Intima | Igor Štromajer


Vocal Aesthetics in Digital Arts and Media

Edited by Norie Neumark, Ross Gibson and Theo Van Leeuwen
The MIT Press, U.S.A.

Voice has returned to both theoretical and artistic agendas. In the digital era, techniques and technologies of voice have provoked insistent questioning of the distinction between the human voice and the voice of the machine, between genuine and synthetic affect, between the uniqueness of an individual voice and the social and cultural forces that shape it. This volume offers interdisciplinary perspectives on these topics from history, philosophy, cultural theory, film, dance, poetry, media arts, and computer games. Many chapters demonstrate Lewis Mumford’s idea of the “cultural preparation” that precedes technological innovation—that socially important new technologies are foreshadowed in philosophy, the arts, and everyday pastimes.

Chapters cover such technologies as voice mail, podcasting, and digital approximations of the human voice. A number of authors explore the performance, performativity, and authenticity (or ‘authenticity effect’) of voice in dance, poetry, film, and media arts; while others examine more immaterial concerns—the voice’s often-invoked magical powers, the ghostliness of disembodied voices, and posthuman vocalization. The chapters evoke an often paradoxical reassertion of the human in the use of voice in mainstream media including recorded music, films, and computer games.

Norie Neumark analyzes and writes about the Oppera Teorettikka Internettikka by Igor Štromajer.

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Poбo:свадба (Robo:Wedding)

Oppera Internettikka – Poбo:свадба (Robo:Wedding)
Robotic Wedding
Project by Igor Štromajer

Part of the 5th AKTO Festival for Contemporary Arts
11-15 August 2010, Bitola, MK

Curated by Filip Jovanovski

Poбo:свадба – Video Installation

This video represents a part of the Poбo:свадба installation, exhibited in the House of Officers (Oficerski dom) in Bitola, MK, during the 5th AKTO Festival for Contemporary Arts.

Video by Igor Štromajer
Audio by The Conet Project

“Bourgeois marriage is, in reality, a system of wives in common and thus, at the most, what the Communists might possibly be reproached with is that they desire to introduce, in substitution for a hypocritically concealed, an openly legalized system of free love. For the rest, it is self-evident that the abolition of the present system of production must bring with it the abolition of free love springing from that system, i.e., of prostitution both public and private.”
(Karl Marx and Frederick Engels: Manifesto of the Communist Party, 1848)

Poбo:свадба (Robo:Wedding) Video Installation in Bitola (Photo: AKTO)

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If not you not me

If not you not me by Annie Abrahams

HTTP Gallery
Unit A2, Arena Design Centre
71 Ashfield Road, London N4 1N4
+44(0)77 3700 2879

Open 12 February – 20 March 2010
Open Thursday – Saturday, 12-5pm

Among other works by Annie Abrahams, two works co-produced by Intima Virtual Base are presented at the exhibition.

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Oppera Teorettikka Internettikka – remix

radioCona 88.8 MHz Sweet Nowhere

Live Internet and radio stream (from the City Art Museum Ljubljana):—nikjer-je-najlepse-sweet-nowhere

Wednesday, 27 January 2009
at 17:15 GTM/UTC+1 (Ljubljana/Berlin/Paris CET – Central European Time):

Oppera Teorettikka Internettikka
by Igor Štromajer, 1998/99
[13 minutes audio remix]

Le Pavarotti du HTML” – Le Slovene Stromajer crée des opéras en code web; par Marie Lechner (Libération, Paris)

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Verbindingen/Jonctions 12, Brussels

Verbindingen/Jonctions 12
(12th edition of bi-annual festival)

“By Data We Mean”
Brussels, Belgium, 21-29 November 2009

# participating with:
Oppera Internettikka – Protection et Sécurité by Annie Abrahams & Igor Stromajer
(Montpellier, France, 2006)

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Oppera Internettikka Teorettikka

Drama, tekst, pisava

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Rhizome Commissions

Rhizome Commissions ’08
New Media Presentation / Discussion – Part of New Silent
Saturday, October 11th 2008 at 3pm
the New Museum, New York, NY

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Oppera Internettikka – 24h

Oppera Internettikka – 24h
by Igor Stromajer & Brane Zorman

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Cultural Incubator MB

MKC Maribor – Kulturni inkubator / Cultural Incubator
Maribor, Slovenia

Intima Virtual Base – 23 May 2008

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2008 iCard

Intima Virtual Base 2008 card

— front side:

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➠ e-#knjiga je objavljena, @javna_agencija_za_knjigo jo lahko vključi v program Slovenije, gostje FFM @buchmesse 2022. Je že v mestu, tudi prevoda v nemščino ne potrebuje :) ● 3¦×Fń–Qé3= Miá✚, Kindle izdaja računalniško generirane #poezije: ● sto in ena pesem, 107 strani ● izbor pesmi je objavljen tudi na spletni strani @ludliteratura .si/avtor/igor-stromajer
2018 & 2019 selfies: "If I were an artist, this is how I'd look like" ➠
[Art on the mobile phone display] 📲 Neues für #Wap: #Kunst im Handydisplay ● Christiane Wettig, Net Business Magazin, München, 26. Juni 2000 soNet – WAP sei Dank, jetzt gibt es sogar Kunst für #Handys. wap.sonnet – microbe.4/ ist die wahrscheinlich erste WAP-Kunst der Welt. Igor Štromajer heisst der Schöpfer des telematischen Werkes, das mit einfachsten Mitteln über das Leben in den Zeiten des WAP berichtet. Da wird geflüstert, geschwiegen und gestorben, werden Zahlen zu Menschen oder verwandeln sich Klammern und Sternchen in Gefühle. Ein Rätsel mit und über die neue Technologie und eine kleine, freche Eulenspiegelei. Denn bislang haben vor allem Geschäftsleute und Technikfreaks teuere WAP-Handys, und die benutzen ihre Telefone in erster Linie ganz pragmatisch. “Plötzlich prallen sie auf das WAP-#Sonnet, haben keine Ahnung, wofür es ist und was sie mit der sinnlosen Information machen sollen”, schmunzelt der 32-jährigen Slowene. “Ich bringe also Geschäftsleute durcheinander und erzähle ihnen vom Bruch in der #Kommunikation.” Dass er für seine Arbeit nur die eingeschränkten Möglichkeiten einer Handytastatur zur Verfügung hat, findet der preisgekrönte Netzkünstler “wunderbar”. Dennoch will er keine weitere “WAP-Art” machen. “WAP ist tot, die dritte Handygeneration wird komplett interaktiv und multimedial sein.” ➠
⟳ ⛜ ⁑⁑ ⚛ ⌇ ⎚ ⏛
If you're an online curator, act like one! Seriously, I mean, khm, this is a bit embarrassing, but anyway: if you and your gallery are forced to put your next show online due to the virus, sure, cool, do it, it's practical to have everything at hand while quarantined, but please, please don't be sluggish and don't just throw everything into a facebook album and claim it's an exhibition. There are hundreds of practical examples of – and theoretical reflections on – various forms of online shows, www projects, networked art events, etc., lots and lots of diverse references dating back to the 1970s, not to mention the 1990s and later. Simply throwing all the photos into one facebook album is not an online exhibition, only the 'nouveau en ligne' think it is. Don't be ignorant, do your research, learn, be innovative (at least make a website), do your work. Beside that, art looks much better on instagram. If you're an online curator, act like one!
19 years ago, I danced with a copy of @FAZ Frankfurter Allgemeine for the first time (Internet, 28 March 2001). A year later, I ate the very same copy I danced with (Bolshoi, 28 March 2002) ➠ Ballettikka Internettikka: ➠ pics: #livestreaming, 320×240 pix  ●


Igor Štromajer aka intima is a pseudo-/para-/proto-artist. He has shown his work at more than two hundred fifty exhibitions, festivals and biennials worldwide, among others at the transmediale, ISEA, EMAF, SIGGRAPH, Ars Electronica Futurelab, V2_, IMPAKT, CYNETART, Manifesta, FILE, Stuttgarter Filmwinter, Hamburg Kunsthalle, ARCO, Banff Centre, Les Rencontres Internationales, The Wrong – New Digital Art Biennale, etc.

His works are included in the permanent collections of the Centre Pompidou in Paris, the MNCA Reina Sofía in Madrid, Computer Fine Arts in New York, and UGM:

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