Mojca Založnik

Ukvarjam se z načinom, kako znanost pristopa do realnosti in s problemi, ki nastanejo, ker se z neizmerljivim in neskončnim ne more ukvarjati na tak način, kot se lahko umetnost. Moje instalacije, pogosto izdelane iz porcelana in povezane s tehnologijo ter mikrobiologijo, so bile predstavljene na različnih razstaviščih, med drugim v Galeriji Kapelica v Ljubljani, v okviru Čipk v Muzeju sodobne umetnosti Metelkova (MSUM) v Ljubljani, na Mednarodnem festivalu računalniške umetnosti (MFRU) v Mariboru in na festivalu Ars Electronica v Linzu.

I am concerned with the way science approaches reality and the problems that arise because it cannot deal with the immeasurable and infinite in the way that art can. My installations, often made of porcelain and related to technology and microbiology, have been presented at various exhibition venues, including the Kapelica Gallery in Ljubljana, as part of Lace at the Museum of Contemporary Art Metelkova (MSUM) in Ljubljana, at the International Festival of Computer Art (MFRU) in Maribor, and at the Ars Electronica Festival in Linz.

PRIHODNJI PROJEKTI

AMILOID – HIDROKSIAPATIT

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Glavna referenca za postavitev je osnovana na merjenih podatkih iz članka Wang in sod. (2021). Eksperiment se ukvarja s gojenjem biofilma genetsko spremenjene E.coli in vpliva svetlobe na produkcijo biofilma z vsebnostjo amiloida in hidroksiapatita. Med eksperimentom so uspeli tvoriti kompozite, ki se jih lahko prostorsko regulira. Trdijo, da je izločanje in tvorba ekstracelularnega matriksa lahko kontrolirana s svetlobo in na ta način lahko vplivamo na tvorjenje biofilma v prostoru in času na način, da omogoča naknadno tvorbo kompozitov.
Začeli so s testiranjem indukcije kontrole biofilma s pomočjo projektorja modre svetlobe, ki je projiciral barvne vzorce prirejene v programu za obdelavo slik. Projiciramo ga na tekoče bakterijske kulture v polistirenskih (PS) petrijevkah. Barvanje je nakazalo, da je projiciran vzorec svetlobe pravilno reperezentiran kot bakterijski biofilmi, ki rastejo v vzorcih. Preko noči je bil medij kulture biofilma nadomeščen s 1,5 x SBF za naknadno mineralizacijo z hidroksiapatitom. Po 7 dnevni mineralizaciji so generirani kompoziti ohranili originalni vzorec. Detajlna morfološka karakterizacija s scanning elektronskim mikroskopom je nakazala da so površine vzorčastih biofilmov prekrite z letvam podobni mineralizirani HA (hidroksi apatit) strukturi.
Kot referenco sem vzela štiri intenzitete svetlobe, ki smo jih izbrali glede na referenco v Wang in sod. (2021). Uporabila bom dva različna pogleda. Enega, kjer so vse štiri spremenljivke skupaj. Nosi jih krožna oblika, ki je reprezentirana in projeciirana preko Teraherčnega vira, ki je nameščen nad manjšo krožno obliko v steklenem obroču. V manjši postavitvi so svetlobni vzorci pretvorjeni v zvok, ki ga lahko gledalec doživi. Gledalcu hočem omogočiti, da doživi izkušnjo zvoka in svetlobe skupaj, saj se lahko pretvarjata eden v drugega v območju teraherčnega valovanja. Prej sintetični pogled bo razdeljen na štiri različne lastnosti (presevnosti svetlobe) in bo še vedno povezan z eno, ki določa hipotezo v katerega so ti deli potopljeni, sedaj pa bodo odprti k gledalcu in k neskončnosti.
Uporabila bom steklen obroč, ki omogoča delno prepusten pogled na rast bakterijskega biofilma, hkrati pa omogoča usmerjanje Led luči na bakterije, ki so na eni strani odprti k tlom in nosijo strukturo rasti biofilma, ki je povezana z rastjo vzorcev narejenih v illustratorju. Na eni strani omogočajo rast biofilma v obliki vzorca. Na drugi strani pa je ta vzorec projeciran kot senca. Na drugi strani steklenega obroča pa bo gledalec lahko doživel svetlobne vzorce in različne debeline biofilma kot zvok. Prav tako bo možno vplivati na zvok preko pretvorbe s teraherčno frekvenco, ki bo prav tako vplivala na zvok kar bo mogoče videti kot majhne spremembe v projeciranih vzorcih svetlobe.
Izdelujemo konstrukcijo živega biofilma. Izolacija bakterij iz okolja ustvari pogoje za konstrukcijo. Rada bi, da gledalec zazna, da izolacija organizmov iz okolja omogoči konstruiran pogled na svet – nekakšen umeten pogled na organizem. Na eni strani je nesmrten, na drugi strani pa izmerjen, vpisan v čas. Izolacija po eni strani pomeni smrt, ker ni več živeč v okolju. Če se organizem izvzame iz okolja je nekako kastriran, saj ni več povezan s svojim izvornim okoljem. Rada bi, da gledalec omogoči povezavo med življenjem in rastjo, saj so bakterije sedaj postavljene znotraj biofilma, ki je zmožen rasti in mineralizacije (preko hidroksi apatita) Tako lahko tvori strukture, ki so na eni strani žive na drugi strani pa trdne in stabilne. Prav tako skušam ohraniti znanstveno potrjena dejstva Wanga in sod. (2021) in uporabiti te podatke, ki so vertikalno povezani z neskončnostjo preko Thz pretvornika, ki omogoča povezavo svetlobe in zvoka in horizontalno poveže gledalca s samim sabo in z okolico na drugi strani. Instalacija si prav tako zastavlja vprašanje kje se rast in dekompozicija sklopita in kje se povežeta z neskončnostjo. Kdo ima nadzor nad to točko, ki ne more biti definirana in je lahko eno ali drugo. Je točka možnosti, da si lahko eno ali drugo (kvantna superpozicija – telo je umrljivo in neumrljivo hkrati). Če je ta točka definirana lahko govorimo samo o prehodnosti, totalni definiranosti in dokumentaciji. Ideja gre do osnovne plošče preživetja, reproduktivnosti in povezave z življenjem samim. Pokaže nam gradnjo pozicij moči preko jemanja energije izvora življenja, kajti za nadzor nad to točko moramo nadzirati samo osnovo nastanka življenja. Kje je ta energija uporabljena za nastanek novega življenja in kje za ohranjanje pozicij moči. Kaj če ta točka ni več direktna – je izmerjena kot je to narejeno v znanosti in preko analitičnega pogleda. Ali je lahko znanstveni pogled ideološki (čeprav naj nebi bil povezan z gledalcem) Glede na Van Fraasna (2008) meritev ni mimetična ampak postavi organizem v točno določen logični prostor.
Prav tako drži, da je pred meritvijo in določitvijo pozicije objekta ta v vseh možnih stanjih hkrati (kvantna superpozicija). Instalacija hoče odpreti fiksno mesto do neskončnosti – presežnosti vseh možnih stanj in iti izven meritve v Thz regijo, ki to odprtje v neskončnost in svobodo lahko omogoči.
Povezava Snaillovega zakona odboja in odseva s pogledom gledalca omogoči vplivati na zvok, ki je projiciran iz Thz vira, ki modro svetlobo projicirano na biofilm prevaja v zvok. Gledalec lahko tako posredno vpliva na rast in produkcijo biofilma. Rada bi točko, kjer se odboj in odsev srečata – sovpadata povezala s pogledom gledalca – in teorijo meritve – tukaj bi se povezala vidno in nevidno (Thz in Led emitirana svetloba). Zapisi Thz pa bi se pretvorili v zvok. Hkrati se podoba rasti biofilma projecira skozi večji stekeleni obroč. Točka vstopa gledalca je povezana s problemom meritve in kvantno fiziko, kjer je svetloba hkrati delec in val – dokler ne pogledamo – takrat potem potem odboj in odsev prehajata eden v drugega. Podoba biofilma – video pa se pretvarja v zvok.

The main reference for the setup is based on the measured data from the article Wang et al. (2021). The experiment deals with the cultivation of a biofilm of genetically modified E. coli and the effect of light on the production of a biofilm containing amyloid and hydroxyapatite. During the experiment, they managed to form composites that can be spatially regulated. They claim that the secretion and formation of extracellular matrix can be controlled by light and in this way we can influence the formation of biofilm in space and time in a way that allows the subsequent formation of composites.
They started by testing the induction of biofilm control using a blue light projector that projected color patterns adjusted in an image processing program. It is projected onto liquid bacterial cultures in polystyrene (PS) petri dishes. The coloring indicated that the projected light pattern correctly represented the bacterial biofilms growing in the samples. Overnight, the biofilm culture medium was replaced with 1.5 x SBF for subsequent mineralization with hydroxyapatite. After 7 days of mineralization, the generated composites retained the original pattern. Detailed morphological characterization with a scanning electron microscope indicated that the surfaces of the patterned biofilms are covered with a lath-like mineralized HA (hydroxyapatite) structure.
As a reference, I took four light intensities, which we chose according to the reference in Wang et al. (2021). I will use two different views. One, where all four variables are together. They are carried by a circular shape, which is represented and projected via a Terahertz source, which is placed above a smaller circular shape in a glass ring. In the smaller setup, the light patterns are converted into sound, which the viewer can experience. I want to allow the viewer to experience sound and light together, as they can transform into each other in the terahertz wave range. The previously synthetic view will be divided into four different properties (light translucencies) and will still be connected to one that determines the hypothesis in which these parts are immersed, but now they will be open to the viewer and to infinity.
I will use a glass ring that allows a partially permeable view of the growth of the bacterial biofilm, while at the same time allowing the LED light to be directed at the bacteria, which are on one side open to the ground and carry the structure of the biofilm growth, which is related to the growth of the patterns made in Illustrator. On the one hand, they allow the growth of the biofilm in the form of a pattern. On the other side, this pattern is projected as a shadow. On the other side of the glass ring, the viewer will be able to experience the light patterns and different thicknesses of the biofilm as sound. It will also be possible to influence the sound through conversion with a terahertz frequency, which will also affect the sound, which will be seen as small changes in the projected light patterns.
We are making a construction of a living biofilm. The isolation of the bacteria from the environment creates the conditions for the construction. I would like the viewer to perceive that the isolation of organisms from the environment enables a constructed view of the world – a kind of artificial view of the organism. On the one hand, it is immortal, and on the other hand, it is measured, inscribed in time. On the one hand, isolation means death, because it is no longer living in the environment. If an organism is removed from the environment, it is somehow castrated, because it is no longer connected to its original environment. I would like the viewer to enable the connection between life and growth, because the bacteria are now placed within a biofilm that is capable of growth and mineralization (via hydroxyapatite). Thus, 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 through the Thz converter, which allows the connection of light and sound and horizontally connects the viewer with himself and with the surroundings on the other hand. The installation also asks the question of where growth and decomposition meet and where they connect to infinity. Who has control over this point that cannot be defined and can be either. It is a point of possibility that one can be either (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 it is done in science and through an analytical view. Can the scientific view be ideological (although it should not be connected to the viewer) According to Van Fraasen (2008), measurement is not mimetic but places the organism in a precisely defined logical space.
It is also true that before the object’s position is measured and determined, it is in all possible states simultaneously (quantum superposition). The installation wants to open

HLADILNI STOLP

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