[{"data":1,"prerenderedAt":1945},["ShallowReactive",2],{"all-projects":3,"all-events":1848,"project-blcosmos":1849},[4,61,98,160,202,267,295,366,411,449,892,963,1046,1088,1145,1374,1549,1592,1740,1816],{"id":5,"title":6,"bg":7,"bgInvert":7,"body":8,"bodyMedia":7,"bodyText":7,"credits":7,"description":24,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":48,"legacySource":53,"meta":54,"navigation":55,"path":56,"seo":57,"slug":58,"stem":59,"year":25,"__hash__":60},"projects/projects/2009players.md","A Percussion Piece for Two Thousand and Nine Players",null,{"type":9,"value":10,"toc":43},"minimark",[11,20,27],[12,13],"video-player",{"caption":14,"poster":15,"type":16,"url":17,"originalAspectRatio":18,"class":19},"Room 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Illia, Hantavy Ihar, Hantsarevich Yuryi, Hanusevich Uladzimir, Hapaniuk Dzmitryi, Hapiyenka Andrei, Hapon Illia, Harachkina Iryna, Harashyna Iryna, Harbaviec Uladzimir, Harchaniuk Ihar, Harmash Lidziya, Harmazinski Aleh, Harokh Uladzimir, Harun Andrei, Hashko Aliaksandr, Hashnikau Aliaksandr, Hatouka Hleb, Hatskevich Siarhei, Haurylau Aleh, Haurylau Ivan, Haurylenka Matfei, Haurylina Viktoryia, Hayeuski Hanada Akikhiro, Herasimliuk Leanid, Herasimovich Andrei, Herasimuk Sviataslau, Hershe Natalia, Hibkaya Katsiaryna, Hladchuk Yuryi, Hladkikh Aliaksandr, Hladkouski Hleb, Hladysh Mikhail, Hlebka Siarhei, Hlinskaya Ina, Hlinskaya Katsiaryna, Hlinskaya Valeryia, Hlotau Aliaksei, Hlushakou Vasil, Hlushitskaya Yuliya, Hnauk Alena, Holas Yuriy, Horbach Aliaksei, Horeva Alina, Hovar Yauhen, Hrabianiok Yury, Hrakhanau Dzianis, Hrankevich Matsvei, Hrechkayedau Maksim, Hretski Piotr, Hrin Anton, Hrinkou Yauheni, Hrybovich Siarhei, Hryh Ryhor, Hryhareuski Aliaksandr, Hrynevich Aliaksandr, Hryshchanka Dzmitry, Hryshchankau Ihar, Hrytskevich Aliaksei, Hryva Andrei, Hubchyk Ivan, Hubich Aliaksei, Hudzik Dzmitryi, Hukau Yauhen, Hulevich Vadzim, Hulida Aliaksandr, Hun Siarhei, Hundar Uladzimir, Hunia Siarhei, Hunko Ryhor, Hurman Vadzim, Hurnik Aliaksandr, Huseinau Emil, Husieu Uladzimir, Huzanau Aliaksandr, Huzau Vital, Huzava Hanna, Hvazdiolka Raman, Hvazdouski Pavel, Ibrahimau Ivan, Ignatsenka Aliaksei, Ihar Alkhou, Ihnatovich Aliaksandr, Iliasiuk Aliaksandr, Ilin Stanislau, Illinchyk Aliaksiej, Ilya Egorov, Ilyash Igor, Ilyina Hanna, Ilyushenka Siarhei, Imkhavik Maksim, Inanets Snezhana, Indziukou Siarhei, Isaenko Nikolay, Isakau Artsiom, Ivanchenko Dmitry, Ivanchykau Aliaksei, Ivanisau Aliaksei, Ivaniukovich Vital, Ivaniushyn Andrei, Ivanou Aliaksandr, Ivanou Aliaksei, Ivanou Dzianis, Ivanou Siarhei, Ivantsou Siarhei, Ivantsov Victor, Ivashkou Dzmitry, Ivashyn Dzianis, Ivonchyk Yauhen, Ivulin Aliaksandr, Jenzhera Yuri, Kabanov Alexander, Kabeshev Stanislav, Kabesheva Polina, Kachaharau Andrei, Kachanouski Dzmitryi, Kachatkou Radzion, Kadzetau Illya, Kaizer Barys, Kakhanouski Dzmitryi, Kakhanouski Yauhen, Kalach Nadzeya, Kalach Uladzimir, Kalashuk Artsiom, Kalatskaya Olga, Kalenchits Svetlana, Kalenchyts Valery, Kalenda Yauhen, Kalenik Maria, Kalesnikau Vital, Kalesnikava Maryia, Kalinin Vadzim, Kalinouski Viktor, Kalinouski Yauhen, Kalishuk Mikhail, Kalosha Maria, Kamarouski Aliaksei, Kaminskaya Maryia, Kamkar Vasil, Kananovich Raman, Kanapacki Kiryl, Kanapelka Dzmitry, Kanash Aliaksandr, Kanavalau Aleh, Kanavalau Siarhei, Kanavalava Antanina, Kandrasiuk Andrei, Kandratovich Andrei, Kandratsenka Aliaksei, Kandratsenka Hanna, Kandratsiuk Radzivon, Kandratsuk Aliaksandr, Kandyba Viachaslau, Kanetsky Egor, Kaneuskaya Tatsiana, Kaneuski Dzmitryj, Kaniaveha Ivan, Kaniuk Kiryl, Kanstantinau Piotr, Kanstantsin Prusau, Kapanets Siarhei, Kapitonov Alexey, Kapshul Aliaksandr, Kaputsky Alexander, Karaban Dzianis, Karachun Artem, Karakin Dzmitryi, Karakin Uladzimir, Karakina Volha, Karako Dmitriy, Karanevich Raman, Karapuzov Egor, Karatkevich Dzmitry, Karavai Tamara, Karavets Bahdan, Kardziukou Aliaksandr, Karetski Uladzislau, Karneyeu Dzmitryi, Karnienka Hanna, Karnienka Viktar, Karnilovich Yury, Karobka Mikalai, Karol Aleh, Karpau Yauhen, Karpenia Siarhei, Karpenka Mikita, Karpitski Ihar, Karpovich Tatsiana, Karpuk Raman, Kasach Artem, Kasakouski Artsiom, Kasheverova Yulia, Kashpanau Aliaksandr, Kasiakou Mikhail, Kasianchuk Aliaksandr, Kasinskaya Sviatlana, Kasko Aliaksandra, Kasperovich Oksana, Kaspiarovich Aleh, Kastiukevich Daniil, Kastsiuchyk Mikhail, Kastsiuchyk Viachaslau, Kastsiuk Yury, Kastsiukevich Siarhei, Kastsou Andrei, Kastusiou Ryhor, Katouski Viktar, Katsenka Aliaksandr, Katsenya Yuliya, Katskel Uladzimir, Kavalenka Andrei, Kavalenka Mikita, Kavaleuski Mikalai, Kavalionka Vital, Kavaliou Lieanid, Kavaliou Yury, Kavaliova Antanina, Kavaliova Halina, Kavaliova Hanna, Kazakevich Alexander, Kazei Kiryl, Kazeka Uladzimir, Kazhamiakin Stanislau, Kazimirov Andrey, Kaziutchyts Henadz, Kazlianka Aliaksandr, Kazlou Dzmitry, Kazlou Ihar, Kazlou Kiryl, Kazlou Mikalai, Kazlouski Aliaksandr, Kazlouski Artsiom, Kazlouski Dzmitryi, Kazlouski Viktar, Kedysh Alexey, Khabavets Daniil, Khadasevich Marianna, Khalatryan Levon, Khalavurt Ekaterina, Khalimonchyk Artur, Khamichkou Uladzimir, Khamitsevich Mikhail, Khanevich Andrei, Khanin Kanstantsin, Kharashkevich Yauhen, Khariyanau Yauhen, Kharlovich Mikita, Khartanovich Ihar, Kharunzhy Dzianis, Khatsko Artur, Khauchanau Dzianis, Khavanski Siarhei, Khavansky Mikhail, Khazei Dzianis, Khichov Oleg, Khilkevich Aliaksei, Khilkevich Mikita, Khimaroda Viktar, Khinevich Anatol, Khizhnyakov Vadim, Khliabets Viktar, Khlus Artur, Khmara Igor, Khralovich Aliaksei, Khramenya Yegor, Khramykh Aleh, Khrapko Alexandr, Khrenkou Andrei, Khristolyubov Yuriy, Khromava Sviatlana, Khromava Yana, Khvaschevsky Artem, Khveskavets Andrei, Kim Barys, Kireschenko Denis, Kireyenka Siarhei, Kireyeu Aliaksei, Kirilyuk Peter, Kirnoha Vital, Kirykovich Siarhei, Kirylenka Aliaksandr, Kirylenka Liudmila, Kishkarenka Dziyana, Kisialevich Maryna, Kisialiou Dzianis, Kisialiova Hanna, Kisialou Aliaksandr, Kisleyko Evgeny, Kizim Anastasia, Klaskovskaya Olga, Klevets Irena, Klimau Dzmitryi, Klimau Yauhen, Klimchuk Artsiom, Klimenchanka Valeryi, Klimkova Volha, Klimovich Maxim, Kliutchenia Andrei, Kliutchenia Siarhei, Klyukach Tikhon, Kniazeu Dzmitry, Kniha Uladzimir, Kobiak Viktar, Kobrin Viachaslau, Kochur Mikita, Kochurko Dmitry, Kogotko Evgeny, Koipish Hleb, Kolas Andrei, Kolas Dzianis, Kolas Tatsiana, Kolas Vladimir, Kolb Oksana, Kolb Valiantsin, Kolesnikov Daniil, Koloskova Marina, Kolpachik Evgeniy, Kolpak Aliaksandr, Komar Aliaksandr, Komar Ivan, Kombul Yauhen, Kondratyev Artem, Kononovich Sergey, Kopanaiko Igor, Kopats Aliaksandr, Korban Oleg, Koreshnikov Andrey, Korneeva Natalya, Korobeinik Dmitriy, Korolchuk Evgeny, Korolenya Andrey, Korotchenya Alexander, Korotkevich Vyacheslav, Korotkov Alexey, Korshun Aliaksei, Korshun Denis, Korshun Lidiya, Korshun Siarhei, Korzhal Yauhen, Korzun Aleh, Korzun Mikhail, Kosenko Daniil, Koshko Vladimir, Kostka Andrei, Kostsiuhova Valeryia, Kostychenko Irina, Kotau Ivan, Kotova Ksenia, Kotyubko Vladimir, Kouzina Tatsiana, Koval Irina, Kovalevsky Alexey, Kozhemyako Yuriy, Koziel Siarhiej, Kozlovsky Vitaly, Krachkovsky Evgeny, Krakosevich Dmitry, Krashakou Pavel, Krasnahir Aliaksei, Krasnik Andrei, Krasovsky Ivan, Krasovsky Sergey, Kraucheuski Illia, Krautsou Aleh, Krautsou Ihar, Kravchenko Igor, Kravchuk Denis, Kravtsov Dmitryi, Krivko Vitaly, Krugliak Alexey, Kruk Maksim, Kruk Siarhei, Kruk Uladzislau, Krupenich-Kondratyeva Anastasia, Krupenich Sergey, Krylou Andrei, Kryuchenia Siarhei, Kryvulka Dzmitryi, Ksendzikau Siarhei, Ksenzhik Ruslan, Kubarau Dzmitry, Kublitski Maksim, Kuchynski Pavel, Kudasau Aliaksei, Kudin Aleksey, Kudlovich Aliaksandr, Kudrytski Siarhei, Kudyniuk Eduard, Kudzik Andrei, Kuharenka Aliaksandr, Kukhareva Anastasia, Kulaha Aliaksandr, Kulakouski Dzmitry, Kulakov Dmitriy, Kulbachka Aliaksandr, Kulesha Oleg, Kuliashou Ivan, Kuliashou Mikalai, Kulinka Viktar, Kulko Ivan, Kulsha Viktoryia, Kuntysh Mikita, Kunusau Dzmitryi, Kupchina Tatsiana, Kupreeva Svetlana, Kuprienka Pavel, Kupriyanova Ekaterina, Kupryianau Uladzislau, Kureichik Alesya, Kurganov Evgeniy, Kurgansky Alexander, Kurguzov Timur, Kurilina Tatsiana, Kurouski Maksim, Kurylenka Ivan, Kurzin Yahor, Kushnerau Rastsislau, Kushynski Barys, Kutas Alexander, Kuvshinov Viktor, Kuziur Ivan, Kuzmenka Larysa, Kuzmenkov Evgeny, Kuzmich Dzmitryi, Kuzmich Ruslan, Kuzmich Yury, Kuzmin Aliaksei, Kuzmitski Stanislau, Kuznechyk Andrei, Kuznetsov Elisey, Kuzniatsou Robert, Kyva Ivan, L. Aliaksandr, Laban Mikhail, Labanok Ruslan, Labko Viktar, Labkovich Nina, Labkovich Uladzimir, Labunova Yuliya, Lahodich Dzmitryi, Lahun Andrei, Lahuta Aliaksandr, Lahutkin Siarhei, Lahutsenka Dzmitryi, Lahutsin Yuryi, Lakishyk Anton, Lakoza Aksana, Lameka Viktar, Lankevich Uladzimir, Lapatko Anna, Lapenas Mikhail, Lappo Anna, Laptanovich Ihar, Laptanovich Yuliya, Laptyonok Elena, Larchik Valery, Larchyk Pavel, Laryn Pavel, Lashch Natallia, Lasitsa Tatyana, Laski Artsiom, Lastouski Dzmitry, Latushka Anatol, Latushka Elena, Latypau Stsiapan, Latyshau Artsiom, Laukajtsis Siarhei, Laurentsyeu Aliaksandr, Lavor Uladzimir, Lazar Dzmitryi, Lazarchyk Alena, Lazarenka Anastasiya, Lazareu Viachaslau, Lazouski Dzianis, Lazovik Stefan, Leaniuk Siarhei, Lebiadok Yahor, Lednik Ihar, Lenko Alexander, Lepeshau Sviataslau, Leshchenia Igor, Leshnevsky Artyom, Lesovik Maksim, Lesovik Volha, Letsko Natallia, Leushyna Iryna, Levchik Egor, Levko Daria, Levkovich Dmitry, Levonuk Andrey, Liabedzka Artsiom, Liankevich Yahor, Liaonik Anatol, Liazhenka Siarhei, Linkevich Pavel, Linnik Andrei, Linnik Ruslan, Liohki Hleb, Lipen Alexey, Lisouski Aliaksei, Lisouski Siarhei, Litviakou Siarhei, Litvin Vitaly, Litvinenka Mikita, Liubenchuk Aliaksandr, Liubetski Andrei, Liulkovich Yauhen, Liviant Hanna, Liviant Yauheni, Liviant Yuliya, Lobachyov Valentin, Lobatsevich Ilya, Logvinov Vasily, Loi Aleksei, Loika Anastasiya, Loika Vital, Loiko Olga, Lomonosov Artem, Lomonosov Vyacheslav, Lopukh Aliaksandr, Losik Darya, Losik Ihar, Losik Viktar, Loza Valery, Luchkin Anton, Luchynovich Aliaksandr, Luhin Andrei, Lukashevich Dzmitry, Lukayanau Pavel, Lukoperov Mark, Lukovich Vadim, Luksha Dzmitryi, Lupanosau Mikhail, Lutskina Kseniya, Lyakhar Denis, Lyakhnovich Siarhei, Lyashkevich Boris, Lychevko Alexander, Lychkouskaya Darya, Lysau Anton, Lyskovich Elena, Lyskovich Viktoria, Lyulkovich Ilya, Machalau Andrei, Machalau Stanislau, Maiseichyk Arsenii, Makarau Mikhail, Makarevich Katsiaryna, Makarevich Siarhei, Makas Yulia, Makovetsky Vladislav, Makranchuk Leonid, Makrenchuk Leanid, Maksimau Dzianis, Maksimau Pavel, Maksyukov Alexey, Malakhouski Uladzimir, Malanchuk Siarhei, Malash Yanina, Malashevich Sofia, Malashuk Anastasia, Maleichuk Viachaslau, Maliar Mikita, Malinouskaya Alena, Malinovskaya Olga, Maliuha Anton, Maliuta Mikalai, Malkevich Alena, Malyavko Evgeny, Malyshenka Kiryl, Mamanovich Grigory, Mamedau Salim, Mamoika Andrei, Mamoika Viera, Mandzik Aliaksei, Mankevich Oksana, Mankinenka Pavel, Mantsevich Aliaksandr, Manyuk Vladislav, Marach Andrei, Maranets Yauhen, Marchenko Petr, Marchenko Yulia, Mardzilovich Siarhiej, Marjasau Aliaksandr, Markevich Maryna, Markovets Evgeny, Marozau Ivan, Martsinovich Uladzislau, Martsinovich Yahor, Martynchik Polina, Marukhnenko Vitaly, Marusau Raman, Marusevich Dzianis, Maskaliou Vital, Maslyka Anton, Mastsitski David, Matsiavin Aliaksei, Matsiayuk Aliaksandr, Matsiukh Uladzimir, Matskevich Sergey, Matskevich Uladzimir, Matskevich Volha, Matsonka Andrey, Matsulevich Anatol, Matsulevich Maksim, Matusievich Dzmitryi, Matveev Alexander, Matveeva Natallia, Matveichik Uladzimir, Matyrka Maksim, Maushuk Alena, Maushuk Siarhei, Mayeuski Aliaksiei, Mayorava Volha, Maysiyonok Artyom, Mazanik Artsyom, Mazhankou Tsimafei, Mazheika Henadz, Mazheika Pavel, Mazhou Aleh, Mazko Pavel, Medushevskiy Radion, Melekh Vital, Melkher Anton, Melkher Iryna, Melnichuk Valery, Melnik Uladzimir, Melnik Vital, Melnikau Aliaksei, Merkis Yauhen, Merunko Yauhen, Miadvedski Artsiom, Miadvedzeva Varvara, Miadzvetski Dzmitryi, Miakish Paval, Mihno Aliaksei, Mihno Illia, Mikhailau Aliaksandr, Mikhailau Anatol, Mikhailau Ruslan, Mikhailau Stanislau, Mikhailau Yahor, Mikhalchuk Galina, Mikhalko Vladimir, Mikhniuk Zinaida, Mikulich Maksim, Milashevsky Alexander, Mileuski Aliaksei, Milevskaya Yana, Milikou Ivan, Minkevich Vital, Minkevich Yauhen, Minov Alexey, Mints Ihar, Mirayeuski Siarhei, Mironau Aliaksandr, Mironau Aliaksei, Mironov Ilya, Mirontseva Anastasia, Mirontseva Viktoria, Mishuk Aliaksandr, Mishur Viachaslau, Mitkevich Mia, Mitskevich Alena, Mitskevich Dziyana, Mitskevich Valentin, Mitsuk Artsiom, Mitsura Matsvei, Monich Siarhei, Mudreuskaya Yuliya, Muratova Alina, Murauyou Aliaksandr, Murauyou Ivan, Muravitsky Alexey, Muryn Mikita, Muzykin Valiantsin, Myshkovets Andrey, Myslivets Igor, Nahela Aliaksandr, Nahiela Anton, Naidzenau Mikita, Naliuka Siarhei, Nareika Yauhen, Nasuro Denis, Navakouski Andrei, Navazhylau Dzmitry, Navitski Andrei, Navitsky Uladzislau, Navumau Anton, Nazarovich Aliaksandr, Nazdra Pavel, Nechipor Andrei, Nechiporovich Anton, Nekrashevich Maryia, Nekrashevich Tatsiana, Nemero Jozef, Nemkevich Valery, Nepahoda Siarhei, Neronsky Vladimir, Neshta Dzmitryi, Nestserau Viktar, Nestserava Maryia, Nestseruk Stanislau, Nestsiarovich Barys, Nestsiarovich Maksim, Nevdakh Marina, Neviarkievich Dzmitryi, Niadbaila Pavel, Nialepka Siarhei, Niapomniashchykh Uladzimir, Nichyporka Alieh, Niesciarenka Aliaksandr, Nikalayeu Aliaksandr, Nikalayeu Vadzim, Nikanov Ivan, Nikanovich Hlieb, Nikitenko Ekaterina, Nikitina Anastasia, Nikitina Natalia, Nikitsenka Pavel, Nikitsin Artsiom, Nikitsin Siarhei, Nikitsiuk Siarhei, Novash Aliaksandr, Novik Dzmitry, Novik Lidziya, Novik Maria, Novikau Ihar, Novikov Andrey, Novosadskaya Anastasia, Nurdzinau Aliaksandr, Olshevsky Sergey, Orobeiko Yana, Osipau Tsikhan, Ostrovinskaya Svetlana, Ostrovskaya Tatyana, Ovdienko Alina, Pachapskaya Palina, Padabied Paviel, Padlobnikau Dzmitryi, Padniabenny Andrei, Padrez Dzmitry, Paheryla Andrei, Pak Yauhen, Palaniankin Illia, Palavinka Palina, Palchys Eduard, Paleonak Mikita, Paliak Kanstantin, Palkhouski Illia, Panamarou Dzianis, Panasik Valiantsin, Panisheva Anna, Panko Dzmitry, Pankratovich Valeryi, Panova Ina, Pantsialeyeu Viktar, Papakul Yauhien, Papkovich Ales, Papkovich Yan, Papou Andrei, Papou Dzmitry, Papou Viachaslau, Paretski Aliaksei, Parfionau Ruslan, Parkhamovich Artsiom, Parkhimchik Victor, Parkhomenka Aliaksandr, Parkhomenka Uladzimir, Parshyn Ivan, Pashkevich Aliaksandr, Pasiuk Aleh, Pastukhou Ihar, Patapau Aliaksandr, Patapovich Aliaksandr, Patrushau Illia, Patsiaichuk Ivan, Patsiarukhin Valeryi, Patsukevich Siarhei, Paulavets Kiryl, Paulechka Artsiom, Paulenka Raman, Paulovich Alena, Paulovich Dzmitryi, Paulovich Siarhei, Pavlinkovich Stanislav, Pavlova Olga, Pavluschik Maxim, Paytash Oleg, Pazniakou Ihar, Pekach Yauhen, Pendik Dmitry, Peradnia Danuta, Perepechko Alexander, Perevoshchikova Anastasia, Perfilyev Sergey, Pernikau Pavel, Peryanovich Anastasiya, Pestrak Eduard, Petrachenka Anastasiya, Petrachenka Yauhen, Petrashko Alexander, Petrov Evgeny, Petrovsky Andrey, Petruchenya Pavel, Petrukhin Sergey, Petrushenka Siarhei, Petushkov Alexander, Piadzko Artur, Piartsova Iryna, Piaskou Pavel, Piatukh Volha, Pietsko Dzianis, Pilets Vasily, Pilzhys Viktar, Pinchuk Yana, Pipiya Tamaz, Pipiya Tsimur, Pirazhkou Illia, Pishchala Dzianis, Piskun Pavel, Pivavarchik Yuri, Plakushchau Kiryl, Pleskatsevich Aliaksandr, Pliashkun Siarhei, Pliatniou Maksim, Pliushchau Uladzislau, Pliutsinski Aliaksandr, Plonis Siarhei, Pochobut Andrzej, Podlevska Natalya, Polianina Irina, Polivoda Alexander, Polkina Nadzeya, Poluda Andrey, Ponteleyko Dmitry, Popeko Nikolai, Poshelyuk Evgeny, Potekhina Anastasia, Potrebko Andrei, Potryaseva Alexandra, Povalishev Sergey, Povarau Ihar, Povedailo Alexey, Poznyak Andrey, Prach Mikhail, Pradybailau Vital, Prakapchuk Vital, Prakapchuk Yahor, Prapolski Yauhen, Pratapovich Aliaksei, Pratasevich Raman, Pratasievich Andrej, Prazhenik Maxim, Prezhennikov Igor, Prigozhaev Artyom, Prineslik Vitaly, Pristalenko Nikita, Prokhorov Vitaly, Prus Siarhei, Pryadkin Vladimir, Pryhava Iryna, Pryvalau Yauhen, Puchynski Maksim, Puhach Anatol, Puhachou Stanislau, Pukanau Andrei, Pushkin Ales, Pyshnik Hanna, Pytsel Maksim, Pytsko Tatsiana, Pyzhjanau Ihar, Rabchanka Uladzimir, Rabkova Marfa, Rachitsky Stanislav, Radkevich Yauhen, Radkova Irina, Raentova Natalia, Rahashchuk Viachaslau, Rakevich Yauhen, Rakits Ivan, Rakotsa Pavel, Rakovich Olga, Ramanau Daniil, Ramanau Hleb, Ramanau Siarhei, Ramanchyk Aleh, Ramanovich Andrei, Ramanovich Liudmila, Raptunovich Andrei, Rasulau Andrei, Ravich Dzmitry, Rayentau Aliaksandr, Razhkou Andrei, Razhkou Maksim, Raznichenka Yauhen, Razuvayeu Andrei, Reidolf Inga, Reidolf Karina, Rezanovich Dzmitry, Rezanovich Liubou, Rezanovich Pavel, Rezanovich Siarhei, Reznik Aliaksandr, Reznikau Aliaksei, Ritus Olga, Rogatnev Ivan, Rohach Vital, Romanov Alexey, Romanovich Alexander, Romantsova Olga, Roy Mikalai, Rozum Sergey, Rubasheuski Uladzimir, Rubashka Yauhen, Rubets Aleh, Rudchyk Ihar, Rudinsky Sergey, Rudnitski Kanstantsin, Rumko Aliaksandr, Runtso Andrei, Rusetski Dzmitryi, Rusetsky Alexander, Ruskikh Andrei, Rybak Dzmitry, Rybakou Vital, Rybalko Irina, Rybchyk Aliaksandra, Rybin Artur, Rymarau Yan, Rymsha Siarhei, Ryndzevich Siarhei, Ryzapur Tsimur, Sachevko Andrey, Sadounichy Ruslan, Safonau Maksim, Safonova Maria, Saidov Nikita, Sakalou Pavel, Sakalou Siarhei, Sakalouski Andrei, Sakalouski Uladzimir, Sakau Artsiom, Sakavets Siarhei, Sakharchuk Pavel, Sakovich Artsiom, Sakovich Maxim, Sakovich Svetlana, Sakovich Yaraslau, Sakun Siarhei, Salamennik Volha, Salavei Artsiom, Salavei Ihar, Saleev Kirill, Saley Ilya, Salmanovich Dzianis, Salokha Siarhei, Salonikau Mark, Samarin Mikita, Samasiuk Valiantsin, Samsonau Yuryi, Samusenka Aliaksei, Samusenka Kim, Samusenko Igor, Samusevich Yury, Sanchuk Aliaksei, Sankevich Ihar, Sankevich Maryna, Sankovskaya Anastasia, Sanyuta Siarhei, Sapega Sofia, Sapego Sergei, Sarychev Maksim, Saseu Mikalai, Sasim Katsiaryna, Sasnouski Dzmitryi, Sasnouski Mikalai, Satsuk Siarhei, Sauchuk Artsiom, Sauko Adam, Sautin Ivan, Sautsin Fiodar, Sava Paviel, Savashevich Viktar, Savashinskaya Iryna, Savchenko Svetlana, Saviankou Uladzimir, Savich Siarhei, Savichev Vyacheslav, Savin Uladzislau, Savitski Yury, Sazonov Victor, Schasnaya Iryna, Scherbak Yuriy, Schluchtits Tikhon, Sedzianeuski Uladzimir, Sedzianeuski Yury, Seliazneu Maksim, Selvich Yuriy, Semakovich Pavel, Semashka Aliaksandr, Semchanka Dzmitryi, Semechko Galina, Semenov Aleksey, Sergeenko Nikolay, Serhienia Anastasiya, Serhienka Uladzimir, Sesitski Siarhei, Seviartoka Andrei, Seviaryn Uladzimir, Seviarynets Pavel, Shabalin Aliaksandr, Shabaliuk Yauhen, Shaban Siarhei, Shablinski Viachaslau, Shabunya Sergey, Shafarenka Yakau, Shagieva Maria, Shakirau Ilia, Shakovich Illia, Shakun Uladzimir, Shalabanau Uladzislau, Shalamitski Aliaksandr, Shalamitski Siarhei, Shalkievich Vasil, Shamau Leanid, Shametska Aliaksandr, Shametska Siarhei, Shamiakou Yauheni, Shandyba Aliaksandr, Shapatkouski Illia, Shapunou Ruslan, Sharabaika Aliaksandr, Sharakh Nikolay, Sharametsyeu Dzianis, Sharametsyeva Sviatlana, Sharenda Panasiuk Palina, Sharendo Andrei, Sharko Alla, Shatokhin Maxim, Shauchenka Dzmitryi, Shauchuk Andrei, Shaura Viktar, Shautsou Aliaksandr, Shavel Rostislav, Shavlinsky Maksim, Shcherbich Vital, Shchitenko Sergey, Shchurko Dzmitry, Shchyrakova Larysa, Shelegin Artem, Shelest Siarhei, Sheliamet Viachaslau, Shelkovich Anatoly, Shemetov Nikolay, Sheuchyk Volha, Shevchenko Sergey, Shilko Vadzim, Shimansky Dmitry, Shinkevich Vladimir, Shinkovich Vladislav, Shirinsky Maxim, Shishko Alexander, Shishkovets Aliaksei, Shitikov Vitaly, Shkalionak Dzmitryi, Shkliar Andrei, Shkuratovich Tsimafei, Shmatau Aliaksandr, Shmihelski Viktar, Shneiderov Igor, Shnip Anton, Shpak Sergey, Shpetny Pavel, Shtertser Dzianis, Shubich Sviataslau, Shukan Uladzislau, Shulga Konstantin, Shulhat Andrei, Shulyuk Yauheni, Shumilau Ihar, Shunkevich Andrei, Shurkhaeu Aliaksandr, Shurubejko Vladimir, Shustau Uladzimir, Shuvalau Dzmitryi, Shvaiko Aleh, Shyliets Yuryi, Shyrko Edhar, Shyrokaya Inna, Shyshlou Vital, Siachko Aliaksandr, Siadou Viktar, Sialitski Aliaksandr, Siamionau Yauhen, Siamykin Ihar, Sianko Aliaksei, Siankou Aliaksei, Siankou Yury, Siarhei Yury, Siarheyenka Maksim, Siarheyenkau Andrei, Siarheyeu Dzianis, Siarhiejchyk Yanina, Siauruk Henadz, Sidarenka Aliaksandar, Sidarenka Mikhail, Sidorchyk Ihnat, Sidorkin Dzmitryi, Sidziuk Raman, Sikorski Siarhei, Silenkov Ilia, Silenok Marina, Silich Siarhei, Siliuk Maksim, Silivon Mikita, Silvanovich Uladzimir, Simonenkov Anton, Sinchukov Ruslan, Siniakou Zakhar, Sinkevich Dzmitry, Sinkevich Konstantin, Sinkevich Ruslan, Sinyak Arseniy, Sinyak Elena, Siradze Marek, Sivets Anatol, Skaptsou Raman, Skipalski Daniil, Skok Siarhei, Skretutsky Dmitry, Skurko Andrei, Slaunikava Iryna, Slavashevich Andrei, Slepianok Mikita, Sleptsova Natalia, Slez Nikolay, Sliazhou Siarhei, Slobodyannikova Alexandra, Sluk Dzmitryi, Slutskaya Yuliya, Slutski Ruslan, Slutsky Petr, Smaliakou Artur, Smirnou Henadz, Smirnova Renata, Smolkin Roman, Smolsky Ilya, Snehur Viktar, Sobchuk Miroslav, Sobolev Vadim, Sochyuka Maryna, Sokal Marharyta, Sokal Uladzimir, Soldatkin Aleksey, Solodovnikov Grigoriy, Solonovich Yan, Solovyov Eugene, Somau Anton, Sorokin Artem, Sosnov Nikita, Sotnikau Anton, Soupel Ivan, Sparysh Siarhei, Spirydonau Aliaksei, Spirydonau Yaraslau, Spiryn Pavel, Staliarchuk Mikhail, Staneuski Yuryi, Stankevich Alexander, Stanulevich Dzmitryi, Staratsitarau Piotr, Staravoitava Yauheniya, Starazhenka Mikita, Stasheuski Anton, Stashulionak Maksim, Stasilevich Maksym, Stasiuk Maksim, Statkevich Mikalai, Statsevich Roman, Stefanovic Valiantsin, Stefanovich Rastsislau, Stepantseva Nadezhda, Stsepanenka Andrei, Stsepankou Andrei, Stsepulionak Ema, Stserlikau Aliaksei, Stsiapanau Dzmitry, Stsiatsenka Yan, Studinskaya Inessa, Subtselny Aliaksei, Sudalenka Leanid, Sugoid Egor, Suhaniayeu Dzmitryi, Sukharukau Aliaksandr, Sumar Aliaksandr, Sungurova Anna, Sushchyk Dzmitryi, Sushko Vladimir, Suslin Kiryl, Suzko Aliaksandr, Svidunovich Konstantin, Svintetsky Vadim, Svirbutovich Pavel, Svitsina Patritsia, Sychik Vadim, Syrets Dzianis, Syromolot Kseniya, Syrovatka Olga, Syrykh Yuliya, Sysun Andrei, Tabakar Artem, Takarchuk Artsiom, Talatynnik Vladimir, Talkacheva Elena, Talkachou Stsiapan, Tananko Ilya, Taran Natallia, Tarasenka Aliaksandr, Tarasenko Maria, Tarasevich Mikhail, Taratun Dzmitry, Tarazevich Zakhar, Tarnovskaya Galina, Tatsianok Maksim, Tauhen Viktar, Teleshchenko Vasily, Tesluk Adam, Timofeenko Andrey, Tishkovskaya Maria, Titov Evgeniy, Tkachenko Ekaterina, Tokarau Ihar, Tokarchuk Olga, Tolkach Illia, Tolmachev Alexander, Tolochko Tatiana, Tomashevich Vladislav, Tomina Volha, Tonkoshkur Larisa, Tovpik Anastasia, Trachtenberg Ilya, Trafimchuk Pavel, Trafimuk Viachaslau, Trapachou Yuryi, Tratsiakevich Mikita, Tratsiuk Siarhei, Treshchanka Siarhei, Trifanau Uladzimir, Trotski Aliaksandr, Trotski Valeryi, Trubin Illia, Trusau Andrei, Trushko Yauheni, Tryzubau Andrej, Tsahalka Ivan, Tsahelnik Vadzim, Tsaliuk Andrei, Tsarikevich Viktor, Tsaronak Andrei, Tseleshman Aliaksandr, Tserakh Volha, Tseranevich Valiantsin, Tsialeha Aliaksandr, Tsialipka Leu, Tsiareshka Aliaksandr, Tsihanau Yauhen, Tsikhanouski Siarhei, Tsimafeyeu Aliaksandr, Tsimafeyeu Dzmitry, Tsimashchuk Uladzislau, Tsimashenka Aliaksandr, Tsimashenka Dzmitry, Tsimbalyst Alexander, Tsishkevich Maksim, Tsishkevich Vadzim, Tsiurlik Ruslan, Tsurpanov Vladimir, Tsvikevich Vera, Tsyb Dzmitryi, Tsybulskaya Volha, Tsyhankou Aliaksandr, Tsyhankou Raman, Tsyhanovich Uladzimir, Tsykunou Vadzim, Tsypak Andrei, Tumilevich Valery, Tur Dzmitry, Turavets Tatsiana, Turko Yauhen, Turkou Illia, Turova Natalia, Tuzhyk Maksim, Tyschanka Ivan, Udot Sviataslau, Ulan Ramuald, Ulasau Yury, Urad Dzianis, Usnich Yuryi, Uspenskaya Maryia, Ussosky Vadim, Ustin Vladislav, Utkin Andrei, Vadalazhskaya Tatsiana, Vaitovich Anastasiya, Vaitsiuk Siarhei, Vaitsyahovich Anastasiya, Vaitsyahovich Ilya, Vaitsyahovich Uladzislau, Vaitsyahovich Vital, Vaitsyahovich Volha, Valasach Andrei, Valavik Anton, Valdez Casanueva Roberto, Valentinovich Ilya, Valentinovich Nikita, Valiuk Ruslan, Varapai Pavel, Varozau Dzianis, Vashchilina Diana, Vasilenka Heorhi, Vasilevich Alexander, Vasilevich Natalya, Vasilievich Mikalai, Vasiliyeu Siarhei, Vasilkou Mark, Vasilkov Mikhail, Vasilkova Kristina, Vasilyeu Vadzim, Vasin Aliaksandr, Veliasnitski Aliaksandr, Verameyeu Illia, Verashchahin Siarhei, Veremeychik Daria, Verkhavodkin Yauhen, Viacherni Aliaksei, Vialeshka Aliaksei, Viarbitski Ivan, Viarshyna Viktar, Viarshynin Yahor, Viatoshkin Hleb, Vierasau Uladzislau, Vikkholm Irina, Viktar Prusau, Vilcheuski Edvard, Vinahradau Pavel, Vinakurau Ihar, Viniarski Aliaksandr, Viniarski Maksim, Vinichuk Yuri, Vinogradova Veronika, Vinokurov Artem, Vinokurov Sergey, Vishchenya Valery, Vishnyak Anna, Viskirsky Valery, Vislavukh Yauhen, Vitikov Nikolai, Vitkovsky Nikolay, Vitunou Daniil, Vlasiuk Yuryi, Vlasova Lilia, Vlasyuk Leanid, Voinich Andrei, Voitovich Vitaly, Volkau Ruslan, Volkau Siarhei, Volkava Liudmila, Volkava Zhanna, Volnistaya Vera, Volokh Kirill, Volovik Ilya, Volski Aliaksandr, Vouchak Dzianis, Vouna Artsiom, Voytekh Alina, Vyatkin Denis, Vydryn Anatol, Vysochin Konstantin, Yadzevich Dzianis, Yafimau Siarhei, Yafremenka Aleh, Yahorychava Alena, Yaitsky Pavel, Yakauleva Katsiaryna, Yakautsau Yakau, Yakavuk Anton, Yakhin Roman, Yakuts Stsiapan, Yalnitski Viachaslau, Yaltsevich Volha, Yanchenka Ivan, Yankovskaya Tatiana, Yankovsky Dmitry, Yanukovich Zlata, Yarashevich Siarhei, Yarashuk Aliaksandr, Yaremchyk Andrey, Yarmolau Ihar, Yaromski Mikalai, Yaroshevich Anastasia, Yaroshkin Siarhei, Yarousky Dzianis, Yaschenko Maria, Yasnikau Ivan, Yaustratsenka Uladzimir, Yazierski Raman, Yefimovich Mikhail, Yeframenka Yelena, Yekelchik Tatyana, Yeliseyeu Valeryi, Yemialyianau Aliaksandr, Yemialyianau Mikita, Yenarovich Vital, Yermakou Aleh, Yermakou Vasil, Yermalovich Kanstantsin, Yermashuk Vadzim, Yeustratau Yahor, Yeustsiahneyeu Uladzislau, Yudzin Mikhail, Yukhnevich Pavel, Yunitski Aliaksandr, Yupatau Siarhei, Yurchyk Aliaksandr, Yurhilevich Yuliya, Yurkoit Dmitry, Yurtajeu Dzmitry, Yuryeu Hleb, Yushkevich Aleh, Yushkevich Yauhen, Yushkievich Lizavieta, Zabashtanskaya Alina, Zabeialenkau Artsiom, Zabiran Aliaksei, Zadrutski Artsiom, Zahalaviec Dzmitry, Zahdai Aliaksandr, Zaicau Maksim, Zaitsau Aliaksandr, Zaitseva Ilona, Zakharanka Siarhei, Zakharevich Alexander, Zakharkevich Zhanna, Zakharyk Aliaksandra, Zakhozhy Aliaksandr, Zalatar Volha, Zalatareuski Viktar, Zalatarou Mikita, Zalatykh Kanstantsin, Zalomski Dzmitry, Zanouski Aliaksandr, Zapolskikh Vladimir, Zareckaya Aksana, Zaretskaya Katsiaryna, Zarodey Vitaly, Zashchytau Yauhen, Zavadskaya Olga, Zavadzich Ruslan, Zavatski Aleh, Zavialov Valentin, Zayac Volha Aleh, Zayancheuski Dzianis, Zayats Tatyana, Zbaransky David, Zbarouski Yauhen, Zborovsky Yaroslav, Zdanovich Vadim, Zelianiak Dzmitryi, Zhalkouski Andrei, Zhaludok Kiryl, Zharau Maksim, Zhardetsky Viktor, Zharina Elena, Zharyn Daniil, Zhavaranak Viktar, Zhavoronok Egor, Zhdanau Aliaksandr, Zhdanko Eduard, Zhdanovich Viktoryia, Zheburtovich Dzmitry, Zhemchuzhny Mikhail, Zhernak Artsiom, Zhezheleu Fiodar, Zhloba Natalia, Zhohaleu Kiryl, Zholobov Vladimir, Zhuk Alexander, Zhuk Andrei, Zhuk Dzianis, Zhuk Maryia, Zhuk Uladzimir, Zhuk Vitaly, Zhukouski Yuryi, Zhurauka Uladzimir, Zhurauliova Yana, Zhuravlev Kirill, Zhvirydouski Artur, Zhykhar Uladzimir, Zhykharevich Aliaksandr, Zhylinski Feliks, Zhylinski Vadzim, Zhylinski Vital, Zhyvaleuski Yezhy, Zialiutkin Aliaksandr, Zialkouski Yauhen, Zianevich Uladzislau, Zianko Ivan, Ziankovich Yuryi, Zihinau Viktar, Zikeev Alexey, Zinevich Maksim, Zinevich Petr, Ziyazetdzinau Aliaksandr, Ziza Valery, Zlobina Iryna, Znak Maksim, Zolatava Maryna, Zotava Ryta, Zubets Vladimir, Zubko Ivan, Zubkou Mikhail, Zubovich Aleh, Zubrakou Artsem, Zubritski Aleh, Zvanarou Andrej, Zverko Tatsiana, Zyl Svetlana, E Silva Sergio Castro",{"title":24,"searchDepth":44,"depth":44,"links":45},2,[],false,"md",{"src":15,"width":49,"height":50,"aspectRatio":51,"palette":52},1922,1082,1.7763401109057302,"#b1818c,#ae7d89,#b5818e,#b6828f,#b17f8b,#b2828d,#b17f8a,#b4838f,#af818b,#ae7f88,#b1828d,#af818a,#a97984,#ae7c87,#ad7c88,#b1818d","legacy_selectedworks_shrt/resources/2009players.html",{},true,"/projects/2009players",{"title":6,"description":24},"2009players","projects/2009players","ODQ8N3mHbzOOBGOYW6z4g6q5Xfd6rzXkl81L83eI93A",{"id":62,"title":63,"bg":7,"bgInvert":7,"body":64,"bodyMedia":7,"bodyText":7,"credits":7,"description":75,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":87,"legacySource":7,"meta":92,"navigation":55,"path":93,"seo":94,"slug":95,"stem":96,"year":76,"__hash__":97},"projects/projects/how-long.md","How Long Can One Stare at 250000 Square Cells Changing Color?",{"type":9,"value":65,"toc":85},[66,72,78],[12,67],{"caption":68,"poster":69,"type":70,"url":71,"class":19},"Installation view @*Every Day. Art. Solidarity. Resistance*, Mystetskyi Arsenal, Kyiv, 2021","/selectedworks/media/how-long/thumb.jpg","hls","https://vz-59f6cd04-d86.b-cdn.net/81653e8f-fb29-42e9-a9ac-0fe16182b29a/playlist.m3u8",[21,73,77],{"meta":74},{"title":63,"description":75,"year":76},"web-based multi-channel media installation: projectors (number of projectors vary), microcomputer, video cables, Javascript, generated in real time",2021,[],[28,79,80],{"class":30},[32,81,82],{"class":34,"data-text-panel":24,"id":35},[37,83,84],{},"This work is based on Game of Life, a mathematical model devised by mathematician John Conway in 1970. It is one of a wider class of mathematical models known as cellular automata.\nA cellular automaton is typically a regular array of cells, each of which is either “off” or “on.” Following a small set of simple rules, a cell “chooses” its state depending on the state of neighboring cells. For example, this work uses the following rules: a cell switches “on” if it has exactly three “on” neighbors, and switches “off” if it has less than two or more than three “on” neighbors. Adding time to the system and initiating the process of choosing a state in an endless cycle produces an extremely complex and unpredictable system that resembles an evolving biological organism or colony expanding its habitat. Numerous complex clusters arise that can multiply, move, absorb and mutate. Observing and studying this dynamic model is an exciting activity, but it takes on additional meaning if we interpolated it onto turbulent social processes.\nThere is a striking similarity between this model and the strategy that emerged in the Belarusian protests.\nSelf-organization, horizontal connections, decentralization of protests and mutual support networks rhyme with the emergence of complex structures in Game of Life. The development of the system balances on the boundary between determinism, given the clear set of elementary rules, and the complete unpredictability of extremely complex chain reactions and interactions between emerging points of tension.",{"title":24,"searchDepth":44,"depth":44,"links":86},[],{"src":69,"width":88,"height":89,"aspectRatio":90,"palette":91},1920,1080,1.7777777777777777,"#565952,#3f4238,#64635f,#bec0bf,#c0bcbf,#e1e2e5,#adabab,#beb7b1,#b6b5b6,#d7d9dd,#93908f,#918b88,#707073,#7c7d7e,#55504c,#5d544d",{},"/projects/how-long",{"title":63,"description":75},"how-long","projects/how-long","Eq_s8K96subhOsmMN1Nra3Cw06J_dHo36gaUllXX114",{"id":99,"title":100,"bg":101,"bgInvert":101,"body":102,"bodyMedia":7,"bodyText":7,"credits":7,"description":122,"draft":46,"extension":47,"fg":152,"fgInvert":7,"image":153,"legacySource":7,"meta":154,"navigation":55,"path":155,"seo":156,"slug":157,"stem":158,"year":123,"__hash__":159},"projects/projects/doodles.md","Squiggles-scribbles","#98988f",{"type":9,"value":103,"toc":150},[104,115,119,125],[105,106,112],"ContentImage",{"src":107,"width":108,"height":109,"aspectRatio":110,"palette":111,"class":19},"/selectedworks/media/doodles/doodles-24-2x.jpg",2048,1365,1.5003663003663004,"#f3ddc9,#fefefa,#fdfdf9,#f6f5f5,#f0d9c2,#f7f8f3,#f5f5f2,#eeece9,#beb3a3,#a6a8a2,#9c9e99,#aeada9,#a09d94,#5c625f,#8e918f,#949898",[37,113,114],{},"Installation view, ROZENSTRAAT – a rose is a rose is a rose, Amsterdam, NL",[116,117],"interactive-embed",{"src":118,"class":19},"/doodles/?bg=tr",[21,120,124],{"meta":121},{"title":100,"description":122,"year":123},"Site-adaptive real-time generative video installation. Wall projection, video projector(s), mini-computer, cables and power cords.",2020,[],[28,126,127],{"class":30},[32,128,129,132,135,138,141,144],{"class":34,"data-text-panel":24,"id":35},[37,130,131],{},"At the core of this work is a computer program. Following a simple set of rules, it continuously (in real time) generates random, intricate linear drawings that resemble absent-minded scribbles. From time to time, the program resets itself and starts the process over. It never follows the same path twice, producing a completely unique linear pattern each time.",[37,133,134],{},"Scratching and scribbling probably belong to the most rudimentary and natural forms of human visual expression. The freedom and unpredictability of such drawing are deeply rooted in the physiology of the human body itself. The curvature, slope, and direction of a stroke are determined to a large extent not by the artist’s intention, and not even by the chosen tool, but by anatomy: the structure of the wrist, palm, and fingers, the posture of the body, and its degrees of freedom.",[37,136,137],{},"Similarly, the program defines an underlying geometrical skeleton that controls certain characteristics of the future drawing. What is interesting, however, is that even tiny deviations in the motion of such a structure can lead to completely unforeseen results. These small shifts allow the program to scribble an unlimited number of absolutely unique and complex linear knots and patterns.",[37,139,140],{},"Started during the COVID-19 lockdown as a leisure project, the work gradually grew into a small research — or rather an observation. Its aim was to study the dynamics that cause the transformation of something geometrically definite into something chaotically indeterminate.",[37,142,143],{},"It is often said that scribbling and doodling have a positive effect on memory, and that they are generally a good thing. In the case of this project, however, the therapeutic effect of passively staring at the constantly emerging scribbles has not been proven yet.",[105,145,148],{"aspectRatio":110,"height":109,"palette":146,"src":147,"title":114,"width":108,"alt":114},"#efeeed,#eae6e2,#cfc3bf,#d8d1d5,#d1c9c1,#d9c8b3,#ede3d7,#dddada,#bbafa7,#c9bca8,#d6cec2,#d3cfcf,#777476,#817c79,#8b847f,#7d7879","/selectedworks/media/doodles/central-wall-11-2x.jpg",[37,149,114],{},{"title":24,"searchDepth":44,"depth":44,"links":151},[],"#fff",{"src":107,"width":108,"height":109,"aspectRatio":110,"palette":111},{},"/projects/doodles",{"title":100,"description":122},"doodles","projects/doodles","7bnF2IdZcpbYeQKcf6QXXxa5F60oaT-7BpA7-kyjIyM",{"id":161,"title":162,"bg":7,"bgInvert":7,"body":163,"bodyMedia":7,"bodyText":7,"credits":7,"description":24,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":190,"legacySource":7,"meta":196,"navigation":55,"path":197,"seo":198,"slug":199,"stem":200,"year":123,"__hash__":201},"projects/projects/marimba.md","A Musical Piece for Marimba and One Million Colored Squares",{"type":9,"value":164,"toc":188},[165,168,172],[116,166],{"src":167,"class":19},"/zoom/",[21,169,171],{"meta":170},{"title":162,"description":24,"year":123},[],[28,173,174],{"class":30},[32,175,176,179,182,185],{"class":34,"data-text-panel":24,"id":35},[37,177,178],{},"Exploring algorithmic storytelling, Maxim Tyminko transforms the information of a visual sequence into a musical\ncomposition.",[37,180,181],{},"For this work, he has designed a javascript program that reads and performs, in real-time and in a random\nmanner, a sequence of images created during ‘Place: an incomplete History’, an on-line social experiment\norganized by Reddit in 2017. Using an online canvas and a 16-color palette, Reddit invited millions of users\nover the course of 72 hours, to produce an image that evolves in time. Only constraint: each user could only\ndraw one pixel every 5 minutes. Promptly, people began to work together. The resulting image conveys a wide\nrange of connotations, including political, social, and aesthetic.",[37,183,184],{},"The piece was a part of the online program of the festival “A Matter Of (In)digestions",[37,186,187],{},"In Tyminko’s work, each pixel is translated into a synthesized tone, producing a complex atonal musical\ncomposition. Placed with extreme care and being part of a bigger visual plan, each pixel, which has been scaled\nup into a colored square, becomes a picture in itself. The sequence of those ‘pictures’ produces a meaningful,\nyet abstract, story.",{"title":24,"searchDepth":44,"depth":44,"links":189},[],{"src":191,"width":192,"height":193,"aspectRatio":194,"palette":195},"/selectedworks/media/marimba-thumbnail.png",1000,667,1.4992503748125936,"#c4f888,#ffc658,#e1fbbc,#39f4c4,#5804a6,#f9aaaa,#ff5857,#b755b3,#0ba7ad,#0faab0,#ff3f00,#fbe3aa,#1e1e1e,#22221d,#ffdf00,#51cc00",{},"/projects/marimba",{"title":162,"description":24},"marimba","projects/marimba","2F6-RB37Ds3lbUvfv0zMaVTNr55PJ0JTQHKijDAQN5I",{"id":203,"title":204,"bg":7,"bgInvert":7,"body":205,"bodyMedia":7,"bodyText":7,"credits":7,"description":214,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":259,"legacySource":7,"meta":261,"navigation":55,"path":262,"seo":263,"slug":264,"stem":265,"year":123,"__hash__":266},"projects/projects/pixeltrance-puntwg.md","Pixeltrance @ [Not LESS_MATERIAL]",{"type":9,"value":206,"toc":257},[207,211,216],[12,208],{"poster":209,"type":70,"url":210,"class":19},"/selectedworks/media/pxtrans/pixtrans-puntwg-thumb.jpg","https://vz-59f6cd04-d86.b-cdn.net/e08ef689-41e8-47f1-a82b-07e491cf0b89/playlist.m3u8",[21,212,215],{"meta":213},{"title":204,"description":214,"year":123},"live drumming performance with real-time video projection and voice synthesis",[],[28,217,218],{"class":30},[32,219,220,228,236,239,242,245,248,251,254],{"class":34,"data-text-panel":24,"id":35},[37,221,222,223,227],{},"2.10.2020. Performance @",[224,225,226],"span",{},"Not LESS_MATERIAL",", La Cocina, PuntWG Amsterdam",[37,229,230,231,235],{},"As part of the ",[232,233,234],"em",{},"A Matter of (In)digestions"," festival",[37,237,238],{},"Used in the performance: RGB sequence from a 29×18-pixel version of the image Astronomers-View-the-Effect-of-Gravitational-Lensing-on-the-Cosmic-Microwave-Background.jpg*",[37,240,241],{},"duration: 40 min",[37,243,244],{},"video by Vika Mitrichenko",[37,246,247],{},"In Drum-n-Pix, a computer reads a randomly chosen image, scaled down and converted into a stream of RGB values.\nEach pixel’s red, green, and blue components are vocalized one after the other as percentages – “Red 10%, Green\n23%, Blue 40%,” and so on – while the corresponding color fills the background projection behind the performer.\nThis continues until every pixel in the image has been read aloud. Simultaneously, the artist performs live\ndrumming, delivering raw, repetitive rhythms that intertwine with the machine’s voice.",[37,249,250],{},"The raw data spoken aloud in the performance sounds almost meaningless – a cascade of isolated color values.\nYet these numbers contain all the rich visual information we normally perceive instantly as coherent images.\nEssentially, both the human brain and artificial intelligence follow a similar path: mixing three primary colors\ninto tiny dots, stitching those dots into patterns, and ultimately forming recognizable concepts and complex\nmeanings – like facial expressions, warning signals, or whatever else… recognizable to us. What do machines see\n– who knows?",[37,252,253],{},"It takes us just a tiny fraction of a second to decode millions of color signals. Drum-n-Pix, however,\ndeliberately slows this process down into a performance lasting over 40 minutes, exposing the lowest level of\nvisual perception and linking it to a primal sonic experience. It reveals the hidden computational labor behind\nvision by coupling the monotonous recitation of color data with equally raw, repetitive drumming. The result is\nan audiovisual experience that oscillates between hypnotic trance and outright annoyance – depending on the\nlistener’s state of mind or the tolerance of nearby neighbors forced to endure relentless beats and the\nmachine’s seemingly meaningless mumbling.",[37,255,256],{},"Through this collision of primitive rhythm and computational logic, Drum-n-Pix offers a glimpse into the\nmechanics of perception, questioning what meaning truly is and how it emerges from streams of raw data—whether\nin human minds or in artificial systems poised to surpass us.",{"title":24,"searchDepth":44,"depth":44,"links":258},[],{"src":209,"width":88,"height":89,"aspectRatio":90,"palette":260},"#1c4609,#69e52c,#61d730,#143805,#1c4b0d,#71fd4b,#6ded39,#1a3708,#163f0c,#54dd3c,#48a522,#162b09,#0b2304,#22590d,#3d8717,#152903",{},"/projects/pixeltrance-puntwg",{"title":204,"description":214},"pixeltrance-puntwg","projects/pixeltrance-puntwg","wNrt_LkCKJZlF_eyYCwQJeBycvq4-SXixKMP5zgXCfw",{"id":268,"title":269,"bg":7,"bgInvert":7,"body":270,"bodyMedia":7,"bodyText":7,"credits":282,"description":24,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":283,"legacySource":7,"meta":289,"navigation":55,"path":290,"seo":291,"slug":292,"stem":293,"year":278,"__hash__":294},"projects/projects/drawing2.md","Drawing №2",{"type":9,"value":271,"toc":280},[272,275],[116,273],{"src":274},"/drawing2/?bg=transparent&lw=30",[21,276,279],{"meta":277},{"title":269,"description":24,"year":278},2019,[],{"title":24,"searchDepth":44,"depth":44,"links":281},[],[],{"src":284,"width":285,"height":286,"aspectRatio":287,"palette":288},"/selectedworks/media/drawing-2-screenshot.png",2929,1952,1.5005122950819672,"#c4b6bf,#af7995,#c67978,#c16d7a,#9b8696,#9a659b,#c96353,#9a776d,#a17170,#a4769a,#c76c76,#ab9870,#e19f9e,#a0769a,#c0a089,#d8c595",{},"/projects/drawing2",{"title":269,"description":24},"drawing2","projects/drawing2","f9lkqvZVxVqbvA1VAHkvSNnJCdhr4oDS8Ti5P9uEfbQ",{"id":296,"title":297,"bg":7,"bgInvert":7,"body":298,"bodyMedia":7,"bodyText":7,"credits":7,"description":306,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":359,"legacySource":7,"meta":360,"navigation":55,"path":361,"seo":362,"slug":363,"stem":364,"year":307,"__hash__":365},"projects/projects/afterglow.md","Afterglow",{"type":9,"value":299,"toc":357},[300,303,309],[301,302],"afterglow-embed",{"class":19},[21,304,308],{"meta":305},{"title":297,"description":306,"year":307},"real time generative video installation | javascript, html | dimensions variable",2016,[],[28,310,311],{"class":30},[32,312,313,323,326,333,337,344,348,351,354],{"class":34,"data-text-panel":24,"id":35},[37,314,315,316],{},"with ",[317,318,322],"a",{"href":319,"rel":320},"http://aleksanderkomarov.com/",[321],"nofollow","Aleksander Komarov",[37,324,325],{},"The Afterglow is a program, which calculates in realtime a location on the\nearth where the sun is crossing the horizon line during the sunset at the very moment. Taken the accurate geo\nlocation of the actual event, the algorithm predicts and generates a virtual color of the sun based on the data\nflow from a set of meteorological and forecast services around the globe.",[105,327,331],{"src":328,"width":108,"height":329,"aspectRatio":330,"alt":331,"palette":332},"/selectedworks/media/afterglow/Afterglow-Warsaw-2-2x.jpg",1536,1.3333333333333333,"Installation view (3 screens version), Koszyki Hall, Warsaw, PL","#201a14,#242320,#231810,#4f4944,#453b37,#536171,#bd8471,#bdc1ba,#7b6c65,#5d5554,#ad7c73,#b2b8b4,#9d887b,#766250,#605043,#63615d",[105,334,331],{"src":335,"width":108,"height":109,"aspectRatio":110,"alt":331,"palette":336},"/selectedworks/media/afterglow/warsaw_DSC0204-2x.jpg","#2f3426,#292715,#2a2a1e,#363b32,#313a2e,#45463f,#dcd1bd,#63836e,#0b0d12,#6b6d63,#eaead2,#7da48d,#3b3b35,#a3a38e,#b5b09a,#759181",[105,338,342],{"src":339,"width":108,"height":340,"aspectRatio":341,"alt":342,"palette":343},"/selectedworks/media/afterglow/Afterglow-Berlin-garden-2-2x.jpg",1367,1.4981711777615216,"Installation view (single screen version) Galerie im Körnerpark, Berlin, DE","#443426,#514131,#0b0809,#010002,#2f241d,#645247,#060308,#020103,#19161a,#f9d1b9,#09070e,#060307,#1f1d1e,#b59d8a,#1c2019,#090909",[105,345,342],{"src":346,"width":108,"height":340,"aspectRatio":341,"alt":342,"palette":347},"/selectedworks/media/afterglow/Afterglow-Berlin-garden-3-2x.jpg","#010003,#271c16,#37271c,#090408,#080406,#190e14,#7e5565,#1d1117,#190e0b,#32333a,#3f3136,#241719,#030005,#0c020d,#2e2128,#110812",[37,349,350],{},"The Afterglow And The Speed of Time",[37,352,353],{},"What is the relation between space and time? Our economy, science, technology constantly trying to overcome the speed of time and predict the future. We make important decisions based on forecasts, predictions, calculations of the future events. Complex theories and algorithms are developed to compute the probability of possible future phenomenon…",[37,355,356],{},"The theory of relativity gave us a clue about the nature of time and it’s relation to space. The most obvious phenomenon which led us notice the flow of time is of course the motion of the sun across the sky. We are in the cycle of days and nights routinely adding up minutes and hours of ever running away time.\nBut what would be if we place ourself into another relative position, just like in the famous thought experiment with two observers, one being in a speeding train car and other standing on a platform.\nWhat would be if we jump up, freeze in the air and let the Earth rotate beneath our feet? Are we going to physically experience the speed of time? Are we going to experience an incredible speed of rotation of the Earth, which reaches 1670 km/h at the Equator?",{"title":24,"searchDepth":44,"depth":44,"links":358},[],{"src":328,"width":108,"height":329,"aspectRatio":330,"palette":332},{},"/projects/afterglow",{"title":297,"description":306},"afterglow","projects/afterglow","JH83xNP1qFhmNYoDytcAkCvmbL3szW4lAxy8QznPnCs",{"id":367,"title":368,"bg":369,"bgInvert":370,"body":371,"bodyMedia":7,"bodyText":7,"credits":7,"description":391,"draft":46,"extension":47,"fg":402,"fgInvert":403,"image":404,"legacySource":7,"meta":405,"navigation":55,"path":406,"seo":407,"slug":408,"stem":409,"year":307,"__hash__":410},"projects/projects/cc.md","Wall Drawing","#c7e7db","#00170f",{"type":9,"value":372,"toc":400},[373,380,384,388,393],[105,374,378],{"src":375,"width":108,"height":376,"aspectRatio":377,"alt":378,"palette":379,"class":19},"/selectedworks/media/cc/cc-Y-1.jpg",1150,1.7808695652173914,"The settings of {Creative Coding;} workshop in Ў gallery, Minsk, BY","#a4ccbf,#b9dfc9,#86a798,#233630,#acd4ca,#bfe3cf,#a8ccb9,#283c36,#4a615a,#8aa99c,#95b2a3,#374f44,#15241b,#587767,#4d6858,#18261d",[105,381,378],{"src":382,"width":108,"height":376,"aspectRatio":377,"alt":378,"palette":383,"class":19},"/selectedworks/media/cc/cc-Y-2.jpg","#8c8e8f,#b5b4b4,#b4b2b2,#959493,#888b8b,#d0cac6,#c4beb7,#878784,#777b79,#968f8b,#98908c,#7a7a79,#34362c,#2a291d,#343527,#36362c",[116,385],{"aspect-ratio":386,"src":387,"class":19},"16/9","/cc/?bg=#70887f",[21,389,392],{"meta":390},{"title":368,"description":391,"year":307},"after Sol LeWitt | javascript, dimensions adjustable | part of the {Creative Coding;} workshop in collaboration with gallery Ў, Minsk, BY",[],[28,394,395],{"class":30},[32,396,397],{"class":34,"data-text-panel":24,"id":35},[37,398,399],{},"with: Zhanna Gladko, Sergey Kiryuschenko, Anna Kovshar, Yan Sakovich, Dzianis Sheka",{"title":24,"searchDepth":44,"depth":44,"links":401},[],"#000000","#ffffff",{"src":375,"width":108,"height":376,"aspectRatio":377,"palette":379},{},"/projects/cc",{"title":368,"description":391},"cc","projects/cc","FpVBkbpKlxXJo9UGCMLd5-9dQ5wOykeLteZUVrTdK0k",{"id":412,"title":413,"bg":414,"bgInvert":415,"body":416,"bodyMedia":7,"bodyText":7,"credits":441,"description":437,"draft":46,"extension":47,"fg":402,"fgInvert":403,"image":442,"legacySource":7,"meta":443,"navigation":55,"path":444,"seo":445,"slug":446,"stem":447,"year":307,"__hash__":448},"projects/projects/sollewitt.md","Forms Derived From A Cube","#f0f0f0","#121212",{"type":9,"value":417,"toc":439},[418,421,428,434],[116,419],{"src":420},"/SolLeWitt/?num=4",[105,422,425],{"src":423,"width":108,"height":109,"aspectRatio":110,"palette":424},"/selectedworks/media/forms-form-cube/forms-torun-1.jpg","#ababab,#787878,#595959,#6f6f6f,#a0a0a0,#6c6c6c,#7c7c7c,#858585,#999999,#7b7b7b,#808080,#5b5b5b,#8f8f8f,#676767,#4f4f4f,#727272",[37,426,427],{},"Installation view (black version), Centre of Contemporary Art, Torun, PL",[105,429,432],{"src":430,"width":108,"height":109,"aspectRatio":110,"palette":431},"/selectedworks/media/forms-form-cube/forms-torun-3.jpg","#7b7b7b,#7f7f7f,#767676,#757575,#777777,#7f7f7f,#8c8c8c,#808080,#6e6e6e,#787878,#525252,#3a3a3a,#7d7d7d,#717171,#585858,#303030",[37,433,427],{},[21,435,438],{"meta":436},{"title":413,"description":437,"year":307},"after Sol LeWitt 'Forms Derived From A Cube'. Javascript, dimensions adjustable",[],{"title":24,"searchDepth":44,"depth":44,"links":440},[],[],{"src":423,"width":108,"height":109,"aspectRatio":110,"palette":424},{},"/projects/sollewitt",{"title":413,"description":437},"sollewitt","projects/sollewitt","_u3aCRJafcparFxE5tYraVOIss-eLDTZIv7Ni1X3F6k",{"id":450,"title":451,"bg":7,"bgInvert":7,"body":452,"bodyMedia":7,"bodyText":7,"credits":885,"description":476,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":886,"legacySource":7,"meta":887,"navigation":55,"path":888,"seo":889,"slug":486,"stem":890,"year":477,"__hash__":891},"projects/projects/projector.md","Projector. Opera-lecture in 3 parts",{"type":9,"value":453,"toc":875},[454,460,466,473,479],[105,455],{"aspectRatio":456,"height":457,"palette":458,"src":459,"title":24,"width":108,"class":19},1.4927113702623906,1372,"#d6d5d6,#ebebeb,#e2e2e2,#cececf,#dddddd,#e5e5e5,#c8c8c8,#d8d8d8,#d3d3d3,#dfdfdf,#b0b1b2,#e3e3e4,#9a9a9a,#e9e9ea,#dddddd,#e9e9e9","/selectedworks/media/projector/pARTisan_27_tyminko_Projector_v1-1.jpg",[105,461],{"aspectRatio":462,"height":463,"palette":464,"src":465,"title":24,"width":108,"class":19},1.4840579710144928,1380,"#dcdcdc,#d3d3d3,#c9caca,#e6e6e6,#c5c5c5,#d7d7d7,#d9d9d9,#9a9a9b,#cacaca,#d8d8d8,#b6b6b6,#cdcdcd,#e3e3e3,#c3c3c3,#dddddd,#cfcfcf","/selectedworks/media/projector/pARTisan_27_tyminko_Projector_v1-2.jpg",[105,467],{"aspectRatio":468,"height":469,"palette":470,"src":471,"title":24,"width":472,"class":19},1.486564996368918,1377,"#d7d7d7,#e7e7e7,#e5e5e5,#d8d8d8,#d5d5d6,#e3e4e4,#dcdcdc,#e0e0e0,#e9e9e9,#e9eaea,#e5e5e5,#969696,#e9eaea,#e4e4e4,#a1a2a2,#c8c8c8","/selectedworks/media/projector/pARTisan_27_tyminko_Projector_v1-3.jpg",2047,[21,474,478],{"meta":475},{"title":451,"description":476,"year":477},"on evaporation of visual arts, on virus survival strategies and on musical notation",2015,[],[28,480,481],{"class":30},[32,482,483,488,493,496,499,502,505,529,534,540,543,546,549,553,556,565,568,571,574,577,580,583,586,589,592,595,598,601,608,611,622,625,628,631,634,637,640,644,647,650,653,656,662,665,668,671,674,677,680,683,686,689,700,703,706,709,712,715,718,721,724,727,734,737,740,743,747,750,756,759,762,765,768,771,774,777,788,792,794,797,800,805,808,811,815,818,826,829,832,835,838,841,844,847,850,857,860,863,866,869,872],{"class":34,"data-text-panel":24,"id":35},[484,485,487],"h2",{"id":486},"projector","Projector",[489,490,492],"h6",{"id":491},"opera-lecture-in-three-acts","Opera-lecture in three acts",[37,494,495],{},"on the evaporation of visual art, on the survival strategies of viruses, and musical\nnotes.",[37,497,498],{},"first performed on November 15th, 2014 in the National Centre for Contemporary Arts,\nMinsk",[37,500,501],{},"with the participation of Sergei Pukst and Irena Katvickaya",[37,503,504],{},"Dramatis personæ:",[506,507,508,512,515],"ul",{},[509,510,511],"li",{},"Commentator",[509,513,514],{},"Accompanist (keyboard synthesizer)",[509,516,517,518,521,522,524,525,528],{},"Singer (preferably soprano)",[519,520],"br",{},"A small auditorium that can function as a lecture hall. Next to the wall which will be\nused as a screen, at the side, there is a computer stand. Right on the floor there are\nseveral audio speakers with sound amplifiers. At the opposite wall, we have the\naccompanist’s set-up: a chair and a keyboard synthesizer on a stand. The cables\nconnecting all these devices are stretched across the floor.",[519,523],{},"The light is dimmed, the Commentator enters and walks over to the computer stand. In\nsilence, he turns on the video of William Marx performing John Cage’s ",[232,526,527],{},"4’33’’","(1952).\nSeven minutes later, once the video finished playing, the Commentator puts up the first\nslide.",[530,531,533],"h3",{"id":532},"prologue","Prologue",[37,535,536],{},[537,538,539],"strong",{},"Commentator:",[37,541,542],{},"I would like to share some of my observations of one very important tendency in\nthe development of visual art that became especially noticeable with the lightning fast\nspread of the so-called New Media or, to use a more precise term, Variable (as in\nchangeable, impermanent) Media. Among these are the now ‘traditional’ art forms such as\nvideo art, performance and installation art, as well as the more ‘contemporary’ ones:\ninteractive and net art, robotic-art, science art, bio art, and so forth. In short, all art\nthat does not have a fixed from, is time-based and more processual in nature, can be said to\nonly exist while connected to an electric socket or is in other ways ephemeral and\nimmaterial.",[37,544,545],{},"But we will not focus exclusively on immaterial artistic practices but rather on\nthe tendency that makes even the more established media lose their permanence and stability.",[37,547,548],{},"We will discuss the tendency of the total, inevitable and irrevocable movement of visual art\ntowards dematerialization, dissolution, etherealization.",[530,550,552],{"id":551},"act-one","Act one.",[37,554,555],{},"Steam",[557,558,562],"pre",{"className":559,"code":561,"language":34},[560],"language-text","Accompanist: *minimal and monotonous, anxious (sound: \"Xylophone\")*\n\nCommentator *(recites, with intonation)*:\n",[563,564,561],"code",{"__ignoreMap":24},[37,566,567],{},"Art’s aspiration towards 'dematerialization’ is not just a trend that was started\nby the Conceptualism of the 1960s and its idea of the dematerialized Art Object, but rather\na consequent and objective direction of the development of visual evolution as a whole. This\nis a process of gradual structural transformation of art which historically has been\ncharacterised by transitions from ‘canon’ to ‘style’, to the ‘Isms, to the ‘pluralism’. If\nwe were to imagine visual art as a physical substance, this transformation could be\ndescribed as a thermodynamic process in which its initially fundamentally solid body under\ncertain historical circumstances and due to technological breakthroughs is transformed from\none state of matter into another: A solid melts into liquid, the liquid evaporates into a\ngas. From the physics classes at school we know that states of matter are characterised by\ndifferent degrees of freedom of its atoms, its tiniest particles.",[37,569,570],{},"Under the right circumstances, the atoms of a solid body, packed into an elegant,\nregularly ordered but very rigid crystalline structure, will be released and start moving\naround, thus eventually transforming a hard crystal into a free-flowing liquid. But only the\nbravest of these atoms will accelerate to a point where they can break the chemical bonds and\nburst outside the boundaries of the substance volume, and only these atoms will discover true\nuninhibited freedom. Our evaporating visual substance turns into a ubiquitous and all-pervading\nvisual steam.",[37,572,573],{},"With every transition into a new state of matter, visual art reaches yet another\nlevel of ‘dematerialization’. A piece of art, an object will steadily and determinately lose\nits material qualities, replacing the more stable means of expression with more\n‘unreliable’, impermanent and changeable media. From thick to thin, from solid to hollow,\nfrom indestructible stone to the flickering light and shadow on a screen.",[37,575,576],{},"To simplify and omit some of the details, this process of dematerialization can be sketched as follows:",[37,578,579],{},"Stone → wooden board → oil/canvas → photograph → ☁︎",[37,581,582],{},"Canon → Style → Isms → Pluralism",[37,584,585],{},"Solid matter → Liquid → Steam",[37,587,588],{},"Each such transformation, each transition from one media to another is inevitably\naccompanied by tectonic system changes of the entire structure of interlinks within the\nspace of art and leads to either the change of the old or to the development of new schemes\nof interactions between the participants of the art process.",[37,590,591],{},"Let us take, for example, one such crucial stage which, in the XV century, was\nmarked by the emergence of a new and revolutionary visual art production technique: oil\npainting. This stage was connected to radical transformations of visual art, the result of which\nwas not only art’s secularisation and acquisition of new social functions but also the formation\nof an entirely new infrastructure of production and distribution of artistic works and the birth\nof the art market.",[37,593,594],{},"Another key advancement without which contemporary art as we know it would not\nexist happened at the very beginning of the XIX century when the discovery of sodium\nthiosulfate and its ability to dissolve silver salt brought about a major breakthrough in\nvisual art. The development of photographic fixer – apart from stabilizing a photo image on\nsilver plates – managed to establish chemical photography as a legitimate visual\nmedium.",[37,596,597],{},"Although it was photography which started the turbulent chain reaction in the\nevolution of visual art, it had to wait more than 150 years before it was recognized as an\nart form. Thus, for example, only almost an entire century later, in 1930, did the New York\nMuseum of Modern Art (MoMA) first begin collecting modern photographs, and it took another\nten years before the department of photography was established. But even then, another fifty\nyears were needed before photography was finally granted its contemporary art status along\nwith traditional painting, sculpture and graphic arts and was recognised even by the more\nconservative art institutions and the market. It is telling that, for example, Metropolitan\nMuseum did not have a department of photography until as late as 1992.",[37,599,600],{},"By the 1960s, while photography was still fighting for its spot under the sun, the\nprocesses it brought into motion had already transformed visual art to the point where\neverything was ready for the new principal change, for the transition to the next state of\nmatter for the visual substance – for it to become gas, visual steam.",[37,602,603,604,607],{},"By this time, Marcel Duchamp had already staged his artistic-scientific experiment\nfeaturing three one-meter-long threads falling from a height of one meter (",[232,605,606],{},"3 Standard\nStoppages","), which turned accident into a standard.",[37,609,610],{},"John Cage had already read his lecture “Indeterminacy” and turned ambiguity into a\nconcept.",[37,612,613,614,617,618,621],{},"And Wolf Vostell had already turned on his first television set in the\ninstallation ",[232,615,616],{},"German View","from the ",[232,619,620],{},"Black Room"," cycle, and electromagnetic waves\nbecame part of the visual.",[37,623,624],{},"The only thing that was still missing was one last impetus.",[37,626,627],{},"And now, in 1967, riding the Fluxus wave and thanks to the Japanese economic\nmiracle, electronic technology in the form of a Porta-Pak CV-2400 Video Rover burst into\nvisual art and gave birth to video art.",[37,629,630],{},"Porta-Pak CV-2400 — a brainchild of Sony — was the first «portable» video system\nwhich could be carried by one person. (Sony would later play an integral role in the\nformation of video art. But this is a separate topic about the role major technology\ncorporations play in the development of visual art.)",[37,632,633],{},"Regardless, the birth of video art became a gamechanger that gave visual art what\nit had long been striving towards but could not obtain until this moment – the context of\ntime.",[37,635,636],{},"Instead of the traditional three dimensions the artist could now operate with\nfour. Visual art now became what our friends the physicists call ‘spacetime’. As the term\nsuggests, there is no longer an ‘and’ between space and time, now they are as inseparable as\nthey are spelled. Then our physicist friends termed all physical things that occur in\nspacetime – everything that makes up spacetime, that is – ‘events’. Thus, if visual art\nbecame a spacetime continuum, the works that comprise it became events. Specifically, events\nwhich no longer separate time and space.",[37,638,639],{},"This radical transformation of a work of visual art from an object into an event\nrequires no less radical changes in the entire system of interactions between the\nparticipants of the artistic process.",[530,641,643],{"id":642},"act-two","Act two.",[37,645,646],{},"Media",[37,648,649],{},"Accompanist:",[37,651,652],{},"*keyboard: rhythmic repetition of a musical pattern (sound: “Electronic organ”)",[37,654,655],{},"voice: imitates drums*",[37,657,658,659],{},"Commentator: (",[232,660,661],{},"raps, dancing and waving hands, squats and does ritualistic\nwalkabouts around the computer stand):",[37,663,664],{},"With the development of electronic technologies, the emergence of personal computers and the\nbirth of internet, the new four-dimensional visual art was given a virtually unlimited number of\ninstruments.",[37,666,667],{},"New Media came to supplant video art and with them came powerful institutional\nsupport. Media art has its own extensive network of educational institutions, research and\nacademic programs, foundations, residencies, festivals, and exhibition platforms.",[37,669,670],{},"But even though media art was wholeheartedly recognized and admitted into the art\npractices and discourse, the mainstream market for contemporary art was not particularly\nenthusiastic in its reception of this cardinal transformation of visual art.",[37,672,673],{},"Instead of adapting to the new conditions, the contemporary art market has mostly\nbeen ignoring and avoiding difficulties connected to media art, often only imitating their\ninvolvement in the process. Thus, even third-rate galleries rarely miss a chance to include\na performance in an exhibition opening or to have a video monitor as part of the exposition.\nBut the reason for these inclusions is often the simple wish to mark the exhibition as\ntopical as well as to entertain and amuse the audience.",[37,675,676],{},"The galleries and art dealers who really do try to work with media art tend to\nrely on the same outdated strategies as while selling, say, traditional art prints or\nphotographs. They exploit the very questionable – especially in relation to electronic media\n– notion of an original work of art and will artificially limit its distribution, number the\neditions, and inflate the price imitating the ‘uniqueness’ of the copy being sold.\nEssentially, they are simply trying turn an intangible four-dimensional work into something\nresembling an object. But this does not work with every piece of media art, and what this\nsystem does is force artists to adjust, to hold back, and to produce something ‘backward\ncompatible’. For example, it has become extremely popular to turn everything into\ndocumentations, photographs or at the very least one-channel video that is easily compatible\nwith existing household technology and is closer to the familiar format of traditional\ncinema. Thus, it is films that are often being sold under the umbrella of new media. But as\nthe art market lacks its own structure of communication with the cinema viewer, it is forced\nto utilize a foreign market infrastructure that is both well developed and advanced but\nill-suited for art sales.",[37,678,679],{},"It is understandable that having to deal with ‘events’ instead of static ‘objects’\nand having to promote ‘experiences’ instead of ‘artefacts’ will break the accepted and\npolished schemes that have been structuring the art industry or make them ineffective.",[37,681,682],{},"A well-known art dealer said that art that requires an electric socket makes\ncollectors nervous. And occasional exceptions aside this is the actual state of things. But\nthe main problem does not lie with the collectors or their weak nerves or their extreme\ndislike of new media; it is the act of approaching new art with old standard that is fraught\nwith problems, the main of which being the fact that a traditional\narchiver/curator/collector will find variable media to be too fragile, vulnerable, and\nimpermanent. It is obvious that only big museums or the few collectors who are true heroic\nmedia art enthusiasts can afford to buy ephemeral art in the hopes that they will find a way\nto preserve their purchase.",[37,684,685],{},"To solve the problem of media art storage, museums, foundations, private\ninitiatives start research programs, networks dedicated to the conservation of electronic\ncultural heritage, organize symposia, develop methods and strategies of storage and\nrestoration but so far, the overall problem remains.",[37,687,688],{},"There are multiple known standard methods of storing media art. These are:",[506,690,691,694,697],{},[509,692,693],{},"Stockpiling. Simple storage of the original format of a given work.",[509,695,696],{},"Migration. Renewal, switching from an old format and equipment to the new. For example,\ntransferring the contents of an outdated VHS cassette onto a newer (but now also\noutdated) DVD disk.",[509,698,699],{},"Emulation. Using a new device to re-create the working conditions of the\noriginal equipment in order to use the original recording or software as necessary for\nthe piece of media art in question.",[37,701,702],{},"But none of these methods offer a storage solution for the ‘live’, or performative\nelements of a work. In addition, all these methods are very labour-intensive and demand\nconstant care and attention from qualified professionals. Thus, for example, storing data\nentails regularly copying it from one disk onto another as well as making constant backups\nor relying on cloud-based storage services to avoid data loss due to a defective carrier.\n(This is regarding the ‘uniqueness’ and ‘originality’ of digital media. Its storage alone\nwill involve making multiple dozens if not hundreds of backups.) Not to mention such a\ncomplicated method as emulation, which requires serious input of many high-class programmers\nand engineers.",[37,704,705],{},"Their complexity, high price point, and the need for constant professional support\nmakes these methods ineffective or even barely realisable for a small private collection or\neven an artist trying to preserve their own work. This means that if a work of art does not\nbecome part of a collection of a large museum or an art institute within its lifetime, it is\nmost likely destined to disappear.",[37,707,708],{},"However, the work of art might not even be save in large institutions, as none of\nthe above methods can guarantee its preservation. A media work that has been recorded onto a\nvideo cassette, computer hard drive or a CD cannot be conserved, placed under a glass hood,\nor hidden in a dark room. Because the next time you might decide to take it out, there is a\ngood chance you will not find equipment that will play it. Moreover, information carrier and\ntheir reading devices also age and deteriorate, and, even worse, they become morally\noutdated. Sooner or later, the moment will come when it is no longer possible to replace the\nburnt graphics card or to repair the broken cathode ray tube television set which was\nreleased in 1963 by a factory that has long been closed.",[37,710,711],{},"But there is more…",[37,713,714],{},"What becomes of the data itself? Apart from the fact that data is stored as\nmagnetically charged particles 10 nanometres is size, which can crumble or demagnetize, it\nis also bound to a specific file format and to software that is needed to decode and play\nit, both of which are regularly updated and outdated.",[37,716,717],{},"JPG, TIF, PNG, MP3, MP4, AEP, MOV, PDF, AVI, WAV – the list is endless.",[37,719,720],{},"Different formats require different programs, and some formats can no longer be read or decoded.",[37,722,723],{},"And now we are beginning to empathize with the collector who starts to nervously\nsweat at the sight of a plugged-in work.",[37,725,726],{},"We are obviously at an impasse. Any attempts to approach the preservation of the new\nfour-dimensional work using traditional methodology and strategies are doomed to fail. So how\ncan a media art work survive?",[37,728,729,730,733],{},"First radical ideas on the topic were raised in the end of the 1990s when Joh\nIppolite, publicist and curator of the Guggenheim Art Museum, started developing the concept\nof variable media, and Richard Rinehart, the director and curator of the Samek Art Museum of\nthe Bucknell University, introduced his system for formal recoding of ‘scores’ of media art,\nMedia Art Notation System. Both systems are based on a completely new for visual art idea of\nthe possibility of a re-interpretation of a work of art. Basically, instead of senselessly\ntrying to preserve the artefact in its ‘original’ form, one should focus on the preservation\nof the main idea behind the work of art and lay down the rules of its future recreation\ntaking into the account the changing external circumstances and technology. Thus, to show\nNam June Paik’s installation ",[232,731,732],{},"TV Garden","– which used live plants and television sets –\ntoday, one need not hope to revive those same palm trees Paik used when he first presented\nhis work or to find those exact tube TV sets. It is enough to determine the key, most\nimportant conceptual, aesthetic, functional elements with which the author had endowed his\nwork and to realize them using the means available to us today.",[37,735,736],{},"Of course, this is not an easy task. There are many questions that need answers.\nHow do we know what the artist was trying to say and what was important to them? It is\nnecessary to establish a clear line of communication between the artist and those\nresponsible for the re-interpretation of their work.",[37,738,739],{},"Richard Rinehart suggested building a system of communication based on the example\nof musical notation, drawing a parallel between new media art and music and musical\nnotation.",[37,741,742],{},"Indeed, the invisible connection between music and new media had long been noticed\nand even outlined by the term ‘time-based art’. The nature of the new visual art is similar\nto that of music. Firstly, they share the time aspect that is at the base of their physical\nexistence; then there is their ephemerality, their performative nature, their variability.\nThis closeness allows us to view the problems connected to new visual art through the\nmusical prism. We can study the survival strategies of music, which due to its qualities was\ninitially destined to transience and ephemeral existence. Perhaps, we can turn to these\nstrategies in the fight for the survival of the new visual art.",[530,744,746],{"id":745},"act-three","Act three.",[37,748,749],{},"Music",[557,751,754],{"className":752,"code":753,"language":34},[560],"Accompanist: *classical accompaniment for opera recitative (sound: 'false',\n  'Electric Harpsichord’)*\n\nSinger*(recitative)*:\n",[563,755,753],{"__ignoreMap":24},[37,757,758],{},"Music is a virus!.. Its main survival strategy is maximum proliferation by the way\nof conquering an increasing number of organisms. The more hosts a musical piece will find,\nthe better its chances for survival. The more listeners it has – listeners who caught it,\nbecoming its hosts, its performers – the more likely it is that the piece, melody, song can\nsurvive more than one generation of its carriers, even in the case of a complete absence of\nany recording media or means to store acoustic information. This aspect of music is\nespecially evident with folk or pop music. But regardless of the genre, style, or elitism of\nmusic, this is the foundational strategy of all and any practical survival methods of a\nmusical piece.",[37,760,761],{},"Method one:",[37,763,764],{},"Independence from media, flexibility, plasticity, and mutability. Although each musical piece\nmight traditionally be bound to a specific instrument or a way it is performed, it still allows\nfor experimentation when it comes to its orchestration. Beethoven’s Symphony No. 9 will remain\nBeethoven’s Symphony No. 9 regardless of whether it is being played by the Royal Concertgebouw\nOrchestra or hummed in the shower.",[37,766,767],{},"Method two, logically inferred from the first:",[37,769,770],{},"Distinction between the Author and the Interpreter. Because interpretation is the\nonly natural expressive medium of music, the interpreter/performer is elevated to the level\nof creator. A musical piece requires no conservation or mummification to survive. It is\nreborn with each new performance. Indisputably, this is a winning strategy, as it allows a\nmusical work to be adapted and, therefore, to be adequately received in various historical\nor cultural settings.",[37,772,773],{},"Method three:",[37,775,776],{},"Special system of notation which ensures the efficacy of the first two methods – musical\nnotation is a universal system of communication between the author and the musician. A series of\nimportant qualities which make it an effective asset in the fight for survival of a musical\npiece are:",[506,778,779,782,785],{},[509,780,781],{},"its ability to accurately document the author’s vision and its subtleties;",[509,783,784],{},"its flexibility, which grants the interpreter a fair share of creative freedom;",[509,786,787],{},"its resilience against the changing external circumstances and independence from recording\nmedia and instruments",[530,789,791],{"id":790},"epilogue","Epilogue",[37,793,539],{},[37,795,796],{},"So, medial independence, distinction between the author and the interpreter, and musical\nnotation. These methods are natural and effective when it comes to music, but how can they be\napplied to new visual art?",[37,798,799],{},"When it comes to the artistic process, it is the changing nature of art which dictates its new\nrules and organisational methods. Artists, curators, collectors have long (perhaps intuitively\nrather than voluntarily, and not very articulately) been relying on these same ‘musical’ methods\nwhen it comes to solving the problems connected with the exhibition, storing and communications\nof the new visual art.",[801,802,804],"h4",{"id":803},"medial-independence","Medial independence",[37,806,807],{},"Artists working with new media are used to the fact that the format of their works\nmay change, as do its dimensions and even ‘technique’ depending on the conditions of its\npresentation, lack or availability of equipment, levels of light available and size of the\nexhibition space, neighbouring works of art and so forth. For example, a video installation\ncould be shown using screens and a video projector on one occasion and using video monitors\non another. One could build a ‘black box’ or darken the entire room, but if the equipment\nallows it, one can simply forgo the dark room. One might use speakers and sound boosters or\nsound cancelling headphones. The size of the screen can vary, as can the resolution of the\nimage, the distance at which the projectors are installed and the method of their\ninstallation, and so on, and so on…",[37,809,810],{},"This type of medial independence is still mostly perceived as a necessary evil one needs to\neither accept or try to fight. But I am beginning to think that medial independence must become\nthe new logical and natural standard in visual art, a powerful instrument and a new expressive\nmedium in the hands of an artist as well as an indispensable and necessary element in the\nsurvival strategy of the new visual art.",[801,812,814],{"id":813},"notation","Notation",[37,816,817],{},"Working with new media most often means having to combine in one work multiple\ncomponents, technologies, and materials, which in return means having to involve at least a\nfew people in the production and the installation of the work: author, curator, fundraiser,\nprogrammer, operator, technician. For such an operation to succeed, a well-established and\nclear communication system between all the participants is necessary. Without a standard\nmethodology to describe works of media art, this problem is placed on the shoulders of the\nartist, who will need to find how to communicate their ideas, describe the work and write an\ninstruction manual. There is an abundance of different writings, blueprints, essentially\n‘scores’ of media works that were produced by the artists themselves. These singular and\nunique notes can be culturally and historically valuable on their own and can even serve to\nilluminate the creative process of their author. However, the lack of a universal notation\nsystem will in most cases lead to misunderstandings, wrongful interpretations and,\nsometimes, to undesirable results that have few things in common with the artist’s original\nidea. And when it comes to the preservation of a media work, the situation can be even more\ngrave. Imprecise or incomplete description can, in the worst-case scenario, lead to a\ncomplete and irreversible loss of the work.",[37,819,820,821,825],{},"The creation of a truly universal notation system for visual works of art is, of course, an\nextraordinarily difficult task that cannot be accomplished in a day. But at the same time, I do\nnot think that it needs to take centuries, as it was the case with the evolution of musical\nnotation. Thus, only a few decades were needed for the first and primitive programming languages\nof the 1950s to become advanced and complex, structured, and object-oriented. And modern\ncomputer languages are developed within only a couple of years. The aforementioned Media Art\nNotation System of Richard Rinehart is based on the Extensible Markup Language (XML) which is an\nestablished standard and is universally used to develop and describe computer programs. And the\nspecial survey Variable Media Questionnaire (",[317,822,823],{"href":823,"rel":824},"http://variablemediaquestionnaire.net/",[321],"),\ncreated by the Variable Media initiative, systematizes and classifies information necessary for\na comprehensive description of a media work.",[37,827,828],{},"However, for such pioneering initiatives to become a universally accepted\nstandard, it is necessary for curators, archivers, collectors and, most importantly, artists\nto fully grasp the problem and the necessity of solving it.",[37,830,831],{},"Distinction between the Author and the Interpreter",[37,833,834],{},"This method, which is strategically important and absolutely indispensable for the\nsurvival of a musical piece, can at first glance seem controversial and perhaps almost\ninapplicable to the field of visual art. Unlike musicians, who divide themselves into composers and\nperformers\nbut still manage to coexist, egocentric artists-creators will find the very idea of a stranger intruding\ninto\nthe Holiest of Holies – a master’s creation – blasphemous. The cult of singularity and inimitability of a\nwork\nof art and the originality and recognisability of a master’s ‘handwriting’ is at least partially justified\nwhen it comes to traditional art practices. But when it comes to variable media, performances,\nmulticomponent\nmultimedia installations and digital technologies, such an approach becomes, at the very least,\ncounterproductive.",[37,836,837],{},"To support the life cycle of a work of media art, to adapt it to the new\nexhibition conditions, to maintain and to restore it, one must make decisions that go beyond\nmere technicalities and can cardinally change the author’s original intent and affect the\nwork in general.",[37,839,840],{},"Of course, it would be nice to have the original author perform or directly\nsupervise these tasks to avoid unwanted conceptual and aesthetic distortions and to prevent\npotential corruption of the works’ meanings. However, this is not possible. An author cannot\nremain bound to their works forever, and whenever they are, for whatever reason,\nunavailable, the only authority we can turn to will be a curator or art historian, technical\nstaff, or someone else who will now have to accept the risks and mediate the author’s work.\nThe risk lies in the fact that a possible lack of relevant experience, professional\nqualification or artistic sense, or a simple misinterpretation of the author’s intent can\nlead to catastrophic consequences and render the work unrecognisable. This unpleasant\nsituation is aggravated by the fact that although the author has no control over the process\nand the final result, they will remain fully accountable for their work to the\naudience.",[37,842,843],{},"This problem can be solved by an introduction of a new participant of the artistic\nprocess – a professional artist-interpreter who would become the missing link between the\nauthor and the viewer. The art industry has long had in its arsenal an entire army of\npotential contenders for this job – the ‘invisible’ assistants to the artists, who for the\ntime being remain in the shadows.",[37,845,846],{},"To lead today’s assistants into the spotlight and turn them into\nartists-interpreters, we need to wholly reconsider their role in the entire artistic\nprocess. The tendency to legitimise assistants as autonomous and rightful participants of\nthe process of creation – despite the resistance from the traditionalists – is already\nsomewhat noticeable. It is becoming increasingly common for artists not to produce their\nwork themselves and to fully entrust their assistants or professional companies with this\npart of the process instead. This can be the artists’ conceptional position or it can also\nbe connected to the complexities of the technological process necessary to produce their\nwork. But in any case, this practice is gaining traction, and the names of the works’ actual\nmakers or manufacturing companies can be found in catalogues or on exhibition labels with\nincreasing frequency.",[37,848,849],{},"Here, one might remember Sol LeWitt, whose wall drawings were quite publicly\ndrafted and painted by different teams of painters-assistants, who even continued doing so\nafter the artist’s passing.",[37,851,852,853,856],{},"Or let us look at Damien Hirst, for example, who is perhaps the biggest champion\nof the legitimization of the labour performed by his assistants. When discussing a series of\nhis paintings of colourful spots, he once said: \"The spots I painted are shite… The best\nperson who ever painted spots for me was Rachel ",[224,854,855],{},"Howard",". She's brilliant. The best spot\npainting you can have by me is one painted by Rachel.\"",[37,858,859],{},"Another prime example of this tendency is Marina Abramović. During her big MoMA\nretrospective, her performances, which, as it would seem, are inseparable from the artist\nherself, were executed by forty-one specially trained actors. As such, not only did her\nperformances receive a life of their own, they will now be able to survive for many years in\nthe future.",[37,861,862],{},"So, as we can see, the main strategies and methods for survival and proliferation\nof a work that are common in the field of music are also available to new visual art. What\ncould not be exhibited, sold, and stored using traditional methods can have a chance to\nsurvive.",[37,864,865],{},"Radical changes that visual art continually undergoes will inevitably force the\nentire artistic field to adopt the new rules and conditions, and sooner or later the entire\nsystem will adjust and start working like clockwork. Then the new media will stop being new.\nThey will become a commodity which a lay consumer will be happy to buy for their living room\nor nursery. That is when we will see the visual substance transition to the next state of\nmatter.",[37,867,868],{},"Previously, when discussing different states of matter, we only mentioned three.\nBut there is a fourth one: a mystical and mysterious state in which electrons driven mad by\nhigh energy leave their nuclei and turn the substance into the substance of stars – into\nplasma… The best is yet to come!",[37,870,871],{},"Maxim Tyminko, 2014",[37,873,874],{},"English translation by Lara Perski, 2017",{"title":24,"searchDepth":44,"depth":44,"links":876},[877],{"id":486,"depth":44,"text":487,"children":878},[879,881,882,883,884],{"id":532,"depth":880,"text":533},3,{"id":551,"depth":880,"text":552},{"id":642,"depth":880,"text":643},{"id":745,"depth":880,"text":746},{"id":790,"depth":880,"text":791},[],{"src":459,"width":108,"height":457,"aspectRatio":456,"palette":458},{},"/projects/projector",{"title":451,"description":476},"projects/projector","eOAzLIBEZVxtgApRp6TpF0j8hjF857mTEXI5-Q3dF7I",{"id":893,"title":894,"bg":7,"bgInvert":7,"body":895,"bodyMedia":7,"bodyText":7,"credits":7,"description":904,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":956,"legacySource":7,"meta":957,"navigation":55,"path":958,"seo":959,"slug":960,"stem":961,"year":905,"__hash__":962},"projects/projects/939pix.md","939 Picture Elements",{"type":9,"value":896,"toc":954},[897,901,907],[12,898],{"type":16,"url":899,"originalAspectRatio":900,"class":19},"https://vimeo.com/166402825","16/3",[21,902,906],{"meta":903},{"title":894,"description":904,"year":905},"multichannel video installation | 3 frameless 1080p monitors, wooden box with computer, video cables, power cords. dimensions: variable (currently 360x70cm) | video: 5760x1080px, Loop [9:02], no sound, 2014-2016",2014,[],[28,908,909],{"class":30},[32,910,911,926,933,939,947,951],{"class":34,"data-text-panel":24,"id":35},[37,912,913,914,916,917,919,920,922,923,925],{},"When I hear about different hypotheses concerning the structure of the universe, I try to grasp what the\nmechanisms behind the process of understanding such mental constructions are since they have no obvious\nanalogues in the surrounding world. Where is the level of simplification, primitivization and\ngeneralization by which these princples can be adequately communicated? ",[519,915],{},"\nI remember when I was a kid, trying with great difficulty, to visualize in my mind the concept of\nInfinity. Even now, when I try to explain to myself that the world consists of a set of elementary\nparticles, sometimes I imagine it as a large container of sand and that I consist of the same sand\nparticles as all the other things around me do. ",[519,918],{},"\nWhere is the actual border between oneself and and everything else? ",[519,921],{},"\nTo a large extent this work deals with notions of utopia and absurdity. It's my attempt to explore the\nstructural patterns we use to make sense of the world around us. ",[519,924],{},"\nWhile at the same time realizing that the attempt to analyze these principles is an investigation into\nthe ambiguity of failure in the pursuit of aesthetics and knowledge.",[105,927,928],{"alt":928,"src":929,"title":928,"width":108,"height":930,"aspectRatio":931,"palette":932},"Installation view three channels version IZOLYATSIA. Platform for Cultural Initiatives, Kyiv, UA.","/selectedworks/media/939PIX/zbor-tym-pixels-1-2048x1407.jpg",1407,1.4555792466240227,"#434033,#615c57,#443d3a,#201716,#686c69,#857d8e,#797273,#3f3839,#69746c,#91898c,#7e7c6f,#2c2727,#4e473e,#474141,#272426,#191518",[105,934],{"alt":24,"src":935,"width":936,"height":937,"aspectRatio":90,"palette":938},"/selectedworks/media/939PIX/939PIX_docu_master-00031.jpg",1280,720,"#adaa9c,#bcb8a1,#bbb69f,#aaa592,#979282,#9e9880,#9e9880,#98917e,#7a7372,#7c746f,#786e67,#776d67,#545151,#625e5c,#696360,#655f5c",[105,940,941],{"alt":941,"src":942,"title":941,"width":943,"height":944,"aspectRatio":945,"palette":946},"Installation view (single screen version) at Punt WG, Amsterdam","/selectedworks/media/939PIX/939PIX_totalrecall-1-1200px.jpg",1200,800,1.5,"#0e0702,#432730,#3c2928,#a9a198,#1a0f07,#d276a3,#532b40,#7d7065,#110706,#854766,#341a24,#775b46,#0c0101,#2f1014,#37150e,#684c36",[105,948,941],{"alt":941,"src":949,"title":941,"width":943,"height":944,"aspectRatio":945,"palette":950},"/selectedworks/media/939PIX/939PIX_totalrecall-2-1200px.jpg","#140c05,#261d14,#575145,#a8a29b,#22180b,#646d57,#7aa295,#b5ac9a,#190f06,#433925,#507a77,#907a60,#0d0201,#24130b,#2d1b11,#764d2e",[37,952,953],{},"![939 Picture Elements](/selectedworks/media/939 PIX cover_1440px.jpg)",{"title":24,"searchDepth":44,"depth":44,"links":955},[],{"src":929,"width":108,"height":930,"aspectRatio":931,"palette":932},{},"/projects/939pix",{"title":894,"description":904},"939pix","projects/939pix","Sd_iYs-cFE9k_VH0slYnWrCdU6cAB4KZXrFloNwA4EE",{"id":964,"title":965,"bg":7,"bgInvert":7,"body":966,"bodyMedia":7,"bodyText":7,"credits":7,"description":24,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":1039,"legacySource":7,"meta":1040,"navigation":55,"path":1041,"seo":1042,"slug":1043,"stem":1044,"year":905,"__hash__":1045},"projects/projects/pixeltrance-comics.md","Pixeltrance Comic Strips",{"type":9,"value":967,"toc":1037},[968,980,995,1005,1017,1033],[105,969,978],{":aspectRatio":970,":height":971,":width":972,"palette":973,"src":974,"title":975,"alt":975,"width":108,"height":976,"aspectRatio":977},"1.9598086124401914","1045","2048","#645262,#706473,#6d5f70,#746f7d,#685b6b,#634f63,#786b7b,#706873,#705f6d,#6b5b70,#7a6d7a,#75727d,#6b5a68,#6b5f6f,#786976,#716e7a","/selectedworks/media/pxtrans/pxtrans-comix2-a.jpg","Comic Strip №2. On how a group of four musicians-enthusiasts accompanied by the voice synthesizer and a video projector performs rgb color sequence from the file Astronomers-View-the-Effect-of-Gravitational-Lensing-on-the-Cosmic-Microwave-Background.jpg | C-print, 160x320 cm",1045,1.9598086124401914,[37,979,975],{},[105,981,989],{":aspectRatio":982,":height":983,":width":972,"palette":984,"src":985,"title":986,"width":108,"height":987,"aspectRatio":988,"alt":986},"1.293746051800379","1583","#6b586e,#68556c,#6b586c,#69556d,#685369,#695065,#68596d,#6a5064,#72576c,#6b566c,#70586c,#6c576e,#694f66,#6c566a,#6e596d,#63526a","/selectedworks/media/pxtrans/pxtrans-COMIX3.1.2-apmwmap5.jpg","**Comic Strip №3.** On how a group of four musicians-enthusiasts accompanied by the voice synthesizer and a video projector performs rgb color sequence from the file apmwmap5.jpg | C-print, 2 parts 250x160cm each\n",1583,1.293746051800379,[37,990,991,994],{},[537,992,993],{},"Comic Strip №3."," On how a group of four musicians-enthusiasts accompanied by the voice synthesizer and a video projector performs rgb color sequence from the file apmwmap5.jpg | C-print, 2 parts 250x160cm each",[105,996,1002],{":aspectRatio":997,":height":998,":width":972,"palette":999,"src":1000,"title":1001,"width":108,"height":109,"aspectRatio":110,"alt":1001},"1.5003663003663004","1365","#fafafb,#eaedf0,#e6e8ec,#f4f1ef,#c8c7ca,#54475f,#5a5366,#cdcbcc,#c8c8ca,#595364,#615e6b,#d4d2d3,#fbfaf9,#f7f7f8,#f6f5f5,#f7f3f2","/selectedworks/media/pxtrans/pxtrans-csi-minsk-1.jpg","Comic Strip №2. Exhibition view 'Suma Sumarum', CCA, Minsk, Belarus, 2014\n",[37,1003,1004],{},"Comic Strip №2. Exhibition view 'Suma Sumarum', CCA, Minsk, Belarus, 2014",[105,1006,1014],{":aspectRatio":1007,":height":1008,":width":972,"palette":1009,"src":1010,"title":1011,"width":108,"height":1012,"aspectRatio":1013,"alt":1011},"1.6773136773136774","1221","#f2f1f4,#fcfcfc,#e2dbdb,#c3bbbb,#847e8e,#968e97,#726b76,#585063,#7b7380,#898085,#797279,#5e5869,#e2dede,#e9e5e5,#ece9ea,#e6e3e6","/selectedworks/media/pxtrans/pxtrans-csi-minsk-2.jpg","Comic Strip2 №2 & №3. Exhibition view 'Suma Sumarum', CCA, Minsk, Belarus, 2014\n",1221,1.6773136773136774,[37,1015,1016],{},"Comic Strip2 №2 & №3. Exhibition view 'Suma Sumarum', CCA, Minsk, Belarus, 2014",[105,1018,1027],{":aspectRatio":1019,":height":1020,":width":1021,"palette":1022,"src":1023,"title":1024,"width":936,"height":1025,"aspectRatio":1026,"alt":1024},"0.9838585703305149","1301","1280","#70525f,#625563,#735965,#5e5666,#85616f,#766678,#705f69,#77687d,#7d6071,#817683,#7e6a75,#776b7d,#7b606d,#655c6c,#7a5a68,#6a6573","/selectedworks/media/pixeltrans-comix_v03b.jpg","Comic Strip №1. A Garage Punk Band Performs DHS1521c_771_0.jpg on Subpixel Level. | C-print, 162x162cm",1301,0.9838585703305149,[37,1028,1029,1032],{},[537,1030,1031],{},"Comic Strip №1."," A Garage Punk Band Performs DHS1521c_771_0.jpg on Subpixel Level. | C-print, 162x162cm",[21,1034,1036],{"meta":1035},{"title":965,"description":24,"year":905},[],{"title":24,"searchDepth":44,"depth":44,"links":1038},[],{"src":1010,"width":108,"height":1012,"aspectRatio":1013,"palette":1009},{},"/projects/pixeltrance-comics",{"title":965,"description":24},"pixeltrance-comics","projects/pixeltrance-comics","zF67A1ACOMxqkHd8mguMozEdvc9M3twJqH1Xd7I5LLY",{"id":1047,"title":1048,"bg":7,"bgInvert":7,"body":1049,"bodyMedia":7,"bodyText":7,"credits":7,"description":1058,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":1081,"legacySource":7,"meta":1082,"navigation":55,"path":1083,"seo":1084,"slug":1085,"stem":1086,"year":905,"__hash__":1087},"projects/projects/pixeltrance.md","Drum-n-Pix or Expressionistic Minimalism on a Subpixel Level",{"type":9,"value":1050,"toc":1079},[1051,1055,1060],[12,1052],{"caption":1053,"type":16,"url":1054,"originalAspectRatio":386,"class":19},"Maxim Tyminko and The King Bee (Кароль Пчол), performance at Ў gallery, Minsk, BY. 7.08.2014. duration 25 min.","https://vimeo.com/104783213",[21,1056,1059],{"meta":1057},{"title":1048,"description":1058,"year":905},"performance with a garage band, rt generated video projection and a voice synthesizer",[],[28,1061,1062],{"class":30},[32,1063,1064,1067,1070,1073],{"class":34,"data-text-panel":24,"id":35},[37,1065,1066],{},"vocal: speak.js voice synthesizer | guitar: Sergei Pukst | bass: Dmitry Los | tom-drum: Alexandr Komarov |",[37,1068,1069],{},"drums: Maxim Tyminko | camera: Susanne Krieman",[37,1071,1072],{},"A 18x18px image file DHS1521c_771_0.jpg is used in the performance.\nThe video projection is the generated sequence of red, green and blue values of every single pixel of the image.\nSimultaneously speak.js voice synthesizer pronounces these color values...",[105,1074],{"src":1075,"width":936,"height":1076,"aspectRatio":1077,"alt":24,"palette":1078},"/selectedworks/media/pixeltrans_Scheme-2a.png",462,2.7705627705627704,"#d4d4d4,#db7373,#86db84,#d3d3d3,#c3beb1,#e2673f,#62df1b,#f0120c,#d1cbcf,#da6db4,#34db9c,#0cb154,#e1dfd1,#4743e0,#1010e7,#1212ee",{"title":24,"searchDepth":44,"depth":44,"links":1080},[],{"src":1075,"width":936,"height":1076,"aspectRatio":1077,"palette":1078},{},"/projects/pixeltrance",{"title":1048,"description":1058},"drum-n-pix","projects/pixeltrance","l_fMJh379hzS1ibWssn8OLCb1hYBdkh1fzrkOot3S5M",{"id":1089,"title":1090,"bg":1091,"bgInvert":415,"body":1092,"bodyMedia":7,"bodyText":7,"credits":7,"description":24,"draft":46,"extension":47,"fg":402,"fgInvert":403,"image":7,"legacySource":7,"meta":1139,"navigation":55,"path":1140,"seo":1141,"slug":1142,"stem":1143,"year":1101,"__hash__":1144},"projects/projects/o-l-o-g-y.md","-o-l-o-g-y","#ccc",{"type":9,"value":1093,"toc":1137},[1094,1098,1103],[116,1095],{"layout":1096,"src":1097,"class":19},"viewport","https://ology.maximtyminko.com/posters-grid/headless/",[21,1099,1102],{"meta":1100},{"title":1090,"description":24,"year":1101},2012,[],[28,1104,1105],{"class":30},[32,1106,1107,1120,1131],{"class":34,"data-text-panel":24,"id":35},[37,1108,1109,1113,1114,1119],{},[317,1110,1090],{"href":1111,"rel":1112},"https://maximtyminko.com/-o-l-o-g-y/",[321]," is 206 questions asked by ",[317,1115,1118],{"href":1116,"rel":1117},"https://maximtyminko.com/-o-l-o-g-y/artists/",[321],"61 artists"," with over 8000 public responses and counting.",[37,1121,1122,1123,1126,1127,1130],{},"As an international project ",[317,1124,1090],{"href":1111,"rel":1125},[321]," seeks to spotlight the modus operandi of a variety of artists working today. By bringing the\nideas and topics of individual artists together we hoped to present a cloud of ideas which is indicative of the current art milieu. ",[317,1128,1090],{"href":1111,"rel":1129},[321]," seeks to give everyone the freedom to analyze and derive their own conclusions about what this cloud of ideas means to us all.",[37,1132,1133],{},[317,1134,1136],{"href":1116,"rel":1135},[321],"List of participating artists (A-Z)",{"title":24,"searchDepth":44,"depth":44,"links":1138},[],{},"/projects/o-l-o-g-y",{"title":1090,"description":24},"o-l-o-g-y","projects/o-l-o-g-y","3EmN0a0sgm65qbn3CHCZL0QgE5ZjJyTxzl194YzSQPM",{"id":1146,"title":1147,"bg":7,"bgInvert":7,"body":1148,"bodyMedia":7,"bodyText":7,"credits":7,"description":1165,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":1367,"legacySource":7,"meta":1368,"navigation":55,"path":1369,"seo":1370,"slug":1371,"stem":1372,"year":1166,"__hash__":1373},"projects/projects/fivesongs-comics.md","Five Lyrical Songs about Physics. Fifty Visual Artists and Two Art Critics Sing with Accompaniment of a Grand Piano and a Theremin.",{"type":9,"value":1149,"toc":1363},[1150,1156,1162,1168],[105,1151],{"src":1152,"width":108,"height":1153,"aspectRatio":1154,"alt":24,"palette":1155,"class":19},"/selectedworks/media/5songs/installation_view_minsk-1.jpg",1351,1.5159141376757956,"#b3aab0,#d4cfd0,#b4a8a6,#7c7577,#827980,#958f93,#9d9293,#797e83,#57545d,#8b8990,#3b3d42,#0f0f10,#655e66,#5a5760,#44454e,#0a0a0a",[105,1157],{"src":1158,"width":943,"height":1159,"aspectRatio":1160,"alt":24,"palette":1161,"class":19},"/selectedworks/media/5SONGS_COMIX_1200px.jpg",560,2.142857142857143,"#787577,#7a7678,#716f70,#696366,#878385,#716c6e,#726e71,#8e8989,#6a6669,#8c8a8b,#726e70,#726c6f,#7f787a,#7e7c7e,#858183,#7f7d7f",[21,1163,1167],{"meta":1164},{"title":1147,"description":1165,"year":1166},"multimedia installation: video projection 4K transferred to 2K, 12 min, stereo; catalogue of works of the choir members",2010,[],[28,1169,1170],{"class":30},[32,1171,1172,1175,1178,1181,1188,1191,1194,1197,1201,1204,1207,1210,1214,1217,1219,1222,1224,1227,1229,1231,1235,1239,1251,1257,1269,1275,1287,1291,1293,1297,1301,1304,1307,1310,1313,1316,1319,1322,1325,1328,1331,1333,1335,1337,1340,1343,1346,1349,1352,1355,1357,1360],{"class":34,"data-text-panel":24,"id":35},[37,1173,1174],{},"The initial core of the project is an art performance in form of a chorus concert, in which a chorus with an\naccompaniment of a grand piano and a thereminvox performs five specially written for this project “Lyrical\nSongs about Physics“, devoted to such essential for contemporary physics theories as Set Theory, Theory of\nSupersymmetry, String Theory, Theory of Everything. The participants of this chorus-performance are 50\nartists and 2 art critics from Belarus.",[37,1176,1177],{},"lyrics: Sergei Pukst & Maxim Tyminko; music/piano: Sergei Pukst; conductor: Olga Yanum; theremin:\nAlexander Havkin;",[37,1179,1180],{},"camera: Amir Fathi, Svetlana Kozlovskaia; production managers: Anna Novik, Daniel Einzinger;\nbelarusian text editor: Aksana Zabashtanskaya; sound mix: Vaidas Thisen; motion tracking assistant:\nSergei Terasuk",[37,1182,1183],{},[317,1184,1187],{"href":1185,"rel":1186},"http://50artists.net/",[321],"The choir\nmembers:",[37,1189,1190],{},"Installation:",[37,1192,1193],{},"a wooden platform with the screen, two green plants in two pots, HD video projector, a computer, stereo\nloudspeakers + subwoofer, leaflets with the lyrics and comments for the songs.\nInstallation view.\nContemporary Art Centre, Vilnius, Lithuania.",[37,1195,1196],{},"Lyrics here:\n.....................................................................",[530,1198,1200],{"id":1199},"song-1","song #1",[37,1202,1203],{},"Set Theory\nIf you happened to glance\nbehind the surface\nyou’ll see the mystery of sets\nthat'll twinkle from the very depth.\nThrough whimsy of the sight and light,\nbringing together nature and number\nthe solid frame of objects,\nonce drafted, manifests itself.\nThe mathematical peaks\nabove the clouds are clearly seen.\nCryptic harmony of bushes.\nLinear infinity of fields.\nAn extra element in nature\nreveals the kernel of the structure\nand the infinity of objects\nin depth of their architectures.",[37,1205,1206],{},"vocalise ('Ah')",[37,1208,1209],{},".....................................................................",[530,1211,1213],{"id":1212},"song-2","song #2",[37,1215,1216],{},"Supersymmetry\nThe symmetry turns round\nfrom world to world. Between the lines\nand shadows interplay\nyou understand that you are not alone.",[37,1218,1206],{},[37,1220,1221],{},"There is someone bodiless\nwho is the product of the dark.\nWith whom in rainbow spectrum\nwe are forever linked.",[37,1223,1206],{},[37,1225,1226],{},"Dead and alive at the same time\nhe was waiting for a glance from outside.\nHaving opened another universe,\nhe got invisible and vanished\nto appear in starry darkness\nof inside out space;\nto give uncharged canvas\nthe clarity of new energies.",[37,1228,1206],{},[37,1230,1209],{},[801,1232,1234],{"id":1233},"song-3","song #3",[801,1236,1238],{"id":1237},"string-theory","String Theory",[37,1240,1241,1242,1244,1245,1247,1248,1250],{},"The expectation of existence",[519,1243],{},"\nin heavy silence of membranes.",[519,1246],{},"\nThere is no time. The minutes are not born.",[519,1249],{},"\nThe air and the earth do not exist.",[37,1252,1253,1254,1256],{},"They will appear in the plexus of the strings.",[519,1255],{},"\nReplying to each other they will sing.",[37,1258,1259,1260,1262,1263,1265,1266,1268],{},"And maybe at the core of our tissue,",[519,1261],{},"\nthe secrets of the sun, a cup and a pine-tree",[519,1264],{},"\neverything becomes just fluctuations",[519,1267],{},"\nof one string.",[37,1270,1271,1272,1274],{},"On the worldsheet",[519,1273],{},"\nOn the worldsheet",[37,1276,1277,1278,1280,1281,1283,1284,1286],{},"We closely look into infinity.",[519,1279],{},"\nStrings, like delusion, flashing in the dark,",[519,1282],{},"\nvibrate into endless expanse",[519,1285],{},"\ntheir tension concentrating in a point.",[37,1288,1271,1289,1274],{},[519,1290],{},[37,1292,1209],{},[801,1294,1296],{"id":1295},"song-4","song #4",[801,1298,1300],{"id":1299},"the-theory-of-everything","The Theory Of Everything",[37,1302,1303],{},"The principal is not essential anymore.",[37,1305,1306],{},"The ground's cracking under our feet.",[37,1308,1309],{},"Time and space are not original.",[37,1311,1312],{},"They're just a mutual convention.",[37,1314,1315],{},"The fundamental is not steady",[37,1317,1318],{},"in superdimension of extra-space.",[37,1320,1321],{},"What’s later on? Just a serenity",[37,1323,1324],{},"in the vague that attracts us",[37,1326,1327],{},"by the power of emptiness",[37,1329,1330],{},"in a blank infinite scenery.",[37,1332,1315],{},[37,1334,1318],{},[37,1336,1209],{},[37,1338,1339],{},"song #5\nAn Exceptionally Simple Theory of Everything\nWe cut down the thicket of formulas\nto discover clear shine\nand listen how in elegant description\nreality's obtaining its true shape.",[37,1341,1342],{},"vocalise ('Mm')",[37,1344,1345],{},"We cut down the thicket of formulas",[37,1347,1348],{},"to discover clear shine",[37,1350,1351],{},"and listen how in elegant description",[37,1353,1354],{},"reality's obtaining its true shape.",[37,1356,1342],{},[37,1358,1359],{},"comix:",[37,1361,1362],{},"a panel of 180 pictures glued on a wall. variable sizes.",{"title":24,"searchDepth":44,"depth":44,"links":1364},[1365,1366],{"id":1199,"depth":880,"text":1200},{"id":1212,"depth":880,"text":1213},{"src":1152,"width":108,"height":1153,"aspectRatio":1154,"palette":1155},{},"/projects/fivesongs-comics",{"title":1147,"description":1165},"fivesongs","projects/fivesongs-comics","i6hqxc8ZgS7_L4wHLHUryvCjYD7IVwIxUbKofmFoHIA",{"id":1375,"title":1147,"bg":7,"bgInvert":7,"body":1376,"bodyMedia":7,"bodyText":7,"credits":7,"description":1165,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":1543,"legacySource":7,"meta":1544,"navigation":55,"path":1545,"seo":1546,"slug":1371,"stem":1547,"year":1166,"__hash__":1548},"projects/projects/fivesongs.md",{"type":9,"value":1377,"toc":1539},[1378,1382,1386],[12,1379],{"caption":1380,"type":16,"url":1381,"originalAspectRatio":386,"class":19},"video fragment [2:17]: Song Number Three. String Theory","https://vimeo.com/166151555",[21,1383,1385],{"meta":1384},{"title":1147,"description":1165,"year":1166},[],[28,1387,1388],{"class":30},[32,1389,1390,1392,1394,1396,1401,1403,1405,1410,1419,1421,1423,1425,1427,1429,1431,1433,1435,1437,1439,1441,1443,1445,1447,1449,1457,1461,1469,1473,1481,1485,1487,1489,1491,1493,1495,1497,1499,1501,1503,1505,1507,1509,1511,1513,1515,1517,1519,1521,1523,1525,1527,1529,1531,1533,1535,1537],{"class":34,"data-text-panel":24,"id":35},[37,1391,1174],{},[37,1393,1177],{},[37,1395,1180],{},[37,1397,1398],{},[317,1399,1187],{"href":1185,"rel":1400},[321],[37,1402,1190],{},[37,1404,1193],{},[105,1406],{"src":1407,"width":937,"height":1408,"aspectRatio":945,"alt":24,"palette":1409},"/selectedworks/media/FIVE_SONGS_vilnius_install_view_1_720.jpg",480,"#0f0f0e,#1d1d1d,#333230,#121211,#1d1b19,#898e94,#92969d,#404342,#0c0c0b,#3a3a3b,#56575b,#414342,#000000,#050505,#312f2f,#252625",[105,1411,1415,1416],{"src":1412,"width":88,"height":89,"aspectRatio":90,"alt":1413,"palette":1414},"/selectedworks/media/5songs/install_view_5.jpg","installation. preview: 4:10","#2e3032,#424241,#14110f,#000000,#565b5a,#a2a5a7,#4f5250,#252927,#343533,#6f6f6f,#525451,#434948,#070707,#262828,#10100f,#0c0e0e","installation. preview: ",[224,1417,1418],{},"4:10",[37,1420,1196],{},[530,1422,1200],{"id":1199},[37,1424,1203],{},[37,1426,1206],{},[37,1428,1209],{},[530,1430,1213],{"id":1212},[37,1432,1216],{},[37,1434,1206],{},[37,1436,1221],{},[37,1438,1206],{},[37,1440,1226],{},[37,1442,1206],{},[37,1444,1209],{},[801,1446,1234],{"id":1233},[801,1448,1238],{"id":1237},[37,1450,1241,1451,1244,1453,1247,1455,1250],{},[519,1452],{},[519,1454],{},[519,1456],{},[37,1458,1253,1459,1256],{},[519,1460],{},[37,1462,1259,1463,1262,1465,1265,1467,1268],{},[519,1464],{},[519,1466],{},[519,1468],{},[37,1470,1271,1471,1274],{},[519,1472],{},[37,1474,1277,1475,1280,1477,1283,1479,1286],{},[519,1476],{},[519,1478],{},[519,1480],{},[37,1482,1271,1483,1274],{},[519,1484],{},[37,1486,1209],{},[801,1488,1296],{"id":1295},[801,1490,1300],{"id":1299},[37,1492,1303],{},[37,1494,1306],{},[37,1496,1309],{},[37,1498,1312],{},[37,1500,1315],{},[37,1502,1318],{},[37,1504,1321],{},[37,1506,1324],{},[37,1508,1327],{},[37,1510,1330],{},[37,1512,1315],{},[37,1514,1318],{},[37,1516,1209],{},[37,1518,1339],{},[37,1520,1342],{},[37,1522,1345],{},[37,1524,1348],{},[37,1526,1351],{},[37,1528,1354],{},[37,1530,1342],{},[37,1532,1359],{},[37,1534,1362],{},[105,1536],{"src":1158,"width":943,"height":1159,"aspectRatio":1160,"alt":24,"palette":1161},[105,1538],{"src":1152,"width":108,"height":1153,"aspectRatio":1154,"alt":24,"palette":1155},{"title":24,"searchDepth":44,"depth":44,"links":1540},[1541,1542],{"id":1199,"depth":880,"text":1200},{"id":1212,"depth":880,"text":1213},{"src":1407,"width":937,"height":1408,"aspectRatio":945,"palette":1409},{},"/projects/fivesongs",{"title":1147,"description":1165},"projects/fivesongs","koVr90rGHHyBjgGo2FxG8OxEh8IzgEPhT-ea1JXZi74",{"id":1550,"title":1551,"bg":7,"bgInvert":7,"body":1552,"bodyMedia":7,"bodyText":7,"credits":7,"description":24,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":1584,"legacySource":1585,"meta":1586,"navigation":55,"path":1587,"seo":1588,"slug":1589,"stem":1590,"year":1580,"__hash__":1591},"projects/projects/actII.md","REVISION. ACT II",{"type":9,"value":1553,"toc":1582},[1554,1560,1566,1571,1577],[105,1555],{"src":1556,"width":944,"height":1557,"aspectRatio":1558,"alt":24,"palette":1559},"/selectedworks/media/actII_MG_4405.jpg",565,1.415929203539823,"#22272f,#202227,#5f5a4f,#eae4df,#212127,#272931,#4a4f5b,#767163,#060505,#070606,#0b0a0b,#504c3e,#100d0a,#524a3f,#a99d8c,#eadfce",[105,1561],{"src":1562,"width":944,"height":1563,"aspectRatio":1564,"alt":24,"palette":1565},"/selectedworks/media/actII_ALL_preview.jpg",319,2.5078369905956115,"#050505,#050403,#050403,#030202,#100f0f,#1a1714,#111212,#0b0a08,#0f0e0e,#120f0c,#16120f,#0e0b0a,#151210,#1a1613,#1a1512,#0f0c0a",[105,1567],{"src":1568,"width":944,"height":944,"aspectRatio":1569,"alt":24,"palette":1570},"/selectedworks/media/actII_log_fragm.jpg",1,"#000000,#13110f,#13100f,#000000,#000000,#12100f,#13100e,#000000,#000000,#16120f,#100d0a,#010101,#030201,#15100e,#1c1614,#030202",[105,1572],{"src":1573,"width":944,"height":1574,"aspectRatio":1575,"alt":24,"palette":1576},"/selectedworks/media/actII_gark_fragm.jpg",594,1.3468013468013469,"#000000,#070504,#2c231b,#000000,#000000,#231f1d,#332a22,#000000,#040405,#4e4238,#2a2725,#000000,#030202,#2e2720,#0b0a09,#000000",[21,1578,1581],{"meta":1579},{"title":1551,"description":24,"year":1580},2007,[],{"title":24,"searchDepth":44,"depth":44,"links":1583},[],{"src":1556,"width":944,"height":1557,"aspectRatio":1558,"palette":1559},"legacy_selectedworks_shrt/resources/actII.html",{},"/projects/actii",{"title":1551,"description":24},"actII","projects/actII","qpOjsOq_hAh8wwujF6e3WEpr__Dtcc0pmQ81GlvRZ3A",{"id":1593,"title":1594,"bg":1595,"bgInvert":1595,"body":1596,"bodyMedia":7,"bodyText":7,"credits":7,"description":1605,"draft":46,"extension":47,"fg":403,"fgInvert":7,"image":7,"legacySource":7,"meta":1734,"navigation":55,"path":1735,"seo":1736,"slug":1737,"stem":1738,"year":1606,"__hash__":1739},"projects/projects/blcosmos.md","Bolek & Lolek Cosmos","#454545",{"type":9,"value":1597,"toc":1727},[1598,1602,1608],[12,1599],{"caption":1600,"type":16,"url":1601,"originalAspectRatio":386,"class":19},"Bolek & Lolek Cosmos. Constructor Manifesto / video compilation [3:13] 1080p stereo, 2006","https://vimeo.com/7114195",[21,1603,1607],{"meta":1604},{"title":1594,"description":1605,"year":1606},"Constructor Manifesto",2006,[],[28,1609,1610],{"class":30},[32,1611,1612,1615,1618,1624,1628,1634,1638,1641,1644,1647,1650,1653,1657,1660,1663,1666,1670,1673,1676,1679,1682,1685,1689,1692,1695,1698,1702,1705,1708,1711,1714,1717,1720,1724],{"class":34,"data-text-panel":24,"id":35},[1613,1614],"bl-cosmos-scheme",{},[37,1616,1617],{},"The B&L Cosmos is a long-term project aimed to\ncreate a special system of artistic visual production, which would enable artists to construct any\ncomplex\nstill and motion pictures independently from common up-to-date technical video standards and\nrestrictions.\nWith the beginning of the digital era the word has started to suffer from a chaotic senseless visual\noverproduction, so instead of producing redundant repetitive images we can use already existing ones as\n'ready made' visual elements to exploit the products of overproduction in creative artistic processes.",[557,1619,1622],{"className":1620,"code":1621,"language":34},[560],"Bolek & Lolek Cosmos. Structure v.0.01\n",[563,1623,1621],{"__ignoreMap":24},[484,1625,1627],{"id":1626},"bolek-lolek-cosmos","BOLEK & LOLEK COSMOS",[557,1629,1632],{"className":1630,"code":1631,"language":34},[560],"        ❧\n    CONSTRUCTOR MANIFESTO❧\n",[563,1633,1631],{"__ignoreMap":24},[530,1635,1637],{"id":1636},"from-chaos-to-cosmos","From Chaos to Cosmos",[37,1639,1640],{},"The whole sphere of visual production is a domain of an all-consuming ever-growing Chaos. It\nseems\nthat there is no any more a single physical or mental object in this world left, which would not\nhave already been depicted or visually represented in some form. We, Artists, are unwillingly\ninvolved in this chaotic process of endless reproduction of visual clones. We waste our time and\ncreative energy constantly reproducing and duplicating these bits of the Visual Chaos.",[37,1642,1643],{},"We take in the ten million twenty third time the picture of a tropic sunrise, dewdrops in the\nmorning, a chair and a table or traffic in the city; we scan in the ten thousand twenty first\ntime\nRenaissance Venuses, baroque Cupids, impressionistic clouds and pop-art tin cans. Instead of all\nthat we could directly use the already captured ones.",[37,1645,1646],{},"We could even go further. We could fission the very matter of an image and direct the liberated\nenergy of emerged elementary visual particles to form a new visual substance. We could create\nthe\nCosmos of the Visual – our New Universe of static and dynamic Pictures.",[37,1648,1649],{},"So far the Chaos of the Visual is a raw matter to be formed, it contains all the constitutive\nelements of the cosmos to come, it contains already the cosmos in its potency.But like any\nChaos it\nneeds an Instance that will actualise this potency; it needs its Deus Constructor, its Demiurge\nthat\nwill turn the Chaos into the Cosmos.",[37,1651,1652],{},"So we, Artists, who by the right of vocation are consecrated to the very essence of demiurgic\nact,\nwill become Dei Constructori of our New Visual Universe – the Bolek & Lolek Cosmos.",[530,1654,1656],{"id":1655},"the-structure-of-the-bolek-lolek-cosmos","The Structure of the Bolek & Lolek Cosmos",[37,1658,1659],{},"The Cosmos is the Chaos that has been put into order. We, Artists-Constructors, offer the\nfollowing\norder of transformation of the Visual Chaos into the B&L Cosmos.",[37,1661,1662],{},"The current state of the Chaos of the Visual needs first of all a study and a systematisation of\nits\ncontent. Here we can use the experience of our colleagues engineers and programmers who have\nalready\ndone the first steps towards organisation of the entire digitalised information chaos with the\nhelp\nof the global search engines and indexation and systematisation of the available data.",[37,1664,1665],{},"However we will concentrate our efforts on the Visual and start to collect dispersed visual\ninformation, and will organize it into the structured open source database. Everywhere we will\nlook\nfor the visual materials, analogue or digital: in archives and libraries, in public and private\ndatabases, in fine arts museums and galleries, in video stores and cinemas, on TV-channels and\nradio\nstations, in newspapers and magazines, in scientific laboratories and copy shops, in philatelist\ncollections and family photo albums.",[801,1667,1669],{"id":1668},"the-accumulator","The Accumulator",[37,1671,1672],{},"At the initial stage we will use already existing Internet search engines. However, the logic of\nimage search does not in the least overlap nowadays the logic of the Visual. To get the wanted\nimage\nfrom the Internet is almost the same as to find in the middle of the Ocean a message in a\nbottle,\nwhich was once addressed to you.",[37,1674,1675],{},"Like Borges’ Library of Babylon it is an endless information labyrinth that contains everything,\nbut\nwhere nothing can be found. We can never be sure, that we will be able to find the same\ninformation\nthe next time when we will look for it, especially if we are looking for a particular visual\nstuff.",[37,1677,1678],{},"Therefore, together with our friends Scientists and Programmers we will work on the development\nof\nspecial B&L search system aimed exclusively at the visual information.",[37,1680,1681],{},"Our ever-growing Database will become a core of the Accumulator – the initial component of the\nB&L\nCosmos. For the Accumulator we will develop special tools, which will process collected raw\nmaterial\nin order to prepare it for the further transit from Chaos to Cosmos.",[37,1683,1684],{},"Our main task of this initial image processing is to extract the basic image elements through\nparticular standardisation procedures. We will classify and arrange them into groups of elements\nto\nget them ready for the next level of our cosmic production.",[801,1686,1688],{"id":1687},"the-constructor","The Constructor",[37,1690,1691],{},"The next essential component in the structure of the B&L Cosmos is the Constructor. The\nConstructor\nis the place where the groups of elements, initialised by the Accumulator, will be turned into\nthe\nB&L Details and then used as building blocks for our new visual objects and compositions.",[37,1693,1694],{},"Formally the Constructor is a set of special tools and methods for the B&L image processing.\nThese\ntools can be differentiated into four main types, where the following procedures will be\nprovided:\nmetamorphosis tools – fusion of two-dimensional visual elements into virtual-spatial time-based\nB&L\nDetails; curvilinear transformation of the B&L Details; constructing tools – spatial jointing of\ndetails into objects; arranging details and objects into hierarchies within complex\ncompositions;\ncompositing tools – classical image processing, i.e., modification of certain visual parameters\nof\nboth details and objects, like, for instance, the change of size, colour, position etc.;\nanimation\ntools – tools for ‘traditional’ (key-frame based) and so called ‘behaviour’ animation; methods\nof\ninverted kinematics, lip-sync tools, character animation.",[37,1696,1697],{},"The Constructor will consist of several independent software modules, which can be flexibly\nconnected to each other in different configurations, depending on particular tasks. Such an\norganisational principle of the Constructor and standardisation of its Program Interfaces will\nmake\nthe whole system open for updates and further developments. The Constructor is designed as a\ncomplex\nstructure, which components can be any time modified and replaced. Anyone will be able to\ncontribute\ninto construction of the Constructor.",[801,1699,1701],{"id":1700},"the-projector","The Projector",[37,1703,1704],{},"The main distinguishing feature of video objects and compositions made by the Constructor will\nbe\ntheir independency from the established visual formats and resolution standards. This\nindependency\nwill return us, Artists-Constructors, the initial freedom of artistic expression, when Artists\nstill\nwere not restricted to view the world as 3:4 or 16:9.",[37,1706,1707],{},"We will be able to organise and appropriate visually any room and any surface. Everything will\nbecome a scene for our B&L Cosmos Pictures: from QuickTime miniatures on displays of cell phones\nto\nvideo projections on skyscrapers facades, from video games to opera electronic scenography.",[37,1709,1710],{},"For that we will develop an accomplishing component in the structure of the B&L Cosmos – the\nProjector. The Projector will be a launching platform for the B&L video production. To be\nlaunched\nto the outer world, the B&L products first should be transferred from their virtual existence in\nthe\nB&L Cosmos to the substance, which could be compatible with the ‘physics’ of outer world, i.e.,\nwith\nthe restrictions of available video equipment.",[37,1712,1713],{},"The heart of the Projector will be a core engine, specially created to render the objects and\ncompositions, which were assembled in the Constructor. The main task of the engine is to provide\nthe\nArtists with the possibility of Real-Time rendering, what would open new horizons for\ninteractivity\nin video and cinema.",[37,1715,1716],{},"Adaptation of our free B&L Pictures for strict compulsive limitations of the World of Machines\nrequires innovations in software solutions and hardware implementations. We will concentrate our\nefforts on the three main directions. We will develop exporting modules to provide our outputs\nwith\nthe broad field of application. We will build up unique systems of video playback and\nprojection. At\nthis stage we will use the already existing equipment and combine the singular units into\ncomplex\nconfigurations of modules. For these standard- and resolution-independent systems we will need\nspecial software applications, which will be able to synchronise different uncoordinated\nhardware\nunits.",[37,1718,1719],{},"The work on the Projector will be the final phase in our B&L cosmogonic process. After the\ndifferentiation of elementary visual particles in the Accumulator and their formation into\ncosmic\nobjects by the Constructor, potential energy of our B&L Visual Substance in the Projector will\nbe\ntransformed into kinetic energy of B&L Cosmic Artefacts.",[530,1721,1723],{"id":1722},"artists-constructors","Artists-Constructors",[37,1725,1726],{},"The magnitude of our cosmic endeavour will demand a long-term intensive cooperative work of the\nwhole army of activists-pioneers – artists, programmers and engineers. This collaborative work\nwill\nlead to ultimate fusion of their still completely segregated activities. It will give a birth to\na\nnew type of creative personality – to the Artist-Constructor, who will unite the three crucial\naspects of the up to date artistic doings, who will become an embodiment of the Creative Triad\nof\nour days.",{"title":24,"searchDepth":44,"depth":44,"links":1728},[1729],{"id":1626,"depth":44,"text":1627,"children":1730},[1731,1732,1733],{"id":1636,"depth":880,"text":1637},{"id":1655,"depth":880,"text":1656},{"id":1722,"depth":880,"text":1723},{},"/projects/blcosmos",{"title":1594,"description":1605},"blcosmos","projects/blcosmos","mQqNcwTyMpdzjJ3Yt9lsVAHgFialxu1pZchmZzKPkyk",{"id":1741,"title":1742,"bg":7,"bgInvert":7,"body":1743,"bodyMedia":7,"bodyText":7,"credits":7,"description":1752,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":1809,"legacySource":7,"meta":1810,"navigation":55,"path":1811,"seo":1812,"slug":1813,"stem":1814,"year":1606,"__hash__":1815},"projects/projects/orpheus.md","Beguiling Orpheus",{"type":9,"value":1744,"toc":1807},[1745,1749,1754],[12,1746],{"caption":1747,"type":16,"url":1748,"originalAspectRatio":386,"class":19},"preview clip: [4:52]","https://vimeo.com/6785321",[21,1750,1753],{"meta":1751},{"title":1742,"description":1752,"year":1606},"live opera performance. duration: 62 min, screen: ~900 x 500 cm (1080p)",[],[28,1755,1756],{"class":30},[32,1757,1758,1761,1764,1767,1770,1777,1784,1789,1794,1799,1804],{"class":34,"data-text-panel":24,"id":35},[37,1759,1760],{},"mezzo-soprano: Alexandra Thomas, Raika Simone Maier;\nvideo/staging: Maxim Tyminko; music: Gleb Choutov,\nChristoph Willibald Gluck;\nproduction and subtitles: Maja Ilic; co-production video: Vika\nMitrichenka;",[37,1762,1763],{},"Based on the Christoph Willibald Gluck’s baroque opera \"Orfeo ed Euridice\".",[37,1765,1766],{},"In this interpretation the traditional theatrical stage design is replaced by electronic scenography,\none\nfemale singer performs Orfeo’s partition live, all other characters are\npresented as virtual personages in\nthe video projection.",[37,1768,1769],{},"The project was supported by the Art Foundation NRW.\nFirst performed at the Museum of Applied Art,\nCologne, on 15 September 2006",[105,1771,1775],{"src":1772,"width":1773,"height":1774,"aspectRatio":945,"alt":1775,"palette":1776},"/selectedworks/media/op_euridike_3.jpg",852,568,"Act 3 Scene 2: 'Blackout'","#262326,#595258,#5e5760,#2d2a2d,#3c3d3e,#5f5a64,#5d5863,#48484b,#3b3d41,#494650,#53545c,#3e4145,#010101,#040406,#040506,#000000",[105,1778,1782],{"src":1779,"width":1773,"height":1780,"aspectRatio":1781,"alt":1782,"palette":1783},"/selectedworks/media/op_euridike.jpg",516,1.6511627906976745,"Act 3 Scene 1: 'Sculpture'","#0e0a08,#1b1d20,#151619,#1b1718,#2c2422,#26272b,#222327,#444344,#484440,#76666b,#66636a,#58534a,#49433e,#70616f,#848188,#3f3a36",[105,1785,1787],{"src":1786,"width":1773,"height":1780,"aspectRatio":1781,"alt":1787,"palette":1788},"/selectedworks/media/op_park_green.jpg","Act 2 Scene 2: 'Garden'","#baaf96,#f2e0e6,#f9e5e9,#dfd9d0,#61644f,#d5d5d0,#fefbfb,#9da090,#706e67,#aaafa6,#eff1ea,#8d9189,#525834,#a1aa6f,#b4c086,#8b945b",[105,1790,1792],{"src":1791,"width":1773,"height":1774,"aspectRatio":945,"alt":1792,"palette":1793},"/selectedworks/media/op_euridike_2.jpg","Act 3 Scene 2: 'TV'","#6d5767,#887281,#785f6e,#403741,#696a72,#ac9dac,#9b96a3,#383b40,#556973,#546360,#5e7278,#293443,#101920,#0d1010,#0d1315,#000001",[105,1795,1797],{"src":1796,"width":1773,"height":1774,"aspectRatio":945,"alt":1797,"palette":1798},"/selectedworks/media/op_furii.jpg","Act 2 Scene 1: 'Underground'","#1d1c24,#1d1822,#18141c,#23232c,#111015,#241920,#2a1d24,#0f0e11,#060607,#3b272b,#503136,#030304,#000000,#030102,#140508,#000000",[105,1800,1802],{"src":1801,"width":1773,"height":1774,"aspectRatio":945,"alt":1802,"palette":1803},"/selectedworks/media/op_park_red.jpg","Act 2 Scene 2a: 'Choir'","#2a181c,#764055,#7d4962,#391d25,#301f1f,#ae8c91,#c9a6ae,#382525,#3c3632,#aa978d,#b5a49a,#3f3835,#010000,#070605,#080606,#000000",[37,1805,1806],{},"Mezzo-soprano: Alexandra Thomas (Raika Simone Maier)\nMusic: Gleb Choutov, Christoph Willibald Gluck;\nVisual concept and video production: Maxim Tyminko;\nProduction and subtitles: Maja Ilic; Co-production video: Vika Mitrichenka;\nMotion-math Scripting: Oleg Baravik; Masking, morph: Lena Sulkovskaia;\nNetwork rendering: Johannes Amorosa",{"title":24,"searchDepth":44,"depth":44,"links":1808},[],{"src":1772,"width":1773,"height":1774,"aspectRatio":945,"palette":1776},{},"/projects/orpheus",{"title":1742,"description":1752},"orpheus","projects/orpheus","TQHX1fLK-SOucJuSrBgOBjxeAGP6zYs0YwXLrlMB4Lw",{"id":1817,"title":1818,"bg":7,"bgInvert":7,"body":1819,"bodyMedia":7,"bodyText":7,"credits":7,"description":24,"draft":46,"extension":47,"fg":7,"fgInvert":7,"image":1840,"legacySource":1841,"meta":1842,"navigation":55,"path":1843,"seo":1844,"slug":1845,"stem":1846,"year":1836,"__hash__":1847},"projects/projects/revision.md","REVISION. I & II",{"type":9,"value":1820,"toc":1838},[1821,1828,1833],[105,1822,1826],{"src":1823,"width":1824,"height":1825,"aspectRatio":44,"alt":1826,"palette":1827},"/selectedworks/media/REVISION_2_1400.jpg",1024,512,"Revision, Part II","#474847,#443f56,#4f4b5d,#2e2f34,#35372c,#373636,#505153,#191c18,#352d26,#2f3129,#2e322c,#2e3324,#181c18,#1f2a1e,#1d251e,#1d2722",[105,1829,1831],{"src":1830,"width":1824,"height":1825,"aspectRatio":44,"alt":1831,"palette":1832},"/selectedworks/media/REVISION_1_1400.jpg","Revision, Part I","#27211d,#121110,#171513,#2e2924,#352f2a,#373332,#352f2d,#483c33,#2c2522,#2e2723,#322c2a,#24201d,#0f0e09,#342c23,#292520,#151411",[21,1834,1837],{"meta":1835},{"title":1818,"description":24,"year":1836},2005,[],{"title":24,"searchDepth":44,"depth":44,"links":1839},[],{"src":1823,"width":1824,"height":1825,"aspectRatio":44,"palette":1827},"legacy_selectedworks_shrt/resources/revision.html",{},"/projects/revision",{"title":1818,"description":24},"revision","projects/revision","LHrj230rB3q_ukfzhmGUidugJbyj5LRwc2TXgx3jj4g",[],{"id":1593,"title":1594,"bg":1595,"bgInvert":1595,"body":1850,"bodyMedia":7,"bodyText":7,"credits":7,"description":1605,"draft":46,"extension":47,"fg":403,"fgInvert":7,"image":7,"legacySource":7,"meta":1943,"navigation":55,"path":1735,"seo":1944,"slug":1737,"stem":1738,"year":1606,"__hash__":1739},{"type":9,"value":1851,"toc":1936},[1852,1854,1858],[12,1853],{"caption":1600,"type":16,"url":1601,"originalAspectRatio":386,"class":19},[21,1855,1857],{"meta":1856},{"title":1594,"description":1605,"year":1606},[],[28,1859,1860],{"class":30},[32,1861,1862,1864,1866,1871,1873,1878,1880,1882,1884,1886,1888,1890,1892,1894,1896,1898,1900,1902,1904,1906,1908,1910,1912,1914,1916,1918,1920,1922,1924,1926,1928,1930,1932,1934],{"class":34,"data-text-panel":24,"id":35},[1613,1863],{},[37,1865,1617],{},[557,1867,1869],{"className":1868,"code":1621,"language":34},[560],[563,1870,1621],{"__ignoreMap":24},[484,1872,1627],{"id":1626},[557,1874,1876],{"className":1875,"code":1631,"language":34},[560],[563,1877,1631],{"__ignoreMap":24},[530,1879,1637],{"id":1636},[37,1881,1640],{},[37,1883,1643],{},[37,1885,1646],{},[37,1887,1649],{},[37,1889,1652],{},[530,1891,1656],{"id":1655},[37,1893,1659],{},[37,1895,1662],{},[37,1897,1665],{},[801,1899,1669],{"id":1668},[37,1901,1672],{},[37,1903,1675],{},[37,1905,1678],{},[37,1907,1681],{},[37,1909,1684],{},[801,1911,1688],{"id":1687},[37,1913,1691],{},[37,1915,1694],{},[37,1917,1697],{},[801,1919,1701],{"id":1700},[37,1921,1704],{},[37,1923,1707],{},[37,1925,1710],{},[37,1927,1713],{},[37,1929,1716],{},[37,1931,1719],{},[530,1933,1723],{"id":1722},[37,1935,1726],{},{"title":24,"searchDepth":44,"depth":44,"links":1937},[1938],{"id":1626,"depth":44,"text":1627,"children":1939},[1940,1941,1942],{"id":1636,"depth":880,"text":1637},{"id":1655,"depth":880,"text":1656},{"id":1722,"depth":880,"text":1723},{},{"title":1594,"description":1605},1783622368175]