The Most Beautiful Age / AVU Graduates 2019

Academy of Fine Arts in Prague, Prague, Czech Republic

2000 x 1800 x 700 mm / neodymium magnets, laser cut aluminum, Fresnel lenses

Inter Solaris is a kinetic mechanism that, when placed in specific locations, transforms rocks found in its vicinity with the help of sunlight. The display of this kinetic mechanism takes the form of a site-specific installation for which the processing of rocks in different locations is key. This travelling solar laboratory thus combines rock, time and sun to create a record of an unrepeatable moment of the moment. This is then presented in the form of objects/transformed rocks that represent the site of the act of recording and on which a burnt line, guided by the sun's rays, can be observed.

Georeplikátor

Academy of Fine Arts in Prague / Prague / Czech Republic

Technika / 500 x 100 cm / laserem řezaný hliník, kovové kuličky, neodýmové magnety, sklo, magnetovec

Georeplication uses a combination of two meanings, geos (from the Greek γεός - terrestrial, terrestrial) and replication, ie restoration, re-introduction, multiplication, duplication. These meanings describe the content of this kinetic device, which completes the rocks according to their energy potential.

The input medium is a mineral called magnetite. This iron ore is the oldest known substance with magnetic properties. The geeplicator works with two main attributes of the magnetite - iron, which forms the majority component of the magnetite, and the magnetic field, which it creates. During georeplication, the magnetic field of the mineral is amplified and it activates its replication process by magnetic action on the Georeplicator. With it, the geeplicator begins to complete the structure of the replicated magnetite with the help of iron particles. The generation of the original structure of the mineral is specifically caused by the transfer of energy through the skeleton of the Georeplicator. The primary impulse is therefore the interaction of the magnetite and the reservoir with iron dust. The magneto attracts the magazine, which is also repelled by the upper pendulum. Initially, the magazine is full and the pulling force of the magneto is the greatest, so the upper pendulum is pushed down by the lower, but due to gravity returns after pushing to the original position and invisible force transmits the initial impulse back to the lower pendulum, which changes the trajectory. The third diversity of motion is the oscillation of the whole structure, which is suspended on the third joint. As the iron particles in the tank gradually decrease, the effect of the magnetite is weaker. When the iron in the Georeplicator tank is depleted, the whole process stops.

As I mentioned above, the replication process takes place through the circular motions of the Georeplicator pendulums. Just as a replicated magneto has two poles, so a kinetic structure has two pendulum centers. The lower and upper edges of the structure also indicate two invisible circles, if we connect these intersecting circles, we get the proportions of the Georeplicator skeleton. The movement here therefore indicates the anchor points from which it is based.

Because the Georeplicator is designed to detect hidden magnetic charge in rocks and then interact with them, I chose Říp Mountain for mineral collection. This memorable place of Czech mythology is shaped like a table mountain with an ellipse-shaped top plateau. And under today's wooded surface, it hides a volcanic past from the Tertiary period.

Full Moon Transmission

Academy of Fine Arts in Prague / Prague / Czech Republic

Technika / 500 x 2000 mm / aluminum plate, subwoofer, analog projector

The installation builds on its previous presentation in the exterior, where its essence was to capture the luminosity and the position of the Moon relative to the Earth at full moon and the subsequent transformation of these phenomena using a light analog projector. The output thus became a specific audiovisual installation.

One of the themes that appears in the installation is the reflection of natural cycles, influenced by the relationship of the Moon to the Earth. A lunar cycle that has undergone an evolution of opinion during its journey, from a spiritual to a pragmatically experimentally verified insight of society. It allowed us to view the moon's relationship with the earth as a formula of opinion that accelerates further into the future from its inception. And which in history has marked itself as one of the milestones in the perception of time or the observation of the gravitational energies associated with the full moon. However, the acceleration of thought does not narrow the range of topics such as the spearhead towards a single goal, on the contrary, the stream of opinions offers a branching range of views on this phenomenon to which we are exposed.

To better understand the role of installation in the context of fine arts. It is necessary to look into the range of interconnectedness of indirect influences associated with it. This satellite that anyone and anywhere on earth can watch. It is projected in all cultural (ethnic) strata. The connection to man, which is also evident in the elementary perception of day and night. Or inclusion in the context of religion. However, the installation does not aim to reveal in detail the socio-cultural horizons associated with this phenomenon. But to draw attention to their connection and mediation of the raw connection with the moon in its clearest full moon form. The moon then becomes the node from which the threads of context are led. The installation mirror will then facilitate the virtual connection and materialization of the abstract planes. The individuality of the viewer here represents a multitude of opinion stream which changes dynamically according to the number of users.

The main mind node represented by the lunar disk is converted in the installation into a range of sound frequencies that vibrate the membrane inside the projector. An extract from the soil is stored in the membrane at the place where the installation is currently located, which in a symbolic level connects the location of the installation and the scanned moon. The final synchronization of the projection point and the Moon occurs when the sound signal arrives at the illuminated diaphragm and vibrates the medium on it. All the action that takes place in the projector is displayed on the screen, located under the projector. The projection surface is tuned to the same vibration scale as the diaphragm in the projector. This also leads to the imaginary communication between the membrane and the projection surface in the installation. These vibrations, which pass through the viewers and the visual trace of the projection, allow us to focus on a moment that may sometimes come to us mundane or so abstract that they merge with our reality. The installation thus offers an insight into the triangular connection of the moon, earth and man.

The Essence of Source

Academy of Fine Arts in Prague / Prague / Czech Republic

Technika / 1650 x 700 / epoxy, neodymium magnet, iron dust

Ice dendrites, or snowflakes, form in the atmosphere, where their shape is created. It is further transformed as they fall. This is due to the effects of weather conditions, which provides an almost infinite number of variables, thanks to which the shape of each flake becomes completely unique.

Human beings, like snowflakes, are also subject to continuous transformation from birth to the end. Both mental and physical, and these interact. In this case, however, this is not the case only depending on external influences.

If we go back to the beginning, we find the original matrix, the genetic code. This evolutionarily compiled plan determines the basic structure and development of the human being. Thanks to its modulation, this basic library provides us with a unique thought structure. It has a direct effect on our physical nature. This connectivity is readable in the Book of Five Circles - Go Rin No Sho, authored by the legendary Japanese samurai Miyamoto Musashi. It is a partial autobiography and also an analysis of the struggle of man against man. The transformation of thinking according to physical dispositions must have been a crucial factor for Musashio, given the cannon selection that Musashi underwent in huge numbers. Proof of the functionality of his adaptation was his survival, as a substantial part of these duels ended in the death of the loser. The structure of his book suggests that Miyamoto's art of the sword grew along with his mental processes. He was also strengthened by advancing meditation and philosophical thinking. This raises the question of the extent to which our mind is able to transform our body. This circle can be visible to us when we realize that in order to get somewhere or want to do something, it is necessary to virtually simulate the activity in advance, ie to imagine and thus be already in the idea. According to the theory of the amateur Swiss physicist Nassim Haramein, it is necessary to count on human memory and time at the same time. Because without our memory there would be no time for us and without time there would be no evolution. He further elaborates this in his theory of cosmic memory, which connects everything. I perceive the structure of DNA as a basic medium for contact with the past and a possible prediction of the future. Imagine being in the middle of an unknown landscape without equipment and civilization, so our survival depends on the forgotten primitive skills we hide. For example, on the ability to start a fire. Even if we do not master this skill, we have the hidden potential to start a fire. So following the essence referring to this information would help us reconstruct this lost skill. I perceive human potential as energy enabling the use of our abilities, which exist in us to a trace extent. Understanding the cryptography of our mind means learning to read in it. This will offer us the opportunity to discover the keyed abilities that are written in us through the generation medium. Since I perceive the human mind and body as an interconnected system, breaking down mental limits will allow us to look beyond our own physical horizon. However, I still see the potential as an abstract plane with no limit on the number of variable values ​​that prevent its predictability. If we fail to discover this hidden charge, then human existence will become more and more like particles moving at different speeds in space, just as we do with ice dendrites.

Backgound Structures

Academy of Fine Arts in Prague / Prague / Czech Republic

Technika / 250×61 cm / kresba pomocí robotického ramene na papír

Complementary layers from the series of Backgound Structures drawings that examine the similarities in sacral geometry and the motion of cosmic bodies.

Cycle

Academy of Arts Architecture and Design in Prague / Prague / Czech Republic

Technika / 75 brambor, měděný drát, raspberry pi

Bitcoin is an internet open-source P2P payment network and a cryptocurrency used in this network. The main uniqueness of Bitcoin is its full decentralization; it is designed so that no one, not even the author or other individuals, groups or governments, can influence the currency, counterfeit, confiscate accounts, control cash flows or cause inflation. There is no central point in the network, and no one can decide the network. Except for users and network miners, no one else figures.

Users are people who send money. Each user has one or more wallets that serve as payment addresses. Each wallet has a private and public key. If the user wants to send money, he takes the appropriate amount of his coins plus any fee and creates a transaction, which he signs with a private key. It sends this information to all nodes, users to which it is connected, they send it to others, etc. to the entire network. To the recipient, the information flashes almost immediately, in a matter of seconds, but the transaction has not yet been so-called confirmed. 

The miners confirm the transactions of the network. The miner groups the transactions waiting to be committed, adds a knim reference to the previous committed block of transactions, and a data called a cryptographic nonce. It tries to find such a nonci that the hash of the new block fits below the set limit. The limit is set so that the whole network succeeds on average once every 10 minutes, so finding a suitable nonce is difficult, the more powerful the whole network is. The Miner who succeeds in finding the nonce and in creating and confirming a new block of transactions will retain all fees from the included transactions and the fee for confirming the block.

Bitcoin should therefore be an ideal universal, uncontrollable currency that has the potential to simplify the functioning of society at the financial level. This potential streamlining of trading could lead to savings in energy, time and other resources.

However, in order for the whole system to work, a constant external supply of energy is required due to the function of the already mentioned miners. Without it, their activity on which the system is built could not be performed. 

If we perceive the currency as an element that allows the system to function as efficiently as possible and thus save energy, we are asked what the real value of this virtual currency is, even if the theoretical transition to this currency does not lead, despite decentralization and open source transparency. mass connectivity. 

This association can be visually read in this installation by using Cycle. I work outside with an organic source of energy symbolizing the biological entity around us as well as human society operating outside.

Serially connected potatoes form a living battery that provides power to the computer, the machine, which displays the current rate of this cryptocurrency. The whole cycle reflects this issue, which is currently developing both in our territory and in the world.

In addition to a possible change in the financial system, it provides insight into the possible transformation of our thinking in the near future.

Virtual Level

Academy of Fine Arts in Prague / Prague / Czech Republic

Technika / 105 x 100 cm / videomapping na plátno

Looking at the painting, we see the capture of the place of the granite quarry and part of the landscape around it with a black-and-white aesthetic. This simplified image frees us from possible disturbing elements in the real environment, which in turn makes it easier for us to concentrate on the kinetic element in the image. In this case, it represents a computer-generated vector network in real time, which is projected by video mapping onto the painting. The network evokes waves of the water surface, which change based on the sensed sound waves around the image. The viewer thus becomes part of the installation.

The network used here is similar to those used in real engineering applications. For example, it can be used to calculate waves around a boat or to flow around a car. Therefore, for me, it was an ideal tool for demonstrating the environmental impacts of this work.

The network here simulates the water surface in its almost static but also turbulent form. The viewer is thus impressed by a simplified image of a virtual landscape, which evokes the impression of a moving space. Here, the visual stimulus approaches the abstract, subconscious processes of the human mind, which are responsible for the emotional perception of space.

The contrast of the computer-generated amalba network is an important level for me. The process of classical painting reflected many spontaneous actions, which create the overall impression of the depiction and at the same time emphasize the handwriting indicating the uniqueness of the place and the memory. My interest was to use this feature of classical painting in this work as well. The resulting installation thus responds in an original way to each viewer.

Personal Image

Academy of Fine Arts in Prague / Prague / Czech Republic

Technika / 37,5 x 32 cm, interaktivní instalace / LCD display

Imagine a window in which we can observe our other perspectives. All the activity we perform physically mentally would be able to be perceived in person as if it were not possible, although we would still be the one to observe. In other words, what we are trying to find lies before us, but it is still hidden. Similarly, we can see another image that at first appears only in black and white. The image captures light, sound and time values in its vicinity. Using these values, an object is generated in real time, which is visually represented by the pixels inside this image. However, we can look into the image only with the help of glasses designed for that.

After putting on the glasses, we can observe the object that we influence and also generate with our presence. However, if we observed the image in a longer time interval, then there could be a chicken synchronization of the viewer with the image. The viewer could then also realize how he himself influences the image, how the object in the image transforms according to his behavior and under what conditions it happens. After this synchronization, he could observe the image without special glasses, as he would already know how it affects his environment. The image after this "encounter" or synchronization with one's viewer does not have to be observed only by the visual senses, but also by self-awareness and self-reflection.

Thanks to this process of synchronization and awareness of oneself and its influence on the space around us, an original bond is created between the viewer and the artistic object. Although this process can be influenced by a number of external factors, the bond itself is formed in a completely sterile environment of our mind. The originality and uniqueness of each potential viewer makes this process of each individual completely unique, elusive and real.

If we want this process to work, we need to correctly define the possibilities and likeness of this abstract mirror. This so-called mirror senses our influence on the space around us, ie the particles we act on. A particle is a very small part of matter, which manifests itself in its characteristic properties (energy, mass, electric charge, spin, chemical reactivity, lifetime).

The particles are affected by a non-spatial linear continuum, in which events occur in an apparently irreversible order. Time, as such, is an essential component of the structure of the universe in which we are also contained, so time is one of the three sensed values of this installation. If we want this mirror to be able to respond in real time to changes in any particles, it is necessary to read another value with a relatively fast response. This value is visible light, which due to its properties also has a significant effect on the surrounding particles. The third measured value, in order to obtain information on changes in particles in the installation area in a relatively short period of time, is sound waves. Light and sound can be perceived through the senses of the viewer, who can then reflect the changes in the image and compare them with reality.

Another aspect of the installation is the imperfection of the measurement in relation to the immediate responses of the measured stimuli. However, this is eliminated by the relative imperfection of the human senses and by adapting to the principles of changes in the image as a result of the measured values.

As I mentioned, these three measured values affect the transformation of the generated object. It consists of a spatial body, a sphere. The body of a sphere is formed by the set of all points of three-dimensional space, the distance of which from the specified point, from the center, is at most equal to the specified radius. Points whose distance from the center is just equal to the radius form the surface of the sphere. The aspect of integrity of asymmetry makes this body an ideal building block for the transformation of dependence on the measured values of this project.

Aesthetic of movement

Academy of Fine Arts in Prague / Prague / Czech Republic

Technika / video, 1920 × 1080, 08:48

For an ideal illustration of this video, imagine a boxing tournament. Boxing, formerly also "cornering", is a martial art in which two opponents try to knock each other out using the rules allowed by punches. Sports boxing originated in the 18th century in Great Britain, and despite its brutal undertone, it is very popular in modern society in all walks of life. So if we go back to the boxing tournament, we can observe spectators who are interested in the technique of fighters, the dynamic course and the result of the tournament, which is not clear until the last second of the match. Boxers, under enormous psychological pressure, try to use all their abilities to eliminate the opponent, or else he eliminates them.

We will omit these main factors with which the fight is connected, and we will focus only on its essence in the visual interface, ie on the movement, which I perceive as the key to the potential of the visual aesthetics of the fight.

The distribution of motion to individual points frees us from visual disturbance and from the surrounding space. Thanks to this, we are offered a pure impression of the movement dynamics of the duel. The overall effect consists of several interacting elements. The movements of one fighter are based on reactions to the movement of another, thus creating the impression of a synchronized whole, even though they are in fact competing with each other. This reveals new levels of combat.

Mirror of Surroundings

Academy of Fine Arts in Prague / Prague / Czech Republic

Technika / video, 1920 × 1090, 02:09

In this project I work with a people's perception of space. From a psychological point of view, we know that the space in which we find ourselves affects us. The environment can change our feelings, memories and mood. For example, if we find ourselves in a dark room unknown to us, our feeling will be different from the feeling that an open environment evokes.

With this seemingly banal, but key human perception for artists, I work in this video. I used myself here as a biological sensor. I have focused on several different environments that affect and affect us, even if we do not usually notice. I compared my impressions in a harmonious forest in the monumental building of the Academy of Fine Arts in Prague and in a busy street. All locations are similar distances from each other, their center is the Academy. I used mirror balls, which act as perfect mirrors and indicate my emotions with their movement.