Portfolio Lavoslava Benčić

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Mistake+

3V+MP3=∞

RGB Hairball

FETI - The Virtual thematic Route

E-textile fashion accessories

Second Chance - Dice Game

Lavoslava Benčić - selected works

Selected works / Lavoslava Benčić

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LACESounds (ČIPkoZvoki)

Video-compilation of graphic sounds

author/project menthor: Lavoslava Benčić students: Tjaša Avsec, Ida Hirschenfelder, Saša Spacal, Mojca Založniktechnology: graphical sound, videoproduction year: 2015

Exhibitions and public presentation: City of women, ŠKUC Gallery, Ljubljana (Slovenia), 2015Bizarre Sound Creations, Glaspaviljoen, Eindhoven (The Netherland), 2015Štrene, RampaLab, Ljubljana (Slovenia), 2015

This LACEsounds video is a compilation of graphic sounds generated in the Graphical sounds workshop within the series of one-day From Lace to Lace workshops mentored by Lavoslava Benčić. The workshop was aimed at learning the method for unbiased and logical bridging of diferences in dealing with the digital graphic and sound worlds.The method of graphic sound allows for the analysis of graphic elements in special programmes which translate graphic structures into sound. The basis for transformation is the spectrogram algorithm. Each sound structure makes the visual characteristics of one graphic matrix audible. The graphic matrix used for generation of LACESounds was lace patterns.

Link: https://vimeo.com/149952184

https://vimeo.com/149952184

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LACy Snowflakes (ČIPkaste snežinke)

Wearable electronics, dance and acoustic improvisation

author: Lavoslava Benčić hair modeling: Katja Mahnesnowflakes, dancers: Ema Krizic, Elena Nikolovska snowflakes, musicians: Nina Orlić, Vanja Aš technology: seving, electronics, optic fiber, LED, sensors, hairdesign, drumsproduction year: 2015

Exhibitions and public presentation: Štrene, RampaLab, Ljubljana (Slovenia), 2015

Lacy snowflakes presented wearable electronics through dance and acoustic improvisation.The legend says that the snowflake shows up to all good people of pure hearts on the walls of the castle Snežnik. They will have happiness, health and peace. This is a gift of Snežnik, a good and joyful bear, which once alike all the people of mighty forests around the castle Snežnik. Preserve the memory to him.

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FETI - The Virtual Thematic Route

E-textile map

author: Lavoslava Benčić technical support: ČIPketechnology: augmented reality, Junaio viewer, Metaio, printing on canvas, electronicsmaterial: electronic materials, canvasdimensions: 50cm x 60cmproduction year: 2014

Exhibitions and public presentations:MAP in Motion, Galerija Kortil, Rijeka (Croatia), 2014MAP in Motion, Galerija Alkatraz, Ljubljana (Slovenia), 2014Center for Visual Arts Batana, Rovinj (Croatia), 2014

Project From Experience to Infinity (FETI) takes the form of a virtual thematic route. It content is composed of eight sub-projects, symbolically located on the form of the sign for infinity (∞), and virtually located on the Istrian peninsula of Punta Busola. The audience is connected with the content of subprojects using augmented reality technology. The QR code can be read with the free application Junaio viewer using e-textile map and cardboard map as trackables.



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Guide to The virtual thematic routeaugmented reality

author: Lavoslava Benčić technology: database, augmented realityuser interface: GuidiGoproduction year: 2014

Exhibitions and public presentations:MAP in Motion, Galerija Kortil, Rijeka (Croatia), 2014MAP in Motion, Galerija Alkatraz, Ljubljana (Slovenia), 2014Center for Visual Arts Batana, Rovinj (Croatia), 201410th International Conference on the Arts in Society, Imperial College, London (UK), 20152nd International Conference - Cultural Mapping, Debating Places & Spaces, Valletta (Malta), 2015 International Symposium of Electronic Art, Hong Kong, 2016

The GuidiGo application is proven as the most appropriate solution to illustrate The virtual thematic route content and goals. One can download it and use it without an Internet connection—irrespective of the location—on the site or anywhere else. Documents shift from one stop to the next in different views (map view, list of stops view). Each virtual stop in this guide tells about the selected story in adequate digital media technology and links to the original sources. Virtual stops are equipped with photographs, texts, and links to subproject sites, acting in harmony with a user’s view during the visit to the site or anywhere else to entertain, inform, and immerse the user in a multimedia experience.The time of the visit is flexible and self-paced. The recommended flow of the virtual visit (stops from 1 to 8), average time of visit (2:00 h), and the distance between the stops and the total distance (1.76 km) are marked.The application is intended for iPhone, iPad, and Android devices.

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for GoogleGlass:


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TP01educational database and application for mobile devices

author: Lavoslava Benčić technology: QR code, mobile webpages, database, printingmaterial and tools: cardboard, photography, mobile devices, production year: 2013

Exhibitions and public presentations:Center for Visual Arts Batana, Rovinj (Croatia), 2014International Symposium of Electronic Art, Hong Kong, 2016

Project TP01 includes photographs that are works of Emil Benčić. Each record of the work sets out ten parameters (textual, numerical, and photographic) and consists of the following four phases. Through the QR code reader on a smart phone, the user scans one of the six QR codes at the cube. The user opens the URL. On the mobile smart device display, the user reviews the content (the photo of the motif) and selects one. The user remembers the basic information (year and the name of the work) and finds the photograph of the selected work in the box. The user determines the position of the selected work on the timeline and places it in a pocket. The user can write contact information or ideas on the back of the photo.The user gains secondary knowledge and skills in project TP01 that include reading QR codes, using phone beam online, memorizing characteristics of visual contents, and sorting visual content by parameters.

Link: http://vsu-ng-cm-nm.wirenode.mobi

http://vsu-ng-cm-nm.wirenode.mobi

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0-18-81-0video

author: Lavoslava Benčić technology: one shot video, editingmusic: Avantgelij, Vlado Skale, Celje (Slovenia), 2006production year: 2013


The video 0-18-81-0 is taken in the elevator, located in a skyscraper eighteen floors high in Ljubljana, where I (the author of the project) moved in 1981 when I was eighteen years old.The elevator is symbolically seen as a “zone” between the inner and outer world. When I get out of it or enter in to it, I often relive the happy moments, impressions, and experiences I enjoyed with Emil Benčić. He passed away in his eighty-first year.Such remembering is actually like a spiral motion. In the traditional understanding of the world, spiral circulations are found in legends, fairy tales, dances, and religious practices in a variety of forms (e.g., patrolling of houses, dancing around the wells, fortune-telling by spinning the crystal ball around its axis). Similar procedures are maintained in contemporary beliefs, rituals, and practices and act as a deliberate way of interaction through which one can enter into another world and come out of it.



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Schattenobjekt Uhrturmvideo simulation

author: Lavoslava Benčić technology: animation, video, mapping, editingpreview: Bix Simulator, John Dekron, Berlin (Germany), 2002music: The Lost Tapes, Millionenspiel, CAN, 2012production year: 2013


With project Schattenobjekt Uhrturm, I investigate the attitude toward misunderstanding and disregard of the cultural heritage by today’s society. I warn about the threat of impoverishment and the disappearance of all forms of cultural heritage artifacts. In particular, against the “deadliness” and a misunderstanding of Emil Benčić’s artworks, I try to spread interest in spiritual values and messages that emanate from his works. We create and run remediations in this video simulation. The clock-tower on Schlossberg is a symbol of the city of Graz (Austria). Its position as well as its history is essential for the reputation of this city. In 2003, Styria artist Markus Wilfling “materialized” the Grazer clock-tower shadow as a steel structure: Schattenobjekt Uhrturm. In 2004, the commercial center Seiersberg Graz bought the Schattenobjekt Uhrturm and repositioned it to the middle of the traffic circle in the front of the commercial center. I felt the displacement of Schattenobjekt Uhrturm as an incentive to express our views. Ten years later, I gave the idea of the Grazer Schattenobjekt Uhrturm back to the citizens in an interaction with the BIX façade—an oversized urban screen of the Graz Art Museum. As a weightless spatial element, I transposed the Schattenobjekt Uhrturm in another time and space using the shape and motion of a 3-D model. Schattenobjekt Uhrturm is now hovering (floating) above the Earth’s surface, seeking its original identity. It appears in the new manifestations as fragile, even impalpable, although undoubtedly an inseparable part of the Grazer clock-tower identity.I suggest Schattenobjekt Uhrturm as a symbol of all artworks to which history was not kind and whose futures remain uncertain.



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The Purpose of Lifecymatics, graphical sound, performance, video installation

authors: Lavoslava Benčić, Dunja Danial, Iva Musovićtechnology: cymatics, graphic sound, video, performance, camera and editing: Iva Musović, Belgrade (Serbia), Dunja Danial, Ljubljana (Slovenia)performance: Nika Mišković, Rijeka (Croatia)production year: 2013

Exhibitions and public presentations:Rikard Benčić, Rijeka (Croatia), 2013Simultan Festival, Timisoara (Romania), 2013Pixxelpoint 2013, VŠU, Palazzo Alvarez, Gorizia (Italy), 2013Zametki 2013, CK Španski borci, Ljubljana (Slovenia), 2013 10. Patosofiranje, Smederevo (Serbia), 2014Center for Visual Arts Batana, Rovinj (Croatia), 2014Women in Music Technology, Irvine (USA), 2016International Symposium of Electronic Art, Hong Kong, 2016

The video installation The Purpose of Life is based on the artist’s Emil Benčić’s quote:

“The purpose of life is not to warm up, but to burn up!” (Source: Emil Benčić diary, unpublished.)

The primary display represents energy and the purity of artists’ ideas. I generated content by using the graphical sound method (or drawn sound techniques). Applying the quote above, I remediated newly created sound structures in cymatics. This cymatics experiment is realized using crystallized sugar as a medium/source of waveformes.The secondary display is part of the conceptual documentary Videodocument (Danial and Musović 2013). The quote transformed to cymatics became the initiation and inspiration for a spontaneous body performance (Mišković). The video installation The Purpose of Life represents the example of viral influence caused by the quote’s sound frequencies and compatibility between different media. Both videos as a whole tell us that all art has to “burn” to trigger authors, encourage curators, and excite spectators on the way to a positive and complete relationship with the authors’ creativity.

Link: Primary display: https://vimeo.com/95312785 Secondary display: https://vimeo.com/95778307



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Eol & Glorijavideo, graphical sound, installation

author: Lavoslava Benčić technology: cymatics, graphic sound, video, installation, Glorija’s voice: Maja Nemec, Nova Gorica (Slovenia)meteorogical data: Meteorološka postaja Komiža, (Croatia)production year: 2013

Exhibitions and public presentations:Zametki 2013, Center kulture Španski borci, Ljubljana (Slovenia), 2013Center for Visual Arts Batana, Rovinj (Croatia), 2014International Symposium of Electronic Art, Hong Kong, 2016

The sound and video installation Eol & Glorija is inspired by the Emil Benčić story, “Thank You, Eol!” and Ranko Marinković’s drama, Glorija. The characters are Eol and Glorija. Eol is the god of wind. He represents Glorija’s friend, counselor, trustee, and comforter in a critical situation. Glorija is the main character in Ranko Marinković’s drama. She is a woman with two lives: a dancer on a trapeze and a nun. She is deep disappointed in her father, love, and the Catholic church. She needs a friend for conversation before her suicide.The background of the installation Eol & Glorija is related to memories of Komižans on Ranko Marinković, especially on his birth centenary in 2013. In these circumstances, transmediation of his work becomes meaningful to the present day Komiža and also presents the occasion to educate non-Komižans. In everyday life, winds are important for the success of Komižan’s fishermen. Their catch depends on the wind’s inclination and power.The sound and video installation is based on dialogues of dramatic treatment of the theme from the five-scene drama Glorija between Glorija and Eol and the wind’s visualization. Glorija is represented by an actress’s voice. Four Eols are sounds/frequencies, a transmedia of data archive of wind power and direction in Komiža gathered from March to May 2013. Visualization is a globular video projection of Benčić’s ceramic inlays in a circular movement according to the local windrose. Spectators listen to dialogues in the middle of the soundspace and look at the circular visualization on the floor.



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La Danza de la Muertevisualization, graphical sound

author: Lavoslava Benčić technology: cymatics, graphic sound, visualisationtypography Espinosa Nova: Cristóbal Henestrosa, Universidad Iberoamericana, Ciudad de México (México) production year: 2013

Exhibitions and public presentations:9. Patosofiranje, Smederevo (Serbia), 2013Center for Visual Arts Batana, Rovinj (Croatia), 2014International Symposium of Electronic Art, Hong Kong, 2016

The medieval didactic poem La Danza de la muerte tells of the inescapable facts that we will all die, in death we are all equal, the departure from the real world cannot be ignored or redirected. The character of Death reminds us of the fragility of life and demonstrates the absurdity and vanity of wealth, power, and prestige. This poem is certainly one of the most painful lessons for civilization.Graphical sounds are interpretations of the the poem characters. Six-unit sounds evoke feelings and reactions, based on the poem message.The sound is created by the method of graphical sound, which analyzes the visual elements and transforms them into a spectrogram algorithmic sound structure.The initial screen of the project interface illustrates the circular victims dance and introduces the victims randomly. Spectators access the next level screens as victims confess, then watch and listen to the victims’ messages.

Link: https://drive.google.com/file/ d/0Bwg7cKLoqkExY2tabmdRdnBTSzA/view?us

https://drive.google.com/file

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3D Timespaceinteractive database

author: Lavoslava Benčić technology: database, 3Dproduction year: 2013


3D Timespace is a web-based interactive database. It informs the user about the life and work of the artist Emil Benčić in chronological order in three-dimensional space. Users can explore and share the content on the Internet.Functionalities are presented on five parallel strips and include the artist’s biography, the list of solo exhibitions, the list of collective exhibitions, the list of awards he achieved, and the list of symposia and colonies he attended. The database consists of 174 total units. Some units provide links to additional content (photo, video, and audio).This version is very much in a developmental stage and is currently in the process of digitalization and entry of the materials contained in the database. 3D Timespace will be updated according to future, relevant activities.

Link: http://www.tiki-toki.com/timeline/entry/293341/Emil-Beni-From-Experience-to-Infinity/#vars!date=1928-09-09_09:39:26!

http://www.tiki-toki.com/timeline/entry/293341/Emil

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Digital Story Creatora gamified experience

author: Lavoslava Benčić technology: gamification, storytelling, mobile application user interface: Mary Galvin and James O’Sullivan, Cork Institute of Technology, Cork (Ireland)production year: 2014

Exhibitions and public presentations:Center for Visual Arts Batana, Rovinj (Croatia), 2014Pixxelpoint 2014, Mestna galerija, N. Gorica (Slovenia), 2014 Europeana Creative Challenge, Manchester (UK), 2015Speculum Artium, Galerija DDT, Trbovlje (Slovenia), 2015 2nd International Conference - Cultural Mapping, Debating Places & Spaces, Valletta (Malta), 2015International Symposium of Electronic Art, Hong Kong, 2016

Digital Story Creator is a gamified experience that vivifies the project Emil Benčić—From Experience to Infinity, improves the number of return users, and transforms them into active participants. Its elements support the entertainment/discovery/creative visit genre of the content that corresponds to a general group of users on the peninsula Punta Busola. Users spontaneously explore their creative skills through narrative (storytelling). Their ideas may become the inspiration for future projects and may be an important factor for the sustainability of the main project.The gamified experience uses the power of storytelling to engage players. Users create stories strongly related to visual project content. The interface allows and encourages competitive key actions by different types of players and their collaboration in the endgame stage.A gamified experience is created from provided (offered) visual content (photos from the database and from Emil Benčić’s mobile phone gallery). The content is ordered in four categories (Hero 1, Hero 2, Location, Random). At the beginning of the gamified experience, building elements are selected randomly using one photo from each category as an inspiration. Photos help participants to build personalized stories. In the midgame stage, the user writes the narrative/plot and publishes it on the project site. In the endgame stage, narratives are scored. The best-scored narratives are rewarded and published. Winners are honored and become mentors or “storytelling experts.”This version of Digital Story Creator is very much a developmental version, and the application is currently in the process of being improved. The gamified experience presently works off-line on Android mobile devices.

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RGB Hairball (RGB Kosmatinec)

E-textile object

author: Lavoslava Benčićtechnology: Attiny 85, Arduinomaterial: soft electronics materialsdimensions: 32cm x 32cm x 6cmproduction year: 2014

Exhibitions and public presentation:Pixxelpoint 2014, VŠU, Palazzo Alvarez, Gorizia (Italy), 2014

It’s fascinatinghow many hairy lies

are staring me in the face from the RGB screens.

This is art,hairy as devil.

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3V+MP3=∞Light and sound interactive installation

author: Lavoslava Benčić technical support: ČIPketechnology: LilyTiny, Arduinomaterial: soft electronics materials dimensions: 140cm x 15cm x 15cmproduction year: 2014

Exhibitions and public presentations:Štrene, RampaLab, Ljubljana (Slovenia), 2014

This installation opens up the possibility that using light and sound spectators may alive once live natural creature.The dialogue between the visitor and the work is created visually and acoustically.The visual part of the installation is carried out in an electronic textiles on the oak branch. The holder of two separate circuits is silk ribbon, decorated with translucent textile elements. Each circuit is powered by a 3V battery. Light rhythm generates white and blue LilyPad LEDs with built-in resistors. A LilyTiny chip (Attiny85) is programmed so that mimics the rhythm of heart rate. Elements are connecting by the conductive yarn.The audio part of the installation is generated by the method of graphical sound. Sound in the duration of 1,40 minute is stored in MP3 format on the micro SD card in the LilyPad MP3 player. Sound raises when the user contacts two metal plates (ground and program). They hang on conductive yarn, coated with copper sulphate crystals.



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Mistake+

Interactive site specific project

authors: Lavoslava Benčić (visual identity, patterns, sensor), Arnold Verderber (design, gamification), Mark Biziljsupport: Richard Dank (technology), Daniela Brasil (concept, workshop coordination), Jakob Wegerer (Graz University of Technology) technology: Processing, electronics, printing, BIX simulatormaterial: cardboard aluminium, electronicsproduction year: 2013-2014

Exhibitions and public presentation: BIX facade Kunsthaus Graz (Austria), 2013

This work connects the small mistakes that apear in meandering around the city, where some city artifacts appear to be used in ways different from how they were concieved. This public misuse runs parallel to the intrinsic mistakes in the city structure. The invention focuses on a commonly mistaken activation of the acoustic signal guiding blind pedestrians over a crossing; each useless interaction with the device is translated into visualisations of another mistake: the “jumping” pixel on the BIX-facade.Next to the Kunsthaus is the crosswalk. On each side, there is a machine, that helps blind people to cross the street, by generating a special sound when the traffic light turn green. This machine is often used by not blind people, cause they think the traffic light gets green more fast - so its also a kind of „placebo button“. We are upgrading this machine to get a signal to the BIX fassade, so that the visuals there change every time the button is pushed.



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rOg rINg

3D object / space

author: Lavoslava Benčić support: Richard Dank (technology, Graz University of Technology), Peter Purg (concept and workshop coordination, Adriart), Alen Bubanja (RogLab)technology: 3D printingmaterial: PLA plasticproduction year: 2013-2014

Exhibitions and public presentation: RogLab, Ljubljana (Slovenia), 2013

The idea is to use the material volume of the ring as a communication space in relationship between creators, authors, artists (users of the ex Rog factory) and public (citizens of Ljubljana, authority) related around the Rog factory. On the one side, cuts crossing the ring-shaped form and shift-outs symbolize user’s tendencies to express their ideas and rights to the public. On the other side the public shift-in the elements of the ring-shaped form to enter Rog and consume the users’ ideas and content.

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Second Chance - Dice Game

A social game to aid cultural management

authors: Lavoslava Benčić (visual identity), Mateusz Pankiewicz (3D modelling), Nina Zimmermann (packaging), Peter Mišic (design and gamification)support: Richard Dank (technology, Graz University of Technology), Peter Purg (concept and workshop coordination, Adriart), Alen Bubanja (RogLab), Paul Frick (Graz University of Technology), Anton Kovač (RPS)technology: 3D printing, laser cutting, CNC cuttingmaterial: PLA plastic and aluminium, cardboarddimensions: packaging: 130mm x 71mm x 61mm; bricks: 27mm x 25mm x 22mm and 30mm x 35mm x 25mmproduction year: 2014

Exhibitions and public presentations:Pixxelpoint 2013, Palazzo Alvarez, Gorizia (Italy), 2013 Galerija MOL, Breg 22, Ljubljana (Slovenia), 2014 Vetrinjski dvor, Maribor (Slovenia), 2014

The social game Second Chance helps users organise their space, time, money and other means once the set methods of cooperation and discussion fail. The idea arose in 2012 at the international workshop LOGOS, Multiple Manifestations of Rog, which was followed by the creation of the prototype through the process GRAB.ROG.LAND, Mono Materialiasation of Rog. The game unfolds (and the scheduling gets decided) with a single throw of two dice, one with four and one with eight sides. It was created in cooperation with students and mentors from the School of Arts at the University of Nova Gorica, Graz University of Technology and The Academy of Applied Arts in Rijeka and was supported by the European Commission.

Link: http://roglab.si/en/projects/2013/vsu-second-chance

GRAB.ROG.LAND

http://roglab.si/en/projects/2013/vsu

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oNLY mENsTUFF

game for mobile devices and advertising on public screens

author: Lavoslava Benčić, technology: GEM, web pageproduction year: 2013-2015

Only Men Stuff, great Fashion show is designed just for men visitors. The entrance to all events is free of charge, but it is necessary to acquire the tickets beforehand by cooperating in GEM Public Multimedia Network or in interactive mobile web portal.The holders of the visual expression are variants on the theme of the motive from the Greek water jar with the motive of the myth of Leda and the Swan. The mythic basis is substantiated by the modern symbolism of the white shirt and a cord. Variants on the theme of the myth Leda and the Swan - the typical emotional situations during the common courting period: power-weakness, dominance-subordination, determination-confusion, protection-attack, courage-cowardice and steadiness-indulgence. The figures (Leda and the Swan) are in different dynamic and dangerous positions on the cord.

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Salieri Accompanies UEFA 2016

public screens live

author: Lavoslava Benčić, technology: photography, videoproduction year: 2010-2016

Scenes are installed in the beginning of the 19th century (empire and classicism), Middle-European cultural environment.Antonio Salieri is the main character and holder of deadpan aesthetic. He himself never laughs and does not rejoice. When watching the broadcast of the WFC match on TV screen he takes a negative stand towards football. He is extremely critical towards contemporaries (servant, minister, wife and acrobat) that have been overwhelmed and captivated by football. He observes their unusual doings and unpredictable behaviour during a walk. Unlike deadpan expression on the face and body posture, in some uncontrolled moments shocks with its distance from the context of social stratus. In the finishing part of the advertising action comes to an unexpected twist …



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Lavoslava Benčić, 2016