Spieluhr
U instalaciji Spieluhr (jednokanalna video instalacija, 2017) sadržaj kadra se tretira kao kod, odnosno ready-made partitura, zahvaljujući kojoj se jedan medij - video zapis, prevodi u drugi - zvuk ili muziku. Prizor koji se ponavlja u razlčitim varijacijama je pogled sa mog prozora. Sniman je u večernjim časovima kada svetla formiraju različite strukture, tako da je raspored objekata uvek isti, ali se kombinacije aktivnih svetala (ulična svetla, prozori) menjaju, stvarajući ritmove. U širokom kadru koji obuhvata veliki geografski prostor, mnoštvo stambenih zgrada i ulica, svetlosne promene su neprestane i odražavaju život grada na specifičan način, paljenjem i gašenjem mnogobrojnih električnih svetala. Kao posledica te konstantne promene, svaki momenat se može odrediti kombinacijom aktivnih izvora svetlosti. U iščitavanju svetlosnih signala uz pomoć definisanog algoritma, digitalni snimak funkcioniše kao površina cilindra muzičke kutije, pri čemu pojedinačni vizuelni podaci postaju okidači, note u kompjuterski generisanom zapisu. Time dobijena melodija postaje autentična i jedinstvena zabeleška momenta, situacije, odnosno trenutnog pogleda. Aktuelna verzija rada je bazirana na linearnim praćenju pojedinačnog motiva, sagledanog iz jednog ugla. Naredna verzija predstavlja korak ka kompleksnijoj strukturi u kojoj više uglova posmatranja kreiraju složenu vizuru, a samim tim i kompleksniju muzičku interpretaciju, koja uključuje više instrumenata. Od ovog procesa prevođenja ne očekuje se da razotkrije skrivene informacije - ono je bazirano isključivo na vidljivom vizuelnom sklopu, na preciznim podacima koji su dostupni posmatraču. Suština, dakle, nije u utvrđivanju kauzalnih veza ili narativnih elemenata, već u istraživanju metaforičkih i asocijativnih potencijala digitalne slike. Svaki posmatrač može dovesti u vezu date slike i zvuke sa sopstevim iskustvom, nezavisno od poznavanja ili prepoznavanja konkretnih gradskih motiva. Prikazivanje prizora u jednoj novoj formi, povezuje posmatrače kroz njihove lične asocijativne sklopove ili individualne koncepte prostora. In installation called Spieluhr (single channel video installation, 2017) the content of a frame is treated like a code, or, as one could say, a ready-made music score, by which one medium, a video recording, gets translated into another one - the medium of sound or music. The scene that repeats with variations is a sight from my window. It was captured during evening and night times, when lights form different structures, while the arrangement of static objects stays the same and different combinations of active lights (street lights, windows) appear, creating specific rhythms. In a wide view that covers a large geographical area, including a number of buildings and streets, light changes are constant and they reflect city life in a specific way - by the electric lights turning on and off. As a result of this constant change, each moment that has passed could be defined by a combination of active lights. Reading the sheet of light signals with the use of a predefined algorithm turns a digital video recording into a sort of a music box cylinder, in which individual visual information functions as a trigger or a note in a computer generated recording. The obtained melody becomes an authentic and unique recording of the moment, situation or the current view. Current version of the work is based on linear reading of a single sight, seen from one angle. Next version should be a step toward a more complex composition, in which multiple points of view create a more complicated scene, as well as a more complex musical interpretation, with several more instruments included. This process of reading is not expected to reveal anything hidden, since it is based on precise information that has been visible to the viewer before the transformation. Thus, it is not about determining causalities or narrative elements, but about exploring metaphorical and associative potentials of digital image. Each viewer can relate these images and sounds to his own experience, whether he recognizes specific view of the city he knows, or he sees it just as city in general. Presenting a new form of urban landscape can help different individuals connect indirectly, through their individual associative networks or individual concepts of space. http://www.nemanjaladjic.com/spieluhr.html

Squares
Rad Squares (trokanalna video instalcija, 2016, autor zvuka 33.10.3402) je video kolaž sastavljen od snimaka nekoliko evropskih trgova. Snimci su bazirani na pokretnim kadrovima snimljenim iz jedne tačke, koji rekonstruišu pogled imaginarnog posmatrača. Fokus se kreće od jednog detalja do drugog, prateći ljude i vozila u pokretu, kao i osnovne arhitektonske obrise. Pojedinačne vizure nisu statične u okviru kompozicije, već se kreću po projekcionoj površini, tako da fiksni objekti (drveće, arhitektura) zadrže svoje pozicije u širem kadru. Pored toga, vremenski tok video zapisa ostaje vidljiv i kao trajan, prostorni trag – akumulacijom frejmova, njihovim zadržavanjem na projekcionoj površini zahvaljujući čemu svaki promičući kadar nakon nekog vremena „ispiše“ za sobom određeni gradski pejzaž. Kretanjem vizura po površini slike dolazi do potvrđivanja onoga što je statično, dok se tela u pokretu deformišu, jer zapis sadrži čitav sled njihovih prostornih promena. Dobijeni efekat je specifičan po tome što stvara tip zapisa za koji možemo reći da je između filmskog i fotografskog, jer statični elementi, odnosno tragovi pokretnih vizura sadrže informacije o vremenskom sledu. Osnovna težnja u tumačenju prostora i vremena donekle se poklapa sa postupkom koji su izumeli Martin Rajnhart i Virgil Vidrih, takozvanim TX-transformom. U ovom postupku video zapisi se obrađuju uz pomoć posebnog algoritma, prevodeći signal klasičnog zapisa u blok frejmova, da bi zatim zamenili mesta jednoj prostornoj i vremenskoj dimenziji bloka. Polazište je u teoriji relativnosti i B teoriji vremena ili Blok teoriji, po kojoj ne postoje prošlost, sadašnjost i budućnost, već se vreme sastoji od skupa trenutaka koji postoje paralelno. Iako je zasnovan na različitim postupcima, video Squares kreira rezultate u vizuelnom smislu srodne onim koje donose radovi zasnovani na tehnici TX-transforma. Sva dešavanja u posmatranom prostoru, bez obzira na njihov prostorni ili vremenski odnos, pretvaraju se u koreografski uređen pokret. Osnovnu jedinicu ovog pokreta čine isečci postojanja, materijalizovani u zajedničkom, otvorenom prostoru, kao što je gradski trg. The work Squares (3 channel video installation, 2016, sound by 33.10.3402) is a video collage that contains recordings from several European squares. The recordings are based on moving cadres taken from a single spot, thus reconstructing the view of an imaginary observer. Focus points are being moved from one detail to another, they tend to follow people and cars in motion, as well as contours of the architecture around. The views are not static parts of the composition; they move around the surface, so that the static objects (trees, buildings) keep their positions. Also, the time flow stays permanently visible, since the views are leaving traces behind – the frames are being accumulated constantly. By keeping each frame and adding new ones on the top of the old ones, each view creates a wider urban landscape. With the cityscape views constantly moving, the static objects are being affirmed by each glance, while cars and people in motion are getting distorted, with the video containing a whole sequence of their motions through the space. Final effect is specific in a way that it creates a recording that can be considered as somewhere in between video and photography, since the static elements or traces of the views, contain information about sequence of spatial changes. Main intention of this interpretation of space and time is very similar to the one created by Martin Reinhart and Virgil Widrich in a technique called TX-transform. This method uses a special algorithm to transform a sequence of frames into a block, in which then one spatial axis can flip its position with the time axis. Their starting points were the Theory of relativity and B theory of time, also known as Block theory, in which the past, present or the future don’t exist; time consists only of moments that are all equally real at the same time. Although it is based on a different methodology, video Squares creates similar visual results as images processed by TX-transform. All actions in observed space, apart from their spatial and temporal relations, transform into a choreographic movement. The basic unit of this movement is a moment of existence, materialized in mutual, open space, such as a city square. http://www.nemanjaladjic.com/squares.html

Pad
Rad Pad (jednokanalni video, 2015) je inspirisan scenom iz romana Doppler, Erlenda Lua, u kojoj protagonista doživljava saobraćajnu nezgodu i tokom jednog kraćeg perioda ostaje da leži nepomičan. U toj situaciji, u kojoj nije sasvim siguran kakve su posledice nezgode po njegovo zdravlje i dalji razvoj događaja, protagonista doživljava prelomni momenat u kome postavlja sebi neka fundamentalna pitanja. Prisustvo ideje smrti, obično skreće paznju sa sporednih svakodnevnih problema i upućuje na sagledavanje šireg plana, zahvaljujući čemu se potencijalno savladava inertnost i sprovode promene koje smartamo neophodnim. Pored narativnog aspekta rada, video predstavlja i eksperiment na temu pozicije posmatrača/posetioca izložbe. Posetilac se stavlja u poziciju nekoga ko je u vrlo delikatnom psiho-fizičkom stanju i iako u realnosti ovakve situacije obično traju po nekoliko sekundi, u radu je to vreme rastegnuto do beskonačnosti. U statičnoj sceni, sa ograničenom količinom vidljivih informacija i drastično usporeni tok vremena, osećaj fizičke ograničenosti i bespomoćnosti ima potencijal da preusmeri pažnju posmatrača sa sleda svakodnevnih aktovnosti, koje se uglavnom sprovode inertno, na potencijalnu sadržajnost svakog trenutka i sopstveni položaj u odnosu na njega. Fall (single channel video, 2015) is based on a scene from Doppler, novel written by Erlend Loe, in which the main character becomes a victim of an accident. While lying motionless few meters away from the road, he reaches the turning point, a moment that precedes great changes. The subject’s thoughts shift from everyday matters and practical questions to fundamental aspects of life and this condition gives him a chance to overcome inertness and to conduct a change that he sees as necessary. Apart from narration visualized in the scene, this video is also experiment about position of the viewer/visitor of the exposition. The viewer is placed in a position of the protagonist, who is in very delicate psycho-physical state and although in reality situation like this would probably last couple of seconds, here those moments are indefinitely extended. In the static scene, with limited visible information and slowed down flow of time, sense of physical limitations and helplessness, has a potential draw attention from everyday activities, which are often carried out inertly, to potential comprehensiveness of every moment and our own position in relation to it. http://www.nemanjaladjic.com/fall.html