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A collection of beach-found plastic structures - ropes and nets and threads.

Photo 2020-10-07 14-53-16.jpg Photo 2020-10-07 14-52-34.jpg


Scanned threads.png


net installation

I remember doing this thing as a child, with my sister ... We would take threads of wool and strings and long trenches of fabric, close ourselves in our childrens' room and weave. A spider web with an intuitive structure. A debris. An entanglement of our little secrets and conversations that nobody else would understand. We were building a shelter for our imagination inside of an intertwinement of these strings that would be tied to doorknobs, furniture, ... basically anything that could hold one end of the string. Strings were flowing around the room in a 3D constellation. I remember we always wanted to keep our room like this, it was fun to crawl in it, avoiding the strings and also unavoidably always ruining this interlacement, fixing it, changing it. It would evolve as we would move through it. Constructing and deconstructing it simultaneously. It was finished and irrevocably demolished when our parents decided that our play was over. Our common imaginary had to be put away, we had to cut the strings (from it) and life went on until we decided to revoke it and once again establish our safe space, our safety net where imagination could grow and we could connect. I want to do it again. This time without my sister, as she lives back home in Slovenia. She doesn't remember us building these nets, she says I dreamt about it. Perhaps I did. Perhaps my memory has morphed and my subconscious is playing tricks on me. Making this installation would also be a sort of a reality check. What will these gestures of weaving inside the space reveal and afford to me? Will I be as happy and imaginatory as I remember being?


Rhizomatic structures captured/preserved by epoxy resin/salt/sugar/formaldehyde. Photo 2020-10-12 19-35-37.jpg

Photo 2020-10-12 19-35-24.jpg Photo 2020-10-12 19-35-34.jpg

3 days later:

Photo 2020-10-14 10-42-22.jpg Photo 2020-10-14 10-42-23.jpg Photo 2020-10-14 10-42-24.jpg Photo 2020-10-14 10-42-25.jpg


A collection of found hairbends/elastics. Objects and a zine. Categorized by the date of the find.

2017, Dijon, France



Post-production of experience

(Description written at RWRM session #1 w/Steve, xpub1 2019)

A sculpture made out of focus is a proposition on how to read my performances, a thought experiment. A protocol that is being generated on the basis of my immaterial performative practice and the nevertheless tangible strength of focus, the attention flow that is generated in between the performer and the public, that I observe cautiously and experience strongly. In real-time improvisation, focus is the prime matter for sculpting. The reflection, the analysis of it is also the basis for its future developments, rearticulations in other media, the postproduction of experience that the performances generate.

Following a question on how to make my performances more inclusive and interactive, I responded with a fact that has always been obvious to me - the public is already included, a crucially essential part of any performative act. The public is the one that grants the performer with focus and time, creating the very possibility for the encounter between content and the subjects, subjectivities present.

The world is contaminated. Visual pollution is the hypocritical, hidden and omnipresent germ. On daily basis we are confronted with the overflow of images that tend to be meaningless, or there to serve the consumerist system we are a part of. Trying to avoid the production of imagery that would worsen the visual pollution, I took the decision to divert my practice towards the performative, where consensuality is a precondition. The attention of the public is gifted to the performer, not stolen from them. Distraction is the basic tool of "the capitalist beast". I believe that the gifted, consensual attention holds a possibility to reach further into the subjective mind, suggesting and opening up perspectives, otherwise blocked by gleaming pollutants.

3D print gyro (micro-macro, tracking movement - flow of performance (material = focus, movement is tool of gathering it), flow of daily movements)

giro sensors, making a 3D drawing, that is created from the movements a performer/lecturer makes in real-time. 3D printing the parts of the content that seem crucial -> the listener chooses the emphasis.

ref: Brownian motion

Funny history, this thought around traces and their materialization has been present already in 2016, here's a mail I sent to my cousins: Gre se za sledenje in zapis nevidnega gibanja. Materializacija poti. Človek ves čas riše linije s svojimi premiki. Predstavljajta si, da bi tem premikom sledili (z gps in altitude merilci v prostorski dimenziji - mesto ali s senzorji/kamerami v prostorski dimenziji - soba). Podatki o poti in premikih bi se zbirali v real-time trodimenzionalnem grafu. Ki bi produciral unikatne, vsakemu akterju/subjektu specifične izdelke (risbe, kipe).

Zamislila sem si torej tri stopnje: 1. akterja, ki se giblje; 2. naprave, ki gibom sledijo; 3. vizualni prikaz izsledkov.

Prikaz bi lahko bil v virtualni obliki kot 3D risba, še bolje pa kot skulptura/kip/plastika. (žica, 3D print). Gre se za materializacijo neotipljivega in unikatnost premika.

In odgovor:


hardware tools

meant to capture/represent flow

  • Headphone microphone (to record conversations on walks+field recordings)
  • Pedal camera (to capture the everyday of flow, can also be used during CSS)
  • mirror headset (paradox of sensibility)


embossing threads

Rhizomatic structures: embossing/debossing







Slika nova 2020.jpg


hackpact prototype


Photo 2020-10-07 14-44-53.jpg Photo 2020-10-07 14-44-59.jpg Photo 2020-10-07 14-44-58.jpg Photo 2020-10-07 14-44-56.jpg Photo 2020-10-07 14-44-55.jpg

archival book of visual research

Photo 2020-10-07 14-39-02.jpg Photo 2020-10-07 14-39-00.jpg

A historical archive has found its way into my possession.

I will repurpose its binding mechanism, and fix the aged cover - to archive my visual research throughout this year.

It's history and its inner structural, rational dynamic, reason for existance is inspiring for me. I will inhabit it with intuition and dynamicize its materiality.

Monthly printing out ~60 images.



converting formats:

convert *.png *.jpg

adding a filter:

convert *.jpg -remap pattern:gray50 *1.jpg 

renaming files:

 for i in *.jpg; do
 mv -- "$i" "$a.jpg"
 a=`expr $a + 1`

Bash script (total)

convert *.png *.jpg;
convert *.jpg -remap pattern:gray50 bw_*.jpg;
 for i in *.jpg; do
 mv -- "$i" "$a.jpg"
 a=`expr $a + 1`

need also:

  • naming images 1_month.jpg - x_month.jpg
  • bash scripting: mkdir originals and put all the original imgs inside + mkdir bw and put all the edited .jpgs inside



There is a semiotic vision that is guiding my research, metaphorically representing it and giving it a materiality:

A school of fish is swarming in the water. Their movement is rapid, dynamic, consistent, governed by a natural order, flow. Suddenly and silently a fishnet bursts into the water, engulfs a portion of the fish and the human drags them onto the surface. They will die, be cleaned, sold, bought, consumed, perhaps discarted. The net makes the fish become a part of a system of processing and consumption (that is not their natural ecosystem), imposes a structure onto their being. The remaining fish reccurently reorganize themselves, schooling forward as if nothing had happened.

I am fasinated by the dynamics that such a happening produces, and the metaphorical significance of the action of fishing (represented by the fishnet and its materiality): an act of framing happens, a possibly repressive rupture of one system, a passage onto another. Paranodalities emerge. I question on what is inside (a system, a network, the net, the habit, the imaginary), what is outside, what are the characteristics of the permeable membrane in-between, what are the dynamics from/towards the inside/outside, intra-actions that happen, frictions that are constant.

I think of: myceliums, roots, lineages, spiders' webs, weaving, entangled matter, chemtrails, transportation pathways, movement, ...

I think of: chaos, flow, homeostasis, structure, networks, organization, taxonomy, process, disciplines, hegemony, ...

I reside somewhere in the middle, grasping for air and observing.


  • My nets are made out of red threads. I do not yet envision their totality and intertwinement. I know my net exists. It is more than a hunch. Tracing the net. = the red thread. a net is comprised of threads. connections of roots.
  • paranodality. > What is something that is neither the net, neither the fish, neither the sea? Which one of these is the paranodal element of this (fishing) dynamic? Perhaps the water. > David Foster Wallace - This is water, paraphrased in a joke: There are two fish in the sea. An old fish and a young fish. And the old fish asks the young one: How is the water? And the young fish says: What water? ... You know, ignorance is bliss kind of a moment.
  • There is plankton as well! It is the water, but not. It has luminocity. You can only see it at night. Plankton as the network of beings, the nourishing aspect of water. > Swimming in plankton, looking at the stars. A psychedelic experience of micro-macro and floating. A reverse constellation, a reflection and its own thing as well. Plankton = noise?
  • Excessive fish-eating (its good for u). Fejk ribja pasta v modelčku."
  • fish+net (shematics) mreza pokonca ribo, ribina podoba/telo v sebi vsebuje lastno koncnost. excess fish that gets caught and is inedible. Esche.
  • 30-9-20: Thoughts while painting: fish and net - form/structure is similar (shematics). As if the fish would be meant to be captured by the net. As the net was made for the fish. (well, ofc it was!)
  • Spiders' webs and flies. Structure that captures flow. Making dynamic "things" static. Solidifying chaos. Organising flow. Natural tendencies/provoked processes. Stabilisation. Ecosystem. Equilibrium. Homeostasis.

&add photo of the painting


>> undiscovered people + the uncharted territory of thought (by analysis and rationalization you ruin it)

>> a human in need for a taxonomization of everything

>> a storm around approached by love.

>> A fire that Burns too much


I perform in the domain of sound, more specificaly sound improvisation/free/real-time composition; using my voice, language/words/poetry, sometimes analogue effects, abletone, or woodwind instruments.

I play with others.

My soundcloud. ...

tool: transcription script

speech to text

&&make a script that will transcribe the words being said in performances/conversations. name the .txt file according to the sound file.

  • Simon:

There are a whole bunch of tools listed here (although the OP is complaining about their inefficacy).
Not sure how many of them have a command-line interface, but you might be able to find something that works?
Otherwise, you could try this - pretty reliable, or so I’ve heard :P

  • Angeliki:

Maybe you could try the python library speech_recognition or Pocketsphinx. I have worked a lot with them and they are quite accurate and simple. You just have to run a python script. I have documented here /Ttssr-Speech_Recognition_Iterations and here /ttssr some recipes that may help. Probably that is what you need: / Let me know if you need any help.

Wooden Sticks On A Tractor Fitted With A Dozer Blade

Krnica, Slovenia, August 2020 w/Mojca Zupančič, Liza Šimenc, Altan Jurca Avci

[listen and watch here]

Oratory Services

full archive of Oratory Services here

  1. 1: 24-10-20, @Rib

video documentation here

The "Infinite list" poem. Listening to our surroundings, we are not always able to recognize the source that makes the sound. (Is it antrophophony, biophony, ecophony, ..., other, a cyborg entity?) Fragmentalized, the descriptors trying to grasp this mysterious entity are listed. The list is infinite, so are the (im)possibilities of discovering the source of the transitory sounds that we encounter.

  1. 4: 14-11-20, @Rib

video documentation here

I have described everything in my surroundings for ten minutes.

  1. 9: 17-12-20, @Rib

video documentation here

Due to my absence from the city, Linus has performed my score: Listening to the surrounding sounds and vocalizing them repeatedly.


cTrL is an augmentable duo that consists of Lucija Gregov (cello) and Tisa N. Herlec (voice). We invite others to join us in our collaboration - from cTrL we become cTrL+X, a new function is being created with each person that joins us.

Some recordings available here.



  • upcoming: 5-5-2020: cTrL+KG, performance and residency in Kino Šiška, Ljubljana, Slovenia
  • 17-9-20: cTrL+P, As soon as we become motionless, we are elsewhere; Ateliergebouw Oranjeboom, Rotterdam
  • 9-2-2020: cTrL: Not For Profit Art Party, Rotterdam
  • 7-2-2020: cTrL+V: Other Ways of Watching, MAMA Rotterdam
  • 24-1-2020: cTrL: HOLA, Rotterdam
  • 1-12-2019: cTrL+M: 4uurtje, Rotterdam


cTrL+Mojca Zupančič (keyboard)



cTrL+P = Lucija Gregov (cello), Philipp Ernsting (percussion), Tisa Neža Herlec (voice)

  • 27. 9. 2020, performance, Ateliergebouw Oranjeboom, Rotterdam, NL

Ctrl+p 3-11.png

&add recording

Transcription of: 27-9-20_cTrL+P_#1 (approximate)

Of movement:
see your picture in a surrounding gaze
a greed of truth
agreed upon a consensus
stop etceteration
acceleration of a recognized
a possibility
complex perplexed optionality
gaze upon the truth
in the gaze of those who see the amazed
once surrounded by gaze
now surrounded by your own thought
a bit of ...
of the simulated past
the same time ...
standing ...
reconciliation ...
reconsideration ...
a commencement of the proximation
Have you noticeed this grid that goes on forever
and starts somewhere in the middle of where we are standing?
Even an understanding is something that expands from the break of the crossing of the coordinates, a zero point in the system.
Can you locate the abnormality in normality?
The normalization in the conception of individuality?
Individuality ...
In the proximity
In the immortality
In the sensuality
In the ...
optimization ...
the consumption ...
the pavement between the optimal proximity of a success.
What is the award that is given to you, once you complete all of the steps in the place in the gaze ...
To get the sign that the ...
The same ...
I must reassure you that everything is perfectly fine, that everything is ok.
Sometimes maybe you feel like you were faced by shame or faced with other people that might consider ...
Sometimes the individuality creeps out of you, like a burst that the body contains.
And no matter of that, this is when the facts become a variabilized option.
In time, in the meantime, in the meantime time is needed.
In the meantime it is horrible - the mean time, the mean time while the time is needed.
The outside and the fog days and the in between the gaps and voids of days.
In the mean time, why why time is mean?
In the time, in the gaps and voids of days, I count the rest of my days, in the mean time, in the time to play - I ask myself if it's the same.

Transcription of: 27-9-20_cTrL+P_#2

Some and so and so and a sudden break:
... a subject
obstruction destruction ...
Do you ever just go somewhere?
And take a path that leads you nowhere?
And get lost and get found and get back on the track
obstruction destruction
construction destruction
I got lost and now I am still lost.
But there is a hope out there that I will get found.
Because there is someone who is teaching me how to read the map.
the topology of where we are standing
the understanding and the misunderstanding
the interpretation of a humanity out there.
We have come so far but still we are nowhere to be found.
In this maze we call reality, in this infinite space above us, in this intimate subjectivity, in these facts of the oceans. We believe that we have found the next great breakthrough that will lead us into a new age where everything shines brighter and better, we are stronger and kinder and happier and ...
We, we, we! ...
And I find you exactly where you reside - at the edges of space, the borders of time. This is where your address is, they say, it was written in a formular of some kind - a birocratic notion that makes you the same as everybody else even though you fill it in by yourself in your own handwriting.
It is so nice to see everything being in order, in place, nothing misplaced.
And the erosion will still make all mountains dissapear into thin air, they say.
Actually, actually, actually the sedimentation of history upon my shoulders is making me miss half of it.
'Cause it is heavy and I am almost blind sometimes. And it brings me into spaces that I don't know how to orientate - do you?
'Cause it is a misconception.
It is a blind spspspsp-spit on the surroundings that don't value kindness.
Even my grandfather said, he is about 87 years old (im not sure about that). He said that being fair to whoever is around, being a gentleman and being kind - is something to search for in a man. This is how family transposes its values onto national tv. Even in his half-dementious gaze, he still knows the value and places it into a space of mass media surroundings. Because an individual has to be hard by more than just their friends, by more than just acquaintances, by something else - because what he said is true not sad but true, not sad but true, not sad but true ..."


cTrL+Vanina Tsvetkova (crackle box)



Linus Bonduelle (abletone, voice and noise board) & Tisa Neža Herlec (voice and noise board)

West den Haag


West den Haag public piece "Stand Your Ground and Hold Water" - listen here

"ch is Tisa Neža Herlec and Linus Bonduelle, a compound as fresh as a daisy on a springmorning alm. Backpockets and earsockets filled with sound already, they are figuring out what gifts to offer each other – figuring out what being is of course. This early session turned into a meditation on the jug, or, as Martin H. has it, on that which holds water. And so we hold ideas to the light only to see they're double-sided and shrill – something's leaking. It drips on this metal rusty plate with holes and wires that we call 'earth', and where we haven't landed just yet. Give it a go, don't budge, pour over."

  • used guvcview to capture video from a webcam

Photo 2020-10-19 13-40-48.jpg

  • soldered an instrument together

Photo 2020-10-14 10-42-21.jpg

Leftovers radio


Radio session at Leftovers radio @LAG, Amsterdam


Stream here and here, documentation will be up soon.


A screenshot of our streaming performance:



Documentation on how to set up the stream


  • download OBS
  • connect video and audio sources
  • go to settings in OBS, go to stream, set to custom:

server: rtmp:// streamkey: whateveryouwanna

see schema here


ProPolis = Marek Fakuč (percussion) & Tisa Neža Herlec (voice, micro korg synth, woodwind)

  • 18. 9. 2020, performance, Festival poraznodete, Žužemberk, Slovenia

Brezimni Prekomorci = Nameless Overseas

quartet: Anton Lorenzutti (guitar), Lan Wu Štokelj (electonics), Andrej (bass), Tisa Neža Herlec (voice)

listen here to a released track

yet unreleased recordings

1. Fluktuacija končnosti // Fluctuation of finitude
2. Tnalo tkiva // Slicing tissue
3. Uporništvo megle // Isurgent fog
4. Presnova drugosti // Metabolic otherness
5. Preseganje žeje // Overarching thirst

&Transcribe the track presnova drugosti


Pascal Jarchow (doublebass) & Tisa Neža Herlec (voice)

  • 8. 9. 2020, 27-letnica AKC Metelkova: Defonija, Gromka, Metelkova, Ljubljana, Slovenia

&recording and pictures

  • 6. 9. 2020, Formacije: Duo, Ferdova, Ljubljana, Slovenia


Equilibrium as Insta_bility

Equilibrium as Insta_bility = Tobija Hudnik (compostition), Luka Poljanec (vibraphone), Lenart De Bock (saxophone), Brina Kren (saxophone), Pascal Jarchow (doublebass), Tisa Neža Herlec (voice)

  • 24. 8. 2020, performans, festival A dela?, Cirkulacija2, Ljubljana


Jonas Žabkar (accordeon), Thierno Diallo (doublebass), Liza Šimenc (movement), Urban Megušar (cello), Maj Kavšek (trumpet), Mojca Zupančič (piano), Žiga Pilih (visuals), Tisa Neža Herlec (voice)

  • 6. 8. 2020, JazzklubMezzoforte, performans, Cirkusarna NaokROG, Tovarna Rog, Ljubljana, Slovenia




The prism: to swarm, to fish, to school

28-12-20 listen here

This radio piece was commissioned by Worm Radio.

The radio piece “The prism: to swarm, to fish, to school” was recorded at Worm’s sound studio, guided by a semiotic vision: “A school of fish is swarming in the water. Their movement is rapid, dynamic, consistent, governed by a natural order, flow. Suddenly and silently a fishnet bursts into the water, engulfs a portion of the fish and the human drags them onto the surface. They will die, be gutted and cleaned, sold, bought, consumed, perhaps discarded. The net makes the fish become a part of a system of processing and consumption, a system different from their natural ecosystem they constituted. The net imposes a structure onto their being. The remaining fish recurrently reorganize themselves, schooling forward as if nothing had happened.”

RADADAR: multimedia digestive circuit

event announcement link to stream documentation published also on network

The multimedial digestive circuit is digesting, consuming and chewing, insisting and transforming the memories of another time.

The dislocated visitors find themselves in the midst of machinery and people, imagery, sounds and stories, intuitively woven into a digestive circuit that processes foreign, distant, estranged memories. The snippets of the past emerge from the oblivion; with its movement they draft the speculative landscapes of time.

The operators of the circuit become an integrated part of it, communicating with other parts in specific and subjective ways, they are seizing the foreign memories. They become the catalyzers for the transformation of these memories, dynamically inducting them into the techno-rhizomatic network of recollection - they are a part of a process is beyond-subjective. The sensoric points are nodes in this network. Together with the memories they construct a cacophony of impulses.

The circuit is transforming memories, while at the same time itself is being transformed. The pathway of transformation is modulating the memory from analog to digital, from visual to aural, from static to dynamic, from foreign to ones' own, from particular to common - and vice versa.

There is something about the multiplicity of memories - all cannot assimilate. The paranodality of fragments persists. We find ourselves drowning in the inundation of impulses, with out own mnemonic mechanisms we orientate in it, we are in the process of transforming the materiality into experience. Nevertheless, we can only get a glance of past that was once lived, a fragment of a memory mutated with time.

... allowing the unknown to seep in, the potentialities, the perhaps illusory and sensorically inaccessible, the seemingly unthinkable ...

Memories are like that, this is their reality.

Circuit operators: Mojca Zupančič, Tisa Neža Herlec, Sašo Puckovski, Luka Seliškar, Anja Hrovatič, Borut Savski, Stefan Doepner, Urška Savič Theoreticalities: Sasha Hajzler, Kristina Pranjić, Ana Lorger Avantdada: Bojan Anđelković Stories: mummy Annie, dada Urosh Technical support: Luka Seliška, Samo Pavlica - Linč Video stream: Branko Lenarčič Online editor: Miha Poredoš Camera operators: Alenka Krč, Kaja Horvat, Minka Harej Radadirection: Urška Savič Design: Jure Anžiček Co-production: Cirkulacija2, Yugotranslate, Zavod Delak Support: MOL, ŠOU in MK

RADAR show

  • 14. 9. 2020, Prelet: TNH, R A D A R, radio show, Radio Student

listen here

This radio show was constructed out of many sound/field recordings that my friends have sent me.
It is a meeting point of many different lives, experiences and personalities, juxtaposed in an intuitive dramaturgy.
A cyborg multiplicity. An encounter of otherness.

night programme

  • 16-9-20, night programme, Radio Student

Mojca Zupančič (synth, voice), Tilen Kravos (el. guitar, whistles), Tisa Neža Herlec (voice, samples, flutes)

listen here

soundwalks and field recordings

  • app Echoes
  • &Maastunnel (rec and idea)


Composing sensibility session (CSS)


Made the 1st Composing Sensibility Session I. on the 25th January 2020. 10 people attended. At Theater Galerie Dordtselaan.

Currently waiting for the covid restrictions to allow these kind of gatherings.

This is the working description:

Composing sensibility is a workshop, an exploration of our individual capacities (capabilities) of perception and a collective construction of tactics for the everyday. Believing that sensibility is the fist step towards understanding the world around us, social relations, occurrences, one should train it, include it into the daily routine and always pay attention to oneself, others and the surrounding context. In the workshop, I will propose a set of exercises (merged from sound and theater improvisation techniques, contemporary dance, meditation; based on movement, voice and text) that one can explore by themselves and collaboratively with others in any environment, at any time. The final outcome is a revalorization of senses and their potential. Emphasizing the possibility within each individual to interpret and eventually intervene in the existing state of affairs. Real-time sensibility is the first step, interpretation (awareness and understanding) is the second, reacting and intervening the third; all of them nurture the other and construct a fluid composition of everyday practice to be aware, present, critical, empowered, sensible as an individual subject that always moves in between communities and settings of multiple subjectivities.

The sessions function as a setting of mutual support, collective learning, experimentation, and courage to sense and make sense.

sensibilization -> awareness -> understanding -> reacting -> change

grounding in change

14-01-2021, 12.30-13.00, Zoom - a part of wdka vitality programme

Css notes.jpeg

"Composing Sensibility Session: grounding in change" is an online workshop, a mid-day break from work, a necessary breather in our every day. Imagine it having similar outcomes to a well-deserved nap.

You can expect to take part in a couple of amusing games and exercises that will serve as a tool for relaxation and grounding, sensing the materiality of our bodies and the space beyond computer screens, the activation of imagination.

What does it mean to "ground in change"?

  • To stand your ground as firmly as a tree in strong wind, to dance with the wind.
  • To be as a kung-fu master is - the state of relaxation affords him agility to face the forces around him instantaneously.
  • To know that change is a constant in the midst of a myriad of variables and unpredictabilities.
  • To be the friend of change.

Who cares?

Who cares? is a discursive gathering.


This series of discursive gatherings has already been running in Ljubljana over 4 months in 2018. The conceptualization of it was also a part of my BA thesis (together with four other works).

Weekly. Nice space. 4+ hours of focused conversation. Inclusivity of personalities, opinions. Collective articulation. A place to express ideas or doubts or concepts or thoughts. Personal approach - demystifying praxis.

Now searching for a group of people (does not have to be static/fixed), setting up a physical and a virual space for it (DordselaanTheater).


translate #todo:

Serija diskurzivnih dogodkov

Časovni okvir: tedensko v času štirih mesecev; od aprila do julija 2018

Kraj: Modri kot, Avtonomna tovarna Rog, Ljubljana

Koga briga? je diskurzivni dogodek, ki sem ga pobudila tedensko v času od aprila do julija 2018 v Modrem kotu, prostoru v Avtonomni tovarni Rog. Zastavljen je bil kot odprt prostor, ki je v okviru tedenskega srečanja omogočil rahlo mediirano komunikacijo med različnimi posamezniki, ljudmi z vseh vetrov in strok. Večinoma so bili to umetniki, pridružili pa so se tudi filozofi, znanstveniki in drugi. Vsakič nas je bilo vsaj pet, mnogokrat pa je število prisotnih preseglo stranice mize, za katero smo sedeli. V dolgotrajnem obstajanju Koga briga? se je zelo organsko gradila skupnost razmišljujočih in dejavnih ljudi, ki se je medsebojno podpirala na osebnem in profesionalnem nivoju. Ideja za cikel teh dogodkov se je porodila iz občutka, da v našem okolju ni prostora-časa, ki bi omogočal prosto artikulacijo individualnih refleksij, komunikacijo med različnimi strokami in ki bi spodbujal odprtost razmišljanj, skupno motrenje in postopno konstrukcijo politične pozicije do sveta, z rabo referenčnosti sodobne umetnosti. Preko eksperimentalnega pristopa do diskurzivnosti, komunikacije so se vzpostavili sočasni metarazmisleki o metodologijah izmenjave, iskali so se pristopi do učinkovite diskurzivnosti ter vključevanja, inkluzije vseh prisotnih, tudi tistih, ki po naravi niso zgovorni ali rojeni retoriki. To pomeni, da se je posameznikom dajal čas za izražanje, da smo ozaveščali manirizme diskurzivnosti, opozarjali močne govorce, naj predajajo besedo tudi drugim, skoraj prepovedali skakanje v besedo in stremeli k učinkoviti, prijetni komunikaciji med prisotnimi. Govorili smo večinoma v angleščini, saj so bili vedno prisotni tudi ljudje, ki jim je bila slovenščina tuja. Najbolj značilna metodologija Koga briga? je bil način, na katerega smo se predstavljali drug drugemu. Ob začetku vsakega dogodka smo se, tudi če smo se poznali, zaporedno predstavili, vsakič drugače, in med seboj delili informacije o nas samih. Prav tako se je to zgodilo vselej, kadar je v pogovor vstopil nov udeleženec. To je bil način, da med seboj vzpostavimo neko raven poznanosti, domačnosti. Koga briga? je omogočal varno, sprejemajoče okolje, v katerem smo lahko brez sodb govorili o sebi z lastnih individualnih pozicij in perspektiv. Poglobljeno smo se sprehajali po topiki s13 področja umetnosti, govorili o lastnih praksah, o okolju, ki nas obdaja, o spremembah v našem kontekstu ter o naših reakcijah nanje v medijih umetnosti in vsakdanjega življenja. Govorili smo o človeku, umetniku in načinih, na katere lahko ta človek obstaja in deluje v okolju, ki je vedno bolj sovražno in omejujoče. Govorili smo o načinih mišljenja sedanjosti in prihodnosti nas, našega lokalnega okolja in globalne scene. Govorili smo o stvareh, ki so na vse močno učinkovale ter bi jih bilo nesmiselno artikulirati v post-dogodkovni zapis, saj so v polnosti lahko obstajale le kot živo tkivo večurne debate, kreacije vseh prisotnih. Pogovore sem dokumentirala preko skopih linearnih zapiskov, ki jih hranim zase, saj je tovrstna dokumentacija enostranska in ne more predstavljati totalitete tega, kar je Koga briga? bil, še posebej njegove spremenljivosti, časovnosti in prijateljstev, ki so se stkala med dogodkom. V Prilogah (Priloga k 2.1.1) je vsakotedenski zapis, ki je vabil javnost, naj se pridruži Koga briga?. Vključene so refleksije nekaterih prisotnih z obrisi analize, ki je družna in mnogotera. Vsak prisotni razume in vrednoti Koga briga? po svoje. Tako na primer povedo, da je bil Koga briga? eden vse redkejših prostorov iskrenega skupnjevanja, da je odprl nedefiniran prostor, ki je nujen za nove in sveže misli, četudi so bile to le misli. Nekdo prizna, da je potreboval le “eskejp” (pobeg) in je v večerih, ki smo jih preživljali skupaj, najbolj cenil ravno relativno prijeten prostor in družbo, čeprav so se mu razprave zdele irelevantne, kar je bilo natančno to, kar je iskal. Koga briga? je vzbudil občutje, da imajo misli prostor in da je pomembno, da jih izrazimo.

sense smit(h)ing session

Previously known as "The death of the author"

This is a collective writing session, using etherpad as the working environment. All text produced is performed in real-time. It is live-streamed online.


needs a new title.

it is not anymore about "killing the author".

it is about finding ways to be a live collective thinking organism.

writing text together.

projected big.

using a pad, access from numerous points.

anonimity enables honesty.


performing the written.


sound also made simultaneously.

a microphone passed around the room.


collective construction of metaphors and meaning.

no predispositions on content.

who knows what happens.

it will probably be fun.

This is briefly the outline. Imagine. Bunch of people, simultaneously together in a physical (Varia) and virtual (pad) space. Writing the "script", some sort of collective imagination, consciousness if you wish is being expressed in language. Performing it. Sound. Production of meaning otherwise. Thinking together out loud. Transgressing the individual. Because - edit me, make my meaning ours.

We've done this before (couple of years ago) in Modri kot (Blue corner), a place in the squatted Rog Factory in Ljubljana, Slovenia: my now-sadly-almost-extinct community. I'm proposing it to you, as an idea, searching for its continuation ...

(I forgot to mention that you can also take part in the writing if you are not in the space.)

> (sent a mail to Varia)

> This is the pad from november 2017 (in slovenian):

Clearer explanation of the idea

I would like to propose to make an evening event at Varia, open to public.

The evening could be from 20h to 00h, open bar if possible.

Concerning the date, I am open to your suggestions (maybe weekend is the most suitable?)

I would make sure that there are some people that start the engine of the evening (sound-makers, people that write, that perform the written), but all these roles are to be played by anyone that comes by. (The number of people is hard to predict.)

Technicalities: PA, projector, wifi. People bring computers/phones to access a pad.

Method: Collective writing (on a pad, projected big) that is performed in real-time (voice and sound). An improvised session. Encouraging everyone to join in the process. Like a literary evening, but not really. Content is unpredictable. From poetry to academic texts?

Why: I'm interested in this dynamics that happen when people write together. How meaning is constructed, changed. How unpredictable innovation happens, when we are not in our individual, isolated mode of creating. In my experience from before, these meetups were always a source of inspiration. And enjoyable.

It is about finding ways to be a live collective thinking organism.

email never sent out (yet)

As M. proposed, here is the short text, basically a rephrasing of my staccato mail (for dutch translation, can someone of you make it?) for the website and an image.

it is about finding ways to be a live collective thinking organism. writing text together. projected big. using a pad, access from numerous points. anonymity enables honesty inter-textuality. performing the written. real-time. sound also made simulataneously. fluidity. collective construction of metaphors and predispositions on content. who knows what happens. it will probably be fun.

If i understand it correctly, you would like to create a specific collective reading/writing setup with pads, and go over a few experiments together with the public? Will you prepare these experiments? Curious to hear what you're having in mind.

 I would not propose too much. Maybe talking about my freewriting practice in the beginning, and then seeing where it all leads to. Also a way of controlling an input into freewriting. Here, we have the sound setting of the space - that already influences the mood.Otherwise - it could be a sentence, an emotion, a perspective (vsevedni pripovedovalec, first person, third person, multiplicity, conversation ....)

A few questions that came up while reading your mail: How can we (the "we" = you + audience here) question the dynamics of writing together? How can the public join in in questioning these dynamics? Maybe you can print the exercises/experiments as scores, to give the audience "handles" to hold on to? \

 Regarding the date - second weekend of march? Hour: 19:30h - 22:30h (starting with a contextualization moment)