Computer with a Printer

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Uhol-pohladu-034 .jpg

Author

Dušan Barok

Title

Computer with a Printer

Date

2006

Medium

site-specific software installation, text

Notes

Shown at the Point of View [Uhol pohlľadu] exhibition at Ján Koniarek Gallery–Synagogue, Trnava, Slovakia, July–August 2006, curated by Ivana Moncoľová. The installation consisted of a computer with a printer. On request it generated and printed a curatorial text about itself, in which it depicted itself as a work of art generating and printing curatorial texts about itself. Body of the texts was composed by a software which contained database of textual formulas that were repeatedly used in the catalogue texts for the exhibitions earlier held at the venue. Several dozens of texts were printed (example 1, example 2, example 3, example 4).

References

http://www.gjk.sk/en/exhibition/archive-of-expositions/2006/point-of-view/
http://web.archive.org/web/20060816004124/http://www.gjk.sk/uhol.html
Lenka Kukurová, "Leonardo da Vinci v trnavskej Synagoge", Týždeň, 2006.
Jana Kadlecová, "Správny uhol pohľadu nie je", SME, 3 August 2006.
Zuzana Husárová, "Slovenská elektronická literatúra", World Literature Studies 3:8, 2016, pp 57-77.

Text, example 1[edit]

Computer with a Printer

Installation consists of a computer with basic accessories and a printer. After the viewer pushes the only button on the screen, the software displays the text description of the installation within the exhibition context. In fact, the only activity of the installation is the generation of curatorial texts, the interpretations of itself. The texts are constructed out of the statements from curatorial texts on the objects from actual exhibition and exhibition history of the place stored in the database.

Installation is dependent on the curatorial text which it generates. The obvious material function of the computer is re-interpreted and transformed to communicate a spiritual, intellectual and psychological message of art as dialogue and as cross-cultural interaction. Our idea of culture is severely restricted because we've always applied it to art; at the same time, it is a challenge for searching the answer to the question whether there are, in the field of art still limits to cross over; old memories are found and dragged back to present to our imaginations. Basically we speak about various nuances of deconstruction as a construction method that in the author's angle of view acts as a new interpretation of traditional reality.; that gives to its percipient the information that joins with whatever is represented as visual; within each text a 'statement' functions to describe the continuum within a balance of constants and variables. The statement remains obscure until the juxtaposition of all texts in a continuous collective revelation process.

Text, example 2[edit]

Computer with a Printer

Installation consists of a computer with basic accessories and a printer. After the viewer pushes the only button on the screen, the software displays the text description of the installation within the exhibition context. In fact, the only activity of the installation is the generation of curatorial texts, the interpretations of itself. The texts are constructed out of the statements from curatorial texts on the objects from actual exhibition and exhibition history of the place stored in the database.

Installation is dependent on the interaction with a viewer. The art of Dusan Barok emphasises an awareness of science and technology. Leading to new ways of exploring and understanding individual circumstances; the metaphor reveals something deep of the communication of feelings and sensation, the installation of Dusan Barok cast its spell over the viewer at first glance, the artwork supplies us with the ever topical, ever desirable presence of a poetic spirit, away from the turmoil of trends and generations. We are forced to explore the question of how the gallery consciously or unconsciously perpetuates beliefs and behavior, today's ephemerality and materialism are portrayed in the installation by cheap, low quality technology. That is the transformations and the invented narratives through hundreds of repetitive texts. The art of Dusan Barok emphasises an awareness of media and communications. In Computer with a Printer, Dusan Barok entwines information and art in a complex work touching every aspect of society, in the relation of the artwork and the complex of art history, or in its theoretical and philosophical setting the authors uncover analogies with the principles of social reality.

Text, example 3[edit]

Computer with a Printer

Installation consists of a computer with basic accessories and a printer. After the viewer pushes the only button on the screen, the software displays the text description of the installation within the exhibition context. In fact, the only activity of the installation is the generation of curatorial texts, the interpretations of itself. The texts are constructed out of the statements from curatorial texts on the objects from actual exhibition and exhibition history of the place stored in the database.

Installation is dependent on the other objects exhibited at the venue. The metaphor reveals something deep of the media and communications; by examining the human - machine relations, he analyses even the less visible dependences: artwork - author, artwork - audience, author - audience, as readers, we fill in the gaps of the text and imagine far more than what we see, carrying our own interpretation of the lines.

Text, example 4[edit]

Computer with a Printer

Installation consists of a computer with basic accessories and a printer. After the viewer pushes the only button on the screen, the software displays the text description of the installation within the exhibition context. In fact, the only activity of the installation is the generation of curatorial texts, the interpretations of itself. The texts are constructed out of the statements from curatorial texts on the objects from actual exhibition and exhibition history of the place stored in the database.

Installation is dependent on the interaction with a viewer. Dusan Barok investigates the interplay of time and space, the now and the before, and the way we can relate to their perceptions; the artist is concerned with the perception of tangible and intangible realities, or even transcendental truths. What we find is the permanence in the personal approach in expressive settings. Leading to new ways of exploring and understanding individual circumstances, in that way it leads us to view the world around us differently. The art of Dusan Barok emphasises an awareness of art as a social instrument; the installation reiterates the performative aspects of the making of the work; the statement remains obscure until the juxtaposition of all texts in a continuous collective revelation process; the author makes no use of the detail and so the individual object is basic form archetype, thus it refuses form as such even to itself - it only represents itself by principle; in that way it leads us to view the world around us differently.

Source data[edit]

I ::= "";

S ::= ^Title "\n\n"
      ^\Desc \Prop1 Text^".";

Artist := "Dusan Barok";

Title := "Computer with a Printer";
		   	
Adj ::= \( fast | long | flat | new | funny | open | closed | objective | subjective |
		  abstract | your | my | our | semantic | impermanent | 
		  far | near | infinite | public | spheric | 
		  private | beautiful | perfect | imperfect | good | bad | little | human |
		  connected | created | electric | natural | old |
		  young | solid | visual |
		  true | false | made | stochastic | mathematical | 
		  neural | contemporary | robotic | generative |
		  half | incomplete | sensation | powerful | explicit | implicit | progressive |
		  pure | strange | static | dynamic | active | passive |
		  inner | outer | conceptual | sacred |
		  probabilistic | deterministic | better | worse | 
		  atomic | pluralistic | experimental | total);

Subject ::= 		"imaginative process of artistic research" | "science and technology" | "world" | "society" |
			"elaborating process of information" | art as a (public|social|artificial)
			instrument | "communication of feelings and sensation" | "media and communications" | 
			"personal choice" | "how we perceive things" | 
			"revealing of past and present in the light of future expectations" ;

Text ::= ((^","|^";"|^"."\) >>(Prop1|Prop2)<<) (_ |++++ Text);

Desc ::=        "Installation consists of a computer with basic accessories and a printer. After the viewer pushes the only button on the screen,"
                "the software displays the text description of the installation within the exhibition context."
                "In fact, the only activity of the installation is the generation of curatorial texts, the interpretations of itself."
                "The texts are constructed out of the statements from curatorial texts on the objects from actual exhibition and exhibition history of the place stored in the database.  \n\n"
                ^("The work"|"Installation") "is dependent on the "
		^( "curatorial text which it generates." |
		  "interaction with a viewer." |
		 "other objects exhibited at the venue." );

Prop1 ::=        "in" Title ^"," Artist "entwines" (technology|information|science)"and"(art|language)"in a complex work touching every aspect of" Subject |
		 "the metaphor reveals something deep of the" Subject |
 		 "old memories are found and dragged  back to present to our imaginations" |
 		 "every building has things that people like to point out, quirks of history that come to define it" |
 		 "there is maybe a sense of other times in this work, within the present tense transmitted to the screen"|
 		 "the work does result from an awareness of the kinds of activity: collecting, analysing and sharing data"|
 		 Artist " physically engages the surface of all the abstract works"|
 		 "the layers of meanings presented engage the viewer in the complexity and awareness of the situation"|
 		 "the art of" Artist ^" emphasises an awareness of" Subject|
 		 Artist ^"'s work confronts the spectator, while distancing him/her from their intense experience"|
 		 Artist "investigates the interplay of time and space, the now and the before, and the way we can relate to their perceptions"|
 		 "artwork is derived from a particular situations and consciousness, extracting observations and private histories from personal experiences within genius loci of the Synagogue"| 
 		 Artist ^"'s works are characterized by a clear vocabulary"|
		 "the current tension and diverging statements in art challenges us to re-evaluate our personal criteria in the composing of concepts"|
		 "the title of the project captures the described installation and concept"|
		 "the starting point for" Title^" is the corner, 'the boundary between interior and exterior', between indoors and outdoors, between" Adj^" and "^Adj|
		 "the installation of" Artist ^"- called" Title^" - cast its spell over the viewer at first glance"|
		 "the installation reflects artist's idea of the animation of the machine as a mirror of" Subject;
 		 
Prop2 ::=

"that is the transformations and the invented narratives through hundreds of repetitive texts" |
"it is the ability of text to stimulate our imaginations and to communicate meanings to each of us" |
"as readers, we fill in the gaps of the text and imagine far more than what we see, carrying our own interpretation of the lines" |
"there is some idea of an almost physiological study of" Subject^", of considering it as though it were an organism"|
"there is something quite important about this central focus to the text" |
"it's a sense of active seeking and scrutiny"|
"we never think about it"|
"we find that in the hidden spaces"|
"there is an archaeology of" Subject " and of people living and working with that"|
"but there is still something inhuman about this work"|
"the changes that are theoretically visible over time will never be registered by the eye"|
"just being in this place changes anyone's awareness"|
"the final work exists as a result of its own history, resonating with the memory of each mark"|
"together these elements form within their layering an illusion of architectural dimensionality which never denies its inherent flatness"|
"leading to new ways of exploring and understanding individual circumstances"|
"there is the immediate visual, three-dimensional impact"|
"the use of texts or single words to engage the viewer"|
"however, there is a sub-text, a slight twist, a sideswipe at conformism, a throwing off-balance both physical and mental"|
"it is up to the viewer to decide whether to immerse in the sub-text, whether or not to participate in the scenario"|
"no conclusions drawn, however"|
"rather than a single obvious reading, there are several readings that are available"|
"a constant oscillation between reality and fiction is offered"|
"is a segment between two points"|
"it is not a departure nor an arrival"|
"through this, it relaxes our impulse for a historically conditioned static viewing of this abstract work"|
"the artist uses a quasi-scientific presentation of data"|
"while the work documents a personal approach to investigating questions about" Subject^" and "^Subject|
"after all, the information it reveals is easily accessible to anyone who wants it"|
"the installation reiterates the performative aspects of the making of the work"|
"in that way it leads us to view the world around us differently"|
"the unique composition of this work takes it beyond the realm of a cultural craft into sculpture and mixed media, beyond any simplistic categorization"|
"this is the crucial fact we've to realise, and this broader concept of creativity is" Artist^"'s concept of art"|
"everybody can determine the content of life in his particular sphere"|
"our idea of culture is severely restricted because we've always applied it to art"|
"our concept of art must be universal and have an interdisciplinary nature"|
"the success of" Title " lies in this very process"|
"it symbolizes the artist's optimistic belief in beauty and change"|
"even if it deals with currently important themes like" Subject^", "^Subject^" or "^Subject|
"we are faced with what appears to be a direct transcription of the impossible"|
"within each text a 'statement' functions to describe the continuum within a balance of constants and variables"|
"that gives to its percipient the information that joins with whatever is represented as visual"|
"we see the text, which is the 'work' produced by the percipient as an event in his or her time"|	
"illustrating subject matter to the viewer is not artist primary concern"|
"these objects are indeed more closely related to fables than to inventories, as much about what is implied as what is delineated"|
"we are forced to explore the question of how the gallery consciously or unconsciously perpetuates beliefs and behavior"|
"consciously or unconsciously, the setting of the text expresses the particular sensitivity of the viewer"|
"this principle reveals purity in sensuality which never ceases to move us"|
"this art, a sophisticated gaze, pursues the permanence of a gesture or a presence"|
"that conveys a feeling of intimacy and serenity"|
"the artwork supplies us with the ever topical, ever desirable presence of a poetic spirit, away from the turmoil of trends and generations"|
"it's a mystery in silence"|
"what we find is the permanence in the personal approach in expressive settings"|
"each artist's individual work can only affirm itself in the wider context of concurrent developments"|
"this reflection evokes multiple aspects about our physical and mental condition"|
"the obvious material function of the computer is re-interpreted and transformed to communicate a spiritual, intellectual and psychological message of art as dialogue and as cross-cultural interaction"|
"the computer may cover several references to connected meanings, events, experiences, and the correlation of the whole group of texts generates the actual inter-relation of fragmented realities"|
"the statement remains obscure until the juxtaposition of all texts in a continuous collective revelation process"|
"without change - significant change via experimentation - contemporary art risks fading into stale predictability"|
"the work foregoes such temptation, and confirms its refreshing willingness to embrace change"|
"the artist's installation animates history of the exhibition space in ways that give it new meaning and relevance" |

(* g garlatyova: hladanie na jednej vlne, maria corejova a michaela nociarova *)
"author's relation to computer is not based on the dominant and inferior position, but on the equal and independent exchange of information in a network, which is being formulated as a communication" |
"work reflects the phenomenon of seeing - natural (classical) and seeing, which is oriented towards structuralist interpretation of a language" |
"the decision for generative expression give a way to interpretative shift of creative process, which is actually a research in the techniques of expression and naming things" |

(* forbina, gregor, 2005 *)		 		
"the work is so interesting, that any concrete reflections on it would lead nowhere" |
"piece talks about unfullfilled relations, but where there is at the same time no contact between lethargy and dominance (dominance and subdominance)" |
"grotesqueness of this strategy has more low-brow characteristics - but still more critical rather than absurd. "
  "What is important here is the grotesqueness and situational nature of the piece" |

(* alien bodies, beskid, 2005 *)
"the theme of " Title^ " is the existence of some kind of " Subject^ " in different cultural environments within the context of today's world and the context of contemporary art, situation of the artist - an (im)migrant and his experience with integration or estrangement (even in his own cultural environment)" |

(* shift, vartecka, 2005 *)
"although he belongs to a young generation, his artistic language resembles maturity" |
"the Synagogue in Trnava is a space that predetermines, through its own history, those who intervene in its existence through their own creation. It is a symbol with its own architectural and semantic language" |
"author is concerned with an iconography of the present and confront the universe/god with human creation" |
"the artist is concerned with the perception of tangible and intangible realities, or even transcendental truths" |
"the artist seeks the 'elusive reality', that the sublime surrounds and transcends us" |

(* in-formation, jancekova+beskid, 2005 *)
"the work represents today's world seen by contemporary artists and the manner in which 'information takes shape', the way news spreads through technical media" |

(* epiphany, jancekova, 2004 *)
"through his " Title^" we are able to see what we usually omit to see in our everyday life and that is a lyrical interpretation of the fragments of our surroundings" |
"setup of the work in connection with a meditative aura of the synagogue evokes a metaphysical aesthetic experience" |

(* this is my place, urban, 2004 *)
"the artist attempts to draw attention to the stupor and degradation of the human sensibility in the era of information noise" |
"it appeals to the value of a private autonomous opinion in the era of increasing technocratic thinking, anesthesia of the sense experience and mass uniformity" |
"it reflects the actual state of things that are notably integrated into life relations not excluding fine art" |

(* do you really want.., jancekova, 2004 *)
"reading the generated curatorial text in the sacred space of the synagogue is simultaneously appropriate and provocative, initiating an endless stream of questions concerning, amongst many others, our response to the representation of ritualised behaviours, how these same behaviours are facilitated, and the topographical and temporal contexts in which they are enacted" |

(* hot destination, kolecek/celedova, 2004 *)
"in the relation of the artwork and the complex of art history, or in its theoretical and philosophical setting the author uncover analogies with the principles of social reality" |
"violating the borders of visual art is something that enables the selected authors to reveal the transformations of today's world" |
"the viewer experiencing doubts when facing the art work simultaneously discovers the complexity of today's constant changes of social existence" |

(* challenge, carny, 2004 *)
"the concept of the project " Title^" is based upon questioning the codes of conventional communication strategies of the art world" |
"its subject are the art strategies based on negation of the traditional approaches to art" |
"at the same time, it is a challenge for searching the answer to the question whether there are, in the field of art still limits to cross over" |
"author " ( "invades the existing schemes, strategies of realization and communication of the artworks" | "presents innovative approach towards art presentation" | ^ "s theme is the art world as such" ) |

(* the zero maneuvre, gregorova, 2003 *)
"by examining the human - machine relations, he analyses even the less visible dependences: artwork - author, artwork - audience, author - audience" |

(* lighthouse, jancekova, 2001 *)
"today's ephemerality and materialism are portrayed in the installation by cheap, low quality technology" |

(* stolovanie, gregor, 2002 *)
"author ignores the contents-related plans and so - in a manner - he positions himself above the boundary points of artistic abysses: subjectless universalism and fatal fixation to the contents; both of them are, from the artistic point of view, absolutely irrevocable" |
"the author makes no use of the detail and so the individual object is basic form archetype, thus it refuses form as such even to itself - it only represents itself by principle" |
"basically we speak about various nuances of deconstruction as a construction method that in the author's angle of view acts as a new interpretation of traditional reality";