/p>

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,\u2026<\/p>

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.<\/p>

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.<\/p>

HYDROXYAPATITE<\/p>

Hydroxyapatite is present in bones and teeth; bone is composed primarily of HA crystals embedded in a collagen matrix \u2013 65 to 70% of bone mass is HA. Similarly, HA accounts for 70 to 80% of dentin and enamel in teeth. (source Wikipedia).<\/p>

What we artificially create numbs and kills us, although it gives us apparent protection.<\/p>

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.<\/p>

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.<\/p>

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.<\/p>

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

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.<\/p>

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 \u2013 of light and sound \u2013 at least we are approaching this area and visible light \u2013 where reflection and reflection can change with the viewer\u2019s gaze.<\/p>

With visible light we can use interfaces \u2013 BCI, robotic arm and Snail\u2019s law, where we compare two different angles of incidence and through the viewer\u2019s gaze the angle of incidence can change and approach the singularity point.<\/p>

ZVO\u010cNO RESNONAN\u010cNA KUPOLA – WGM<\/p>

Soobstoj prepletanja zvoka in svetlobe, ki je vidno v THz spektru in se ka\u017ee skozi vzpostavitev in prekinitev stika z opazovalcem.<\/p>

Konstrukcija lasersko – mikrofluidne komore omogo\u010da vzpostavitev okolja, ki lahko zvok in svetlobo prenese na celi\u010dno raven. V celici se vzpostavi WGM (zvo\u010dno resonan\u010dna kupola<\/strong>). V obmo\u010dju femtosekund – obmo\u010dju 10-15<\/sup>, posku\u0161amo pokriti spekter te dvojnosti\/enosti in hkrati prikazati to kot razcep ter ponovno vzpostaviti ta odnos na eni in nato na drugi strani. THz obmo\u010dje je obmo\u010dje dvojnosti, definirano kot meja med elektri\u010dnim in opti\u010dnim spektrom, kjer se svetloba in zvok lahko prevajata v drugega. Elektroopti\u010dni kristal lahko deluje kot modulator spektra in lahko povzro\u010di dvolomnost (to pomeni, da ima dva razli\u010dna lomna koli\u010dnika) – razdeli \u017earek na dva dela in omogo\u010di prikaz THz spektra.<\/p>

Kako povezati notranjost in zunanjost sveta in celice s pomo\u010djo tehnologije in pogleda\/vida. Da bi dosegli dvojnost svetlobe\/zvoka na celi\u010dni ravni in hkrati omogo\u010dili gledalcu dostop do te superpozicije stanj. \u017delim ujeti povezavo med notranjostjo in zunanjostjo ter jo prikazati skozi obmo\u010dje, kjer se svetloba in zvok prevajata drug v drugega.<\/p>

Kako ujeti trenutek\/dualnost kvantnega stanja superpozicije, \u010de to obmo\u010dje ni zaznavno v vidnem spektru? V kvantno koherentnem vesolju so vsa bitja lokalizirana kot delci\/trdni predmeti in delokalizirana kot kvantne valovne funkcije. WGM (zvo\u010dne resonan\u010dne kupole so izdelane iz porcelana in povezane z gledalcem) z ogledali, ki prena\u0161ajo svetlobo in zvok v celice, gledalec pa lahko z njimi komunicira. Ti WGM bi se razlikovali glede na premer in jakost ter bi omogo\u010dali oddajanje razli\u010dnih frekvenc. Z dotikom, pogledom, elektromagnetnim poljem in vplivanjem na zvok gledalec prena\u0161a svoj signal v celico. Signal, ki ga oddaja celica, se prika\u017ee kot opti\u010dni signal – kot slika v THz obmo\u010dju, ki se zru\u0161i v en ali drug signal, odvisno od pogleda gledalca.<\/p>

Heisenbergovo na\u010delo negotovosti obravnava sistemati\u010dno napako – motnjo kvantnega sistema, ki jo povzro\u010di meritev\/opazovalec\/merilna naprava. Iz Heisenbergovega na\u010dela lahko sklepamo, da kraj\u0161a kot je dol\u017eina laserskega \u017earka, dalj\u0161i je spekter. Heisenberg je pokazal, da komutativni odnos pomeni implicitno negotovost ali v Bohrovem jeziku komplementarnost. Nobene od dveh spremenljivk, ki nista komutativni, ni mogo\u010de hkrati meriti – bolj natan\u010dno kot je ena definirana, manj natan\u010dno lahko dolo\u010dimo drugo. Zato se razli\u010dni deli znotraj spektra izni\u010dijo znotraj nelinearnega kristala. To povzro\u010di dielektri\u010dno polarizacijo, ki generira THz val.<\/p>

Laser bi v celico namestili na tri na\u010dine, opisane v \u010dlanku Humar in sod. (2015). Najprej bi posku\u0161ali ugotoviti lasersko aktivnost v ma\u0161\u010dobnih celicah mene same ali pa bi namesto tega uporabili pra\u0161i\u010dje ma\u0161\u010dobne celice. V naslednjem koraku bi omogo\u010dili okolje za injiciranje rde\u010dega barvila nile red, pome\u0161anega s kapljico ma\u0161\u010dobe, ki deluje kot WGM. Ko vanj posvetimo z laserskim \u017earkom, vzbudi svetlobo specifi\u010dne valovne dol\u017eine, ki je povezana z zna\u010dilnostmi tkiva. Tretji mo\u017een na\u010din je uporaba fluorescentnih kroglic, prevle\u010denih s fluorokromi, ki jih celice absorbirajo, \u010de jih pustimo v kulturi nekaj ur. Zvok bi se pretvoril v svetlobni signal skozi obmo\u010dje, kjer se frekvence zbli\u017eajo, z namenom, da vstopi v obmo\u010dje 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 priklju\u010deni 4 IDT (interdigitalni pretvorniki, prevle\u010deni 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 znotrajceli\u010dna metoda za zdravljenje z zvokom in svetlobo s frekvencami, ki obi\u010dajno ne morejo prenesti v tkivo.<\/p>

Elektromagnetni spekter je funkcija frekvence – na spodnjem koncu lahko \u00bbvidimo\u00ab radio (FM), na vi\u0161jem 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 elektroopti\u010dno vzor\u010denje. V kristal se po\u0161lje opti\u010dni \u017earek \u2013 tako se generira THz val. Nato se sinhronizira z drugim opti\u010dnim \u017earkom. THz obmo\u010dje je obmo\u010dje nelinearnega.<\/p>

THz obmo\u010dje \u2013 podro\u010dje nelinearne optike, za katero je treba uporabiti zelo kratke laserske impulze (femtosekundni impulzni laser), ki se po\u0161ljejo skozi nelinearni kristal (litijev niobat, cinkov telurid \u2013 elektroopti\u010dni material), kar ustvari THz valovanje. Tudi to je nelinearen proces. Cinkov telurid in litijev niobat se pogosto uporabljata za generiranje impulzov teraher\u010dnega sevanja in teraher\u010dnega slikanja, ko je kristal tega materiala izpostavljen impulzu svetlobe visoke intenzivnosti, ki je kraj\u0161i od pikosekunde. To povzro\u010di impulz teraher\u010dne frekvence z nelinearnim opti\u010dnim procesom, ki se imenuje opti\u010dna rektifikacija. Nasprotno pa izpostavljenost kristala cinkovega telurida teraher\u010dnemu sevanju povzro\u010di opti\u010dno dvolomnost (ali dvojno lomljenje – razgradnja svetlobe v dva \u017earka, kot je pre\u010dkanje anizotropnega materiala) in spremembo polarizacije svetlobe, ki prihaja skozenj. Zato deluje kot elektroopti\u010dni detektor. Postane kot kristalna krogla, po drugi strani pa, \u010de THz val ni dostavljen, ni izotropnega u\u010dinka – deluje kot steklo.<\/p>

<\/p>

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Skica, 2 porcelanasta inkubatorja, porcelanasta kupola z manj\u0161imi porcelanastimi kupolami, miza\/Sketch, 2 porcelain incubators, porcelain dome with smaller porcelain domes, table<\/p>

WHISPERING GALLERY MODE<\/p>

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.<\/p>

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<\/sup> 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.<\/p>

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.<\/p>

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.\u00a0<\/p>

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.<\/p>

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.<\/p>

Electromagnetic spectrum is a function of frequency – on the lower end we can \u201csee\u201d 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.<\/p>

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Skica postavitve laserskega sistema\/Sketch of the layout of the laser system<\/p>

HLADILNI STOLP<\/p>

Iz materialov porcelan, kevlar, bakterijski biofilm in lateks bi izdelala konstrukcijo, ki slu\u017ei kot neke vrste muzej za diagnoze \u2013 kot simulacija arhiva brisov z rakavimi in predrakavimi brisi, kjer se \u017eivo dokumentira, arhivira in shranjuje. Bolj v obliki slik in diagnoz, saj je direktno ohranjanje \u017eivega v tem primeru te\u017eavno.\u00a0<\/p>

Je simulacija arhiva brisov materni\u010dnega vratu, je nekak\u0161no skladi\u0161\u010de, ki kopi\u010di in zadr\u017euje pred propadom. Brisi se dejansko jemljejo z vhoda\u00a0\u00a0– materni\u010dnega 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 bla\u017ejih do predrakavih in rakavih sprememb vi\u0161je stopnje. Celotna konstrukcija bi bila iz ve\u010d materialov \u2013\u00a0\u00a0bila bi iz lateksa (ki je material, ki prepre\u010duje oploditev) in moje poro\u010dne obleke, ki ne slu\u017ei ve\u010d svojemu namenu, je le simulacija, spomin na nekaj kar ne obstaja ve\u010d tako v realnosti, kot v dru\u017ebenem kontekstu. Instalacija je kot nekak\u0161no orja\u0161ko skladi\u0161\u010de, nekaj kar omogo\u010da, da \u017eivljenje postane skladi\u0161\u010de za to\u010dke odvzete v \u010dasu. Zanima me kako je kodiran sistem? Sistem, ki je vzpostavljen je dru\u017ebeno in politi\u010dno dolo\u010den. Vse \u017eenske, ki so zajete, so zajete zato, ker obstaja nekaj neko pravilo, nekaj nad, ki pogojuje vzorec.<\/p>

Nekak\u0161na sluzasta pregrada, kjer gledalec vstopa v materni\u010dni vrat kot simulacijo oploditve oziroma v izvor prehoda; vstopa v smrt ali v rojstvo. Ko vstopa v prostore spomina sluzaste pregrade med \u010dasom in ne\u010dasom, med telesom in ni\u010dem, med kodiranimi rezultti in svetlobo, med tkivom in sluzjo.<\/p>

Z instalacijo se spra\u0161ujem kako simulirati povezavo, da bo hkrati oboje. Kje je izvor bole\u010dine – v oddaljenosti od pristnosti. Ko si v ne\u010dasu bole\u010dine ni, ko vstopa\u0161 v \u010das si telo, ki je minljivo in s tem odmiranjem nosi\u0161 bole\u010dino smrti, odmiranja in bivanja. Kako ponazoriti to te\u017eo?\u00a0\u00a0Delo je hkrati objektivno in subjektivno. Znotraj je stolp elipti\u010dne oblike iz ve\u010djih stekelnih plo\u0161\u010d, kjer so s pomo\u010djo postopka fuzije stekla in aplikacije posameznih slik rakavih in predrakavih sprememb predstavljene stopnje od blagih do hudih predrakavih sprememb. Le te plo\u0161\u010de so prekrite z bakterijskim biofilmom bakterije E. coli, ki je bila spremenjena, tako, da tvori biofilm razli\u010dnih debelin odvisno s kak\u0161no svetlobo je osvetljena. Na vrhu tega stolpa je Thz vir (Thz svetloba se lahko uporablja za diagnostiko med rakavimi in predrakavimi spemembami, vendar \u0161e ni uvedena v splo\u0161no prakso). Druga\u010de je to nekak\u0161na izvorna svetloba. Pridobljena pa je s pomo\u010djo Thz generatorja. Stolp iz plo\u0161\u010de rakavih in predrakavih sprememb po obliki in funkciji asociira na obliko hladilnega stopla v \u0160ostanju, ki ga je projektiral moj dedek. Citat navajam zato, ker je to neke vrste dru\u017einska identifikacije – pri gradnji je sodeloval moj dedek, ki je zato izumil obliko stolpa – za kar se potrebuje manj betona, hkrati pa je tudi lep\u0161i in bolj funkcionalen. Da je omogo\u010dil gradnjo stolpa pa je izumil \u0161e neke vrste premi\u010dni opa\u017e, ki je omogo\u010dal la\u017ejo in in funkcionalnej\u0161o 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 \u017eivljenja, za podobno povezanost ali nepovezanost med prej in sedaj. Ne potrebuje\u0161 ve\u010d podstati spodaj, da dr\u017ei tvojo sedanjost ampak samostoji\u0161 na neki \u00bbideji\u00ab znotraj \u010dasa in v tem trenutku. Da gre za hladilni stolp ni naklju\u010dje, saj, saj si znotraj \u010dasa, hkrati pa si zamrznjen v \u010dasu na kar asociira sama funkcija stolpa. Sedaj ne bo \u0161lo za gradnjo ampak za proces, kjer se dogaja ravno obratno. \u017de dokon\u010dan in zamrznjen proces bo prek posega na voljo gledalcu za \u00bbodmrznitev\u00ab. Vstop v nekaj, kar se je \u017ee zgodilo bo mo\u017een tako prek delov nepovezanih s celoto \u2013 kot samostojen del\u010dek v \u010dasu, ali pa prek odprtja vseh odprtin kot celota. Hkrati bo okrog stolpa narejen nekak\u0161en \u0161otor iz tkanine simulacije moje poro\u010dne obleke, kevlarja in porcelanastih plo\u0161\u010d naparjenih s Tollensovim testom, ki tvori zrcalo.\u00a0\u00a0Da lahko vstopa\u0161 v zgodovino potrebuje\u0161 podatke in nek okvir skozi katerega gleda\u0161.\u00a0<\/p>

Stolp kot bli\u017eanje vrhu – izvoru svetlobe, kjer so na dnu te\u017eje diagnoze, proti vrhu pa se dogaja nekak\u0161no zdravljenje – selekcija brisov.<\/p>

Hladilni stolp je del zgodovine, kjer je del zgodovine zamrznjen, del pa preto\u010den in odprt v \u010dasu, kjer s svojim delovanjem \u00bb\u017eivi\u0161\u00ab kot telo. Ko vstopa\u0161 v \u010das si telo, ki je minljivo, hkrati nosi\u0161 tudi bole\u010dino odmiranja, bivanja. Kako ponazoriti to te\u017eo? Da ko se utelesi\u0161 si smrten in s tem nosi\u0161 bole\u010dino minevanja. Kako ponazoriti in zakodirati prisotnost telesa, hkrati pa ho\u010de\u0161 prikazati le njegove lupine, le nekaj kar telo dolo\u010da, ga ume\u0161\u010da in dolo\u010duje. In telo umestiti v dolo\u010dujo\u010de pozicije zbirk, vzorcev, celic, arhivov… Nekaj mojega osebnega povezati s kolektivnim – z zbirko. Brise \u017eensk – predstavljene bodo slike predrakavih in rakavih sprememb hkrati z ozna\u010denimi diagnozami bodo na steklenih plo\u0161\u010dah, te pa bodo prekrite z biofilmom bakterije E. Coli, ki v \u010dasu s pomo\u010djo vzbujanja z modro LED svetlobo in v razli\u010dnih goji\u0161\u010dih tvori biofilm iz amiloida in hidroksi apatita. To sta sestavini, ki nekako asociirata na biofilm, ki zamegljuje pogled na dejansko stanje, ki okosteni ali \u017eelatinizira \u017eivljenje \u0161e dodatno. Amiloid kot beljakovina, ki druga\u010de nastaja v telesu kot produkt patolo\u0161kega procesa, ki se ponavadi kon\u010da s smrtjo in hidroksiapatit kot produkt \u0161kolj klapavic (ki pa ga sedaj dela bakterija) in asociira enako na okostenelost in nekak\u0161en solni steber (primer Lotova \u017eena iz stare zaveze, ki se spremeni v solni steber, ko se ozre nazaj). Ta biofilm asociira na dru\u017ebene 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.<\/p>

Sku\u0161am povezati razli\u010dna podro\u010dja, ki pa se vsa povezujejo, ko gre za identiteto mene in kolektivnega, objektivnega in subjektivnega. En del bo res predstavljen kot dokument \u2013 slike brisov predstavljene na steklu s pomo\u010djo tiska in fuzije, na njih pa biofilm, ki je hkrati \u00bb\u017eiv\u00ab, saj je tvorba bakterij, ki v njem \u017eivijo, hkrati pa snov taka kot je onemogo\u010da jasen pogled, onemogo\u010da dolo\u010diti in videti jasno kje je \u017eivo in kje gre za vstop v smrt. Kot nekak\u0161en dru\u017ebeni motilec, kot luskine, ki nam onemogo\u010dajo videti jasno in \u00bbodmrzniti\u00ab zgodovino in izstopiti iz smrti.<\/p>

Sama oblika asociira tako na maternico – lateks, kupola, kevlar, porcelan, hkrati pa ima spodaj odprtino – materni\u010dni vrat, ki omogo\u010da oploditev in prepoznavo (zrcalo v Tollensovem testu) in lateksa, ki je prepredena z dvojnim kodom \u2013 dostop do materni\u010dnega vratu, ki omogo\u010da oploditev ali pa jo prepre\u010duje, po drugi strani pa prepre\u010duje oku\u017ebo s HPV virusom, ki je virus, ki dokazano povzro\u010da raka materni\u010dnega vratu. Oblika je zmes \u2013 nekak\u0161en svod preko katerega dojemamo neskon\u010dnost in segamo preko nje preko bole\u010dine do \u017eivljenja. Na vrhu je svod odprt v nebo in spodaj bi lahko nosil \u0161pice, tako kot v mi\u0161nici, sedaj pa je na vrhu Thz vir, ki presvetljuje plo\u0161\u010de spodaj in nekako omogo\u010da 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 \u2013 kot podobo (svetlobo) ali kot zvok. <\/p>

Vhod je mogo\u010d spodaj in spominja na mateni\u010dni vrat, ki je odprtina, kjer se zgodi oploditev ali pa pride do oku\u017ebe s HPV virusom in do raka materni\u010dnega vratu. HPV virus se vgradi v gen, pri teh pa potem odpovedo mehanizmi popravljanja in omogo\u010dajo nemoteno deljenje celic, kar potem vodi do rakavih in predrakavih sprememb. Tako je oznaka za nastanek \u017eivljenja zdru\u017eena z oznako za njegov konec, hkrati pa se sre\u010dujeta v paradoksu kjer neskon\u010dnost telesa oziroma celice pomeni smrt, kon\u010dnost oziroma utele\u0161enje neskon\u010dnosti v kon\u010dnost pa \u0161ele omogo\u010da \u017eivljenje. Celotna postavitev ima po povr\u0161ini razporejena kukala podobna mikroskopskemu pogledu, ki omogo\u010da pogled znotraj, vendar omogo\u010da distanco.<\/p>

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Skica Hladilni stolp, kevlar, srebren porcelan, stelkene plo\u0161\u010de (fuzija in sitotisk slik), LED lu\u010di\/Sketch Cooling tower, kevlar, silvered porcelain, glass panels (fusion and screen printing on glass), LED lights<\/p>

COOLING TOWER<\/p>


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 \u2013 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 \u0160ostanj, 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 \u201clive\u201d 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\u2026 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.<\/p>

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 – \u200b\u200bimages of smears presented on glass using printing and fusion, and on them a biofilm that is at the same time \u201calive\u201d, 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 \u201cunfreeze\u201d history and emerge from death.<\/p>

The shape itself is associated with the uterus \u2013 latex, dome, kevlar, porcelain, but at the same time it has an opening at the bottom \u2013 the cervix, which allows fertilization and recognition (the mirror in the Tollens test) and latex, which is interwoven with a double code \u2013 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 \u2013 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 \u2013 depending on how they are displayed – as an image (light) or as sound.<\/p>

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.<\/p>

TKANJE SVETLOBE IN ZVOKA<\/p>

Povezali bi zvo\u010dno svetlobno pokrajino, ki je projecirana na kombu\u010dino gobo v kateri se dogaja preplet celic mojega imunskega sistema in bakterijske zdru\u017ebe izolirane iz mojih iztrebkov (mikrobna zdru\u017eba je zna\u010dilna za vsakega posameznika glede na tip prehrane in biolo\u0161ko – imunske povezave – naj bi vplivala na tvorbo celic imunskega sistema). Za tvorbo zvoka bi uporabili teensy mehanizem (ali katerikoli mehanizme, zvo\u010dno 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.<\/p>

Zvok in svetlobo bi sku\u0161ala povezovati preko logike, ki so jo uporabili Sumerci, ko so prvi\u010d zapisali informacijo na glineno tablico.\u00a0Slikovni 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 dolo\u010denim zvokom – slikovni znak so uporabili le zaradi zvoka, ki ga je simbol ob izgovorjavi proizvedel. S kombinacijo razli\u010dno sli\u0161ajo\u010dih slik so Mezopotamci lahko izrazili katerokoli idejo. Informacije shranjene kot simboli na glinenih tablicah kot govorjeni zvoki. Sumerske plo\u0161\u010dice so simbolni zapis zvoka, ki ga upodobljeni predmet proizvede.<\/p>

Uporabili bi naluknjane\u00a0tablice iz porcelana – kot nekak\u0161na povezava sumerske logike\u00a0 in s pomo\u010djo Jaccardovega weaving mehanizma\u00a0 tkali zvok s pomo\u010djo svetlobe v prostoru.\u00a0<\/p>

Jaccard punched cards kar pomeni Jaccardove naluknjane tablice. Jaccard je 1804 izumil mehanizem tkanja, ki je s pomo\u010djo teh kartic omogo\u010dal zapise kateregakoli vzorca. Slika – punched card (naluknjane kartice – kon\u010dana tkanina). S pomo\u010djo kodiranja – luknja ali prazen prostor – lahko predstavi katerokoli slikovno informacijo. Slika – preko luknjane plo\u0161\u010dice potem dobimo kon\u010dno tkanino, mi pa bi s pomo\u010djo slikovnih vzorcev in konverzije preko Thz mehanizma tkali zvok.<\/p>

Na eni strani zvok, svetloba in uporaba optogenetike\u00a0 – kjer uporabimo svetlobo in genetsko spremenjene fotoreceptorje, ki regulirajo ekspresijo bakterijskih genov glede na odziv na specifi\u010dno valovno dol\u017eino svetlobe. Uporabili bi modelni organizem Caenohabditis elegans – pribli\u017eno 1 mm dolg \u010drv, katerega \u017eivljenska doba je okrog 18 dni. V prebavilih \u010drva bi naselili gensko spremenjeno bakterijo E.coli. Njen metabolizem oziroma metabolizem mikrobne zdru\u017ebe te bakterije pa je povezan z dolgo\u017eivostjo gostitelja. Na drugi strani pa se to splete preko zvo\u010dnih mehanizmov in (teens zvo\u010dil, ki se jih da programirati preko svetlobne kode), ki gre preko naluknjanih porcelanastih plo\u010dic, ki so nadomestilo (oz. Jaccardove plo\u0161\u010dice narejene iz porcelana) Jaccardovih plo\u0161\u010dic skozi dvojno svetlobno zvo\u010dno sito na tretje trdno \u017eilje iz porcelana. Nanj je name\u0161\u010dena kombu\u010dina goba, kot substrat za gojenje mikrobne zdru\u017ebe iz mojih prebavil, na drugi strani kombu\u010dine gobe pa so izolirane celice mojega imunskega sistema. Ta dvojnost se pretaka preko kombu\u010dine gobe, kot \u017eilja, kjer se to dvoje sre\u010duje. Vmes pa je vmesnik kjer se tke podatkova baza projicirana iz sovplivanja svetlobe in zvoka dobljenega iz projiciranih podatkov v teraher\u010dnem ali spektru absolutne svetlobe (primarna svetloba \u2013 domnevajo, da naj bi sodelovala pri nastanku vesolja). Razli\u010dni \u010dustveni vzorci so povezani s to\u010dno dolo\u010denimi vzorci fiziolo\u0161kega odziva. Zgledovali bi se po \u010dlanku kjer so gledali EEG odziv v mo\u017eganih v razli\u010dnih tipov mo\u017eganskih valov – alfa, beta, gama, theta in delta ob ogledu filmov, ki vzbujajo dolo\u010dna \u010dustva. Ponavadi funkcioniramo v beta stanju zavesti.Te vzorce bi projecirali preko teensy mehanizma in Jaccardovih plo\u0161\u010dic – zdru\u017eena informacija pa bi bila na eni strani speljana preko Thz generatorja na kombu\u010dino gobo, po drugi strani pa bi bila programirana in spreminjana preko sistema umetne inteligence. Umetna inteligenca nekako posku\u0161a vstopiti v uncertainty – negotovost \u010dlove\u0161kih emocij. Je set pravil, ki nam pomaga dose\u010di neko objektivno funkcijo.\u00a0 Glede na\u00a0Shoshano Zuboff\u00a0surveillance (nadzorni) kapitalizem terja osebno \u010dlove\u0161ko izku\u0161njo, ki jo fabricira v napoved \u010dlovekovega vedenja. Osebna \u010dlove\u0161ka izku\u0161nja je terjana kot prosti vir surovega materiala kot napovednika \u010dlove\u0161kega vedenja. Velika koli\u010dina bogastva in mo\u010di se akumulira v t.i. novih trgih s \u010dlove\u0161kim vedenjem kjer se prodajajo napovedi o na\u0161em vedenju, prav tako je proizvodnja dobrin in storitev podrejena novim sredstvom vedenjskega spreminjanja.<\/p>

Polje kjer se kri\u017eata 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 \u017eelim prikazati absolutno kontrolo in polje, ki se temu izmika in je polje nedolo\u010denosti, polje svobode, polje izven ideologije, polje neskon\u010dnosti.<\/p>

Uporabili bi \u010dim \u0161ir\u0161i zvo\u010dni spekter in cel svetlobni spekter, ki pa gre izven tako svetlobne, kot zvo\u010dne lestvice. Materializirana neskon\u010dnost, ki pa se nikoli ne zmore materializirati ali prikazati, lahko jo sopostavim kot absolutno dvojnost popolne vidnosti in popolne nevidnosti. \u017delim prikazati, da gre za frekven\u010dni nadzor nad celotnim poljem odprtosti in zaprtosti, vidno, slu\u0161no polje pa je pogojeno od samega gledalca in dru\u017ebenega nadzora vidnosti\/nevidnosti, ki pa je dolo\u010deno s trenutno kodo, ki je podlaga tehnologije, ki je trenutno podprta.<\/p>

Zanima me vpliv lastne percepcije (moje in gledal\u010deve) na celice imunskega sistema (kako gledamo in zaznavamo barve, objekte v povezavi s kvantno biologijo – pigment rhodopsin – ali pigment\u00a0 v o\u010desu naj bi deloval po principu kvantne biologije).<\/p>

To \u017eelim povezati z dojemanjem barv, sistemom videnja in zaznavanja in ustvarjanja opti\u010dne iluzije na celi\u010dni in telesni  ravni, saj tisto kar je narejeno nevidno ne more biti izmerjeno (mo\u017ena uporaba metamaterialov  z negativnim refraktivnim indeksom). <\/p>

Sistem bi postavili na vmesen prepusten zid iz kombu\u010dine gobe – biofilma iz \u010desar bi naredili preplet \u017eil v biofilmu iz kombu\u010de, nanj pa bi dodali tudi oba rastna medija za rast celic imunskega sistema, in pa bakterijske mikrobne zdru\u017ebe. Zid bi se na eni strani bi odpiral proti celicam mojega imunskega sistema, ki bi jih v \u017eile uvedli preko goji\u0161\u010da. O\u010di\u0161\u010dena kombu\u010dina goba – biofilm obeta, da bi lahko ustvarili umetne \u017eile, na na\u010din da bi s pomo\u010djo plazme zdru\u017eili tkanino in kombu\u010dino gobo in tako dobili umetno \u017eilje. 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. \u017dile iz bakterijske celuloze se dela po kalupu (palica narejena s 3d tiskom ali silikatna ali porcelanasta pali\u010dka). Ta bi bila v stekleni epruveti potopljena v goji\u0161\u010de z bakterijami, ki producirajo bakterijsko nanocelulozo. Kombu\u010dina goba je \u017ee sama po sebi elektroprevodna, z dodatkom materialov – grafit,\u2026etc pa bi to prevodnost zvi\u0161ali. Lahko cel zid regulirali prek elektri\u010dnega kroga (anoda, katoda, da bi lahko celice potovale po \u017eilah, podobno kot delci DNK v gelu za elektroforezo).<\/p>

Potrebno bi bilo vso stvar zapreti v kar velik boks in skrbeti za vla\u017enost. Dodan bi bil dovod kisika, ki omogo\u010da rast bakterij, ki tvorijo biofilm.<\/p>

Na drugi strani pa bi iz mojega blata izolirali mikrobno zdru\u017ebo, ki bi se prek te kombu\u010dine gobe povezovala z mojim imunskim sistemom. Obstaja namre\u010d zelo mo\u010dna povezava med mikrobno zdru\u017ebo prebavil in imunskim sistemom (70 % celic imunskega sistema nastaja v prebavnem traktu. Imunski sistem (kaj zaznavamo kot svoje, kaj kot tuje)\u00a0 – kako zaznavamo barve (vidimo del barvnega spektra, ki se ne absorbira…podobno kot imunski sistem izlo\u010di vse kar ni moje…\u017eivo). Na tej ravni sku\u0161am povezovati percepcijo sveta z biolo\u0161kim tkivom, ki vzpostavlja \u017eivljenje. Iz svojega blata pa bi izolirala mikrobno zdru\u017ebo, tako da bi le temu dodala pufer, stresala, po\u010dakala, da se vsebina posede, potem pa iz zgornjega sloja pufra del teko\u010dine nacepila na \u017ee prej pripravljena goji\u0161\u010da. Izraslo zdru\u017ebo bi potem lahko gojili tako, da lo\u010dimo posamezne kulture in jih gojimo do zadostne celi\u010dne gostote in jih naknadno zdru\u017eujemo na biofilmu iz kombu\u010de ali pa jih nacepimo direktno. Kulture lahko tudi zamrznemo v glicerolu in teko\u010dem hranilnem goji\u0161\u010du za morebitno ve\u010dkratno uporabo. To mikrobno zdru\u017ebo bi umetno kontrolirali preko ukazov umetne inteligence (dolo\u010da\u0161 kaj raste, kaj ne..\u2026kodiranje dru\u017ebenih 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.<\/p>

Na koncu gre za prepletanje meje \u017eivljenje 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 dolo\u010da v povezavi s to\u010dko, ki pade izven vseh merljivosti, ideologij, \u010dasa in prostora. Uporabili bi Thz generator, saj je Thz polje, kjer se kri\u017eata svetloba in zvok in je nekako po Hiroki (Hito) Shima frekvenca srca oziroma kjer lahko govorimo o absolutni vidnosti (sli\u0161nosti) in nevidnosti hkrati v nasprotju s poljem umetne inteligence, ki bi projicirala sfabricirane podatke o \u010dustvenih odzivih in vriva podro\u010dje nadzora v polje svobode.<\/p>

\"\"<\/figure>

Skica, teensy zvo\u010dila – porcelan, Thz vir, kaljeno steklo\/pleksi (znotraj kombu\u010da \u017eilje, mikrobna zdru\u017eba 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)<\/p>

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.<\/p>

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.<\/p>

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.<\/p>

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\u2026similar to how the immune system eliminates everything that is not mine\u2026alive). 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\u2026coding social programs\u2026etc..) 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.<\/p>

RAZSTAVNA LUKNJA<\/p>

Izhajam iz slike The Anatomy Lesson of Dr. Nicolaes Tulp<\/em><\/strong>, ki sem jo videla na <\/strong>naslovnici knjige Patologija.<\/p>

Truplo ot izvor neskon\u010dnosti, nekaj telesnega, umrljivega deluje\u00a0\u00a0kot izvor svetlobe, kot tista to\u010dka, ki jo gledamo izven sebe – analiziramo drugo telo, pa jo ne moremo telesno dose\u010di. Sebe vidimo na mestu odsotnosti telesa. Kako to upodobiti danes? Telo se je v\u010dasih dojemalo kot celota, danes pa ga analiziramo parcialno, kako je torej nekaj kar je del neke celote, ki jo ni ve\u010d prina\u0161a smrt, vendar je \u0161e ni tu, je pa znotraj telesa. Ob opazovanju pa je zunaj telesa in del zbirke, del politike,…<\/p>

Telo razpade na osnovne gradnike, celice, te pa so del zbirke. Nekaj je hkrati smrt, po drugi strani pa svetloba. Obsevanje celic, telesa. Neskon\u010dno se lahko uni\u010di le z neskon\u010dnim, da postane kon\u010dno. Smrt je del \u017eivljenja. Ker \u010de je \u017eivo ne more biti mrtvo – je paradoksno. Ker ko se \u017eivljenje kon\u010da ni ve\u010d \u017eivo, \u010de je pa mrtvo je izvor neskon\u010dnosti. Ali je lahko kon\u010dno, ko je kon\u010dano izvor neskon\u010dnosti? Prej pa ne…ali smo oboje hkrati. Poskus obvladovanja \u017eivljenja in smrti, tako da jih shranjujemo obvarujemo pred koncem v zbirko, le da s tem konec nekoliko odlo\u017eimo.<\/p>

Linearnost, kjer lahko pride do vstopa v linearnost kadarkoli…..linearnost v neskon\u010dnost in v linearnosti prehodi v neskon\u010dnost.<\/p>

\u010clovek neskon\u010dnost, \u010dlovek zamrznitev,…koda posrednost…Kako \u017eiveti v nepravem virtualnem svetu,..telo je pa kon\u010dno…se neskon\u010dnost preseli v virtualno…<\/p>

Realnost – rezanje – kodiranje – matrika – iskanje zakona – hipoteze, ki jih ureja…<\/p>

Sistem kjer sta delo in gledalec soo\u010dena. Obstaja pa mesto kjer se sistem in gledalec poklopita, nekak\u0161na slepa pega sistema, ki ima povezavo s hipotezo ali idejo, ki dolo\u010da numeri\u010dno razporeditev v samem delu, podobno kot v o\u010desu. Gre za predvajanje podob – slepa pega je, kjer ni signala ni prenosa…<\/p>

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 bodo\u010dega dela v letu 2010. Sedanjost torej sestoji iz spomina na preteklost in upanja, da nedelovanje sedaj, ko je v bistvu stanje na mestu in vzdr\u017eevanje stanja ne bo ostalo tako tudi v prihodnje. Vsako stanje je pogojeno z identiteto, ki jo zavzemam v dru\u017ebi. 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 sku\u0161am zapolniti vrzel, ki je sedaj,…….Pozicija v sistemu?<\/p>

Vzdr\u017eujem fiktivno osebo, ki je ve\u010d ni, ker s tako identiteto kot jo imam sedaj ne morem delovati. Razstavljam,…samo sebe, ki me ve\u010d ni…sem izginila iz dru\u017ebene mre\u017ee. Zabele\u017eena ostajam samo kot Mojca Le\u0161njak,… 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 \u017eivljenju, ostaja zunaj. \u010ce naredim presek med svojima identitetama ugotovim, da se ena in druga v dru\u017ebenem polju izklju\u010dujeta, in da je njun presek ni\u010d, ne morem biti oboje hkrati, \u010deprav sem oboje hkrati in ta praznina ali nepripadnost kateremukoli sistemu je delno posledica sledenja obema identitetama.<\/p>

\u010cas 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 \u010dasa in prostora, da se uresni\u010di, njena uresni\u010ditev temelji na preteklem delu in prihodnjih uresni\u010dljivih projektih. Povezana je s statusom kdo si in kako si se umestil. Kje se umesti\u0161 v sistemu? Kaj \u010de si \u017ee po indeksaciji tak, da nisi ume\u0161\u010den v sistem,…<\/p>

Raznolikost je samo navidezna, pobrana iz realnega sveta, v bistvu je pa generirana z eno spremenljivko, ki dolo\u010da vidno, vse ostalo se ne ume\u0161\u010da v sistem. Ideologija ali mo\u017enost in sobivanje razli\u010dnosti ni platforma odlo\u010danja je samo krinka za drugo podstat, ki se napaja pri drugem viru.<\/p>

Delo, ki omogo\u010da indeksacijo je postavljeno v neko drugo polje, ki pa se ne prekriva z poljem umetnosti, samo delo v umetnosti pa ne omogo\u010da napajanja iz vira.<\/p>

Prijavljam \u010dasovno obdobje v \u017eivljenju, ki je hkrati tudi pogoj za udele\u017ebo, ki pa je prazno, v njem ni ni\u010desar, kar bi sodilo v umetni\u0161ki sistem. Prijavljam tudi osebo, ki je v tem \u010dasu ni bilo ve\u010d, ker je druga\u010de ozna\u010dena in pade tako v druge dru\u017ebene kategorije. Projekt spominja na npr. iskanje po bazi podatkov, kjer \u010de bi vpisali Ime Mojca Zalo\u017enik, \u010dasovno obdobje: ….2009, 2010 bi se izpisalo: ni zadetkov. Projekt postavlja pod vpra\u0161anje kriterije izbora za razne razpise, kjer sistem izbire pogojuje na\u010din indeksacije projekta in s tem tudi na\u010din dela, izbora in identitete. Ne bom ve\u010d delal to kar \u017eelim, ampak nekaj da bom prepoznan, da bom lahko povezan, da bom v mre\u017ei, da bom sploh lahko obstajal. Projekt govori o tem, kaj se zgodi, \u010de tega ni,…kaj \u010de se \u00bbzgodi “neobstoj…ni\u010delna to\u010dka v sistemu,…neke vrste slepa pega”. Slepa pega je v bistvu mesto, kjer vidni \u017eivec prenese sporo\u010dilo do mo\u017eganov, da se ti zavedo informacije, Mesto zavesti, je hkrati mesto neobstoja,…mesto ni\u010da…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 \u0161e ne obstoja, \u010de so kriteriji \u017ee vnaprej dolo\u010deni? Vloga \u00a0slepe pege pri opazovanju zunanjega sveta \u00a0je v tem, da je sliko sveta brez popa\u010denja nemogo\u010de oblikovati (slepa pega je v tem smislu metafora, vzeta iz fizionomije:\u00a0slepa pega je to\u010dka, \u00a0kjer je je opti\u010dni \u017eivec pripet k \u017eiv\u010dnemu \u00a0deblu in kjer zato ni \u017eiv\u010dinih senzorjev \u00a0za oblikovanje vizulane podobe. Podoba, ki jo ustvarijo na\u0161i mo\u017egani, kljub temu zadovoljivo odseva zunanji svet, saj s slepo pego lahko lepo \u00a0zapolnimo z izpeljavami iz celotne slike, \u010deprav dejansko ne moremo vedet, kaj se dogaja na podro\u010dju, ki ga slepa pega pokriva.\u00a0
<\/strong>Tako pa\u010d sku\u0161am funkcionirati tudi v umetnosti, ker izhajam ravno iz te to\u010dke oziroma obdobja v \u010dasu, ki je prazno oziroma podobno slepi pegi, zato si potem skonstruiram mesto svojega delovanja na ta na\u010din, da vklju\u010dim svoje pretekle projekte in svoje na\u010drte za prihodnje projekte, da sku\u0161am zapolniti to prazno mesto. To mesto je torej nujno konstrukt realnosti.\u00a0Pogoji razkrivajo mene samo in sistem funkcioniranja umetni\u0161kega sistema.
<\/p>

Mesto indeksacije, je hkrati mesto slepote. Mesto kjer ne vidimo. Se pravi, \u010de so kriteriji dolo\u010deni, je s tem omejena svoboda. Ne morem povedati ni\u010desar drugega, ker je to moje mesto, edino mesto kjer lahko delujem in imam svobodo, ki pa seveda ni ume\u0161\u010dena,…vzdr\u017eujem ga tako, jo v sebi ohranjam, na zunaj mi drugi dolo\u010dijo potem drugo identiteto, s katero pa se ne identificiram. Vsak sistem ima neko okostje in nekatere parametre, ki ga definirajo.<\/p>

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 tehni\u010dni ravni, ne pa s samo smrtnostjo kot tako, tisto kar sistem najbolj dolo\u010da, tisto ni vidno in tudi ni pod vpra\u0161ajem – sam sistem deluje iz slepe pege – ta slepa pega pa je mesto, ki bi omogo\u010dila refleksijo….vendar jo ne more, saj jo zaseda sam subjekt (analitik)…mesto neskon\u010dnosti je pokrito z razumsko analizo, kar omogo\u010da neke vrste slepoto, da analizira\u0161 – mrtvo telo, hkrati pa le tega ne dojame\u0161 kot mrtvo telo ali del telesa, ampak kot objekt analize. Ko si znotraj samega sebe, samega sebe ne more\u0161 analizirati razen z neke zunanje to\u010dke. 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 to\u010dka je hkrati to\u010dka slepote. Organ videnja omogo\u010da prenos, vendar pot po katerm signal poteka onemogo\u010da 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 to\u010dka razkrije? Kako omogo\u010diti gledalcu, da vstopa v ta tok informacij in hkrati ven iz njega…je to\u010dka slepe pege hkrati to\u010dka \u017eivljenja in smrti?<\/p>

EXHIBITION HOLE<\/p>

I am referring to the painting The Anatomy Lesson of Dr. Nicolaes Tulp<\/em><\/strong>, 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,\u2026
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\u2026it 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\u2026than infinite moves into virtual\u2026<\/p>

Reality – cutting – coding – matrix – searching for law – hypotheses that govern them\u2026<\/p>

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\u2026<\/p>

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\u2026 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\u2026I 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,\u2026ideology 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 Zalo\u017enik, time period: \u2026.2009, 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,\u2026the place of nothingness\u2026they 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.<\/p>

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.<\/p>

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\u2026.but it cannot, because it is occupied by the subject (analyst) himself\u2026the 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\u2026where this happens\u2026where the intellectual connects with the physical\u2026this 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\u2026 is the blind spot point at the same time the point of life and death?<\/p>","protected":false},"excerpt":{"rendered":"

AMILOID HIDROKSIAPATIT Skica postavitve z dvema steklenima obro\u010dema, 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 mo\u017egani in ra\u010dunalnikom)\/BCI – (brain computer interface) Glavna referenca za postavitev je osnovana na […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-8","page","type-page","status-publish","hentry"],"yoast_head":"\nPrihodnji projekti\/Future projects - mojcazaloznik.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mojcazaloznik.com\/?page_id=8\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Prihodnji projekti\/Future projects - mojcazaloznik.com\" \/>\n<meta property=\"og:description\" content=\"AMILOID HIDROKSIAPATIT Skica postavitve z dvema steklenima obro\u010dema, robotsko roko in BCI (Brain computer interface)\/Sketch of the setup with two glass rings, a robotic arm and a BCI (Brain computer interface). 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Robotska roka\/Robotic arm BCI – Brain computer interface (vmesnik med mo\u017egani in ra\u010dunalnikom)\/BCI – (brain computer interface) Glavna referenca za postavitev je osnovana na […]","og_url":"https:\/\/mojcazaloznik.com\/?page_id=8","og_site_name":"mojcazaloznik.com","article_modified_time":"2025-08-30T19:47:29+00:00","og_image":[{"width":904,"height":1138,"url":"https:\/\/mojcazaloznik.com\/wp-content\/uploads\/2025\/08\/SKICA5AMILOID.png","type":"image\/png"}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"72 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/mojcazaloznik.com\/?page_id=8","url":"https:\/\/mojcazaloznik.com\/?page_id=8","name":"Prihodnji projekti\/Future projects - mojcazaloznik.com","isPartOf":{"@id":"https:\/\/mojcazaloznik.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/mojcazaloznik.com\/?page_id=8#primaryimage"},"image":{"@id":"https:\/\/mojcazaloznik.com\/?page_id=8#primaryimage"},"thumbnailUrl":"https:\/\/mojcazaloznik.com\/wp-content\/uploads\/2025\/08\/SKICA5AMILOID-813x1024.png","datePublished":"2025-03-30T09:20:03+00:00","dateModified":"2025-08-30T19:47:29+00:00","breadcrumb":{"@id":"https:\/\/mojcazaloznik.com\/?page_id=8#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/mojcazaloznik.com\/?page_id=8"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/mojcazaloznik.com\/?page_id=8#primaryimage","url":"https:\/\/mojcazaloznik.com\/wp-content\/uploads\/2025\/08\/SKICA5AMILOID.png","contentUrl":"https:\/\/mojcazaloznik.com\/wp-content\/uploads\/2025\/08\/SKICA5AMILOID.png","width":904,"height":1138},{"@type":"BreadcrumbList","@id":"https:\/\/mojcazaloznik.com\/?page_id=8#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/mojcazaloznik.com\/"},{"@type":"ListItem","position":2,"name":"Prihodnji projekti\/Future projects"}]},{"@type":"WebSite","@id":"https:\/\/mojcazaloznik.com\/#website","url":"https:\/\/mojcazaloznik.com\/","name":"mojcazaloznik.com","description":"Bioart","publisher":{"@id":"https:\/\/mojcazaloznik.com\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/mojcazaloznik.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/mojcazaloznik.com\/#organization","name":"mojcazaloznik.com","url":"https:\/\/mojcazaloznik.com\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/mojcazaloznik.com\/#\/schema\/logo\/image\/","url":"https:\/\/mojcazaloznik.com\/wp-content\/uploads\/2025\/03\/KOLO2-2.png","contentUrl":"https:\/\/mojcazaloznik.com\/wp-content\/uploads\/2025\/03\/KOLO2-2.png","width":752,"height":500,"caption":"mojcazaloznik.com"},"image":{"@id":"https:\/\/mojcazaloznik.com\/#\/schema\/logo\/image\/"}}]}},"_links":{"self":[{"href":"https:\/\/mojcazaloznik.com\/index.php?rest_route=\/wp\/v2\/pages\/8","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mojcazaloznik.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/mojcazaloznik.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/mojcazaloznik.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mojcazaloznik.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8"}],"version-history":[{"count":5,"href":"https:\/\/mojcazaloznik.com\/index.php?rest_route=\/wp\/v2\/pages\/8\/revisions"}],"predecessor-version":[{"id":838,"href":"https:\/\/mojcazaloznik.com\/index.php?rest_route=\/wp\/v2\/pages\/8\/revisions\/838"}],"wp:attachment":[{"href":"https:\/\/mojcazaloznik.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}