— Centralna Postaja (Central Station), 5 Koroška Street, 18.00
1.2.3.4. Notes from a research paper in progress at GT22 intermedia – researcher Miha(sonda3)
Sometimes the strongest single importance of a work of art is the celebration of some kind of temporary community. — Brian Eno
5. Festival themes MFRU (IFCA International Festival of Computer Art)
MFRU 1995 or Presenting Slovenian creators of computer arts
MFRU 1997 or Interactivity
MFRU 1998 or –
MFRU 1999 or –
MFRU 2000 or Emergence and relations towards the body in the arts dependent on new technologies
MFRU 2001 or THE BODY: transient, ill, cloned and erotic in the grip of technology + establishing the domain and website www.mfru.org
MFRU 2002 or The extended body
MFRU 2003 or Transformations/metamorphosis
MFRU 2004 or –
MFRU 2005 or –
MFRU 2006 or Burn, turn on, fall out
MFRU 2007 or Where there are computers, there’s life: on error, possibility and chance
MFRU 2008 or Can image still reveal anything about the potentials of media images?
MFRU 2009 or Accessing (non) random memory + establishing www.mkc.si/hiperfilm
MFRU 2010 or New images, new nature, new conscience
MFRU KIBLIX 2011 or Transmedia storytelling / Share is in the air
KIBLIX-MFRU-PIXELPOINT 2012 or Robotics and new ways of considering humans / Soft control
MFRU KIBLIX 2013 or When worlds collide
MFRU KIBLIX 2015 or Lift Me Up
6. Interview with Jože Slaček
“What I am missing in the festival is some more entertainment – that is, of course, if we consider the term ‘festival’ in itself. As far as the beginnings of the festival are concerned, we are talking about the mid-nineties, when certain things began to enter into these parts increasingly. The political situation, i. e. the socio-political relations was marked by some sort of optimism. The first half of the nineties’ period was very optimistic. This was also transferred onto the arts, and – yes, the general interest in new technologies was increasing, and since lectures, projections and other related events in the city were already on the go, it made sense to capture them all inside a single festival form, and thus create a single thematic festival in this area. Naturally, you need to consider that the initial technical conditions were indeed very poor – there was no equipment, no projectors, no internet – and the first projects were created accordingly. They may have been technically less advanced, but they were conceptually more thought-out and intersected with a powerful creative charge.”
– Jože Slaček is a cultural worker, artist, initiator of the IFCA, and a year-long associate of the MKC – Maribor Youth Culture Center.
