Connecting directly onto the previous project, “The Color of Sound”, which dealt with the relationship between the audible and the visual, the artist adds another phenomenon of observation to the exploration process – the sense of touch. Tactility now seems like another solution that ties together all the work which is inspired by corresponding literary work. Accentuated by the use and projection of texts onto a material by the use of the Braille alphabet, it is now oriented towards the audience to which the sense of touch is primary. The sensation and the feeling of the initial literary impulse is individually intertwined in every work in a literary sense (through the visual part of the work), the tactile (just by touching the Braille alphabet) and audibly (through the use of music). The copying and connecting of effects of sensual perception on the trail of a synesthesic moment in it's projected unity now becomes accessible to the viewer, listener and those that experience it by sense of touch, at the same time. The works inspired by fragmented texts of a specially selected content which can be experienced multi-perceptionally, by use of their unified multi-sensual language, have the aim to connect the impressions which will be felt by various consumers of the works, in correlation to which sense they use as their primary sense. The materials of the seven artist installations: cardboard, styrofoam, various metals, printed panels and led lamps also participate in the creation of this multi-sensual impression through the various characteristics of their chemical constitution, temperature and the variable, sensually conditioned illumination through led lamps which control it.
"Alef" is an interactive work which is part of a project named "Multi Sensual Images". It has sensors which are responding to stimulus provided by human interaction, in a complex, subtle and gentle fashion. Above the LEDs and sensors there is a literary text written by Jorge Luis Borges in Brail alphabet. The artwork also has sound. Observers with damaged sight or blind people are able to read what is written and hear the sound and people with undamaged eyesight can see and hear the work. I took each observer by two senses and at some point made us equal.
this is what is written by Brail alphabet
ALEF, JORGE LUIS BORGES
On the back part of the step, toward the right, I saw asmall iridescent sphere of almost unbearable brilliance. At first I thought itwas revolving, then I realised that this movement was an illusion created bythe dizzying world it bounded. The Aleph's diameter was probably little more thanan inch, but all space was there, actual and undiminished.. I saw the teemingsea, I saw daybreak and nightfall, I saw a silvery cobweb in the center of ablack pyramidI saw, close up, unending eyes watching themselves in me as in amirror, I saw all the mirrors on earth and none of them reflected me, I sawbunches of grapes, snow, tobacco, lodes of metal, steam, I saw convexequatorial deserts and each one of their grains of sand, and all at the sametime saw each letter on each page, I saw my empty bedroom, I globe between twomirrors that multiplied it endlessly, I saw the circulation of my own darkblood, I saw the coupling of love and the modification of death, I saw theAleph from every point and angle, and in the Aleph I saw the earth and in theearth the Aleph and in the Aleph the earth, I saw my own face and my ownbowels, I saw your face, and I felt dizzy and wept, for my eyes had seen thatsecret and conjectured object whose name is common to all men but which no manhas looked upon -- the unimaginable universe.
Does this Aleph exist in the heart of a stone?
this is what is written by Brail alphabet
ALEF, JORGE LUIS BORGES
On the back part of the step, toward the right, I saw asmall iridescent sphere of almost unbearable brilliance. At first I thought itwas revolving, then I realised that this movement was an illusion created bythe dizzying world it bounded. The Aleph's diameter was probably little more thanan inch, but all space was there, actual and undiminished.. I saw the teemingsea, I saw daybreak and nightfall, I saw a silvery cobweb in the center of ablack pyramidI saw, close up, unending eyes watching themselves in me as in amirror, I saw all the mirrors on earth and none of them reflected me, I sawbunches of grapes, snow, tobacco, lodes of metal, steam, I saw convexequatorial deserts and each one of their grains of sand, and all at the sametime saw each letter on each page, I saw my empty bedroom, I globe between twomirrors that multiplied it endlessly, I saw the circulation of my own darkblood, I saw the coupling of love and the modification of death, I saw theAleph from every point and angle, and in the Aleph I saw the earth and in theearth the Aleph and in the Aleph the earth, I saw my own face and my ownbowels, I saw your face, and I felt dizzy and wept, for my eyes had seen thatsecret and conjectured object whose name is common to all men but which no manhas looked upon -- the unimaginable universe.
Does this Aleph exist in the heart of a stone?
this is what is written by Brail alphabet
PYRAMIDS-TERRY PRATCHETT
PYRAMIDS-TERRY PRATCHETT
"Ništa sem zvezda, rasutih po crnilu neba, kao da je Tvorac razbio vetrobran na svojim kolima ne zastavši da pomete stakliće.
Ovo je bezdan izmedju svetova, ledena dubina svemra u kojoj nema ničeg sem ponekog zalutalog molekula, nekoliko izgubljenih kometa i …
…kruga crnila koji se lagano kreće; oko preispituje perspektivu, I ono što je na izgled bila strahovita udaljenost medjuzvezdanog prostora postaje svet u tami, čije su zvezde svetla onoga što bi se velikodušno moglo nazvati civilizacijom."
this is what is written by Brail alphabet
DARK STAR, JOHN CARPENTER
“All I know about the world around me has been forwarded to me through myelectronic circuits.”
from the movie “Dark Star” by John Carpenter
DARK STAR, JOHN CARPENTER
“All I know about the world around me has been forwarded to me through myelectronic circuits.”
from the movie “Dark Star” by John Carpenter
this is what is written by Brail alphabet
GUY DE MAUPASSANT, HORLA
“Dowe see the hundred-thousandth part of what exists?
Look here; there is thewind, which is the strongest force in nature. It knocks down men, and blowsdown buildings, uproots trees, raises the sea into mountains of water, destroyscliffs and casts great ships on to the breakers; it kills, it whistles, itsighs, it roars. But have you ever seen it, and can you see it? Yet it existsfor all that.”
GuyDe Maupassant, Horla
GUY DE MAUPASSANT, HORLA
“Dowe see the hundred-thousandth part of what exists?
Look here; there is thewind, which is the strongest force in nature. It knocks down men, and blowsdown buildings, uproots trees, raises the sea into mountains of water, destroyscliffs and casts great ships on to the breakers; it kills, it whistles, itsighs, it roars. But have you ever seen it, and can you see it? Yet it existsfor all that.”
GuyDe Maupassant, Horla
this is what is written by Brail alphabet
DEN SIMMONS, THE RISE OF ENDYMION
The slideway is fast. That has always been its appeal. And that is its greatest danger. There are still places where the ancient custom of tobogganing still exists. In that sport, one sits on a flat-bottomed sled and hurtles down a prepared ice course. This pretty much describes the slideway, except that instead of a flat-bottomed sled, we each have a sledfoil, which is less than a meter long and curves up around us like a spoon. The sledfoil is more foil than sled, as limp as so much aluminum wrap until we each divert a bit of power from our ascenders, sending the piezoelectric message to the stiffeners in the foil structure until our little sleds seem to inflate, taking form in a few seconds.
Now it is dark, the long run gleams wickedly in the moonlight ahead of us. The surface looks iced and rough as stone.
DEN SIMMONS, THE RISE OF ENDYMION
The slideway is fast. That has always been its appeal. And that is its greatest danger. There are still places where the ancient custom of tobogganing still exists. In that sport, one sits on a flat-bottomed sled and hurtles down a prepared ice course. This pretty much describes the slideway, except that instead of a flat-bottomed sled, we each have a sledfoil, which is less than a meter long and curves up around us like a spoon. The sledfoil is more foil than sled, as limp as so much aluminum wrap until we each divert a bit of power from our ascenders, sending the piezoelectric message to the stiffeners in the foil structure until our little sleds seem to inflate, taking form in a few seconds.
Now it is dark, the long run gleams wickedly in the moonlight ahead of us. The surface looks iced and rough as stone.
WILLIAM S BURROUGHS, A BOOK OF DREAMS
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