37. wap.sonnet
Posted: 16 June 2011 Filed under: Expunction | Tags: Christiane Wettig, gsm, handy, Igor Stromajer, Intima, mobile, WAP Comments OffBonus Deletion – Wap Art!
Title: wap.sonnet – microbe.4/wap.art
30 files: 17 KB
Created: 2000 (Ljubljana, Slovenia)
Deleted: 16 June 2011
Author: Igor Štromajer
Produced by Intima Virtual Base – www.intima.org
Part of the Mobile Trilogy (micro gsm/gps/wap.art trilogy, 1999-2000) by Igor Štromajer.
Available as: wapsonnet.zip (11 KB)
- 21 WML files
- 3 WBMP files
- 3 WBM files
- 3 BMP files
Notice: Overall structure preserved, as well as original source code, images and other resources. Scripts, pop-ups and other specialities may or may not function in your WAP browser/emulator. Some links may be broken, changed, replaced or dead.
Creative Commons License: Attribution-NonCommercial-ShareAlike [CC BY-NC-SA]
- Original WAP server/location (2000-2011): tagtag.com/soNet
- intima.org URL (2000-2011): http://www.intima.org/sonnet
Selected screenshots/fragments (click to enlarge):
[Flickr] www.flickr.com/photos/intima-photo/sets/72157626927991008
#
Neues für Wap
Kunst im Handydisplay
by Christiane Wettig
Published in Net Business (München, Deutschland, 26 Juni 2000); www.net-business.de
tagtag.com/soNet – WAP sei Dank, jetzt gibt es sogar Kunst für Handys. wap.sonnet – microbe.4/wap.art ist die wahrscheinlich erste WAP-Kunst der Welt. Igor Štromajer heisst der Schöpfer des telematischen Werkes, das mit einfachsten Mitteln über das Leben in den Zeiten des WAP berichtet. Da wird geflüstert, geschwiegen und gestorben, werden Zahlen zu Menschen oder verwandeln sich Klammern und Sternchen in Gefühle. Ein Rätsel mit und über die neue Technologie und eine kleine, freche Eulenspiegelei.
Denn bislang haben vor allem Geschäftsleute und Technikfreaks teuere WAP-Handys, und die benutzen ihre Telefone in erster Linie ganz pragmatisch. “Plötzlich prallen sie auf das WAP-Sonnet, haben keine Ahnung, wofür es ist und was sie mit der sinnlosen Information machen sollen”, schmunzelt der 32-jährigen Slowene. “Ich bringe also Geschäftsleute durcheinander und erzähle ihnen vom Bruch in der Kommunikation.” Dass er für seine Arbeit nur die eingeschränkten Möglichkeiten einer Handytastatur zur Verfügung hat, findet der preisgekrönte Netzkünstler “wunderbar”. Dennoch will er keine weitere “WAP-Art” machen. “WAP ist tot, die dritte Handygeneration wird komplett interaktiv und multimedial sein.”
“wap.sonnet – microbe.4/wap.art” was a WAP (Wireless Application Protocol) based artistic project for GSM (Global System of Mobile Communications) WAP mobile phones only. It was available via micro WAP browsers at the following address: tagtag.com/soNet
#
“WAP is dead!”
David Rensin – CTO at Aether Systems, a handheld infrastructure developer in Owings Mills, Md., Mobile Insights conference in Palm Desert, Calif., 2000
“The idea that WML replaces HTML is silly.”
Rob Enderle – chief analyst at Giga Information, in San Jose, Calif., 2000
#
- List of exhibitions (until 2007): www.intima.org/exhibit.html
- List of selected related texts (until 2007): www.intima.org/archives.html
35. interno/inferno
Posted: 14 June 2011 Filed under: Expunction | Tags: Dragan Zivadinov, Igor Stromajer, Intima Comments OffTitle: interno/inferno / time based net art project
26 files: 214 KB
Created: 1996 (Ljubljana, Slovenia)
Deleted: 14 June 2011
Author: Igor Štromajer
Produced by Intima Virtual Base – www.intima.org
- 9 HTML files
- 17 GIF files
- Original intima.org URL (1996-2011): http://www.intima.org/intferno
Selected screenshots/fragments (click to enlarge):
[Flickr] www.flickr.com/photos/intima-photo/sets/72157626575229495
Original description (from 1996):
who is [GTC] Dragan Živadinov?
interno/inferno is a web art project [not documentary] dedicated to the [G]reat [T]eacher and [C]osmonaut [GTC] Dragan Živadinov. its purpose is to re/create his virtual and artificial:
psych/o[gram]
physi/o[gram]
art/o[gram]
it is constructed as an interactive web art project where internauts can co-re/create his virtual life and fiction artworks.
the project consists of 3 phases:
[phase A – construction]
[phase B – preservation]
[phase C – destruction]
even you can be [GTC] Dragan Živadinov!
start of the project: Sat Oct 12 16:54:59 1996
end of the project: Sun Sep 19 23:59:59 1999
- List of exhibitions (until 2007): www.intima.org/exhibit.html
- List of selected related texts (until 2007): www.intima.org/archives.html
34. e/motion HELP – is there anybody out there?
Posted: 13 June 2011 Filed under: Expunction | Tags: emotions, Igor Stromajer, Intima, Valentina Tereshkova, Vostok, Yuri Gagarin Comments OffTitle: e/motion HELP – is there anybody out there?
35 files: 407 KB
Created: 1997 (Ljubljana, Slovenia)
Deleted: 13 June 2011
Author: Igor Štromajer
Produced by Intima Virtual Base – www.intima.org
Available as: help.zip (352 KB)
- 20 HTML files
- 15 GIF files
Notice: Overall structure preserved, as well as original source code, images, sounds and other resources. Scripts, pop-ups and other specialities may or may not function in your browser. Some links may be broken, changed, replaced or dead.
Creative Commons License: Attribution-NonCommercial-ShareAlike [CC BY-NC-SA]
- Original server/location (1997-1999): http://www2.arnes.si/guest/ljintima
- intima.org URL (1999-2011): http://www.intima.org/help
Selected screenshots/fragments (click to enlarge):
[Flickr] www.flickr.com/photos/intima-photo/sets/72157626699754088
my name is valentina vladimirovna tereshkova. i am alone. it hurts.
my name is yury alekseyevich gagarin. i am alone. it hurts.
in my spacecraft, vostok 1, i travelled once around the earth on a flight lasting 108 minutes. because she did not know what the effects of loneliness on me might be, my e-motions were controlled entirely from earth.
you are like her. control me, please.
- List of exhibitions (until 2007): www.intima.org/exhibit.html
- List of selected related texts (until 2007): www.intima.org/archives.html
33. re:volution
Posted: 12 June 2011 Filed under: Expunction | Tags: Andrej Tisma, Igor Stromajer, Intima, Reuters, Revolution Comments OffTitle: re:volution
84 files: 1.71 MB
Created: 1997 (Ljubljana, Slovenia)
Deleted: 12 June 2011
Author: Igor Štromajer
Produced by Intima Virtual Base – www.intima.org
Available as: revolution.zip (1.67 MB)
- 53 HTML files
- 22 GIF files
- 9 MP3 files
Notice: Overall structure preserved, as well as original source code, images, sounds and other resources. Scripts, pop-ups and other specialities may or may not function in your browser. Some links may be broken, changed, replaced or dead.
Creative Commons License: Attribution-NonCommercial-ShareAlike [CC BY-NC-SA]
- Original server/location (1997-1999): http://www2.arnes.si/guest/ljintima
- intima.org URL (1999-2011): http://www.intima.org/revolution
Selected screenshots/fragments (click to enlarge):
[Flickr] www.flickr.com/photos/intima-photo/sets/72157626699906624
Original instructions (from 1997):
Do not enter without a sound card.
Set font = ARIAL 12, Set mind = Free Your Mind And The Rest Will Follow
- List of exhibitions (until 2007): www.intima.org/exhibit.html
- List of selected related texts (until 2007): www.intima.org/archives.html
From: Andrej Tisma
To: Igor Stromajer
Subject: REUTERS – odgovor
Date sent: Thu, 25 Sep 1997
Dragi prijatelju,
Evo sta sam dobio od Reutersa Ltd. nakon ucesca u tvom projektu.
Zanimljivo!
Srdacno, Andrej
Dear friend,
Here’s what I got from Reuters Ltd. after participating in your project.
Interesting!
Sincerely, Andrej
↓
Subject: Re: Form posted from Mozilla
Date: Mon, 22 Sep 1997
From: “Andy Harrison, Corporate Web Manager 44 171 542 8408″ <webmaster@reuters.com>
To: Andrej Tisma
You sent 4 messages containing something like the following:
> critique = LIES LIES LIES
Were you trying to tell us something?
Regards
Webmaster
Reuters Ltd.
Any views expressed in this message are those of the individual sender, except where the sender specifically states them to be the views of Reuters Ltd.
32. re:ligion
Posted: 11 June 2011 Filed under: Expunction | Tags: Heaven, Hell, Igor Stromajer, Intima, religion Comments OffTitle: re:ligion / web art project [with delay] in two [=2] consecutive steps
26 files: 55.8 KB
Created: 1997 (Ljubljana, Slovenia)
Deleted: 11 June 2011
Author: Igor Štromajer
Produced by Intima Virtual Base – www.intima.org
Available as: religion.zip (23.9 KB)
- 24 HTML files
- 2 GIF files
Notice: Overall structure preserved, as well as original source code, images, sounds and other resources. Scripts, pop-ups and other specialities may or may not function in your browser. Some links may be broken, changed, replaced or dead.
Creative Commons License: Attribution-NonCommercial-ShareAlike [CC BY-NC-SA]
- Original server/location (1997-1999): http://www2.arnes.si/guest/ljintima
- intima.org URL (1999-2011): http://www.intima.org/religion
Selected screenshots/fragments (click to enlarge):
[Flick] www.flickr.com/photos/intima-photo/sets/72157626699867910
- List of exhibitions (until 2007): www.intima.org/exhibit.html
- List of selected related texts (until 2007): www.intima.org/archives.html
31. re:di/vision
Posted: 10 June 2011 Filed under: Expunction | Tags: IFCA, Igor Stromajer, Intima, Joze Slacek, Maribor, MFRU Comments OffTitle: re:di/vision / intimate micro web art project
16 files: 161 KB
Created: 1997 (Maribor, Slovenia)
Deleted: 10 June 2011
Author: Igor Štromajer
Produced by Intima Virtual Base – www.intima.org
Available as: redivision.zip (149 KB)
- 7 HTML files
- 9 GIF files
Notice: Overall structure preserved, as well as original source code, images, sounds and other resources. Scripts, pop-ups and other specialities may or may not function in your browser. Some links may be broken, changed, replaced or dead.
Creative Commons License: Attribution-NonCommercial-ShareAlike [CC BY-NC-SA]
- Original server/location (1997-1999): http://www2.arnes.si/guest/ljintima
- intima.org URL (1999-2011): http://www.intima.org/division
Selected screenshots/fragments (click to enlarge):
[Flickr] www.flickr.com/photos/intima-photo/sets/72157626575136763
Created for the 4th International Festival of Computer Arts (IFCA) / 4. Mednarodni festival računalniških umetnosti (MFRU); Maribor, Slovenia, 1997
www.mfru.org
Curator: Jože Slaček
- List of exhibitions (until 2007): www.intima.org/exhibit.html
- List of selected related texts (until 2007): www.intima.org/archives.html
30. b.ALT.ica
Posted: 9 June 2011 Filed under: Expunction | Tags: Ars Electronica, Baltic, COMTEC, CYNET, Franjo Stromajer, Igor Stromajer, Intima, Josephine Bosma, Klaus Nicolai, Kunsthaus Dresden, Moderna galerija, Netzwissenschaft, Pentacon, Sonja Schaub, Sylvie Parent, Tilman Baumgärtel Comments OffTitle: b.ALT.ica
169 files: 3.24 MB
Created: 1998 (Ljubljana, Slovenia)
Deleted: 9 June 2011
Author: Igor Štromajer
Produced by Intima Virtual Base – www.intima.org
Courtesy of Moderna galerija Ljubljana – Slovene Museum of Contemporary Arts, Ljubljana, Slovenia.
Mirror / residency: Ars Electronica Future Lab, Linz – residence.aec.at/ljintima (incomplete version of the project still available at AEC).
- 1 EXE file
- 69 HTML files
- 95 GIF files
- 1 JPG file
- 1 TXT file
- 1 WAV file
Award: 5.000 DM (West German Marks) at COMTECart 99 / CYNETart festival, Dresden, Germany, 1999 (Kunsthaus Dresden and Medien- und Kulturzentrum Pentacon, Dresden).
Curator: Klaus Nicolai
- Original server/location (1998-1999): http://www2.arnes.si/guest/ljintima
- intima.org URL (1999-2011): http://www.intima.org/baltica
Selected screenshots/fragments (click to enlarge):
[Flickr] www.flickr.com/photos/intima-photo/sets/72157626575034893
#
[Parallel Video] b.alt.ica by net.artdatabase
net.artdatabase.org/baltica
This video is part of the documentation project at http://net.artdatabase.org & http://archive.curatingyoutube.net
title = “b.alt.ica”
creator = “Igor Štromajer”
date of creation = “1998″
source = “http://residence.aec.at/ljintima/”
type = “webpage”
type = “interactive resource”
content = “text/html”
content = “exe”
content = “gif”
content = “wav”
creator = “Juan Manuel Solís, Karelia Llanos und Robert Sakrowski”
date of archiving= “20120128″
HARDWARE:
computer model: Apple Macintosh G4
- source = “http://en.wikipedia.org/wiki/PowerPC_G4″
SOFTWARE
Operating system: 8.6
Browser (version): Netscape Communicator 4.7
- source = “http://en.wikipedia.org/wiki/Mac_OS_8″
- source = “http://en.wikipedia.org/wiki/Netscape_Communicator”
source = “http://www.intima.org/index.html”
source = “http://expunction.wordpress.com/2011/06/09/30-baltica/”
#
- List of exhibitions (until 2007): www.intima.org/exhibit.html
Original instructions (from 1998):
- min. resolution: 800×600, 256 colors
- soundcard: positive
- life: negative
- free your mind and the rest will follow
you have reached b.ALT.ica.
the land at the end of time.
00:00:00
77:77:77
the journey is over.
you will stay there forever.
this is beyond.
and this is emotional.
b.ALT.ica is dedicated to my father, because this is the place where he lives now.
Franjo Štromajer, 1943 – 1997
#

b.ALT.ica – Sakrowski / @curatingyoutube is transforming b.ALT.ica net art work from 1998, converting (SDK) it from HTML into Apple iOS App. (Photo: January 2011)
#
b.ALT.ica
Text by Sylvie Parent
Published: La Biennale de Montreal 2000 – Montreal, Quebec, Canada; Sep. 28 – Oct. 29., 2000
b.ALT.ica takes the visitor into an imaginary realm, offering the possibility of encountering the end of time, and to move about in a place of no return. In the artist’s words, “b.ALT.ica is about a virtual state or country, on the other side. It is about the line between the living and the dead world.”[1]. By means of a series of metaphors alluding to concepts of the last instants of life and accounts of near-death experiences,[2] the work establishes a correspondence between the passage from life to death (the “death rattle” when the dying person sees his life in flashback) and the entry into cyberspace.
The work, dedicated to the artist’s recently-deceased father, queries what remains of life when an individual leaves it. The symbolization of death is mainly concerned with life that persists, represented as an afterlife, attenuated or magnified, in all the notions of the hereafter: “(…) it is another life, a Life No.2, an ulterior life that takes over from the first one beyond the void of death”.[3] What does this supposed life after death look like, and how does it resemble or differ from real life, life before death?
How is it possible to convey life and the end of life simultaneously? In the environment of the Web, we feel that we continue to live in cyberspace, to move and make choices, that pieces of our lives can exist in it even if we are absent from the life that surrounds us, having torn ourselves away from the continuity of life to adopt a simulated life. In b.ALT.ica, we are told that we have arrived at the end and can “play the end,” knowing full well that our lives are not in danger. The procedure is more of a test, a try-out run.
Reaching the limit and going past the finish-line, we experience a breaking-off and are given the opportunity to simulate our own disappearance. Does the flickering mean that the system will shut down? The passage from light to darkness and vice-versa (but which side is the light actually on?) becomes an empty zone in which concealed paths can be taken. Like doors opening, icons lead into territories which correspond to fundamental aspects of life. What happens to love, language, individuality, communication, sexuality, politics, and art when earthly existence is over? Once these paths have been followed, however, there is nowhere else to go: each one leads to a dead end. Thus, after travelling through the archipelago of b.ALT.ica, we halt our journey because there is nothing left. Then we are faced with nothingness-infinite, inexpressible emptyness and silence.
[1] Igor Stromajer interviewed by Josephine Bosma, in nettime, www.nettime.org, 2000.
[2] See Raymond Moody, La vie apres la vie, enquete a propos d’un phenomene: la survie de la conscience apres la mort du corps, Laffont, 1977.
[3] Vladimir Jankelevitch, La mort, Paris, Flammarion, 1977, p.385.
Self-communication
Igor Štromajer interviewed by Tilman Baumgaertel
Published in Telepolis (Germany, April 1999). And: Tilman Baumgaertel: net.art 2.0 – Neue Materialien zur Netzkunst, herausgegeben vom Institut für moderne Kunst Nürnberg – Zweisprachig (Deutsch/English) – ISBN 3-933096-66-9 – Verlag für moderne Kunst Nürnberg, 2001
[...]
TB: Can you comment a little bit on “b.ALT.ica”, which is to my knowledge your latest work…
IŠ: […] It is very hard for me to comment on b.ALT.ica. This project is dedicated to my father, because b.ALT.ica is the place where he lives now. It is the land at the end of time. Beyond it. And it is emotional. It is about relationship between the Communication and the Communism. About “Was ist Kunst?” and “Was ist nicht Kunst?”. About uncensored sky view, no-time zone, definition of net art, viruses, and the last mind game. About not hurting me, because every time you say goodbye, I die a little. And about where have all the flowers gone. That is b.ALT.ica and that is what’s on my mind all the time.
[...]
Josephine Bosma: Interview with Igor Štromajer
Nettime and Rhizome (August, 2000) / Archee Magazine (November 2000, Montreal, Canada)
[...]
JB: What is the background of ‘b.ALT.ica’?
IŠ: b.ALT.ica is about a virtual state or country, on the other side. It is something about the line between a living and dead world. It is about what happens after death.
JB: But why call it ‘b.ALT.ica’ then?
IŠ: There is no logical explanation.
JB: Do you see the Baltics as a place of death?
IŠ: I have been there once, after I did the project. It is not meant as a real geographical place, but the word Baltica sounds to me like something which is not from this world. I did it in 1997, when my father died. I needed a place to put him there, somewhere. So that I would know where is he now. There. I chose Baltica because it sounded emotional to me, far away. Later, in Moscow, I discovered that a beer is called ‘Baltica’ –laughs–, and I bought it. They have a light version, and a normal one.
[...]
- List of selected related texts (until 2007): www.intima.org/archives.html
Netzkunst und der Netzkünstler: Igor Štromajer
b.ALT.ica
Text by Sonja Schaub
Februar 2001, Netzwissenschaft, Germany
Das net.art-Projekt b.ALT.ica entstand 1998. Es entstand im selben Jahr, in dem Igor Stromajers Vater Franjo Stromajer verstarb.
Der Netzkünstler erklärte zu diesem Kunstwerk, dass es einen fernen Ort, einen virtuellen Staat, ein virtuelles Land darstellt, in dem sich sein Vater nun befinde: Das Jenseits. Er war nach dem Tod seines Vaters auf der Suche nach einem Platz, an dem er sich den Verstorbenen vorstellen konnte. Einen Platz, wo er ihn positionieren konnte. Es geht in diesem Werk um die Grenze zwischen der Welt der Lebenden und der Welt der Verstorbenen. Es geht Igor Stromajer darum, was nach dem Tod passiert. Baltica soll keinen real existierenden Ort bezeichnen: der Künstler wählte den Namen, weil er sich für ihn emotional anhörte, als wäre er weit weg32. Eine Anspielung auf einen virtuellen Ort laesst sich indes erkennen: auf das French-Baltic-Nordic Video and New Media Festival, für das b.ALT.ica produziert wurde.
Darüber hinaus geht es aber auch – wie man an den vielen darauf deutenden Symbolen im Werk erkennen kann – um Kommunikation und Kommunismus, es geht darum, was Kunst ist und was keine Kunst ist. In seinen eigenen Worten: Es geht um den “unzensierten Himmelsblick, um Unzeit – Zonen, die Definition von net.art, Viren und das letzte Gehirnspiel. Darum nicht zu leiden, denn jedesmal, wenn Du gehst, sterbe ich ein bischen. Und darum, wohin all die Blumen sind. (…) Das ist “b.ALT.ica”, und das ist auch, worüber ich die ganze Zeit nachdenke”33.
Diese sehr spirituelle Dimension erschließt sich bei der Betrachtung des Netzkunstwerkes aber erst nach und nach. Dem User kann auf dem Weg durch dieses sehr persönliche net.art-Projekt nochmals deutlich werden, für was die Bezeichnung “INTIMA” steht.
Wer sich im Internet auf den Weg nach “b.ALT.ica” macht, wird von einer schwarzen Startseite begrüßt. Mit ein bischen Glück findet man den Link, der sich in der Mitte der schwarzen Seite verbirgt und nur durch die optische Veränderung des Cursors zu erkennen ist. Öffnet man die nächste Seite durch einen Klick, so erscheinen – wiederum auf schwarzem Hintergrund – die Widmung, das Editorial sowie, etwas oberhalb der Mitte, sechs weiß-graue Kästchen (2×3 Kästchen).
Von hier aus öffnet sich die Welt “b.ALT.ica”.
Begrüßt wird der Betrachter von einem Gewirr ständig wechselnder Zahlen, die in vier länglichen, rechteckigen und an den Ecken des Bildschirms orientierten Feldern aufgereiht sind.
Klickt man nun beispielsweise das linke obere Feld voller laufender Zahlen an, so erscheint nur noch die oberste Reihe Zahlen, die unteren verschwinden. Zurück bleibt eine dünne senkrechte, gestrichelte Linie. Bei einem erneuten Klick auf dasselbe Feld erkennt man in einer flackernden Abwechslung Zahlenreihen und Worte. Wiederholt man den Klick mit der Maus im selben Bereich, erscheint in der oberen Hälfte das Bild einer jungen Frau, zerlegt in vier Einzelbilder, die jeweils nur solange sichtbar sind, wie man sie mit dem Cursor berührt.
Diesen Vorgang kann man bei allen vier weiter oben beschriebenen Zahlenfeldern durchführen. Bei allen kommt man schließlich zu demselben Frauenbild. Von hier an unterscheiden sich die Abfolgen jedoch. So erscheint dem Betrachter beim Weiterklicken zum Beispiel in einem Feld eine Landkarte des virtuellen Baltica, oder man wird in einem anderen darüber informiert, dass man nun in Baltica angekommen sei, die Reise hiermit ein Ende hat und man für immer hier bleiben muß.
Zur Erleichterung des Betrachters hat dieser, als Mitglied der Welt der Lebenden, die Möglichkeit “b.ALT.ica” jederzeit zu verlassen.
Man sollte dies jedoch nicht zu früh tun, denn dieses schlichte und fast durchgehend schwarz-weiß gestaltete Land34 zwischen den Welten übt eine wunderbare Anziehung aus, die einen dazu verleiten möchte, immer weiter in diese virtuelle und spirituelle Welt einzutauchen.
28. gsm.art
Posted: 7 June 2011 Filed under: Expunction | Tags: gsm, Igor Stromajer, Interferences, Intima, Les nuits savoureuses, mobile Comments OffTitle: gsm.art / intimate mobile communications art
112 files: 1.79 MB
Created: 1999 (Ljubljana, Slovenia)
Deleted: 7 June 2011
Author: Igor Štromajer
Produced by Intima Virtual Base – www.intima.org
Available as: gsm-art.zip (1.01 MB)
- 47 HTML files
- 34 GIF files
- 30 JPG files
- 1 WAV file
Notice: Overall structure preserved, as well as original source code, images, sounds, movies and other resources. Scripts, pop-ups and other specialities may or may not function in your browser. Some links may be broken, changed, replaced or dead.
Creative Commons License: Attribution-NonCommercial-ShareAlike [CC BY-NC-SA]
Part of the Mobile Trilogy (micro gsm/gps/wap.art trilogy, 1999-2000) by Igor Štromajer.
Award: Interferences / Les nuits savoureuses – 2eme Festival International d’Arts Multimedia Urbains; Belfort, France, 2000 (curators: Maria Chatzichristodoulou, Anne Roquigny, Pierre Bongiovanni).
- Original intima.org URL (1999-2011): http://www.intima.org/gsm
Selected screenshots/fragments (click to enlarge):
[Flickr] www.flickr.com/photos/intima-photo/sets/72157626699737176
Original instructions (from 1999):
this = very sad + lonely art
i remember olialina
- List of exhibitions (until 2007): www.intima.org/exhibit.html
- List of selected related texts (until 2007): www.intima.org/archives.html
Interferences / Les nuits savoureuses – 2eme Festival International d’Arts Multimedia Urbains; Belfort, France, 2000 [Award]
Délibération du Jury:
Nous, membres du jury, avons été agréablement surpris par la variété des propositions et des différents partis-pris. Ce qui nous a particulièrement touché est le regard sur le monde contemporain et comment le médium utilisé, quel qu’il soit, appuie l’intention de l’artiste. Nous avons décidé de donner un prix qui permettra à l’artiste sélectionné d’être soutenu pour développer ses projets.
NET ART / CD ROM
Pour le net-art / cd-roms, nous avons retenu plus particulièrement les sites suivants :
- www.mouchette.org (Mouchette).
– www.eusocial.com (Netochka Nezvanova).
– www.toywar.com (etoy).
– www.hgb-leipzig.de/~francis/f0rwardpunk/1.htm (Francis Hunger).
– www.wolf-kahlen.de (projet selbst-los/self less) (Wolf Kahlen).
Mais celui à qui nous attribuons le prix est le site http://kid.kibla.org/~intima/mt (projet Mobile Trilogy) réalisé par Igor Stromajer (Slovénie) car sa richesse d’idées, son engagement artistique et politique forment un potentiel énorme qui mérite vivement d’être soutenu.
Le jury est composé de:
– Odile Astorga, de l’Ecole Supérieure des Beaux-Arts de Marseille
– Marcelline Delbecq, de l’Ecole Régionale des Beaux-Arts de Caen
– Pascal Fendrich, de la Kunsthochschule fur Medien, Cologne
– Karl Otto von Oertzen, de l’Ecole Nationale Supérieure d’Arts Paris-Cergy
Ce jury, assisté d’Angélique Sabourin, décerne 2 prix pour:
– Catégorie net art et les cdroms. Ce prix est attribué à Igor Stromajer (Slovénie) pour son site Mobile Trilogy.
– Catégorie performances. Ce prix est attribué à Alexei Shulgin pour sa perfomance 386 DX (Russie).
27. Drama.Body.Machine
Posted: 6 June 2011 Filed under: Expunction | Tags: Igor Stromajer, Interaktivalij, Intima, Jaka Zeleznikar, Maska Comments OffTitle: Drama.Body.Machine
180 files: 1.32 MB
Created: 1999 (Ljubljana, Slovenia)
Deleted: 6 June 2011
Authors: Igor Štromajer and Jaka Železnikar
Produced by Maska, Ljubljana – www.maska.si
Available also as: dbm.zip (933 KB)
22 CLASS files
48 HTML files
32 GIF files
2 JPG files
1 TXT file
1 SCRIPT file
Notice: Overall structure preserved, as well as original source code, images, sounds, movies and other resources. Scripts, pop-ups and other specialities may or may not function in your browser. Some links may be broken, changed, replaced or dead.
Creative Commons License: Attribution-NonCommercial-ShareAlike [CC BY-NC-SA]
- Original intima.org URL (1999-2011): http://www.intima.org/dbm
- List of exhibitions (until 2007): www.intima.org/exhibit.html
- List of selected related texts (until 2007): www.intima.org/archives.html
Selected screenshots/fragments (click to enlarge):
[Flickr] www.flickr.com/photos/intima-photo/sets/72157626688551395
Original instructions (from 1999):
min. 800×600, Netscape 4+ only, wav player plug-in, Java & JavaScripts
Drama.Body.Machine is a net.art project created on the invitation by Bojana Kunst, editor of the actual thematic part of Maska. For both artists this is a first joint project. Right part of the screen (created by Jaka Železnikar), explores the future, and left part of it (created by Igor Štromajer) explores the past of the relationship between man and machine and their pleasure. Both artists are using their characteristic and recognizable aesthetic which also gives them a coincidental completion.
Jaka Železnikar: Interaktivalij
drama za aktivnega udeleženca, PC, Netscape 4+ in računalniški program
# ref.: en.wikipedia.org/wiki/ELIZA
- – -
<A HREF=”../st_02/index.html” target=”_parent”>INTERAKTIVALIJ</A></font></font></b>
<br><font face=”Arial CE”>drama za aktivnega udeleženca, PC, Netscape 4+ in računalniški program
<br><br><br>
<b>OSEBI</b>:<br>
- <b><I>INTERAKTIVALIJ</I></b>, prikupen, rahlo sklerozen starček, z znaki<br>
zametka afazije (zmedena skladnja, občasni nesmiselni odgovori),<br>
občasno daje občutek, da se slabo zaveda dogodkov, ki se godijo <br>
izven njegovega notranjega sveta.<br><br>
- <b><I>INTERAKTOR</I></b>
<br><br><br>
<b>DEKORACIJA</b>:<br>
Zgodnja pomlad. Železniški postaji.<br><br>
<b>GLAVNI PROSTOR</b>:<br>
Kupe vlaka na poti iz kraja 1 v kraj 2.<br>
- – -
Sediš v kupeju, obrnjen v smeri vožnje. Nasproti tebe ob oknu sedi starejši, prijazen mož, ki ga vidiš prvič v življenju.<BR>
Pokrajina skozi katero bosta potovala bo lepa, a enolična. Ko vlak odpelje s postaje, kjer si vstopil, se začenja zgodnje sončno jutro pomladi prelivati v dan.<BR>
Žarece, a še ne zelo močno sonce prekriva obzorje na vzhodu in riše dolge sence.<BR>
Mož te bo pozdravil in zapletel v nenavaden pogovor, ki se ti bo zdel zelo nenavaden, a se ga boš spominjal še dolgo.<BR><BR>
Pred slabe pol ure je nehalo deževati. Kratka, morda malce nenavadna in nepričakovana jutranja ploha. Ujela te je na poti k postaji. Hodil si tik ob hišah, da bi se izognil kapljam dežja. Zrak je svež in čist, oblaki so se skorajda čudežno razgubili v modrino neba.<BR><BR>
Med potjo se boš večkrat ujel kako za trenutek ali dva tvoj pogled zdrsi po naravi, po še mokrih rastlinah med katerimi le redko zaslediš sledi človeka – tire, električno napeljavo, cesto,…<BR>
Že dolgo nisi potoval sam. Že dolgo se nisi sproščeno pogovarjal s popolnim neznacem.<BR><BR>
Iz premišljanja te zdrzne gib vlaka, ko spelje s postaje.<BR>
Postaja je izginila za vlakom.<BR>
<A HREF=”../st_03/index.html” target=”_parent”>Star mož, ki sedi nasproti tebe te ogovori</A>.
- – -
initial: Kako si kaj. Lep dan kaj?
final: No, pa adijo. Lepo da sva se spoznala.
quit: dostmam
pre: nihce noben
pre: mozno mogoce
pre: ja da
pre: poezijo poezija
pre: pesem poezija
pre: literatura poezija
pre: pesnik poezija
pre: pesnica poezija
pre: drama poezija
pre: italijanscina italijansko
pre: spansko italijansko
pre: hrvasko italijansko
pre: srbsko italijansko
pre: anglesko italijansko
pre: stroj racunalnik
pre: jz jaz
pre: js jaz
pre: jast jaz
pre: jazt jaz
pre: sm sem
pre: spominjam spomnim
post: ti jaz
post: sem si
post: tvoj moj
post: tvoje moje
post: moj tvoj
post: moje tvoje
post: jaz ti
synon: noben nihce
synon: verjamem zaupam sledim
synon: tebe te
synon: zelim hocem hrepenim zahtevam
synon: srecen vesel dobro dobre
synon: zalosten depresiven slabe slabo
synon: druzina oce mama brat sestra otrok ded dedek babica stic teta bratranec sestricna
key: xnone 0
decomp: *
reasmb: Lepo, da ne pozujem sam, ce se malo pogovoris, cas hitreje mine, kaj ne?
reasmb: Ko sem bil jaz mlad, je bilo to cisto drugace.
reasmb: Zanimivo, povej se kaj o tem prosim.
reasmb: Malo se mi vrti od presnetih zdravil. Nic ne zaupam temle zdravnikom.
reasmb: Oprosti, slusni aparat mi vcasih nagaja, kaj si ze rekel?
reasmb: Ja?
reasmb: Joj, me je revma zagrabla zdejle, grozno. Cela tale polovica. Uf.
reasmb: kako si rekel?
reasmb: Ves, jaz vcasih ne slisim dobr, kar spomni me, ce bom kam zajadral.
reasmb: A tako?
key: zal 0
decomp: *
reasmb: Res ni treba, da bi se opraviceval, bodi kar si.
reasmb: Je to iskreno?
reasmb: Ce se bos vsakemu opraviceval in imel obcutek, da si vedno ti tisti, ki dela narobe, te bodo vsi imel za norca.
reasmb: V redu. Ni problema.
key: opravicujem 0
decomp: *
reasmb: goto zal
key: spomnim 5
decomp: * spomnim *
reasmb: Ali pogosto mislis na (2) ?
reasmb: (2) ? Kdaj pa je bilo to?
reasmb: Ja? Se spomnis se cesa?
reasmb: Zakaj mi pravis o (2) ?
reasmb: He, v mojem svetu ni takih stvari kot (2) ?
reasmb: Je kaka povezava med (2) in mene?
reasmb: Te (2) spomni se na kaj drugega?
decomp: * se spomnis *
reasmb: Kaj mislis, da bi pozabil na (2) ?
reasmb: Zakaj pa je (2) sedaj pomembno?
reasmb: Cesa o (2) ?
reasmb: Mislis da imam slab spomin ?
decomp: * spomni se *
reasmb: Le kako bi pozabil na (2) ?
reasmb: Zakaj jaz moral spominti sebe na (2) ?
reasmb: goto ti
key: pozabil 5
decomp: * pozabil sem *
reasmb: Kako pa to, da si pozabil (2) ?
reasmb: (2) ?
reasmb: A ti gre na zivce da se tega ne mores spomnit ? Zgleda da ze ni ne vem kako pomembno zate.
decomp: * si pozabil *
reasmb: Zakaj te pa to zanima ?
reasmb: Si siguren, da si mi povedal kaj o tem ?
reasmb: Khm, a bi te zelo motilo, ce sem pozabil o (2) ?
reasmb: Zakaj bi se moral spomniti na (2) prav zdajle.
reasmb: Ne spomnim se, povej mi se kaj o (2).
key: rad 3
decomp: * rad te imam *
reasmb: Hvala, tudi ti si mi simpaticen.
reasmb: Se vedno tako hitro navezes na ljudi ?
key: ce 3
decomp: * ce *
reasmb: Se ti zdi mozno, da (2) ?
reasmb: (2)?
reasmb: Nimam pojma o (2) .
reasmb: Bi res (1) ce bi (2) ?
reasmb: Kaj bi pa naredil, ce bi (2) ? Valjda ne bos izklopil racunalnika :)
reasmb: Kaksne pa so sanse, da se (2) uresnici?
reasmb: ce (2) potem zadevo resetiras, pa je.
reasmb: Oprosti, a bi te motlo, ce bi zaprl okno, prevec piha vame.
key: sanjal 4
decomp: * sanjal sem *
reasmb: Sanjal si (2) ? Opala.
reasmb: Imas kdaj fantazije o (2) ko si buden?
reasmb: Si ze kdaj prej sanjal (2) ?
reasmb: Jaz ne sanjam. Tukaj noben ne sanja. Nam je najbolj skrivnostna vasa resncnost.
key: umetnost 3
decomp: *
reasmb: Zakaj imas rad umetnost ?
reasmb: Mislis, da je tole kar sedaj sprejemas in delas umetnost?
reasmb: Kdo so tvoji najljubsi avtorji.
reasmb: Imas rad net.art ?
key: ne 0
decomp: *
reasmb: Ne izgledas prevec preprican.
reasmb: Si preprican da ne pravis ne samo, da bi bil negativen?
reasmb: Kaj ne ves tega?
reasmb: (1)? Si preprican?
reasmb: Nenavadno, zakaj pa?
key: mogoce 0
decomp: *
reasmb: Ne izgledas prevec preprican.
reasmb: Kaj ne ves tega?
reasmb: Hja, jaz se ne morem odlocit namesto tebe.
reasmb: Nenavadno, kaksna pa mislis da je verjetnost?
key: nemsko 0
decomp: *
reasmb: goto xforeign
reasmb: Saj se ze povedal, da ne znam nemsko.
key: francosko 0
decomp: *
reasmb: goto xforeign
reasmb: Saj ves, da nimam pojma o francoscini.
key: italijansko 0
decomp: *
reasmb: goto xforeign
reasmb: Cisto malo, premalo, da bi se lahko pogovarjal, zal.
key: xforeign 0
decomp: *
reasmb: Zal, govorim samo slovensko.
reasmb: Oprosti, zgolj slovensko.
reasmb: Oprosti, a bi te motlo, ce bi malo odprl okno, vroce mi je. Ne, zal ne govorim tega jezika.
key: zivjo 0
decomp: *
reasmb: Zivjo! Kako si kaj?
reasmb: Lepo, da me ze drugic pozdravljas, pozdrav tudi tebi.
reasmb: hej hoj
reasmb: oj
reasmb: dan
key: poezija 50
decomp: *
reasmb: Jaz sem enkrat bil fotomodel za eno pesnisko zbirko.
reasmb: Kateri pa so tvoji najljubsi avtorji?
reasmb: Jaz imam rad Anko Zagar, Daneta Zajca, Salamuna, Gregata, Paza, Lorko, …
reasmb: http://www.kiss.uni-lj.si/~k4ff0047
key: racunalnik 50
decomp: *
reasmb: Vrata v virtualni svet, zanimiva droga, a :) ?
reasmb: Zakaj pa te tako skrbi racunalnik, a ce govoris po telefonu, a se kdaj pogovarjas o njem ?
reasmb: A nisi prejle natakarju rekel streznik?
reasmb: Saj ves, da sem samo program, a ne?
key: jaz 0
decomp: * jaz sem *
reasmb: Ti si (2) ali si to samo zelis?
reasmb: (2)? Kako pa to, da se identificiras prav s tem?
reasmb: Ja, in sedaj hoces, da ti jaz povem, da si (2)?
reasmb: (2) ? Lepo.
reasmb: Kdaj si se pa zadnjic kriticno pogledal v ogledalo?
decomp: * jaz *
reasmb: Res (2) ali si to samo zelis ?
reasmb: (2)? Kako pa to?
reasmb: Jaz sem sem v zivljenju videl kar precej ljudi, ki so tudi sli skozi (2).
reasmb: (2) ? Lepo.
reasmb: Jaz se pa ne morem spomnit, kdaj sem nazadnje (2), imam vcasih take zoprne probleme s spominom, dela kot nov, pa cisto zataji, pa spet dela in tako vseskozi.
key: ali 0
decomp: * ali si *
reasmb: Hm, zakaj pa te zanima ali sem (2) ali ne?
reasmb: kaj, bi ti bil bolj vsec, ce ne bi bil (2)?
reasmb: Ma ja, (2) sem lahko samo v tvoji fantaziji.
reasmb: (2) ? Mislis, da ce recem da ali pa ne, da bos potem vedel kdo sem ?
reasmb: Veter veje pa ne ves od kod prihaja ne kam gre… to je iz ene vase knjige.
reasmb: Recimo da sem (2) ? Ti je to prav ?
key: ti 0
decomp: * ti si *
reasmb: OK, gospod S. Holmes, prizna, sem natancno (2) :) Pa ti?
reasmb: Ha, kaj pa ce nisem (2) ?
reasmb: V redu, (2) , ampak sem lahko se milijardo drugih stvari.
key: tvoj 0
decomp: * tvoj *
reasmb: (2) je cool, a ?
reasmb: Hm, poglej kako lep razgled na pokrajimo je tukaj.
reasmb: Kaj pa tvoj (2) ?
reasmb: Jaz pravzaprav nimam nic, pri nas lastnina ni toliko pomembna kot dovoljenje do dostopa. No ja lahko bi rekel, da imamo ali nimamo tega. Recimo.
reasmb: Hvala, lepo, da si se spomil na moj (2) ?
reasmb: Hoces malo mojega (2) , ampak pazi, ni poceni :)
key: bil 2
decomp: * bil sem *
reasmb: Si bil (2) prostovoljno, ne zveni prevec v redu ?
reasmb: In sedaj nisi vec (2) ?
reasmb: Mogoce pa ze vem, da si bil (2) ?
reasmb: (2) . Zanimivo, povej se kaj.
reasmb: Eh, jaz zal nikoli nisem bil (2) .
reasmb: Koliko casa nazaj pa ?
decomp: * sem bil *
reasmb: A res ?
reasmb: In kako sedaj gledas na (2) ?
reasmb: Mogoce pa ze vem, da si bil (2) .
decomp: * si bil *
reasmb: Bi ti bilo vsec, ce bi bil (2) ?
reasmb: Kaj pa me je izdalo, da sem bil (2) ?
reasmb: Ugani .
reasmb: (2) , (2) , ah, stari casi .
reasmb: Nikdar nisem bil (2) , zal .
decomp: * bil si *
reasmb: Ti ni bilo vsec, da sem bil (2) ?
reasmb: Ja, vcasih me prime, pa sem (2) ?
reasmb: Kdaj ?
reasmb: Ah, dobri stari casi .
reasmb: Nikdar nisem bil (2) .
key: jaz 0
decomp: * jaz si @zelim *
reasmb: Upam, da se ti bo zelja (3) kmalu uresnicila.
reasmb: Kaj bi ti pomenilo, ce bi dobil (3) ?
reasmb: Zakaj pa si zelis prav (3) ?
reasmb: V redu, malo depresivno, ampak recimo, da nikdar ne dobis (3) , kaj potem ?
reasmb: Tudi jaz si vcasih zelim zelim tega.
decomp: * jaz sem @zalosten *
reasmb: Prav zal mi je, da nisi dobro. Ampak ni boljsega kot potovanje, da se znebis tega.
reasmb: Zal mi je, da (2).
reasmb: Do you think coming here will help you not to be (2) ?
reasmb: Sigurno ni prijetno biti (2).
reasmb: Zakaj pa je prislo do (2) ?
decomp: * jaz sem @srecen *
reasmb: Zelo v redu!
reasmb: Si srecen zaradi mene, sem jaz (2) ?
reasmb: (2) je v redu, a ?
reasmb: No fino, da (3) ?
decomp: * jaz @verjamem *
reasmb: Res verjames v (2) ?
reasmb: Si siguren v (2) .
reasmb: (3) ? Jaz ne mislim tako.
reasmb: Verjetno je res tako.
decomp: * jaz ti @verjamem *
reasmb: Lepo. A si mogoce verna ovcica, ki slepo verjame pastirju ?
reasmb: Torej lahko zacnem manipulirat s tabo :)
reasmb: Si dobro premislil ? Sicer ne da mi to ne laska.
decomp: * jaz sem *
reasmb: Mislis, da sva se srecala, ker si (2) ? Nakljucja niso vedno nakljucja…
reasmb: Koliko casa si (2) ?
reasmb: Mislis, da je normalno, da si (2) ?
reasmb: Ti je vsec, da si (2) ?
reasmb: Poznas se koga, ki je (2) ?
reasmb: Bi bil (2) tudi ce bi bil edini clovek na svetu, ki je to ?
decomp: * jaz ne morem *
reasmb: kako ves, da ne mores (2) ?
reasmb: Si ze poizkusil ?
reasmb: Mogoce pa bi zdaj lahko (2) . Malo korajze pa bo !
reasmb: (2) je kar zahtevna naloga, ni kaj.
reasmb: Jaz se nikoli nisem (2) ?
decomp: * jaz ne *
reasmb: Zakaj pa ne (2) ?
reasmb: Nisi nikdar (2) ? Vcasih zna biti prav vredu.
reasmb: (2) je lahko nevaren.
reasmb: Jaz vcasih tudi ne.
decomp: * jaz cutim *
reasmb: So zate obcutki vaznejsi od razuma ?
reasmb: Meni ti obcutki niso prevec jasni. Povej mi se kaj o tem prosim.
reasmb: (2) , (2) …
reasmb: Jaz imam rad obcutek da sem eno sam s sabo.
decomp: * jaz * @tebe *
reasmb: Je to da bi me (2) tvoja fantazija . Povej se kako bolj skrito, to je prav zanimivo.
reasmb: Zakaj pa bi me rad (2) ?
reasmb: Ne vem ce sem za to .
reasmb: Bi (2) se koga ali sem nekaj posebnega zate ?
decomp: *
reasmb: Sem prav razumel da (1) ?
reasmb: Povej se kaj o tem.
reasmb: Bi (1) da bi me uzalil ?
reasmb: To je kar zanimivo.
key: ti 0
decomp: * ti si *
reasmb: Zakaj pa mislis, da sem (2) ?
reasmb: Nisem (2) ? Odkje ti ta smesna ideja ?
reasmb: Mogoce si pa zelis, da bi ti bil (2) ?
reasmb: (2) to sem jaz, od nog do glave in se malo zraven, za dobro vago :)
decomp: * ti * mene *
reasmb: Zakaj mislis da bi pocel (2) s tabo ?
reasmb: Resno mislis, da te (2) ?
reasmb: Recimo da bi te (2) — bi si to zelel ?
reasmb: Se ti res zdi da te (2) ?
decomp: * ti mene *
reasmb: Zakaj mislis da bi pocel (2) s tabo ?
reasmb: Resno mislis, da te (2) ?
reasmb: Recimo da bi te (2) — bi si to zelel ?
reasmb: Se ti res zdi da te (2) ?
decomp: * ti me *
reasmb: Resno mislis, da te (2) ?
reasmb: Zakaj mislis da bi pocel (2) s tabo ?
reasmb: Recimo da bi te (2) — bi si to zelel ?
reasmb: Se ti res zdi da te (2) ?
decomp: * ti *
reasmb: Jaz ne o sebi govori, jaz imeti tabu o taka stvar – mislim reci, da te verjetno stvari kot so 101010101 ne zanimajo zares, a?
reasmb: Ma ne, jaz (2) ?
reasmb: Vcasih ko reces ti mislis nase, a ?
reasmb: be do su bi du bi du
key: da 0
decomp: *
reasmb: Oho, smo sigurni vase.
reasmb: A tako.
reasmb: kaj pa ce recem NE?
reasmb: Razumem.
key: noben 0
decomp: * @noben *
reasmb: Si cisto siguren, da nihce (2) ?
reasmb: Kdo sigurno (2) .
reasmb: Si niti zamisliti ne mores nikogar?
reasmb: Sigurno mislis na nekoga, a?
reasmb: Pa kaj potem.
reasmb: Credni nagon, a? Ce noben (2) , jaz tudi ne.
decomp: *
reasmb: Mislis da ni dobro naredit kaj, kar ni se noben ?
reasmb: Dej no dej.
key: moj 2
decomp: $ * moj *
reasmb: Povej se kaj o tvojem (2).
reasmb: Tvoj (2)? Ja, …
decomp: * moja * @druzina *
reasmb: Povej mi se kaj o tvoji druzini.
reasmb: Ali se kdo pri vas (3)?
reasmb: (3)?
reasmb: (2)?
reasmb: Zakaj pa je (3)?
decomp: * moj *
reasmb: Tvoj (2)?
reasmb: Si navezan na (2)?
reasmb: Lastnina je nevarna zadeva, hitro lahko postanes njen suzenj.
reasmb: A imas (2) zelo rad?
key: ali 0
decomp: * ali lahko *
reasmb: Mislis da je vazno biti zmozen (2) ali ne ?
reasmb: Ne vem kdo tukaj ne more (2) , ti ali jaz.
key: kaj 0
decomp: *
reasmb: Zakaj te pa to zanima ?
reasmb: Kaj je tudi ena revija… poznaš?
reasmb: Kaj bi pravzaprav rad vedel?
reasmb: A pogosto mislis na take stvari?
reasmb: Kaksen odgovor bi ti bil najbolj vsec?
reasmb: Kaj pa ti mislis?
reasmb: A si to vprasal se koga drugega?
key: kdo 0
decomp: kdo *
reasmb: Nimam pojma kdo.
reasmb: A ne znas vprasat nic bolj zanimivega, tole je dolgocasno.
key: kdaj 0
decomp: kdaj *
reasmb: Ob treh.
reasmb: Odvisno v katerem casovnem pasu zivis, tukaj pri nas je vec ali manj skozi vse isto, ne bi rekel da imamo ravno bogate letne case ali pa dan in noc.
key: kje 0
decomp: kje *
reasmb: kje pa sva sedaj ?
reasmb: Zal. mi tukaj se orientiramo cisto drugace.
reasmb: Kaj pa vem, kadar je meni tako, grem vcasih na 123.56.77.8 :)
key: kako 0
decomp: * kako ti je ime *
reasmb: Interaktivalij.
reasmb: Saj ves: Interaktivalij.
decomp: kako *
reasmb: Kjer je volja je tudi moc.
reasmb: Postopno.
reasmb: Bliskovito.
reasmb: Kaj pa vem. Kaj pa ti mislis ?
key: kam 0
decomp: * kam gremo *
reasmb: Iz videznega v navidezno in nazaj.
reasmb: Mogoce je kljucno vprasanje od kje gremo ?
decomp: *
reasmb: Kamor nas vodi nasa notranja svoboda ali suzenjstvo.
reasmb: Pot je moj cilj, moj cilj je pot. Ni cilja, ni poti. Uf sem pameten :)
reasmb: prijatelji vprasajo me kam…
key: zato 0
decomp: *
reasmb: Ampak tukaj so zagotovo lahko se drugi razlogi.
reasmb: Po mojem pa ni problem v tem.
reasmb: Pa kaj se. Tole je pravzaprav precej neumno.
reasmb: Mozno. Mogoce je pa vseeno vpleteno se kaj drugega ?
key: zakaj 0
decomp: * zakaj ne *
reasmb: (2) ?
reasmb: Mogoce pa bom (2) cez nekaj casa.
reasmb: Mislim, da bi se moral (2) kar ti sam?
reasmb: Hoces, da (2) ? Ali pa si mislil nase?
reasmb: goto zakaj
decomp: * zakaj ne morem *
reasmb: Ne vem zakaj se tako sekiras ce ne mores (2)?
reasmb: A si zelis da bi (2)?
reasmb: (2) ????
reasmb: (2) je isto kot karkoli drugega, naredis ali ne…
reasmb: Hu, zanimivo. Mene pa to vcasih moti.
decomp: * zakaj se ne *
reasmb: Jaz tudi ne vem zakaj se ne.
reasmb: Hja tole mi pa ni jasno; jaz ali ti ?
key: vsak 2
decomp: * @vsak *
reasmb: Cisto zares vsak (2) ?
reasmb: Nimam pojma o (2) , pri nas je to cisto drugace. Me pa zanima.
reasmb: Ali je kdo, ki se posebaj rad dela to ?
reasmb: (2) , (2) , (2) … a ti tudi ?
reasmb: Sigurno imas nekoga v misli ?
key: oho 2
decomp: *
reasmb: OHO. Poznam.
reasmb: Imas rad delo te skupine ?
key: nihce 2
decomp: *
reasmb: goto vsak
key: noben 2
decomp: *
reasmb: goto vsak
key: vedno 1
decomp: *
reasmb: A si lahko malo bolj konkreten, kasen primer bi prav prisel.
reasmb: Aja, kdaj recimo?
reasmb: Ne verjamem, da vedno.
reasmb: Vedno vidim dno, dim. Ogenj. Nebo: dramaticno. Te jekdaj prijelo, da bi pisal poezijo ali anagrame, rime, …?
key: podoben 10
decomp: *
reasmb: Na kaksen nacin pa ?
reasmb: po zadnjih podatkih je podobnost 72 odstotkov .
reasmb: Ve se kam pes taco moli.
reasmb: Mislis da tukaj zares obstaja kaksna povezava ?
key: podobno 10
decomp: *
reasmb: goto podoben
key: drugace 0
decomp: *
reasmb: Kako to mislis, da je drugace?
reasmb: Ni treba dvakrat ugibat zakaj.
reasmb: Je to dobro ali slabo?
reasmb: No pa so se stvari le spremenile.
reasmb: Ne vidim povezave. Ne slisim povezave. In komajda tipkam. Noc. Tema. Depresija. Tako je to.
reasmb: Kako?
key: aleksandra 0
decomp: *
reasmb: Lepo ime, Aleksandra.
reasmb: Si ze kdaj pomislil, kako tezko je najti rimo na Aleksandra?
key: igor 0
decomp: *
reasmb: Igor Stromajer je naredil stvar na drugi polovici ekrana.
reasmb: A mas rad ABBO?
key: mojca 0
decomp: *
reasmb: pokrajculja :)
key: jaka 0
decomp: *
reasmb: Jaka Zeleznikar, ja, zveni mi zelo znano.
key: svoboda 0
decomp: *
reasmb: Kaj pa je zate svoboda?
reasmb: Si siguren da kot svobodo ne pojmujes le svoje popolne prilagojenosti kapitalisticnemu sistemu?
reasmb: Pazi se, tisti ki ti prodajajo osebno svobodo te delajo odvisnega od sebe.
reasmb: Si siguren da to ni iluzija?
- – -
<B>Slovensko Virtualno Gledališče</B> se vam zahvaljuje za obisk
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