Aurelia 1+Hz / proto viva sonification

source: vimeo

The project is supported by the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana Department for Culture
Project ‘Aurelia 1+Hz / proto viva generator’ addresses the possibilities of coexistence of animals and machines. In contrast to robots, which are driven by digital artificial intelligence, the project uses a live organism to process the “aliveness” of a simple machine.
Context and inspiration:
In the era of the Sixth Extinction of species, after pulsating through the world’s seas and oceans for over 500 million years without ever being endangered, the jellyfish are the perfect evolutional archive, showing us potential moves the future might make. The eternity of the jellyfish – some are even immortal as a species – has been fueling even the most ancient human thoughts on eternal life, on the mythical search for the fountain of youth and on immortality.
Improved living conditions in a technologically advanced world enable us to lead a significantly longer life than in the past. But how long is long enough? The answer to this question appears to be in the hands of the cosmetic and pharmaceutical industries, which use the powers of biopolitics and capital to divide our society into those who are able to prolong their life, and into those who are merely trying to survive. The historical tactics of civilizations trying to ensure their cultural immortality are today contrasted by the biotechnological possibilities of actually designing and controlling life, demanding a new, critical redefinition of social values.
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source: robertinanet

Context and inspiration:

In the era of the Sixth Extinction of species, after pulsating through the world’s seas and oceans for over 500 million years without ever being endangered, the jellyfish are the perfect evolutional archive, showing us potential moves the future might make. The eternity of the jellyfish – some are even immortal as a species – has been fueling even the most ancient human thoughts on eternal life, on the mythical search for the fountain of youth and on immortality.

Improved living conditions in a technologically advanced world enable us to lead a significantly longer life than in the past. But how long is long enough? The answer to this question appears to be in the hands of the cosmetic and pharmaceutical industries, which use the powers of biopolitics and capital to divide our society into those who are able to prolong their life, and into those who are merely trying to survive. The historical tactics of civilizations trying to ensure their cultural immortality are today contrasted by the biotechnological possibilities of actually designing and controlling life, demanding a new, critical redefinition of social values.
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source: events-city

Robertina Sebjanic est artiste sonore et bioartiste. Avec cette performance elle poursuit ses investigations sur l’immortalité de certaines espèces (ici les méduses) dans le contexte de l’extinction annoncée avec l’âge de l’Anthropocène. Après avoir vécu à travers les océans depuis plus de 650 millions d’années, sans jamais être en voie de disparition, les méduses sont source de recherche, notamment pour la médecine régénérative.
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source: ljudmilaorg

in based in Ljubljana is an artist and cultural facilitator / In her art practice she is interested working in the field of humanist and natural science. Her research focus is since several years oriented towards the Living systems, AV performances, noise/sound art, installations and interactive ambiental responsive environments. The context for her ideas and concepts is often realized in collaboration with other authors, and thus through interdisciplinary and informal integration embodies in her work.

She is member of Ljudmila, HacteriaLab and Theremidi orchestra. She has exhibited in solo and group exhibitions as well as in international bienials, trienials and festivals: Stadtwerkstadt, Ars Electronica, PORTIZMIR#3_Izmirs Triennale of contemporary art, AMRO Linz, Gallery Kapelica_Ljubljana, Prima Gallery_Berlin,Paraflows, Vienna, Liwoli_Linz, Gallery SC_Zagreb, Netaudio festival_London, Likovni salon Gallery_Celje. Gallery Akatraz_Ljubljana,Haip_Ljubljana, Amber_Istanbul, The Museum of contemporary art of Vojvodina_Novi Sad, Gallery KiBela-Kibla_Maribor, Kiblix festival_Kibla Maribor, SCCA_Ljubljana, Pixel festival_Bergen, Device_Art 3.009, Zagreb etc..

Her video works are part of several video collections, among them of HEP (Human Emotion Project from 2009 onwards), Station DIVA presents (15 works of Slovenian video art – a historical overview), Videospotting. She was a member of an informal group TEMP and of the board of editors of Pojmovnika slovenske umetnosti po letu 1945 / The Glossary of Slovene Art from 1945.

Between 2008 and 2012 she was a programme manager at Ljudmila, between 2013 till July 2014 she was working as mission and programme developer at KSEVT – Cultural Centre of European Space Technologies.

2013 – part of organisation team and participant of HackteriaLab Bangalore. In 2014 she participated at HacteriaLab Yogyakarta. She studied at Famul Stuart School of Applied Arts and sculpture at the Academy of Fine Arts and Design in Ljubljana (SI), as well as at the Valand School of Fine Arts in Gothenburg (SE).
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source: robertinanet

Robertina Šebjanič /based in Ljubljana/ is working in the intersection between humanist and natural science.

Her art – research focus is since several years oriented towards the project developed in the field of Living systems (bio-art), AV performances, noise/sound art, installations and interactive ambiental responsive immersive environments.
The context for her ideas and concepts is often realized in collaboration with other authors, and through interdisciplinary and informal integration embodies in her work.

She is member of Hackteria, Ljudmila, UR Institute and Theremidi orchestra.

In collaboration with various art producers such as DécaLab, Kibla, Ljudmila, Kapelica Gallery, Stadtwerkstatt, Gallery Alkatraz she did developed a-v performances and installations.

She studied at Famul Stuart School of Applied Arts and sculpture at the Academy of Fine Arts and Design in Ljubljana (SI), as well as at the Valand School of Fine Arts in Gothenburg (SE).

She has exhibited/performed /presented at solo and group exhibitions as well as in gallery’s, biennials, triennials and festivals:
Le Cube / Decalab_Paris, Ars electronica – Ms Wissenschaft and Stadtwerkstatt_Linz, Touch me festival organised by Kontajner at Klovičevi dvori_Zagreb, Eyebeam & CT-SWaM_New York, Rencontres at Bandits-Mages_Bourgers, PORTIZMIR#3 -Triennale of contemporary art_ Izmir, AMRO festival_ Linz, Kiblix festival_Maribor, Gallery Kapelica_Ljubljana, Prima Gallery_Berlin, Paraflows festival_Vienna, Liwoli festival_Linz, Gallery SC_Zagreb, Netaudio festival_London, Likovni salon Gallery_Celje, Gallery Akatraz_Ljubljana, Haip festival_Ljubljana, Amber festival_Istanbul, The Museum of contemporary art of Vojvodina_Novi Sad, Gallery KiBela-Kibla_Maribor, SCCA_Ljubljana, Pixel festival_Bergen, Škuc Gallery_Ljubjana, City Art Gallery_Ljubljana, +MSUM_U3, 7th Triennial of Contemporary Art in Slovenia_Ljubljana, Device_Art 3.009_Zagreb, Diocletian Palace Substations, at Croatian Visual Artist Association_Split etc..

Her video works are part of several video collections, among them of Station DIVA presents (a historical overview – 15 works of Slovenian video art ), Videospotting , One minute video, HEP (Human Emotion Project from 2009 onwards), etc.

She was a member of an informal group TEMP and member of the board of editors of Pojmovnika slovenske umetnosti po letu 1945 / The Glossary of Slovene Art from 1945.

In 2012 she organized Interactivos?’12 Ljubljana: Obsolete Technologies of the Future at LJUDMILA digital media lab in Ljubljana, where she was between 2008 and 2012 programme manager. Between January 2013 till July 2014 she was working as a mission and programme developer at KSEVT – Cultural Centre of European Space Technologies.

In 2013, Robertina was part of organization team and participant of HackteriaLab Bangalore. In 2014 she participated at HacteriaLab Yogyakarta.

2014 Robertina was a resident and a leading conceptualist/methodolog of the field work Deep Blue in Izmir, Turkey within the Triennial of Contemporary Art PORTIZMIR3.

2014 she was resident in the residency programme “The Soft, the Hard and the Wet” at Eleonore, Stadtwerkstatt curated by Shu Lea Cheang.

In 2007 Robertina got award of Academy of Fine Arts and Design in Ljubljana.