expositions
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The Aura of Electromagnetic Twilight (2024) author(s): Mikkel Wettre published in: Research Catalogue
In this lecture I reflect on recent artistic work relating to perception, technology and bodily awareness. The lecture was part of the Digital Narratives Network Conference held at UiB in 2019. The Digital Narrative Network Conference and Exhibition was a cross-faculty initiative at UiB/KMD with a keynote by N. Katherine Hayles on literature and AI, a series of presentations by scholars, artists and authors, and an exhibition of digital narratives, including a sample of my "Twilight Apparatus" sculpture-series. In my sculpture-work I have taken eyesight and optical phenomena as a starting point for mechanical installations that engage the senses and serve as metaphorical depictions of the relationship between human and technical cognition. My presentation will track the development of recent projects and the role of imaginative awareness.open exposition comments (0) -
Repurposing Rage (or Rage Re-Boot)-- How Audience’s Outrage Supports Generative Processes in Theatre Making
(2023)
author(s): Nina Marlow
published in: Research Catalogue
This thesis explores process driven creation of new work over five months (April 2023 - August 2023) in Finland. Process included meditation in nature and performances of OUT RAGE, which asked audiences to participate by sharing a concern –outing a rage– with an eco-punk astral messenger. Final products were audience inspired potential products that integrated the overall process, including performance observations and reflections. As a theatre maker with an interest in social and environmental justice, I am invested in creating new work that speaks to the current human condition of our lack of agency on a dying planet. Embracing the certainty of global warming on a human scale, acknowledging anger in society without inciting violence, and then creating new work informed by a collective of participants are at the core of this thesis.open exposition comments (0)
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Love of God - Group Exhibition: A Retrospective Virtual Gallery (2022) author(s): Jeffrey Cobbold published in: Research Catalogue
Love of God - Group Exhibition Curated by Jeffrey Cobbold September 14 - October 19, 2019 Artworks Trenton, Trenton, New Jersey (U.S.A) 2019 Curatorial Statement: “…I will find you. I will always find you……A loving heart is the truest wisdom……To believe and be satisfied with just the way things are……No one has ever seen God……Jesus……Love is a circle……And what comes around goes around…” The words above come from Love of God (L.O.G) Audio Quotation Database, a DIY online database and digital humanities project I started in 2015 when I was working as an intern within the Love of God Retreat Program in Lawrenceville, NJ. In order to create the database I asked the program’s high school student participants to find quotes about love and God that would help them reflect on the meaning of these words within their retreat program. These quotes are now the heart and inspiration for Love of God – Group Exhibition, which presents works from a selection of artists exploring issues of love and God revealed through artistic practice. The artists featured in this volume are: Jessica Browne-White (sculpture) Jeffrey Cobbold (sound, video, text) Devonte Roach (film) Marina de Bernado Sanchis (drawing) Together they create multiple entry points for one to consider the character of love, God and the intersections of both in our ever changing world. Love of God – Group Exhibition takes on the spirit of the Love of God Retreat Program in Lawrenceville, NJ with its necessity for inclusive understandings about love and God. While Jesus was a central topic of discussion within the retreat program, there was no mandated opinion one was expected to have about him. Rather, the unifying aspect of this program was an affinity for music and the arts within the expression of community. Their community was intersectional, dealing with the differences of varied socio-economic statuses, sexual identities and divergent relationships with the organized Christian church amongst so many other forms of diversity. The retreat program no longer exists as it did in 2015 due the disbursement of its high school participants and changes in adult leadership. The online database is now a relic of the digital humanities project that occurred at that time. Yet, this exhibition is an initial step toward sharing a glimpse of the spirit of this retreat program with others. I sincerely hope that the spirit of this exhibition will connect with you as you search for love and God in your personal life and within the communities you serve everyday. Love of God Community Conversation (Luke 1:5-45) October 12, 2019 Artworks Trenton, Trenton, New Jersey (U.S.A) Featured presentation: "Love, God, and Community" by Simone Oliver 2019 Community Conversation Statement: This community conversation seeks to provide a space for theological and artistic reflection within the Love of God – Group Exhibition. A team of presenters will offer their individual reflections on love, God and community through engagement with Luke 1:5-45. Presenters will also consider the works of contemporary art and case study materials within the Love of God – Group Exhibition to aide their presentations. A time for discussion will be had between presenters and the audience for better articulation and understanding of divergent pathways toward love, God and community that can be useful for work in Christian ministry and contemporary art & culture.open exposition comments (0) -
Ta Form (2022) author(s): Klara Waara published in: VIS - Nordic Journal for Artistic Research
This research, developed in Amsterdam during the repeated courses of lockdown between 2020 and 2022, examines the powers and limitations of fantasy. Processing the mental and ideological undercurrents in Europe, the text describes a trajectory where the visual artist appropriates the role of a poet to explore the possibilities for change and movement in isolation. As thinking, reading and writing alters the protagonist, the appropriating artist becomes appropriated by language. The gradual blending with the observed subjects raises questions about the distinction between the internal and external.open exposition comments (0) -
HONEYMOON IN POMPEII - work in progress (2021) author(s): Sven Vinge published in: International Center for Knowledge in the Arts (Denmark)
“HONEYMOON IN POMPEII – work-in-progress” is an artistic research project conducted at the National Film School of Denmark. In it, I explore transmediality through the production of a prototype artwork spanning film, literary text, sculpture, and virtual reality all loosely inspired by the archeological technique used to cast the Pompeian victims of the Vesuvius eruption in 79 ad. I describe my initial inspiration and how I changed my intentions of exploring a consistent storyworld to more abstract associations and themes and the different collaborative efforts in producing the four parts of the prototype (a test not meant for public exhibition). The prototype ended up consisting of: 1) A film representing a foot specialist helping a costumer try running shoes in a sports store but showing an obsessive interest in her feet and crossing her personal boundaries. 2) A literary text consisting of selected passages of Wilhelm Jensen’s short novel “Gradiva” (1902) translated to Danish in which we meet the young archeologist Norbert Hanold and notice his obsession with an ancient bas-relief portraying a young woman walking. 3) A sculpture consisting of four transparent plastic reliefs depicting a walking woman (copies of the bas-relief described in the novel) suspended in a 1x2x2 meter aluminum frame. 4) An erotic virtual reality experience in which the perceiver’s bodily movements affects the virtual world. When moving, the represented scene freezes and vice versa. We conducted a test of the joint transmedia artwork with a small group of respondents who answered a questionnaire reflecting on their experience. I reflect on the respondent’s answers and propose further questions and themes that may be interesting to explore through artistic research: How does one explore transmediality not necessarily in relation to a consistent storyworld but also relying on abstract characteristics? What are the limits (if any) between mixed media art, transmedia art, and installation art? How can transmediality be explored as either a goal in itself or as a development tool for artists working with particular media in mind? Could it be beneficial to explore transmediality through the metaphor of archeology and how?open exposition comments (0) -
Raising the Voice: Sculptural and Spoken Narratives from the Flat Sheet (2021) author(s): Hannah Clarkson published in: Journal for Artistic Research
This exposition explores ideas of narrative and storytelling through sculptures and texts raised from a flat sheet, a kind of visual and spoken poetry which is both particular and multiple. In this paper, the key area of investigation will be the relationship between sculptural and spoken narratives in my practice. This is engaged with in four main areas: • The flat sheet and the fold as sites for storytelling • Multiplicities inherent to storytelling • Architecturality and the space between bodies and buildings • Words, text and the voice, and their relationship to sculpture I explore the role of the architectural in the space between sculptural and spoken narratives, both of which are forms that begin with a flat sheet. The research also looks at how one might write about art in order to expand understanding but not reduce it to one meaning, writing around or through objects so as to leave gaps for the imagination and other narratives. The importance of the voice in the telling of these narratives is investigated, as well as the relationship between bodies and buildings.open exposition comments (0) -
HALFLIFE (2021) author(s): shasti published in: Research Catalogue
This exposition posits art as a form of contagious divination, a glimpse into the multiplicity of possible futures, and an examination of artists' ability to detect momentum towards unavoidable outcomes. In 2014, I was selected by curator Heather Pesanti to participate in the City of Toronto’s annual Nuit Blanche festival, an overnight public art event spanning twelve hours in multiple neighborhoods that draws over a million people from the surrounding regions. Spurred by my concerns about the inescapable gravity of mobile electronic media and "viral culture," my work was to be a performance premised on contagion, pointing to the monumental role that electronic media had assumed in mediating our direct experience, and the civic and societal fallout I believed would ensue. Little did I suspect how bizarrely prescient the work would turn out to be. On October 6th, 2014, one hundred glowing “carriers,” dressed in fluorescent hazmat suits, wearing fluorescent LED-wired helmets in the dodecahedral geometric shape of an adenovirus, dispersed throughout the City of Toronto, each "testing" and “infecting” at least one hundred festivalgoers by marking their faces and hands with “spots” “lesions” and “rashes” using surgical swabs dipped into a beaker of invisible UV-reactive ink. Each "test subject" was then gifted a small UV pen lamp with built-in reactive ink marker and instructed to "infect" and "test" ten others. It is estimated that HALFLIFE attained an "R-naught" value of ten, and through this performance, affected approximately one hundred thousand people. Images of the performance went viral on Instagram for seventy-two hours, during which Toronto General Hospital admitted their first and only suspected Ebola case.open exposition comments (0) -
Playing against the camera (2020) author(s): Erik Friis Reitan published in: VIS - Nordic Journal for Artistic Research
In this essay I describe two projects within the field of visual art. Both works are examples of how the workflow techniques of digital photography can be modified in order to produce artworks that take on a distinct physicality and objecthood, and, as such, may form a spatial and/or haptic relation with the viewer. I discuss how such an approach relates to the ability of photography to point beyond the physical situation of viewing due to the particular virtuality of the photograph. By relating my work to the ideas of Vilém Flusser and Roland Barthes, recent theory on photography and photographic indexicality, as well as contemporary artistic work, I speculate here on how my own work illuminates perceptions of the photograph and understandings of the role of photography in today’s media culture and economy.open exposition comments (0) -
luxurious migrant // performing whiteness (2020) author(s): Stacey Sacks published in: VIS - Nordic Journal for Artistic Research
Stacey Sacks is a PhD candidate in Performing Arts at Stockholm’s University of the Arts. Her Doctoral Project *This Untethered Buffoon or the Trickster in Everything* takes form as a suite of hyper-disciplinary experiments with mask, clown, stop-motion animation, film, photography, sculpture, text, drawing and performance. Drawing on Gayatri Chakravorty Spivak’s concept of ‘critical intimacy’ the performance-essay 'luxurious migrant' reflects on whiteness and privilege and the performance of it. As an intra-cultural, auto-ethnographic excavation it attempts and possibly fails to critically engage with notions of access, authority and power from within the cultural canon. As such it is a creative experimentation with theory and performance, an exploration of the improvisatory impulse and what it means to be ‘on’ the moment. Since clown naturally contains transgressive elements, the project explores how the genre can be used in a neo-colonial context to subvert or interrupt the dominant discourse, whether satire and parody function as activism and if it is in fact possible to push back white supremacy through critical engagement and play, starting with a robust self-critique.open exposition comments (0) -
Sculptural sounds: a co-compositional approach (2020) author(s): Eleni-Ira Panourgia published in: RUUKKU - Studies in Artistic Research
This article discusses a specific approach to sound from a sculptural perspective, based on an innovative process named "co-composition", in which physical and sonic material can be concurrently produced, rearranged and transformed in a solo environment. This approach investigates ways of working with the direct response of materials to performed actions by mapping actions of making in ways that can inform new actions through sound. I question the way sculptural sounds are caused and how sounds and their real-time transformation could influence the way I understand the process as a practitioner and researcher, and how this is experienced by the audience. How does the process change once sound is transformed to something different, new? How does this affect practising with sound as more than sound? To achieve this, I develop new ways of articulating aesthetic decisions from one medium to the other on the basis of their "stories" as they are manifested through traces of material manipulation.open exposition comments (0) -
Additive Photography (2019) author(s): Ives Maes published in: Journal for Artistic Research
Since the invention of photography, there have been numerous hybrid experiments between photography and sculpture that testify to a continuous influence of sculpture on photography and vice versa. In my own visual work, I am researching the physical, sculptural and architectural aspects of photography. I am analysing a number of historical experiments, from the 16th century camera obscura pavilion to 21st century digital processes, which I apply to my artistic practice. A particularly important example is the photosculpture process of François Willème. In the late 1850s, he aimed at reproducing sculpture with the help of photography, creating a distinctive union between the two media. His method to extrude sculptures from photographs laid the ground principles for the 3D scanner and printer. In this exposition I bring to the fore how the work of Willème propelled its significant influence towards today, and how it inspired me to create new visual work. At the same time, this experience constitutes an exemplary case study on how theoretical research can steer the creation of visual research.open exposition comments (0) -
About exchanging a portrait • (2016) author(s): Gert Germeraad published in: Research Catalogue
This is a text concerning artistic processes. It has a starting point in a project where I am making a portrait of a colleague artist while he is making mine. During the making of this portrait and thereafter I question my ways of working in which I occasionally find myself confronted with artistic blocks. In a period of two and a half years I investigate and articulate my artistic process as it meanders and expends over the different attitudes and problems I encounter in my work. I give a critical analysis of my motives and working methods and try to extend the range of possible ways of working. This text can be read as an extension of my previous text "Rationality, Intuition and Emotion, exploring an artistic process" that is published in the Journal for Artistic Research, JAR 3.open exposition comments (0) -
Collision (2015) author(s): gilda mautone published in: Research Catalogue
COLLISION exhibition Enzo Giordano - Gilda Mautone The project COLLISION brings together artworks by artists Gilda Mautone and Enzo Giordano.Based in Berlin, Mautone and Giordano have been working together for 5 years and consider their works as a whole.The artists explore psychological situations starting from their personal experiences as well as observing and responding to external circumstances. The impact between the intimate and public spheres translates in a conflict evoked by the title of the exhibition.Their practices, although different, share similarities in themes and approaches.Collision aims to activate a reflection on the psychological dynamics involved in the artist’s works, asking for the participation of the public. COLLISION was exposed at the Italian Embassy of Copenhagen in March and consecutively in September in Milan at Officina Temporanea.Will also be presented at the Italian Embassy of Prague in November. From: Wednesday 22 April 2015 at 18:00h To: Sunday 5 May 2015 at 18:00h Location: Italian Culture Institute, Italian Embassy , Hiroshimastraße, 1 Berlin 10785open exposition comments (0) -
Debris (Enlightenment Panel no 2) (last edited: 2024) author(s): Zoe Panagiota (aka Betty) Nigianni This exposition is in progress and its share status is: visible to all.
Sculpted and painted wood, combined with treated rusty objects. Duct tape with boat paint models for metal sheet sculptures, 2020. Digital drawings, 2021, 2023. Dutch steel sailing boat part-restoration and renovation, Amsterdam (with Sean A. Hladkyj), 2019-20. I exposed relief and improvised sculptures made with industrial paints, as well as found objects, to weather conditions, including heavy rain and wind, over a few months on a floating timber raft. Working with the changes the weather was causing to the ad hoc studio, I made changes until the painting was finished, photographed, then dumped. Someone collected the relief. I applied the colours from those available in a symbolic manner, abstracting the view of a ghetto in a large city. The objects stand for the landmarks. The pieces would comprise of the scenography for a theatre performance, informed by my conversations with a theatre lighting technician. The event would also include a donation event of the art objects. See external link for the theatre play, based on the tradition of the philosophical dialogue and employing the idea of performing philosophy to make it accessible to a wider audience. Political asylum has been traditionally offered to people who flee from their countries of origin and citizenship, because of violations of their dignity, which is a human right, and other basic human rights, such as safety and liberty, due to their political beliefs and related activities, if any. Currently, seven human rights of mine, five basic, have been infringed in the United Kingdom, where I have been a citizen since 2011; the origin is my native Greece. Political asylum is only offered to people, who are non-citizens of the country where asylum is sought from. At the same time, political asylum has become harder to offer, due to the global nature of persecution of whoever is perceived as a dissident by authoritarians. Since 2013, Forza Nuova, the Italian affiliate of the Greek Golden Dawn, has participated in the organised international criminal case, of which I have been the target, originating from my native Greece, "accelerating" in the Netherlands and the UK in 2020, Covid-19. This happened with the theft of my personal details, specifically my Greek driver's license number, by Italians, in Amsterdam in the winter of 2020. My number was used for three fake Italian driver's licenses for criminal activity in the UK. My name known as (aka) was also used for three fake Italian passports for fictitious female Albanian citizens. Notably, Roberto Fiore, Forza Nuova's leader, inherited briefly Alessandra Mussolini's post in the EU parliament. Nevertheless, the Italian government settled in the summer of 2024 one remaining fake Italian passport for a fictitious Albanian citizen, probably in connection with Forza Nuova, after mediation with the Albanian government. Rumours have it that Fiore was once upon a time an MI6 agent. It is confirmed that he has ties with the British National Party (BNP), the British XRW component. Drawing on the philosophical notion of impossible objects, the works attempted an indirect postcolonial critique: a suggestion for alternative, autonomous and communitarian lifestyles; and a performative metaphor for global refugees of all kinds. At the time, in autumn 2019, I had attended an environmental protest in Amsterdam that was generally peaceful. Investigatory research with artworks, some of it carried out in Amsterdam, the Netherlands, where I was a philosophy student, from 2017 until late 2019, and remained until autumn 2020. I did not have student insurance, as it was obligatory, because I was covered by the NHS through EHIC (European Community coverage, when the UK was still in the EU), since the UK was still in the EU. I didn't have travel insurance either. A travel insurance under the reference number E111 was opened by unknowns on my behalf in the summer of 2020, but was closed as fraudulent when I reported to the Dutch fraud authority. Presentation of work in progress. I have one-sixteenth Italian ancestry from a great grandfather on my father's family's side. His first name was Gianni. Locals in Greece, where he moved in the nineteenth century, used his Italian first name to create a Greek surname to Hellenicise him. The reasons for leaving his native Italy to go to Greece then are unknown; so is his Italian surname. See exposition in connection with "The (Origins of) The Game", "The Loot" and "XRW (Implicature)".open exposition comments (1) -
Parallax (House for an artist) (last edited: 2024) author(s): Zoe Panagiota (aka Betty) Nigianni This exposition is in progress and its share status is: visible to all.
Design for a new house, scrapped 2002, reworked 2021 with bird observatories on mud landscape. Flipping the initial scaled sketches for the house, I selected the naturally lit staircase as the main sculptural and building element for bird observatories, spread on the mud landscape of a natural bird habitat. The sculptural structures are proposed to be installed on site following the parallactic model, which re-frames the site as the medium through the pieces.open exposition comments (0) -
All that glitters and NO black holes (last edited: 2024) author(s): Zoe Panagiota (aka Betty) Nigianni This exposition is in progress and its share status is: visible to all.
Design, 1995-96, 2023. Design, 1996-97. Photography, 2010, 2011. Essay, 2015. Collage Text, 2022. The exposition serves as commentary and guide on the place of art, in a gradually environmentally and technologically challenged world. I further make a commentary on outgrown conceptions of the foreign, in terms of the so-called "exotic', and the non-foreign,within the context of contemporary globalisation. This, to raise open questions on the impact of the aforementioned on global politics. The re-design proposal, inspired by De Stijl, illustrates the modernist historical view that art appears to be regressive, rather than progressive: as soon as a movement or a school becomes established, reaching its culmination, it starts declining. Finally, I have included a graduate school architectural design project in the archaeological site of Eleusis accompanied by new commentary. With essay about experimental film making in the British avant-garde, published in "Architecture and Culture" journal, 2015, which is about the environmental challenges of the urban environment. The reference to the TV show "Alone", a competitive prize show of sole or two-person players, is a reminder that humans can live in the natural environment developing survival tactics already applied by their ancestors. About how to navigate this exposition: Scroll from top to bottom, then from bottom to top, then scroll to the top right, then scroll to the bottom right. For Luke, who I haven't met; with respect and care.open exposition comments (0) -
(Un)Realised Projects (last edited: 2024) author(s): Zoe Panagiota (aka Betty) Nigianni This exposition is in progress and its share status is: visible to all.
"Unlike unrealized architectural projects, which are frequently exhibited and circulated, unrealized artworks tend to remain unnoticed or little known. But perhaps there is another form of artistic agency in the partial expression, the incomplete idea, the projection of a mere intention? Agency of Unrealized Projects (AUP) seeks to document and display these works, in this way charting the terrain of a contingent future." From AUP-eflux Archive In painting, the artist can also be a model for the artwork. In performance art, artist and model come together for the performance. The exposition explores the role of figuration in contemporary art. Some of the material was selected for my participation in conceptual artist's Janine Antoni workshop, "Loving Care", Performance Matters: Performing Idea, Toynbee Studios, Whitechapel Gallery, London, 2010. With essay about Marina Abramovic's work, published at eflux/Art and Education papers, 2012; originally presented as a conference paper at the Yale Centre for British Art, 2010, slides including the artist's writings. Fragments of the research for the installation project, developed in the studio and through my participation in urban research workshops, have been archived at AUP-eflux Archive.open exposition comments (1) -
CCFT (last edited: 2024) author(s): Johan Sandborg, Duncan Higgins, Bente Irminger, Linda H. Lien, andy lock, Ana Souto Galvan, Susan Brind, Shauna McMullan, Yiorgos Hadjichristou, Jim Harold, DÁNIEL PÉTER BIRÓ connected to: Faculty of Fine Art, Music and Design, University of Bergen This exposition is in progress and its share status is: visible to all.
As we move towards the first quarter of the third millennium, the impermanent and shifting influence of globalisation, economic division, migratory encounters, social media, historic narrative and tourism is having a major impact in our understanding of the making, belonging and occupying of place. It is widely documented that these conditions are contributing to a growing sense of displacement and alienation in what constitutes as place making, occupying, and belonging. CCFT is asking how interdisciplinary artistic research practices contribute and share new critical understandings to aid this evolving understanding of place making, belonging and occupying?open exposition comments (0) -
Tracing Rhythm (last edited: 2023) author(s): Geir Harald Samuelsen This exposition is in progress and its share status is: visible to all.
Rhythm is everywhere. It is breathing and beating hearts; it is the sound of a drum and the repetitive carved lines in stone done by a prehistoric human being. It is the flickering screen and a million digital processes too small to see. It is engraved in the depth of our minds and bodies. It is remembering. According to Encyclopedia Britannica, rhythm (Greek rhythmos, derived from rhein, “to flow”) is an ordered alternation of contrasting elements, and according to Roland Barthes both painting and writing started with the same gesture, one which was neither figurative nor semantic, but simply rhythmic. In this exposition we are approaching rhythm through contemporary artistic and archaeological gestures, starting with some engraved and painted lines drawn by our stone age ancestors in France and South Africa. The participants are all from the artisitc research project: Matter, Gesture and Soul, which is based at the Art Academy in Bergen.open exposition comments (0) -
Körper (last edited: 2023) author(s): Hanns Holger Rutz, David Pirrò This exposition is in progress and its share status is: visible to all.
Process of creating a new sound piece around questions of algorithmic bodies.open exposition comments (0) -
V Figurines (last edited: 2019) author(s): Julie Andreasen This exposition is in progress and its share status is: visible to all.
V Figurines is a performance examining womanhood through sculpture and movement. Spectators are invited to sculpt a figurine to explore Venus as a woman; how do we know - and want to know her. The figurines are installed in relation to the performers awakening dances and characters in them. The work is inspired by Venus figurines from the stone age and Marit Benthe Norheim’s Life-boats.open exposition comments (0) -
Atelier III : le mobilier-sculpture (last edited: 2018) author(s): Boily Béatrice This exposition is in progress and its share status is: visible to all.
Le présent projet est une exploration spatiale qui s'est développée à partir des paramètres suivants: le corps, l'espace architectural et l'objet. Au sein de ce système, il s'agissait d'explorer le potentiel performatif et figural de cette nouvelle mise en situation.open exposition comments (0) -
Meninio tyrimo projektas. HOMOFABER. Nuo mito iki metodo (last edited: 2018) author(s): Tomas Martisauskis This exposition is in progress and its share status is: visible to all.
Raktažodžiai: autorius, postprodukcija, meta kūryba, generatyvumas, Atsiliepiant į šiandienos informacinių ir technologijų raidą, savo projekte siekiu tirti autoriaus arba kuriančiojo subjekto kismus. Klasikinė autorystės samprata ir subjektyvumas, šiuolaikinio meno kūriniams vis labiau įsitraukiant į elektroninių medijų sferą, tampa nykstančiu reiškiniu. Šių priežasčių įtakotas, pagrindinis projekto siekis yra įvardinanti naują autoriaus sampratą, bei suformuluoti iš to kylančias sąvokos problemas ir kūrybos strategijas. Kūrybinėje projekto dalyje, plėtodamas N. Bourrioud “postprodukcijos” sąvoka, kurios pagrindas yra kultūrinių elementų perkūrimas, tyrinėju meta kūrybiškumą, generatyvias kūrybos strategijas, bendraautorystę. Technologinis progresas ir jo suteikiamos naujos galimybės tik išryškina pokyčius vaizduojamojo meno lauke, kur fizinę “įgudusią ranką” ir tradicinius dailininko gebėjimus keičia strategiškai naujos kūrybos formos. Vietoje klaidingai įsivaizduojamo amatininko rankos amputavimo, šių priemonių dėka, jai pridedamos papildomos funkcijos tokios kaip: plagijavimas, apropriacija, paskirties keitimas, perdarymas ir atranka, iškirpimas ir įklijavimas, informacijos kolekcionavimas ir jos žymėjimas. Ne konkretaus meno objekto kūrimas, bet generatyvinės mašinos išradimas arba egzistuojančios mašinos perkonstravimas, ją pritaikant objektų gausos generavimui, tampa meta kūryba. Generatyvumas – sąvoka kilusi iš psichosocialinės raidos mokslininko E. Eriksonui samprotavimų apie asmenybės kismą buvo adaptuota J. Zittraino siekiant apibudinti technologinės sistemos ar platformos galimybes kurti, naudojant baigtinį ženklų ar taisyklių skaičių, neribotą aibę rezultatų. Sąsajos tarp projekto teorinės ir praktinės dalies kuriasi studijuojant tokias sąvokas kaip: W.Benjamino “totalinė bendrautorystė”, G.Simondono “individuaciją”, R.Barthes’o “autoriaus mirties atvejis“, Gilles’io Deleuze’o ir Felixo Guattari “mašinalus materializmas”. Apie 1900 metus, beveik tuo pačiu metu kai yra išrandamas genijus, techninė reprodukcija pasiekė tokį lygį, kad savo objektu pavertė ne tik visus ankstesnius meno kūrinius, ne tik pradėjo iš esmės transformuoti jų poveikį, bet išsikovojo vietą tarp meninės veiklos formų̨. Techninis meno kūrinio reprodukavimas, natūraliai padėjo pagrindą inovacijoms, kurių dėka, XX a. pabaigoje programinės įrangos stipriai paveikė kultūros lauką. Naudotis duomenų̨ bazėse ir bibliotekose saugomais elementais tampa savaime suprantamu standartu, o pačių elementų sukūrimas nuo nuo nulio tapo išimtimi. Internetas yra puiki šios logikos realizacija. Tai vientisa ir gigantiška grafikos, nuotraukų̨, vaizdų, garsų, dizaino maketų, programinių kodų ir tekstų biblioteka, kurios kiekvienas elementas yra laisvai prieinamas naudojimui. Šios strategijos atsispindi darbastalyje kuriame interpretuojant Prometėjo (kaip technologinės alegorijos) mitą pateikiant medžiagišką šio mito iliustraciją. Keywords: author, postproduction, meta creativity, generativity In response to today's information and technological developments, in my project I seek to investigate the author or creator’s change. Classical authorship and the concept and subjectivity becomes dwindling phenomenon as contemporary art works increasingly gets involved in to electronic media sphere. The main aim of my project is to formulate emerging concept of new authorship, creative strategies and problems related with this. Interactions between the theoretical and the practical settles in the study of such concepts as: W. Benjamin “Total authorship”, G.Simondon “Individuation”, R.Barthes “Death of the author“, Gilles Deleuze and Felix Guattari “Automatical materialism”. Access to databases and libraries of stored elements becomes itself an intelligible standard, and the same elements of the creation from scratch has become the exception. Internet is realized perfect example of this logic. It is a continuous and gigantic library of graphics, pictures, images, sounds, design layouts, software code and texts, which every element is freely available to use. This strategy is reflected in the “desktop” in which the interpretation of Prometheus (as technological allegory) myth which is illustrated thought material artefacts.open exposition comments (0)