http://www.ultramono.org

Executive producer: Jan Kusej

Tanja Vujinovic: Oskop at MFRU & Kiblix 2011, Narrative Algorithms, Koroska Gallery, November 2011, Maribor

Photo documentation: Ultramono

Tanja Vujinovic: Oskop at MFRU & Kiblix 2011, Narrative Algorithms, Koroska Gallery, November 2011, Maribor

Photo documentation: Bostjan Lah

 

Tanja Vujinovic: Oskop at MFRU & Kiblix 2011, Narrative Algorithms, Koroska Gallery, November 2011, Maribor

Video documentation: Ultramono

Discreet Events in Noisy Domains, publication issue#6

is now available online (1.2MB)
Ultramono
Discreet Events in Noisy Domains, publication issue#6, 2011
Author: Tanja Vujinovic
Executive producer: Jan Kusej
Text: Tanja Vujinovic
Language: English
A3 format folded, full color catalogue
Publisher: Ultramono
©Tanja Vujinovic/Ultramono, 2011

Ultramono

Discreet Events in Noisy Domains, pub.issue#5, 2011

Author: Tanja Vujinovic
Executive producer: Jan Kusej
Number of copies: Unlimited edition
120 pages, full color book
Language: English
Publisher: Ultramono
©Tanja Vujinovic/Ultramono, 2011
PUBLICATION IS AVAILABLE UPON REQUEST

Discreet Events in Noisy Domains

pub.issue#4, 2010
Author: Tanja Vujinovic
Executive producer: Jan Kusej
Number of copies: 200
ISBN 978-961-92451-1-8
25115008018 pages, full color booklet
Language: English
Publisher: Ultramono (Exstat)
©Tanja Vujinovic/Ultramono (Exstat), 2010
PUBLICATION IS AVAILABLE UPON REQUEST

Supermono 4

Discreet Events in Noisy Domains, pub.issue#3, 2008
Author: Tanja Vujinovic
Executive producer: Jan Kusej
Publisher: Ultramono (Exstat)
Number of copies: 300
32 pages, full color booklet with DVD
Language: English
©Tanja Vujinovic/Ultramono (Exstat), 2008
Extagram/Oscilo Audio-Visual Works
Artist: Tanja Vujinovic
Title: Extagram/Oscilo
Release date: 01. 10. 2007.
Keywords: Video Art, Sound Art, Abstract, Glitch, Electronica, Minimal, Ambient
Format: DVD
Label: Ultramono
Language: English
Subtitles: English
Edited and mastered by Tanja Vujinovic
Sound, camera: Tanja Vujinovic
Post production: Tanja Vujinovic, Jan Kusej
DVD IS AVAILABLE UPON REQUEST

Supermono 1

Discreet Events in Noisy Domains, pub.issue#2, 2008
Booklet & CD
Author: Tanja Vujinovic
Executive producer: Jan Kusej
Text: Tanja Vujinovic
14 pages, full color booklet
Language: English/Slovene
ISBN 978-961-92451-0-1
Number of copies: 500
Publisher: Ultramono (Exstat) and Cultural Society B-51
©Tanja Vujinovic/Ultramono, 2008.
Supermono 1 CD
Total duration: 25:10:987
Artist: Tanja Vujinovic
Title: Supermono 1
Release date: July 2008
Keywords: Electronica, Glitch
Format: CD
Label: Ultramono (Exstat) and Cultural Society B-51
Sound: Tanja Vujinovic
Post production: Tanja Vujinovic, Jan Kusej
PUBLICATION IS AVAILABLE UPON REQUEST

———————————————————–

Press //  excerpts

Image of a Soundscape

(excerpt from the text, Barbara Sterle Vurnik, The Image of a Soundscape, Ampak, monthly magasine for culture, politics and economy, year 9, number 10, Ljubljana, October 2008. )

“[…] In her work she takes away the identity of the toys, and applies them in the project as anonymous bodies. By doing this she softens the serious and sophisticated world of technology, and also contrasts it with the hand-production of these soft “plushettes”. In their blackness, these are far from friendly toys, estranged and nameless. However, other technological toys, such as the “Teletubbies” and “Pikachus”, are often the same. One can understand the work also as the author’s commentary on the impersonality of the contemporary consumer society which is polluting our lives.

The entire project is based on a complex concept and an even more complex technical implementation, which however are not perceived by the viewer, since the installation is clean and operates flawlessly. It is interesting for viewers because it opens up to them the unknown sphere of invisible signals and waves which literally permeates the atmosphere of our everyday environment. A wonderful chain of interdependent relations unfolds, which people determine in the gallery by simply entering it, and if they act in some other way, perhaps touch some object, a wonderful process of transformation occurs which results in the magical image of a soundscape.[…]”
Barbara Sterle Vurnik

A World of Little Sounds and Noises

(excerpt from the text, Luka Zagoricnik, Svet malih zvokov in šumov [A World of Little Sounds and Noises], Delo, Ljubljana, 26.9.2008

“[…]With Tanja Vujinovic’s current sound installation (co-produced by Zavod B-51 and Zavod Exstat), sound art, which has been presented in Kapelica Gallery for many years, became an integral part of the Ex Ponto Festival. Recently the Gallery also garnered great praise from those knowledgeable about the field as well as from the audience and organizers at the prestigious Ars Electronica Festival for part of its program on contemporary sound art from various sources. One proof that the artists who have presented their works for many years in the framework of the mentioned gallery are connected to contemporary sound art and trends regarding this type of art not only in Europe, but also more widely, is the current installation “Supermono 2/3”, which is divided into three central parts, each by itself forming a fragile sound system of subtle noise and synthetic sounds. These connect us to the infantile world of children, to the world of moving toys, and all the surrounding sounds that motivate us to interact; and in the vice of modern technology they emit their own sounds or operate as a modular sign of our movements, touches, and echoes. In another area we encounter an intertwining of the video- and audio-signals, which, amplified and modularized, reach out to us from small mono-bodies. Each part of the installation makes us a part of its own world of small sounds and noise, while at the same time it embraces us in the central area in a gentle and delicate cacophony of sound, which at its core wonderfully validates the title of the cycle: ‘Discreet Events in Noisy Domains’, and in a special manner unveils the beauty, playfulness, and sparkle of ‘noisy domains’, opens them up, and on the level of interaction and the participation of the visitors, offers to each of them their own sound sphere, which is presented to them coated in a soft, enticing plushness. […]”
Luka Zagoricnik

Discreet Events in Noisy Domains

(excerpt from the text, Ida Hirsenfelder, Discreet Events in Noisy Domains, Dnevnik, Ljubljana, 25.9.2008.)

“[…] Sounds in the tactile biotope Supermono 2/3 arise from two mutually complementary sources through which complex digital modules enable a nearly unrepeatable variability of sounds and pictures. The crackling noise base is randomly processed from the video recording of movements in the gallery through a computer intermediary into abstract sound and video pictures. The sound structures on the other side of the gallery receive and transmit signals from cute, black, doll-like objects, plush forms, in which sound sensors are hidden, whose reactions, however, are entirely dependent on play or interaction. Sound art often uses the reactions of the human body, which in this installation is encouraged by the cuteness and softness of the black figures. The installation is actually a toy for coming to like the sound. The artist is not seeking some great theme, but with the help of the hybrid forms she gently encourages visitors to face technology and the development of the mental, emotional, and poetic dimensions in the perception of space. […]”
Ida Hirsenfelder

Non-central domains: video art in Slovenia after 2000

27. 02. – 03. 04. 2008
Curators: Petja Grafenauer Krnc and Igor Spanjol, excerpt from the text

“[…]Tanja Vujnovic’s projects are based on an expanded notion of sculpture that connects technologically objects, sound, and images. Her spatial interventions depend on radio waves, television frequencies, and algorithmic processing of sound and visual signals in public environments. She uses video to construct rhythmic images and sound-based micro-worlds.[…]”
Igor Spanjol

Tour / Detour

(excerpt from the text, Duba Sambolec, Tour / Detour, Helium, a sound art series in 5 parts on the internet, Ballongmagasinet and NIFCA (http://www.ballongmagasinet.com/helium), 2002.

“[…] Dialogue is polluted with noise from frequencies that are traversing the atmosphere. We hear the sounds from a café, particles of statements, which come and go in waves. Therefore it is hard to follow the utterances of two artists, Marcel Duchamp and Herman Nitsch. We find ourselves in a situation that is similar to a disturbed hunter who is trying to catch the prey of his interest. However, there is no such thing as a pure-ideal situation. The messiness of the sound is aggressive. The bombing of our capacity to perceive what is going on is even increased by the equally important sounds of everyday compulsive activity, such as the sounds of dishes being washed. As a counterpart, we may rest our eyes on the images of beautified kitsch details from one’s home, (the words kitsch and kitchen sound so similar), which do offer comfort and visual pleasure that nurture people’s needs of integrity. You might feel safe when you have at least something to rest your eyes upon and consequently, you think that you are in control.[…]”
Duba Sambolec

Fictional Dictionary, second part

(excerpt from the text, Jasmina Cubrilo, Fictional Dictionary, second part, “Perfect Frequency” exhibition catalogue, DOB Belgrade, Belgrade, 1998.

“[…] The poetic moment in which an image is dimmed until it can no longer be recognized, in which, in the electronically defragmented structure, the contours of given elements are barely outlined, is repeated as unpleasant sound vibration of mixed radio-stations. For a message to be comprehensible, it has to refer to a reality shared, at least in part, by both a sender and a receiver. This reality creates context. An ideal situation is considered when a message gets undamaged to its destination, and read according to the intentions of its sender. However, just as a sender is unaware of all the aspects of his/her message, a receiver reacts to messages sent from his/her own reality/context and preoccupations. The “Perfect Frequency” is an affirmation of theses that what we perceive is not always that what we see, and that what we hear is not always what we listen to. In both cases, positions establishing a platform of our speech are important, and they condition the final selection. (Im)possibility of decoding of the read-in contents make communication more difficult or easier. Thus, broadcasting difficulties are not just conditioned by technical limitations only of transmitters and/or receivers, but their origin and existence can be an effect of various levels of needs, demands, wishes, concentration, information, interest, permissiveness… So, “Perfect Frequency” is the moment of the perfect noise deconstructing all ideologies, that is to say, a critical field induced by thee actual network over-burdening, as well as by an impasse through its dense plexus. Anyway, the very collages of the stills taken from the video project, suggest that these circumstances have transformed each and everyone of us into incomplete sentences, hovering around, mostly, parallel contexts.”
Jasmina Cubrilo

Oskop explores psychological connections between our technological toys and us through sensorial means. It mirrors and transforms our presence into a continuous formation of a dynamic, sound sensitive “living” digital organism.

As part of the circle Discreet Events in Noisy Domains that mostly deals with the culture of play and noise of data, Oskop similarly explores the kaleidoscope as one of the legendary play paradigms by rendering typical kaleidoscopic structure through the use of complex noisy streams of data. The kaleidoscope that first emerged as a scientific tool but became widely popular as a toy is based on multiple reflections of a circle of mirrors with added colorful bits of glass or plastic. Most designs of this old optical curiosity enable the twisting of mirrors that changes the structure of the pattern observed inside the tube-shaped object.A Quartz Composer patch made for Oskop translates the structure of a kaleidoscope into the digital realm and expands it so that it includes the stream captured by the video camera and further processes it into geometrically structured sequences. Both video projections are affected by the same real-time generated sound coming from the Audio Mulch patch, and both Quartz Composer patches on separate computers receive the same incoming video signal – Oskop is an audio-visual installation consisting of two generative, similar, yet different video projections that share the same sound input. Software that runs the video component of the installation generates a unique video stream in real time according to various parameters. Surface, texture, and location of this simulated kaleidoscopic “creature” are algorithmically generated according to several parameters: Numerous mathematical functions applied the initial noise generation and the incoming signal from the camera. Interpolation that happens in real time is also affected by incoming frequencies. Linear and sinusoidal loop modes applied to the generation of data bits that include us into this loop establish a breeding ground for the plant-like digital object.

Anthropomorphized digital and physical objects are constant locations that provide the interfaces of our looping emotions. Oskop is the 22nd study from the cycle Discreet Events in Noisy Domains.

Oskop

Discreet Events in Noisy Domains, Study #22

Generative audio-visual installation (object, loudspeakers, video projections, computers, live video and sound processing)

Author: Tanja Vujinovic

Production: Ultramono, 2011

http://ultramono.org

Executive producer: Jan Kusej

Oscillons 1 and 2 are generative audio-visual installations comprised of computers that run patches made in Quartz Composer for image processing, Audio Mulch for sound processing, and an active video camera for Oscillon 1.

Digital shapes of objects from other Discreet Events in Noisy Domains works, as initial “sprouts” of physical objects that first have to be drawn in the computer, are here used as a breeding ground of visual noise. Surfaces, textures, and positions are algorithmically generated according to several parameters: various mathematical functions applied the initial noise generation and the incoming signal from the camera, various parameters of incoming sound and our activity on the screen. Interpolation happens in real time and is also affected by the position of a computer mouse. Linear and sinusoidal loop modes applied to the generation of data bits, in this case scan-lines, together with the shape of objects create a breeding ground for noisy objects. Each self-generating component of both pieces is continually forming a dynamic, sound sensitive “anthropomorph”.

Anthropomorphized digital and physical objects hold constant locations that provide the interfaces of our looping emotions. Oscillon, as the 21st study from the cycle Discreet Events in Noisy Domains, explores psychological connections between our technological toys and us through sensorial means.

Oscillon

Discreet Events in Noisy Domains, Study #21

Generative audio-visual installation (object, loudspeakers, video projections, computers, live video and sound processing)

Author: Tanja Vujinovic

Production: Ultramono, 2011

http://ultramono.org

Executive producer: Jan Kusej

Pulpa is a group of five pieces that have emerged from the processing of digital signals that affect each other and create a continuous flux of abstract, enigmatic yet concrete data streams. The starting point for the visual layers of both video works and installations is the red, green and blue image matrix for Pulpa.rgb, and a black and white image matrix for Pulpa.bw, while sound is generated from noise test signals. These installations allow us to observe this process in real time and witness the soft dissolution of amorphous digital elements that occasionally become concrete and distinctive, and then once again melt back into a lava-like sea of digital noise. Pulpa continually brings forth basic digital signals that crystallise themselves from abstract, sliding arrays of noisy commands. These installations create a space in which these audio-visual textures are generated in real-time.
Credits:

Pulpa
D.E.I.N.D. Study#14
Pulpa.rgb, Audio-visual installation (computer, video projection and loudspeakers), 2011
Pulpa.bw, Audio-visual installation (computer, video projection and loudspeakers), 2011
Pulpa.rgb.1, Video work, 4:42 min., 2010
Pulpa.rgb.2, Video work, 2:32 min., 2010
Pulpa.bw.1, Video work, 4:55 min., 2010
Author: Tanja Vujinovic
Production: Jan Kusej / Ultramono, 2010

http://www.ultramono.org

http://www.ultramono.org

D.E.I.N.D. * Study#15

Installation (objects, loudspeakers, video projection, custom electronics, computers, live video and sound processing)

Author: Tanja Vujinovic

Production: Ultramono, http://ultramono.org

Co-production: Kapelica Gallery

Executive producer: Jan Kusej

Project support: The Ministry of Culture RS, MOL Cultural Department, Conrad Electronic d.o.o. k.d.

Exhibition opening organized in collaboration with the SONICA – Festival of Transitory Art.

Kapelica Gallery, Ljubljana, 10 October – 21 October 2011

Exhibition opening: 10 October 2011 at 21:00

The project Superohm is a temporary playground of data streams – a generative installation comprised of a number of anthropomorphic objects with built-in electronic components. The focus of the project is on the creation of connections between different objects in light for the interpretation of signals, intensification of sensorial perception and the generation of a transitory digital-physical playground. Small robotic objects that move across a pre-determined space of the installation affect the audio and visual landscape of the gallery space. Anthropomorphic interfaces that contain different custom made electronic components, like optic sensors, stroboscopic and LED lights, microphones, loudspeakers and a video camera, affect one another while affecting the outgoing signals and creating electronic and digital friction and noisy interferences. While moving, the objects build soundscapes and affect existing topographic imprints of their own world. Tonal and spectral mutations create temporary physical-electronic digital playgrounds through minimal changes of data streams.

One of the key ideas behind the Superohm project and most of the works from the Discreet Events in Noisy Domains series is the concept of the semi-random orchestra, where certain elements are determined while opening the structure of the overall work to random events. Etymology of the word orchestra reveals that in ancient Greece it was used to denote a “dancing place”, a space that was located between the auditorium and the proscenium – the stage. Based on this Ancient Greek notion, orchestra in this series is where various semi-autonomous objects “dance”, “play”, and interact with each other and with the audience. Therefore, “orchestra” is here to be understood as a mode that structures, interprets and makes use of random, interfaced objects – custom made objects as well as everyday, electronic objects modified and incorporated into the pieces. Toy-like “orchestra members” become part of our everyday lives, stepping closer to our attention and senses of not just hearing, but also of touch and sight. The dynamic between analog and digital, soft and hard materials, manual and mechanical production, and automatic and unique actions is the substance of this series where mini-landscapes made of “living orchestra members” produce, sometimes with the help of an audience, vigorous discreet events.

Photo documentation: Suncan Stone

Modified toy dogs and other electronic toys are incorporated into newly built objects that move on specially created platforms. They continuously repeat the same movements as they are affected by their surroundings and potential obstacles, and the resulting signals they generate are continuously changing according to the level of light in their surroundings. The video and sound maps they constantly affect are generated in the custom made computer programs that collect the real time data from the “field”.

* D.E.I.N.D. – Discreet Events in Noisy Domains

Discreet Events in Noisy Domains, publication issue#6 is now available online (1.2MB)
Ultramono
Discreet Events in Noisy Domains, publication issue#6, 2011
Author: Tanja VujinovicExecutive producer: Jan Kusej
Text: Tanja VujinovicLanguage: English
A3 format folded, full color catalogue
Publisher: Ultramono
info@ultramono.org

http://www.ultramono.org

©Tanja Vujinovic/Ultramono, 2011

http://www.ultramono.org

D.E.I.N.D. Study#13 is a place in which audio-visual textures are generated in real-time. D.E.I.N.D. Study#13 is a result of the soft collisions between the various floating ‘sprouts’ for digital objects, in which each encounter generates new and sometimes unpredictable sounds and visual traces on the screen playground. The noisy, yet subtle signal transformations of digital bits occur within a space of discreet mutating forms. As ever-mutating copies of themselves – emerging through continuous development, oscillation and reverberation – the discreet cells carry various signal streams with the intent of meaningfully merging them in a transitory flux of contacts.

Tanja Vujinovic: Supermono 2

Installation (objects, custom electronics, computers, live video and sound processing)
Executive producer: Jan Kusej
Produced by Ultramono (http://www.ultramono.org) and ACE Kibla, Gallery Kibela (http://www.kibla.org)

Kinetica Art Fair, 4 – 6 February 2011, P3, University of Westminster, 35 Marylebone Road, London, NW1 5LS
http://www.kinetica-artfair.com
http://www.kinetica-artfair.com/?exhibitors/2011?cat=5

Supermono 2/3 is a tactile and sonic environment. It consists of a multitude of objects incorporating custom electronic or mechanical components. They embody the features of contemporary toys by means of simplified shapes, close personal contact with users, and the construction of micro-worlds through modularity and limited, mostly sound-based responsiveness. The setup consists of three groups of objects. Two objects from the first group have interconnected components that enable the transformation of sound and video signals. In the second segment, contact microphones or devices for the production of minimalistic sounds are placed within a number of smaller objects that react to touch, and produce various sounds that after being amplified and modulated are returned to the space of the installation, to join the sound generated from the synthetic sources. The sound is reproduced through the objects from the third group, where microphones are placed within amorphous bodies, each of which reproduces a mono signal.

Supermono 2

Installation (objects, custom electronics, computers, live video and sound processing)

Author: Tanja Vujinovic
Photo and video documentation: Jan Kusej
Executive producer: Jan Kusej
lab30, Augsburger Kunstlabor, Mediale Künste und elektronische Klänge (media arts and electronic sounds), 4.11-9.11.2010

Supermono 2/3 is a tactile and sonic environment. It consists of a multitude of objects incorporating custom electronic or mechanical components. They embody the features of contemporary toys by means of simplified shapes, close personal contact with users, and the construction of micro-worlds through modularity and limited, mostly sound-based responsiveness. The setup consists of three groups of objects. Two objects from the first group have interconnected components that enable the transformation of sound and video signals. In the second segment, contact microphones or devices for the production of minimalistic sounds are placed within a number of smaller objects that react to touch, and produce various sounds that after being amplified and modulated are returned to the space of the installation, to join the sound generated from the synthetic sources. The sound is reproduced through the objects from the third group, where microphones are placed within amorphous bodies, each of which reproduces a mono signal.

More information: http://bit.ly/cml3fX

D.E.I.N.D. Study#12 is a series of digital prints that emerged as a result of data processing that experienced a soft collision with the various floating ‘sprouts’ for digital objects. These stills from the series Discreet Events in Noisy Domains capture and bring closer segments of the real-time audio-visual data generation processes. The encounters between the various elements generate new and sometimes unpredictable sound and visual traces on the screen playground. The noisy, yet subtle signal transformations of digital bits occur within a space of discreet mutating forms. As ever-mutating copies of themselves – emerging through continuous development, oscillation and reverberation – the discreet cells carry various signal streams with the intent of meaningfully merging them in a transitory flux of contacts.

Supermono 2
Installation (objects, custom electronics, computers, live video and sound processing)
Author: Tanja Vujinovic
Production: Ultramono, 2009/2010
Executive producer: Jan Kusej
Are We Human?
Inspace, The University of Edinburgh, New Media Scotland, Edinburgh, UK
5th Dec 2009 – 10th Jan 2010
Curator: Mark Daniels
Photo documentation: Jan Kusej

Supermono 2/3 is a tactile and sonic environment. It consists of a multitude of objects incorporating custom electronic or mechanical components. They embody the features of contemporary toys by means of simplified shapes, close personal contact with users, and the construction of micro-worlds through modularity and limited, mostly sound-based responsiveness. The setup consists of three groups of objects. Two objects from the first group have interconnected components that enable the transformation of sound and video signals. In the second segment, contact microphones or devices for the production of minimalistic sounds are placed within a number of smaller objects that react to touch, and produce various sounds that after being amplified and modulated are returned to the space of the installation, to join the sound generated from the synthetic sources. The sound is reproduced through the objects from the third group, where microphones are placed within amorphous bodies, each of which reproduces a mono signal.

Extagram 1 consists of soft, plush, toy-like objects incorporating custom electronics. By touching and moving the soft toy-like objects, visitors create or affect already existing sound and video signals in a site-specific space. In Extagram 1, close contact with the user is monitored by means of a real time video system that routes the signal through one of the objects containing a video camera. The sculpture captures the signal from the space and sends it to a computer, where it is processed and transmitted to the screen of another object. Extagram 2 is a soft sculpture containing a video monitor that recycles audiovisual fragments.

Extagram 2, i-Design 09, London Design Festival, University of Westminster, London, UK, 24.9.2009.
Curated by artists Gareth Goodison & Jonathan Munro for TINT

D.E.I.N.D. Study#12

http://www.ultramono.org

D.E.I.N.D. Study#12 is a series of digital prints that emerged as a result of data processing that experienced a soft collision with the various floating ‘sprouts’ for digital objects. These stills from the series Discreet Events in Noisy Domains capture and bring closer segments of the real-time audio-visual data generation processes. The encounters between the various elements generate new and sometimes unpredictable sound and visual traces on the screen playground. The noisy, yet subtle signal transformations of digital bits occur within a space of discreet mutating forms. As ever-mutating copies of themselves – emerging through continuous development, oscillation and reverberation – the discreet cells carry various signal streams with the intent of meaningfully merging them in a transitory flux of contacts.

Supermono 2/3 is a tactile and sonic environment. It consists of a multitude of objects incorporating custom electronic or mechanical components. They embody the features of contemporary toys by means of simplified shapes, close personal contact with users, and the construction of micro-worlds through modularity and limited, mostly sound-based responsiveness. The setup consists of three groups of objects. Two objects from the first group have interconnected components that enable the transformation of sound and video signals. In the second segment, contact microphones or devices for the production of minimalistic sounds are placed within a number of smaller objects that react to touch, and produce various sounds that after being amplified and modulated are returned to the space of the installation, to join the sound generated from the synthetic sources. The sound is reproduced through the objects from the third group, where microphones are placed within amorphous bodies, each of which reproduces a mono signal.

Supermono 1

Discreet Events in Noisy Domains, pub.issue#2, 2008
Booklet & CD
Author: Tanja Vujinovic
Executive producer: Jan Kusej
Text: Tanja Vujinovic
14 pages, full color booklet
Language: English/Slovene
ISBN 978-961-92451-0-1
(Exstat) 239390208
Number of copies: 500
Publisher: Ultramono (Exstat) and Cultural Society B-51
info@ultramono.org

http://www.ultramono.org

©Tanja Vujinovic/Ultramono, 2008.

Supermono 1 CD
Tracks list:
1.     Supermono, 3:23 min.
2.     Extagram-ST807, 3:10 min.
3.     Extagram-2, 3:32 min.
4.     Extagram-4, 2:23 min.
5.     Oscilo-DOE507, 6:00 min.
6.     Oscilo-TH807, 3:38 min.
7.     Lalala-xyz, 2:43 min.
Total duration: 25:10:987
Artist: Tanja Vujinovic
Title: Supermono 1
Release date: July 2008
Keywords: Electronica, Glitch
Format: CD
Label: Ultramono (Exstat) and Cultural Society B-51
Sound: Tanja Vujinovic
Post production: Tanja Vujinovic, Jan Kusej

Supermono 4

Extagram/Oscilo Audio-Visual Works
1. Oscilo-DOE507, 6:15 min.
2. Extagram-02, 1:47 min.
3. Extagram-03, 1:56 min.
4. Extagram-ST807, 3:15 min.
5. Extagram 5, 3:22 min.
Artist: Tanja Vujinovic
Title: Extagram/Oscilo
Release date: 01. 10. 2007.
Keywords: Video Art, Sound Art, Abstract, Glitch, Electronica, Minimal, Ambient
Format: DVD
Label: Ultramono
Language: English
Subtitles: English
Edited and mastered by Tanja Vujinovic
Sound, camera: Tanja Vujinovic
Post production: Tanja Vujinovic, Jan Kusej

Extagram-ST807, DIVA Station, Gateway to Archives of Media Art (GAMA) Screening of Selected Works,
Brucknerhaus, Ars Electronica, History Lounge, Linz, Austria, 3.9.-8.9.2009.

Blipstat
Installation (objects, water, hydrophones, custom electronics, computers, live video and sound processing)
Author: Tanja Vujinovic
Production: Ultramono, 2009, http://www.ultramono.org
Executive producer: Jan Kusej
The project has been developed in collaboration with the Marine Biology Station, Piran, Slovenia, http://www.mbss.org/

Full project description and documentation is here

Supermono 2

Supermono 2/3 is a tactile and sonic environment. It consists of a multitude of objects incorporating custom electronic or mechanical components. They embody the features of contemporary toys by means of simplified shapes, close personal contact with users, and the construction of micro-worlds through modularity and limited, mostly sound-based responsiveness. The setup consists of three groups of objects. Two objects from the first group have interconnected components that enable the transformation of sound and video signals. In the second segment, contact microphones or devices for the production of minimalistic sounds are placed within a number of smaller objects that react to touch, and produce various sounds that after being amplified and modulated are returned to the space of the installation, to join the sound generated from the synthetic sources. The sound is reproduced through the objects from the third group, where microphones are placed within amorphous bodies, each of which reproduces a mono signal.

Production: Ryan Jordan
Co-production: Jan Kusej, Ultramono, 2009

Project credits:
Oscilorama
Installation (objects in public space and the gallery, custom electronics, computers, live video and sound processing)
Author: Tanja Vujinovic
Executive producer: Jan A. Kusej
Production: Ultramono, 2009, http://www.ultramono.org
Co-production: KID Kibla
Technical realisation: Tanja Vujinovic, Jan Kusej, Lenart Kranjc, Blaz Stepisnik (Hovercraft d.o.o.)
Project support: The Ministry of Culture RS, Protrans d.o.o.

Full project documentation and description is located here

Extagram 1/Extagram 2
Installation (objects, custom electronics, computer, live video and sound processing)
Author: Tanja Vujinovic
Production: Ultramono, 2007, http://www.ultramono.org
Executive producer: Jan Kusej
Project support: The Ministry of Culture RS, MOL Cultural Department, Tosama d.d., Conrad Electronic d.o.o. k.d.

Extagram 1 consists of soft, plush, toy-like objects incorporating custom electronics. By touching and moving the soft toy-like objects, visitors create or affect already existing sound and video signals in a site-specific space. In Extagram 1, close contact with the user is monitored by means of a real time video system that routes the signal through one of the objects containing a video camera. The sculpture captures the signal from the space and sends it to a computer, where it is processed and transmitted to the screen of another object. Extagram 2 is a soft sculpture containing a video monitor that recycles audiovisual fragments.

Supermono 2/3

Kapelica Gallery, Ljubljana, 16 September – 26 September 2008

Supermono 2/3 is a tactile and sonic environment. It consists of a multitude of objects incorporating custom electronic or mechanical components. They embody the features of contemporary toys by means of simplified shapes, close personal contact with users, and the construction of micro-worlds through modularity and limited, mostly sound-based responsiveness. The setup consists of three groups of objects. Two objects from the first group have interconnected components that enable the transformation of sound and video signals. In the second segment, contact microphones or devices for the production of minimalistic sounds are placed within a number of smaller objects that react to touch, and produce various sounds that after being amplified and modulated are returned to the space of the installation, to join the sound generated from the synthetic sources. The sound is reproduced through the objects from the third group, where microphones are placed within amorphous bodies, each of which reproduces a mono signal.

Supermono 2/3
Installation (objects, custom electronics, computers, live video and sound processing)
Author: Tanja Vujinovic
Kapelica Gallery, Ljubljana, 16 September – 26 September 2008
Photo documentation: Tanja Rojc

Supermono 2/3
Installation (objects, custom electronics, computers, live video and sound processing)
Author: Tanja Vujinovic
Kapelica Gallery, Ljubljana, 16 September – 26 September 2008
Photo documentation: Suncan Stone

Supermono 2/3
Installation (objects, custom electronics, computers, live video and sound processing)
Author: Tanja Vujinovic
Kapelica Gallery, Ljubljana, 16 September – 26 September 2008
Photo documentation: Nada Zgank

Supermono 2/3
Installation (objects, custom electronics, computers, live video and sound processing)
Author: Tanja Vujinovic
Kapelica Gallery, Ljubljana, 16 September – 26 September 2008
Photo documentation: Jan Kusej

Amjumix

http://www.ultramono.org

The Amjumix application enables access to a series of five setups with elements that behave in a semi-random manner and are dependent on user input. While exploring each set of dysfunctional games, each gesture on the screen creates its own additional glitches in the development of the audio-visual textures that, literally, are continually struggling to come to the surface or to be reproduced by way of sound. Sometimes difficult to reach, the only element that allows the user to pass to the next “level” is indicated when the mouse cursor changes into a clock, allowing the user to circulate endlessly in loops of Amjumix application levels.The Amjumix digital prints are extracted from the process of capturing glitches of the original Amju games that were intentionally provoked on the computer screen. Amjumix pays homage to the Amju games created by Jason Colman.

D.E.I.N.D.* Study#8 - Amjumix

For Jason Colman’s phenomenal Amju games, visit his website.

More about Amjumix project here

Project credits
AmjumixD.E.I.N.D.* Study#8
Installation (application, objects and digital prints)
Original Amju games and sound © Jason Colman, www.amju.com
Author: Tanja Vujinovic
Executive producer: Jan Kusej
Ultramono, 2008

http://www.ultramono.org

Full project documentation and description is here

Extagram 1/Extagram 2
Installation (objects, custom electronics, computer, live video and sound processing)
Author: Tanja Vujinovic
Production: Ultramono, 2007, http://www.ultramono.org
Executive producer: Jan Kusej
Project support: The Ministry of Culture RS, MOL Cultural Department, Tosama d.d., Conrad Electronic d.o.o. k.d.

Extagram 1 consists of soft, plush, toy-like objects incorporating custom electronics. By touching and moving the soft toy-like objects, visitors create or affect already existing sound and video signals in a site-specific space. In Extagram 1, close contact with the user is monitored by means of a real time video system that routes the signal through one of the objects containing a video camera. The sculpture captures the signal from the space and sends it to a computer, where it is processed and transmitted to the screen of another object. Extagram 2 is a soft sculpture containing a video monitor that recycles audiovisual fragments.

 

Extagram/Supermono mini by Tanja Vujinovic
ArtVerona
D’EST – giovani artisti sloveni
quartiere fieristico di Verona padiglioni
6 e 7, 6. – 20. October, 2008, Verona, Italy
Curated by Aurora Fonda

OsciloX is a sound artwork from the series Discreet Events in Noisy Domains.
OsciloX is a non-linear amalgam of a continuously shifting, multi-layered sound structure that mostly depends on user input. This flash based interactive work consists of more than 160 small fields resembling grain fields that each have assigned sounds of various length, from several seconds to several minutes. Smaller particles produce sound whenever clicked, while bigger ones, in addition to clicking, also trigger sounds if a user’s mouse (or finger, in case a touch screen is used) is hovering above one. During the length of each circle (the passing of toys through the interface window), the assigned sounds switch the fields they are assigned to, making the resulting sound even richer and more complex. A version of this work is available on the Internet with an output consisting of a multitude of streaming mono signals, while the gallery sound installation version transmits a multitude of stereo sounds at 44 kHz. Depending on the users’ input, the resulting sound can be both soothing and can resemble a lullaby if the input action is slow, while vigorously clicking and moving a mouse (or a hand) can produce incredible glitches and intense noise.

• FILE – Electronic Language International Festival, SESI’ Cultural Centre, August 4th to 31st, 2008, Sao Paulo, Brazil
• FILE RIO 2009, Electronic Language International Festival, Oi Futuro Cultural Center, Rio de Janeiro, Brazil, 10.03.2009 -19.04.2009

Photo: FILE press photo Flickr

Supermono 2/3 is a tactile and sonic environment. It consists of a multitude of objects incorporating custom electronic or mechanical components. They embody the features of contemporary toys by means of simplified shapes, close personal contact with users, and the construction of micro-worlds through modularity and limited, mostly sound-based responsiveness. The setup consists of three groups of objects. Two objects from the first group have interconnected components that enable the transformation of sound and video signals. In the second segment, contact microphones or devices for the production of minimalistic sounds are placed within a number of smaller objects that react to touch, and produce various sounds that after being amplified and modulated are returned to the space of the installation, to join the sound generated from the synthetic sources. The sound is reproduced through the objects from the third group, where microphones are placed within amorphous bodies, each of which reproduces a mono signal.

OsciloX/Supermono-m
Tanja Vujinovic
Installation (objects, custom electronics, computer)
avantgarde
KID Kibla, Maribor, Slovenia

Extagram 1, Extagram 2, Supermono-m

Supermono 2/3 is a tactile and sonic environment. It consists of a multitude of objects incorporating custom electronic or mechanical components. They embody the features of contemporary toys by means of simplified shapes, close personal contact with users, and the construction of micro-worlds through modularity and limited, mostly sound-based responsiveness. The setup consists of three groups of objects. Two objects from the first group have interconnected components that enable the transformation of sound and video signals. In the second segment, contact microphones or devices for the production of minimalistic sounds are placed within a number of smaller objects that react to touch, and produce various sounds that after being amplified and modulated are returned to the space of the installation, to join the sound generated from the synthetic sources. The sound is reproduced through the objects from the third group, where microphones are placed within amorphous bodies, each of which reproduces a mono signal.