Glitter Text
glitter, text

Glitter Text refers logocentrically to the certain discourse within the contemporary global transcultural society of spectacle
and infinite desire for both glamorous experience and inner sparkling. A cultural text that summarizes the ultimate consumer
demands of affective world of desire; fabricated on attraction, fascination, saturation of superficiality, the promise of deep and
reflecing surface etc. In the same time it is a politically empty signifier that makes its meaning out of the lack of The Real content.
It underlines the opposition between linguistical representation and experience of the actual phenomena. It is self-referential
as something "special" - narcissos, autopoiesis and the desireing machine as a perpetuum mobile; kaleidoscope's infinite
difference in its own limits.


Burning Alive
8-channel audio-video installation

we see a microphone transmitting and amplifying the sound of self-immolation until the destruction of the sound-sensitive membrane. the microphone fulfills its function – to convert the sound signal into an electrical signal – until the dramatic conclusion. ee see how the Thing itself – a living microphone – replaces the missing subject. or we have been mistaken from the beginning and the microphone, or more precisely the device / apparatus / machine, is always subjectivated – it is burning alive.


Electro-Chemical Sound Generator
audio sculpture

ongoing series of sound research and performance. sounds and musical structures created with chemical reactions connected to electronic processors.


Electro-Chemical Sound Generator
presentation at Kumu Art Museum


Spiel und Spannung
foto, installation view

Body is a canvas for sacrifical rites of biopolitical processes. The cable, the communicator is a whip. Desire, consumerism, torture, pleasure – processes leave marks on the body. This work is an imaginary catalogue for whipping with different plugs.


Spiel und Spannung
foto, detail


using mirrors in power games
foto, mirror


using mirrors in power games
installation view


Beyond Reason (aka iKant)
blue pen on canvas, open air installation



wildlife documentaries
paintings, installation, sound, video

the documentations of wildlife converted into sound and text are raw data, a language meant for a machine. but how does raw data as a stimulus affect the human brain? the spontaneous reaction when confronting such stimuli is the habit to read associated meanings as a linear narrative, and at failure to do so the brain switches to a special mode. (an illiterate brain does not care if it is processing random stimuli or a text consisting of letters.) brain’s activity changes because different regions process text and picture. (due to the fact that every brain is individual and plastic, each person has different terms and meanings in a slightly different place, and the centres can move around during the person’s life within certain limits, for example in case of a trauma or a stroke (and certainly with experience, as new connections are made).

structure that consists of familiar elements but is organized chaotically directly affects neuron activity: the nervous system reacts with a specific cortical activity. the brain processes a sequence of random symbols/pattern differently from a text, where letters create meaningful units. signifiers that consist of pictography/symbols increase the engagement of the neuronal substrate: compared to processing an alphabetical language, additional regions in both hemispheres are activated. this is corroborated by tests of reading chinese characters. when reading words written in latin alphabet, the brain converts each letter (grapheme) into a minimal sound unit (phoneme). when reading chinese characters, each symbol usually signifies a particular syllable and deriving the pronunciation and meaning presupposes the activation of a specific cognitive network.

linguistic units are the most common stimuli that induce synaesthesia, which is why chaotically presented sequences of graphemes and symbols have great potential in producing a resulting secondary modality perception experience. specific cortical regions and association areas between them are activated for each modality (sound, picture, text). it has been shown that spontaneous cross-modal interactions occur at the earliest stages of sensory cortical processing. the data visualization brings forth an amplification of cognitive processes and an increased sensory influx (also the so-called dormant potential that is not used in day-to-day situations), thus, an expansion of consciousness takes place, a movement towards the so-called “real” or holotropic experience. a shift takes place from a lexical level to a functional one. (actually, there is no lexical or semantic level, neither in the source text (nature), or the destination text (data), let alone a coherent narra- tive; and as such the translation is functional, conveying the meaninglessness of the source text through the destination text). it is a meeting with phenomenological reality: processing the reality as well as the visual representation or imagination is mostly based on the same brain substrate (incl. retinotopically organised visual areas). same neuron populations activate in both, same processes and instincts start as in real life. however, it is critical to differentiate reality and imagination/picture to set the psychiatric norm. cases where the brain cannot differentiate the picture/imagination from reality are considered psychoses: delusions, hallucinations and other derealisational experiences.

perceiving three-dimensionality on two-dimensional pictures is learned from experience and the brain processes it differently from a real stimulate. this is corroborated by tests with some tribal people, who had no experience with representations of objects on pictures, and they had trouble understanding spatial dimensions on 2d photos. visual picture, auditory stimulate and text/ textual symbols are processed in different regions of the brain, i.e. for each modality the corresponding primary cortical region activates dominantly (primary visual region in the occipital lobe, auditory in the temporal lobe, etc.). there are also association areas between them and some things are processed more or less in parallel in different areas.

there is more diversity in wilderness than there is in anthropocentric culture (determined choices, body con- figuration, fed in culture, language, behavioural norms, evolutionary parameters, etc.). nature is like writing that precedes speech, semiosis, in which the consciousness that registers and accumulates experience does not participate. if the philosophy of language tries to get into the non-metaphysical thinking through deconstruction as a translation operation, then using the “functional misinterpretation” method (where the translation is only operating by rote — actually precision translation) rather gets us into chaos. when interpreting codes, meanings disappear and the lack of meaning appears. pleasure principle is the guide on the secret paths of the hauntology of meaninglessness: the emphasised lacking in itself is a metanarrative with great meaning-creative potential. using or experiencing something, that is hermetic through and through and irreducible to understanding, is an irreplaceable experience. it is an acommunicativity which cannot be placed to the matrixes of understanding in the mind that (paradoxically) creates discourse. thus we hope that the recipients will also connect with the wildlife installation and perceive it as wilderness. feel the jungle vibe, baby!

wildlife documentaries


The Pink Semicolon
acrylic on birchwood




spiegel im spiegel
mirror letters on mirror



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