Computer generated

The materialization of human virtual intentions. The ingenious product of human technology – an indispensable tool of a modern creator, a scientist, a doctor and a housewife. Adored and accused many times. Questionable because, using a processor instead of the thought process. These machines are processing night and day, while hyperproducing inn and about everything, that represents this age. And these machines contribute to the doubtful short-lived inventions of human minds, that – as it seems – in spite of all professionalism, run amateurishly and inexperienced, against the unthinkable and chaotic future.

Tractate on the Ordinary Man – Part III.

Clearly, this machine is a good minister to Rubins, but the tendency to become the master, is growing and above all, there is a lack of some kind of inner knowledge in his digital virtual worlds. Anyway, the computer is Rubins’ employer, teacher and comforter. The embryo of a Transhumanistic materialization. Symbolizing the incidence of his personal Matrix. Here you never run out of colors. Brushes and other tools are always at hand. Therefore, Rubins is grateful for all the senses and nonsense, that it calculates for his use or his visual and aesthetic pleasure.

Since Rubins is not a software guru, but an artist, he soon realizes the weldability of the endless pool of potential, which is accessible to everyone. He consciously begins to explore his own intellectual content and combines it in a visual whole, called – computer graphics.
Whenever thinking and creating, he always reveals the ever-repeating lesson: collaging from other councils, transferred to his model of virtual worlds. The possibility of unforeseen, although not continuous, incidents. His only guidance is his self, that obtains peace and abundance in the process of creative work.

Being a computer artist, means to be a worshiper of modern goods and rites. To him, creating art means,means to conquer new software vocabulary and recommendations of coders. When recording, scanning, scanning, rendering, copying and practicing in the meticulous game, he does not improvise. It shows, however, the illusion in the form of personal interpretation, of the digital versions of the world. This illusion is approaching him at a light speed. The Photon junction between the provider and the consumer has – thanks to the Creator – countless number of faces.
In this fusion, Rubins is collaging lost particles into a new whole. Showing himself as a unique, living reality. Not at all burdensome with the artistic originality, which is quite often present in the common practices of academically trained artists.

Rubins’ story in the world of computer art is a fragment of the computer process, like a presentation of the adoration of certain brain circuits, over a period of the formation of the image.
A materialization of what is possible …

∞ ∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞ ∞

Materializator človeških virtualnih hotenj. Genialen proizvod humane tehnologije – nepogrešljiv pripomoček sodobnega ustvarjalca, znanstvenika, doktorja in gospodinje. Mnogokrat oboževan in obtožen. Vprašljiv, ko namesto miselnega procesa uporablja procesor. Ti stroji procesirajo noč in dan in hiperproducirajo v vsem in o vsem, kar predstavlja ta čas. In ti stroji pripomorejo k dvomljivim kratkotrajnim iznajdbam človeškega uma, ki – kot se zdi – kljub vsej profesionalnosti, amatersko in neizkušeno drvi proti nepredstavljivi in kaotični prihodnosti.

Razprava o sleherniku – III.del.
Nedvomno je Rubinsu ta stroj dober služabnik, a težnja postati gospodar je vse pogostejša in v njegovih digitalno – virtualnih svetovih manjka predvsem resnično vedenje. Kakorkoli že, Rubinsu je računalnik delodajalec, učitelj in tolažnik. Zametek trans-humanega materializatorja. Simbolna pojavnost njegove osebne Matrice. Tukaj nikoli ne zmanjka barv. Čopiči in ostali pripomočki so vedno pri roki. Zato mu je Rubins hvaležen, za vse smisle in nesmisle, ki jih izračuna njemu v uporabnost ali vizualno – estetski užitek.
Ker Rubins ni software guru, temveč umetnik, kmalu spozna varljivost neskončnega nabora možnega, ki je dostopno vsakomur. Zavestno prične raziskovati in povezovati, lastno miselno vsebino v vizualno celoto, imenovano – računalniška grafika.
Kadarkoli razmišlja in ustvarja, vedno odkriva ponavljajočo se spoznanje: Kolažiranje iz svetov drugih, prenešeno v njegove vzorčno – domišlijsko scenografijo. Možnost nepredvidljivih naključij, čeprav ne neskončnih. Edino vodilo mu je njegov jaz, ki se skozi proces dela naužije ustvarjalnega miru in obilja.
Poustvarjati mu pomeni, posvojiti nov programski besednjak in priporočila koderjev. Ko snema, skenira, kodira, rendrira in se uri v natančni igri, ne improvizira. Prikazuje pa iluzijo v obliki osebnih verzij razlage digitalnega sveta. Ta Iluzija se mu z svetlobno hitrostjo konstantno približuje.
V fotonskem spoju med ustvarjalcem in opazovalcem ima – hvala Stvarniku – nešteto obrazov.

V tej fuziji Rubins kolažira izgubljene fragmente v novo celoto.Prikazuje sebe kot, čudovito enkratno živečo stvarnost. Neobremenjujoč se z verodostojno umetniško govorico, ki je prisotna v umetniških praksah šolskih ustvarjalcev. Tako imenovana umetnikova unikatnost in eruptivnost izraza, je bila vedno domena kuratorjev, ki te procese študirano opazujejo in kujejo njih slavo.
Rubinsova zgodba v svetu računalniške umetnosti je fragment mentalnega procesa, kot prikaz oboževanja določenih miselnih tokov, v obdobju nastajanja slike.
In materializacija možnega…