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theOtheA -
theOtheA content is derived out of formal separation of the meaning of the written theoretical texts (a chain of signifiers in the semantic progression) and it's deconstruction into metric elements (rhythm), vocal qualities (pitched material, voices), shapes of letters and typographies (video, computer graphic), gestures and movement (pantomimic evaluations of the word equivalents) and primary visual material (illustrations, conceptual drawings, photographs, historical and generated visual materials, short movies) produced out of text - speech - talking gestures being processed by the formal codified matrix.

hEXPO -
International Festival of Self Organizing Cultural Forms
From August 17 to September 15 2000, an international collective of producers, tutors and students assembled in the cities of Maribor, Ljubljana and Koper. Continuous workshops, seminars and performances took place in public venues throughout each of the cities. Using a communications network, the events were distributed and will be archived on the internet via audio/video streaming. hEXPO as a festival functions as an intermediary platform between self-organising creative individuals and independant producers of cultural events. hEXPO also serves as a research and demonstration field for implementing strategies of new media practices.

Paparapapa was a continuous one week performance of Marko Kosnik (located in Ljubljana), Mike Hentz (located in Frankfurt) and Christian Vanderborght (located in Pariz), synchronized via Cu-See-Me conferencing system and real video/audio transmissions via internet. The physical incarnation of the action was accessible to the audience in Kapelica gallery, Ljubljana, where live performances took place every evening in the corresponding five days, including concert with Margrit Rieben and lecture of dr. Misko Suvakovic from Belgrade, simultaneously broadcasted by radio B92 in Belgrade and Radio Student in Ljubljana. Displaced but parallel actions of the main three performers were transmitted to the screens in the gallery and accessible non-stop via internet (conducted by Bojan Merc and Martin Schitter). The peak audience of remote observers was reached Thursday, April 23/98, counting over 200 connections from Europe and Northern America during the performance of Marko Kosnik from the gallery with the visual commentaries by Mike Hentz transmitted from Frankfurt.

First phase of Parahouse was performed during the Ostranenie-festival in Dessau, November 1997. In case the above link doesn't work, please check the mirror-sites at http://www.ostranenie.org/97/parahouse

A.B.sence project is based on a system behind the spatial interface, consisting out of 5x5 wooden plates which form the stage surface. Trough this surface the performer can induce triggers by his will to conduct the response of the theatre machinery which depends on his position in the space and the accent of tapping the floor. Initial decision is interpreted in one of the several possible logical modes which calculate events in real time and control the lights, generation and production of sound, and select quick time video clips which are being projected. The key issue of A.B.sence is synchronisation language. It has to be developed between performers and technicians in order to overlay the specific fields of theatre technology until technical means are completely automated and suited to react as a space instrument which immediately follows the decisions of the performer.

A.B.sence was developed and performed in Cankarjev dom, Ljubljana, in spring of 1996. It was presented in the form of environment, holding the memory of previous performances and open for the direct experience of the audience, at the New Moves 97' festival in Glasgow. Various modes of the system are under permanent development.

Cukrarna (Sugar Factory) is a dance performance developed for synchronous video projection. It assembles the main issues of exposing a live performer to the pre-recorded video image of herself in the situation of the Italian box stage by means of construction and deconstruction of the illusion of perspective. Music in Cukrarna is superimposing continuous metamorphoses of sound quality analogous to the span of dancerâs movements.

Cukrarna was premiered at Medienbiennale Leipzig (October 94') and performed in Cankarjev dom, Ljubljana and Kapelica Gallery, Ljubljana (spring 95').

Opna phase II was developed for the opening of the first Ostranenie festival in Bauhaus, Dessau in 1993. It presents a typical EMI approach of tuning into the space, even on a distance. Stephen Kovats, the main organiser, understood very well what people from art business usually grasp with great difficulties. Three weeks before the preparations started at the place of the event, he borrowed some equipment to calculate precise measures of the forthcoming video projection. Thus we were able to produce in advance the video material with the composition of picture which was related directly to the size of objects (sonorostats) moving in front of the projected image - or, better said, sonorostats became projection screens themselves, decomposing the main projection surface. Also due to precise measurements, the sounds evoked in the Bauhaus canteen were one of the most appealing ever heard in sonorostatics until now.

Figure in Space, Man in the Case is a performance/installation situation in the gallery environment: the author has closed himself in a 140 cm wooden cubic box jammed with technology, monitoring the four rooms of the gallery via the infra-red observation system (4 cameras) and designated microphones. In turn he is freezing the images of the visitor who is exploring the nearly blind dark space, swimming in a monotonous sound aquarium tuned to the interferences of the room. It seems as if the electro-acoustic plates (sonorostats) are reacting to the presence of the visitor - in fact, they are manually adjusted by the author. But this is what the observer, according to the self-evolving dramaturgy of travelling trough the space and her/his curiosity, may or may not find out: s/he will discover that s/he is monitored when reaching the fifth room, where frozen images of her/his investigation are displayed. Leaving the dark rooms, with eyes now used to darkness, the observer can trace the silver light of monitors emanating out of the box - by coming very close and seeing the author trough the cracks between the boards, the Wizard of Oz could be unveiled. Two thirds of the visitors discovered the secret, announced previously only in the title of the project - the rest perhaps still believe they attended an interactive installation controlled solely by the computer.

"Piazza Virtuale - one hundred days of interactive television - Van Gogh TV at Kassel Documenta 92", transmitted over 3sat and partly covering North America and Japan, was based to a large extent on an international platform which consisted out of so called Piazzetas, spread all over the world. EMI established Piazzeta Ljubljana to produce two contacts: the first was the collective performance of performers from Ljubljana combined with phone calls of intellectuals (many of them emigrants from the former Yugoslavia), who were invited to answer the question: Do intellectuals have something to say about the war in Yugoslavia that differs to what is being expressed in official media? The night contact was based on a specially created telephone bridge with Belgrade thus misusing the art festival for accenting the fact that, at that time, there were no regular phone lines available across the broken parts of the former country.

Stvar-Das Ding-The Thing was the first presentation of sonorostats in action. Premiered at Hfbk in Hamburg it demonstrates how the limits - in this case imposed by the mini-van in which seven people and all the equipment had to fit together - can help discovering a whole new approach in evoking acoustic phenomena. Three aluminium plates  of man's size could tidily fit on the roof of the car.