{"id":21,"date":"2004-12-10T19:25:45","date_gmt":"2004-12-10T19:25:45","guid":{"rendered":"http:\/\/www.ljudmila.org\/~savskib\/?p=21"},"modified":"2024-09-20T16:20:24","modified_gmt":"2024-09-20T14:20:24","slug":"orakelj","status":"publish","type":"post","link":"https:\/\/www.turborebop.net\/?p=21","title":{"rendered":"Orakelj"},"content":{"rendered":"

[Original at http:\/\/www.3via.org\/index.php?htm=orakelj\/index<\/a>
\nalso at https:\/\/www.turborebop.net\/html.php?htm=orakelj\/index<\/a>]<\/p>\n

Borut Savski – Orakelj \/ Oracle<\/h3>\n

\u017danr: Interaktivna zvo\u010dno-vizualna instalacija (postavitev)
\nInteractive sound&visual installation<\/p>\n

\"\"
\nas built & presented\u00a0in december 2004\/ january 2005 at Kiberpipa, Ljubljana<\/p>\n

As seen during the building process in december 2004 What is missing:\u00a0facial motoric; any practical listening ability; … … more economic sound generation;synchronicity …<\/p>\n

\"\" \"\" \"\"<\/p>\n

sound exerpts… (mp3s)
\noracle 3<\/a>
\noracle 11<\/a>
\noracle 16<\/a>
\noracle 21<\/a>
\noracle 23<\/a><\/p>\n

Nekaj podatkov o projektu Orakelj, ki je bil v eni svojih delovnih faz na ogled v Kiberpipi (-> videli ste, pa niste vedeli, za kaj gre…). Kljub temu, da ni bil ravno mi\u0161ljen kot procesualni projekt, pa so dokaj\u0161nji zapleti botrovali taki “polizvedbi”.<\/p>\n

V tem \u010dasu se odlo\u010dam predvsem kako nadomestiti originalno pre\u0161ibko obrazno motoriko (mimiko) podobe Oraklja. Na vrsti je mamin (ne, ampak Namin) mikser …<\/p>\n

Doslej sem precej poenostavil programski del generiranja “glasu” Oraklja, tako da naj bi ga redkeje sre\u010devali v fazi “zrenja” (-> ra\u010dunalnikovega “ponotranjenja” – low resources…). Skrivnost naj bi bila pri ra\u010dunalni\u0161kih algoritmih v tem, da so v svoji raznolikosti rezultatov predvsem ekonomi\u010dni, manj pa predvidljivi. Kombinacija tega dejstva in \u017eeljena odzivnost na vpra\u0161anja sogovornika pa sta do neke mere v nasprotju.<\/p>\n

Prav gotovo bo potrebno nivojsko (hierarhizirano) odlo\u010danje med prioritetami (ko sogovornik govori Orakelj mol\u010di in poslu\u0161a – a ne vedno; ko Orakelj govori ne poslu\u0161a – a v\u010dasih tudi). Zaradi vseh podobnih “ne vedno” in “v\u010dasih tudi” gre za kompromise, ki ne bodo nikoli optimalni. Osnova algoritmi\u010dnega programa so seveda povratne zanke – samonana\u0161anje in posledi\u010dno spreminjanje “ustroja”. O\u010ditno hud napor?<\/p>\n

Del programa – tisti za spremljanje polo\u017eaja obiskovalca in ustreznega vrtenja o\u010di, ki ga je prispeval Miha Tom\u0161i\u010d, deluje naravnost vzorno. Hvala\u00a0\u010dlanstvu Kiberpipe, ki je omogo\u010dilo moje tokrat res po\u010dasno packanje …<\/p>\n

Borut Savski<\/p>\n

keywords …
\ninteractive = autonomous
\nconceptual art = mathematics
\ntime = timeline = history
\nidentity = personal timeline
\ntruth = convention
\ntruth = personal interpretation
\ndecision = random
\ndecision = rationalization<\/p>\n

ORAKELJ (“prero\u010di\u0161\u010de”)<\/strong><\/p>\n

Slovar slovenskega knji\u017enega jezika:
\n– orakelj -klja m (a) \u00a0 pri starih Rimljanih prero\u010di\u0161\u010de: oditi v orakelj \/ delfski orakelj \/ prerokba
\n– orakeljski -a -o [k*l] prid. (a) nana\u0161ajo\u010d se na orakelj: orakeljske besede \/ ekspr. dobil je orakeljski odgovor nejasen, dvoumen<\/p>\n

Projekt ORAKELJ \/ prero\u010di\u0161\u010de se torej dotika kar nekaj pomenov. Prvi je podoba o\u010deta – nekoga, na katerega se nana\u0161amo (z vpra\u0161anji; kot referencno polje vedenja, definiranja pomenov), nekoga, ki ga gledamo (ker je njegov izgled referenca; struktura,\u00a0 simbolno polje mo\u010di) in nekoga, ki nas gleda, od zgoraj navzdol – torej nadzira; njegov pogled ustvarja\/ predstavlja\/ reprezentira simbolno polje – trdno strukturo, jasno razlo\u010devanje dobrega in zlega). Na tej strani je torej vedenje, obvladovanje preteklosti in prihodnosti – torej absolutno.<\/p>\n

Na drugi strani pa ta arhetipska (pris)podoba \u017ee nelo\u010dljivo vsebuje nezmo\u017enost interpetacije oraklja \/ prerokbe, kar pa je, zanimivo, ne degradira. V nasprotju s tem degradira na\u0161e interpretacije (na\u0161 Jaz), ki pa se “na koncu” neogibno (usodno) sooci z \u017ee izrecenim (prerokba postane resnicna). Rec (beseda) na koncu postane stvar(na).<\/p>\n

Gre seveda za klasi\u010dno arhetipsko dramaturgijo, saj so akterji (pomeni) konfrontirani, lo\u010deni, zato se med njimi neogibno vname boj. Zmagovalec je po klasi\u010dni recepturi – resnica. Torej nosilec\/ obli\u010dje simbola mo\u010di – Orakelj. \u010ce gremo \u0161e korak nazaj – \u010cas. Seveda gre za vpra\u0161anje transcendence.<\/p>\n

Omenjeno dramatur\u0161ko zasnovo sem si sposodil na precej profan na\u010din, saj Orakelj privzame podobo obli\u010dja iz kak\u0161nega B-movieja. Pred vedenjem je zaznavanje (estetsko). Estetsko biva prete\u017eno na povr\u0161ini, zato smo ga zdru\u017eili s (po mojem mnenju) sorodno kvaliteto – povr\u0161nim \/ povr\u0161inskim humorjem. Videz (o\u010diten, “o\u010dividen”, o\u010dem viden) pod ko\u017eo (podobe) postopna prehaja v bolj resno podrocje – strukturiranje: in\u017eenirsko izvedbo mehanizma \/ strukture gibanja izraza \/ obraza, dokler ne dose\u017ee ravni za strukturiranje interaktivne in avtonomne interpretacije vidnega in sli\u0161nega, ki je osnova za celovito odzivnost kibernetskega sistema. Za to je bilo potrebno pose\u010di po ra\u010dunalniku, ki se \u017ee nahaja nekje na meji med materialnim in abstraktnim.<\/p>\n

Osnova identificiranja so seveda o\u010di, ki jih v na\u0161em (profaniziranem) na\u010dinu igrata TV zaslona, na katerih se sprehajata zenici. TV kamera spremlja polo\u017eaj obiskovalca \/ obiskovalcev in s podatki krmili polo\u017eaj zenice. Za zvo\u010dno odzivnost (za “vpra\u0161anja Oraklju”) skrbi mikrofon, ki ga\u00a0na zelo neobvezen na\u010din intepretira isti ra\u010dunalni\u0161ki program (Pure Data). Prerokbe (“resnice”) so sestavljene iz generiranih zvo\u010dnih sosledij, ki komajda spominjajo na govor, hkrati pa se zato \u017ee odmikajo od definicij glasbe.\u00a0Resnica, ki jo Orakelj govori, ostaja zgolj estetska prvina.<\/p>\n

Ker zagovarjamo tezo, da je Bog objektivizacija popolnega (bo\u017eanskega) v \u010dloveku, ugotovimo, da na ta na\u010din \u010dlovek pravzaprav i\u0161\u010de odgovor\/ resnico v samemu sebi. Nejasen, dvoumen odgovor, ki ga prejme, je najverjetneje enako nikakr\u0161nemu odgovoru – praznim besedam, dokler ga posameznik ne interpretira “po svoji podobi”. Posameznik se v iskanju pomena \/ resnice torej soo\u010di s samim seboj. Bli\u017enjice do pomenov \/ resnic so vere, teorije, \u017eanri, stereotipi, …, ki pa so najbr\u017e \u017ee prej\u0161nji odgovori o\u010deta \/ Oraklja (Drugega). Kaj je posameznik\/ca sam po sebi? Neprizanesljiva podoba v zrcalu?<\/p>\n

ORACLE<\/strong><\/p>\n

Dictionaries say:
\nCollaborative International Dictionary of English v.0.48 :
\n<\/strong>Oracle Or”a*cle, n. [F., fr. L. oraculum, fr. orare to speak, utter, pray, fr. os, oris, mouth]
\n[1913 Webster]
\n1. The answer of a god, or some person reputed to be a god, to an inquiry respecting some affair or future event.
\n
\nWordNet (r) 2.0 (August 2003) :
\n<\/strong>oracle
\n1: an authoritative person who divines the future
\n2: a prophecy (usually obscure or allegorical) revealed by a priest or priestess; believed to be infallible.<\/p>\n

Project ORACLE therefore touches quite a few meanings. The first is the projection of a father – of somebody (or something) that we relate to (with questions; as a referential field of knowledge and definitions of meanings), of somebody that we look at\u00a0 (because his image is referential; a structure,\u00a0symbolic field of power) and somebody that looks\u00a0uppon us, from up above downwards – a supervisor; his look creates\/ represents the symbolic field – the firm structure, the clear division between good and evil). On his (its) side is the knowing, the rule over past and present\u00a0– the absolute.<\/p>\n

On the other hand this archetypal symbol already incorporates the inability of interpretation of\u00a0oracle (what was said), but which does not degrade it – it even constitutes it. Contrary to that – it degrades our (numerous) interpretations\u00a0(->our Self), but which\u00a0we “eventually\/ inevitably\/ in the end\/ fatally” find out to be the\u00a0truth. What was said becomes the truth. What was missing before\u00a0was the right understanding (the right interpretation).\u00a0The word becomes the “meat”.<\/p>\n

Myth = meat?<\/p>\n

The Oracle stories are classical archetypal dramaturgies, because the actors (the meanings)are maximally separated\/ confronted, therefore a clash between them is inevitable.The winner is (classically)\u00a0– the truth. This of course means that the winner is the bearer\/ symbol of truth and\u00a0power – the oracle (Oracle). If I go one level below that symbol\u00a0– the\u00a0time. And\u00a0of course, this is the question of the transcendence.<\/p>\n

 <\/p>\n

\"\" \"\" \"\"<\/p>\n

Izvedba<\/strong><\/p>\n

Podoba Oraklja:
\n– se po izvedbi naslanja na pop-kulturne podobe\/vzorce t.i. b-movie produkcije (gibljiva, groteskna, asimetri\u010dna, avtonomna)
\n– Orakelj z “o\u010dmi” spremlja gibanje obiskovalca (izvedemo z video kamero, o\u010di sta dva TV zaslona, ki prikazujeta zenici o\u010desa, ki spremljata gibanje obiskovalca)
\n– Orakelj s pomo\u010djo infra-rde\u010dega senzorja zazna gibanje \u010dlovekovega telesa in se aktivira (za\u010dne usmerjati pogled, dihati, pod povr\u0161ino\u00a0motorji opona\u0161ajo \u017eivo povr\u0161ino)
\n– Orakelj ima povr\u0161ino narejeno iz zme\u010dkanega pakirnega papirja. Pred tem je bila mo\u017enost tudi \u010dasopisni papir, kar bi lahko odprlo nov prostor interpretacije:
\nmedij = orakelj = resnica
\n– Kljub imenu (Orakelj ima v korenu besedo “govoriti”)\u00a0je povedano dvoumno, zato nerabno, odprto za interpretacije. Govorjeno je\u00a0le zvo\u010dno pretakanje, trobljenje, klokotanje, piskanje – a v grobem oblikovano, kot da gre za govor (torej zaporedje z vmesnimi premori). Na ta na\u010din se ognemo preveliki mimeti\u010dnosti, ki bi pozornost preve\u010d prenesla zgolj na tehni\u010dno izvedbo.
\n– Orakelj ima v odnosu z obiskovalcem vlogo O\u010deta, zato mora izkazovati\u00a0dokaj\u0161njo avtonomijo in le pogojno poslu\u0161a (razmerje med poslu\u0161anjem in avtonomnim govorjenjem Oraklja bo pribli\u017eno enako)
\n– z Orakljevo zmo\u017enostjo sledenja obiskovalcu bo gledalec postavljen v sredi\u0161\u010de\u00a0 postavitve. To je individualizacija gledalca, saj ga Orakelj vidi – obiskovalec torej je vreden pogleda, komunikacije. Orakelj ga tudi sli\u0161i, gledalec nave\u017ee stik z Orakljem (zato kljub vsemu velika mera mimeti\u010dnosti izvedbe). Tu je tudi to\u010dka potujitve – gledalec mora verjeti, da nekdo \u010duti njegovo prisotnost –\u00a0Orakelj drugemu podeli kredibilnost –\u00a0obstoj.<\/p>\n

Podoba in multiplicirana podoba gledalca (z zrcali):<\/strong>
\n– gledalec stoji pred oblicjem Oraklja, levo in desno od njega sta dve vzporedni zrcali. Gledalec vidi svojo prvo podobo in multiplicirano podobo zaradi dveh vzporednih zrcal
\n– multiplicirana podoba vna\u0161a slehernikovo dimenzijo, ki se ka\u017ee\u00a0tudi kot kolektivno
\n– paradoks se zdi, ker se na \u0161ir\u0161o raven multiplicira le podoba obiskovalca samega. Tudi to se da brati tako, da je \u0161ir\u0161e \u010dlove\u0161ko (humano) \u017ee v samem individuumu. Kar je najbr\u017e jasno.
\n– Zrcala so seveda magi\u010dni predmeti, vra\u010dajo posameznikovo podobo (“tako me\u00a0 vidijo drugi; tak sem Jaz za Drugega”), skratka: pravo bogastvo psihoanalitskih pomenov.
\n– A zrcala vra\u010dajo podobo\/ pogled le tedaj, ko jih gledamo. \u0160e ve\u010d: la\u017eejo, saj ka\u017eejo zrcalno podobo. Zrcalna podoba torej ni Jaz, ampak je le podoba Jaza.
\n– In kaj se skriva za podobo?
\n– Za zrcali bomo obesili dve besedili: eno z naslovom “Resnica”, drugo z naslovom “Odlo\u010ditev”. V teh dveh esejih bom razstavil koncepta Resnice (la\u017ei, interpretacije, zgodbe) in Odlo\u010ditve (te maksimalno poenostavljene objektivizacije sicer neizmerno kompleksne miselne “poti”).<\/p>\n

I borrowed the described dramaturgyvery profanely, since thje Oracle takes the image of\u00a0a face from a\u00a0B-movie. Before there is knowing, there is sensing (the aestetic). Aestetis lives\u00a0on the top\/ visual layer, so I combined it with (in my opinion) similar quality – the superficial humour. Below the “looks” there is structure and structuring: the engineering work with mechanism, the structure of moving face, the\u00a0structuring of interactive and autonomous interpretation of what is “seen and heard”. This is the basic level of a wholly responsive cybernetic system. Of course I had to use\u00a0computer algorytmic structures\/ mechanisms –\u00a0somewhere between the material and abstract world.<\/p>\n

The basic of identification are eyes. Here they are just two symetrical computer monitors with moving images of eyeballs. Tracking is performed by a small webcam, acting also as a kind of third eye (itself a very strong\u00a0symbol – the symbol of wisdom: as such it is the introspective quality – therefore it should be turned inwards, but this would ruin the functionality – and it is already another story…). Oracle listenes (microphones) and speaks. All programming was done using Pure Data software (PDP, GEM).<\/p>\n

What is spoken (the truth) are relatively simple modulated sounds, lined up sequentially, and it does not resemble\u00a0speech. At the same time they are not yet music.\u00a0My definition of music is that it is functionally organized sound.\u00a0Oracle’s\u00a0spoken truth also exists only in the aestetic domain. Therefore as music? Here is a point for\u00a0reflection: I can agree that aestetics does not bring knowing (they are, I think, contradictory values). So,\u00a0how to project (from any part of Oracle)\u00a0to a visitor a notion of Oracle knowing? Big problem.<\/p>\n

The visitor however stands in front of Oracle and hopefully communicates (if it finds in Oracle a worthwhile partner) but on the both sides of Oracle there are big mirrors that reflect the visitors image back to him\/ her.<\/p>\n

Since I believe that the emergence of god can be attributed to the notion of the absolute\/ perfect within the human itself and than externalized\/ objectivized\u00a0as God (again: good = god), I can in the above confrontation (and the mythological story) see the human individual’s struggle for some clear answers about himself. Since human know that human is not good, therefore god must be good. This is the reason for externalization.<\/p>\n

But the God’s (Oracle’s) ambigious\/ cryptic answer may be a symbol of a useless answer – empty words, until the individual interpretes it in “his\/ her own image”. Here is the point of each individual’s search for truth and again a confrontation with himself. Religions, beliefs,\u00a0theories, genres, stereotypes,… are just shortcuts to meanings\/ truths. They are just some\u00a0of the answers put forward\u00a0by the symbolic father\/ Other, … the Oracle.<\/p>\n

“O resnici, svobodni volji\u00a0in\u00a0odlo\u010ditvi”<\/p>\n

“About the truth, free will and decision”<\/p>\n

Projekt Orakelj sta\u00a0podprla Mestna ob\u010dina Ljubljana in Ministrstvo za kulturo Republike Slovenije. Produkcija Trivia<\/a>. Koprodukcija Zavod K6\/4 Kiberpipa<\/a> in Galerija Kapelica<\/a>.<\/p>\n

Other projects by the same author: Biotope (1999)<\/a>, Sonic Point of View (2002)<\/a>, Aestetic Machines (2003)<\/a> and Sound as Metaphore (2004)<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

[Original at http:\/\/www.3via.org\/index.php?htm=orakelj\/index also at https:\/\/www.turborebop.net\/html.php?htm=orakelj\/index] Borut Savski – Orakelj \/ Oracle \u017danr: Interaktivna zvo\u010dno-vizualna instalacija (postavitev) Interactive sound&visual installation as built & presented\u00a0in december 2004\/ january 2005 at Kiberpipa, Ljubljana As seen during the building process in december 2004 What is missing:\u00a0facial motoric; any practical listening ability; … … more economic sound generation;synchronicity … […]<\/p>\n","protected":false},"author":1,"featured_media":1633,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,2],"tags":[19,21,17,18],"class_list":["post-21","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-archive","category-arts","tag-concepts-2","tag-installations","tag-objects","tag-situations-2"],"_links":{"self":[{"href":"https:\/\/www.turborebop.net\/index.php?rest_route=\/wp\/v2\/posts\/21","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.turborebop.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.turborebop.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.turborebop.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.turborebop.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=21"}],"version-history":[{"count":0,"href":"https:\/\/www.turborebop.net\/index.php?rest_route=\/wp\/v2\/posts\/21\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.turborebop.net\/index.php?rest_route=\/wp\/v2\/media\/1633"}],"wp:attachment":[{"href":"https:\/\/www.turborebop.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=21"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.turborebop.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=21"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.turborebop.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=21"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}