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Ladislao Pablo Györi

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Ladislao Pablo Győri
Technologyőri (2014) (detail)
Technologyőri (2014) (detail)
Born (1963-07-13) 13 July 1963 (age 61)
Buenos Aires, Argentina
Occupation
  • Engineer
  • digital and visual artist
  • writer
  • poet
  • editor
Language
  • Spanish
  • English
Citizenship
  • Argentine
  • Hungarian
Period1984–present
Notable works
  • Virtual Poetry (1995)
  • Kosice y el arte tecnológico (2011)
Website
www.lpgyori.net

Ladislao Pablo Győri (Hungarian pronunciation: [ɟøːri]; born on July 13, 1963, in Buenos Aires, Argentina) is an Argentine engineer, digital and visual artist, essayist and poet, most known as the creator of Virtual Poetry in 1995,[1] which has been described as "of utmost significance in advancing literature as sculptural object in electronic space";[2] also as one of the rare "poet-practitioners dedicated to 3-D art".[3]

Life and career

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Győri was born in 1963, in Buenos Aires, where he lives. In 1989, he graduated as electronic engineer at the National Technological University of Buenos Aires.[4]

His first computational and literary activities date to 1983. Győri made experiences with computer music and voice synthesis, and works on Computer 3D art since 1984.[5][6]

After his meeting in 1986 with Gyula Kosice, Győri subsequently experimented with painting and poetry, and became interested in non-representative and rigorous geometry formulations. The study of the paintings of Rhod Rothfuss led him to work, since 1990, in the realization of Madí Turning Paintings-Relief (irregular frame) and 3D digital animations of these geometric structures.[7]

Estiajes (1994)

Originally written in 1988, Estiajes, prefaced by Kosice and part of the significant mathematical tradition of the Argentine poetry, according to Fabio Doctorovich, was published in 1994.[8] Poems, information theory and the computer assisted calculus of probability in the composition of the text, in order to change the usual syntax, restricting the redundant elements and postulating a strong nonlinear character (related to what Győri calls hyperdiscourse), and to qualify in bits the poetic information. This work was anthologized by Julio Ortega, professor of Hispanic Studies at Brown University.[9] These verbal experiments advanced toward other formative fields of poetry in several still unpublished works from 1989 to 1993.[4]

As assistant to sculptor Kosice from 1990 to 1995, Győri was responsible for the technical facts of Kosice's production. During the retrospective exhibition Kosice - Works 1944/1990 at the Museo Nacional de Bellas Artes (National Museum of Fine Arts) of Buenos Aires in 1991, Secuencia gráfica de una gota de agua (Graphic Sequence of a Drop of Water; a collaborative computer graphics work, 1990) was displayed.[10] Győri participated, among others, in El árbol de la vida y su lenguaje (The Tree of Life and its Language), a remote controlled sculpture by Kosice which incorporates sonic elements, and their display through what is known as spectrum analyzer, by means of variable columns of water and light. This work was erected in Neuquén, the northwestern Argentine Patagonia in 1992.[11]

TEVAT Group at Infocom'95

Győri co-founded in 1994 the TEVAT group and co-wrote, the same year, the TEVAT Manifesto, together with the specialist in Semiotics and also engineer José E. García Mayoraz, and the aforementioned Kosice.[4] Artificiality and virtual reality, art in cyberspace, studies of semantic fields, et cetera, and the diffusion of these new topics in the artistic world are an integral part of their proposal.[12]

His research about the problem of synthetic space in virtual reality systems, related to previous art and literary works, establishing "previously unexamined correlations between objects and subjects", in words of Funkhouser,[13] gave rise to "Virtual Poetry", a new conjunction between virtual reality and poetry, included finally into his main project: the Digital Domain of Works, which was exhibited in 1995 at the Galileo Galilei Planetarium of Buenos Aires, together with the project entitled Art Criticism in Cyberspace,[14]), an example of García Mayoraz's Vectorial Theory of Semantic Fields, originating from his multidisciplinary studies of Semiotics, information theory and both the human and the forthcoming artificial brain.[4]

In 2002, e-stori.ar, a navigable 3D database project around Argentine national history, received an honorary mention from the Buenos Aires Museum of Modern Art.[15]

Kosice y el arte tecnológico (2011)

In the last decade Győri also produced a series of books, always related to visual arts, writing and computer technology. In 2010, First 25 Visual Years was published: a full color illustrated anthology; a compendium of his activity between 1984 and 2009. Kosice y el arte tecnológico (Kosice and Technological Art) appeared on next year, inaugurating his Aero publishing initiative; Győri investigates there the relationship between all the Kosice's creative production and the theoretical thinking that comes from the Computer Age.[16] In Maquinado aditivo en artes visuales (Additive Manufacturing in Visual Arts; 2013), about the materialization of virtual objects of strong formal complexity, he finally introduces his desbordantista (overflowing) geometry. Notación para lenguaje inexistente (Notation for a Nonexistent Language; 2014) and Exography (2017) do the same with his exografismo (exographism): a kind of mixage of actions from outer space, musical notation, perhaps Vantongerloo's worldview, and life manifesting itself to us as a multi-material fluctuation of signs. The typographic exercise Lógica de sustracciones a un cuadrado (Logic of Subtractions from a Square) appeared in 2019. More recently, Impresiones oculares en una visita (Ocular Impressions During a Visit), a collection of short texts about instant, still, photographic images, was published late in 2021.[17]

Works

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Artworks (selection)

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Sources:[18][19]

  • Pieces in CAD, still images, Psion VU-3D original versions (1984-1985).
  • Madí 3D Logo, digital still images (1986).
  • Sculpture Projects, tempera and colored pencil on cardboard, and in CAD (1989).
  • Alocución, polychromed sculpture in wood (1989).
  • Graphic Sequence of a Drop of Water, in collaboration with Gyula Kosice, computer graphics (1990).
  • Constructions, 3D digital models (1994).
  • Pieces in CAD, 3D digital animation video (1995).
  • Sculpture Project # 58, 3D digital animation video (1995).
  • Virtual Reliefs, digital still images and 3D digital animation videos (1990-1995).
  • Madí Relief-Paintings, enamel on wood (1990-1995).
  • Visual poetry, including Sound Space (1992-1998)
  • Art Criticism in Cyberspace, in collaboration with José E. García Mayoraz, 3D digital animation video (1995).
  • Virtual Poems # 12 & 13, digital still images and 3D digital animation videos (1995).
  • Homage to Edgardo A. Vigo, visual poem, tempera on cardboard (1996).
  • Vpoems # 12 & 13, VRML models (1996).
  • Virtual Poem # 14, digital still images and 3D digital animation video (1996).
  • Digital works and projects for monumental sculptures in collaboration with G. Kosice (1999-2003).
  • e-storia.ar and e-stori.ar/el_sur, virtual reality projects (2002-2003).
  • Ensembles, 3D digital models (2006).
  • hommage à e.a.vigo, 3D interactive poem (2007).
  • Exographies, black and colored pencils and ballpoint pens on cardboard or paper (2010-2011).
  • Objetos desbordantes (Overflowing Objects), 3D digital models (2012-2015).
  • Object # 29, 3D printed object (2013).
  • Technologyőri, digital visual composition (2014).
  • Exoplaca053c, laser cut aluminum plate (2022).
  • Geometric output corresponding to the first execution..., ink plotter drawing on paper (2022).
  • innerrelief#001, interactive 3D object (2024).

Books

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Sources:[18][20]

  • Estiajes (1994), ISBN 978-950-99998-6-2
  • First 25 Visual Years (2010), ISBN 978-987-05-8040-9
  • Kosice y el arte tecnológico (2011), ISBN 978-987-33-1454-4
  • Maquinado aditivo en artes visuales (2013), ISBN 978-987-33-4203-5
  • Notación para lenguaje inexistente (2014), ISBN 978-987-33-6554-6
  • Exography (2017), ISBN 978-987-42-6589-0
  • Lógica de sustracciones a un cuadrado (2019), ISBN 978-987-86-3050-2
  • Impresiones oculares en una visita (2021), ISBN 978-987-29866-1-2

Reception

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Cover of Dimensão magazine (1995)

Since the arrival at the international scene of Győri’s “Criteria for a Virtual Poetry”, originally published as a broadsheet on May 1995 in Buenos Aires, and subsequently launched in its Spanish version entitled “Criterios para una poesía virtual” by the Brazilian magazine Dimensão (# 24) during the same year,[21] his digital production, be it theoretical or practical, obtained abundant diffusion through a large number of publications worldwide, mainly linked to the academic field.

At Hypertext 98, the 9th Association for Computing Machinery Conference on Hypertext and Hypermedia, professor Christopher Funkhouser, at New Jersey Institute of Technology, assured[22] that the best viewpoint he had come across regarding to imagining an ideal for cyberspace was Győri’s description of the Virtual Poetry Domain; moreover, his three-dimensional constructions represent a real beginning towards redefining visually-based syntax for language.

In the same sense and according to Dr. Hugues Marchal[23] from University of Basel, Switzerland, Győri produces a digital poetry in which the terms are generated by recombining their roots and constructing complex three-dimensional structures, vast lexical molecules which are gradually discovered and around which the spectator seems to revolve. His main objective is the development of virtual reality programs in which the viewer would have the feeling of truly touching letters and could directly modify their assembly.

VPoem13 VRML model (1995)

The French art critic Jacques Donguy, professor from the Paris 1 Panthéon-Sorbonne University, for whom Győri can be considered among the precursors for digital poetry,[24] stated[25] Győri’s Virtual Poetry, a kind of unstable literature, among the production of many dissimilar creators like Timothy Leary, William S. Burroughs or even James Joyce because of their common use of the concept of quantum linguistics, a fluctuating one, which corresponds to the theories of Einstein and Heisenberg, at our post-industrial Electronic Age. This type of fluctuating literature takes advantage of the peculiarities of the digital space, as described by Gustavo Romano,[26] to invite the reader to go through its textual architectures, that not only break the linearity of the sentences but also the structure of the words that compose them, inviting to a kind of subatomic navigation at the level of the sign, as in his works Vpoem12 and Vpoem13,[27] developed for the VRML environment, or as in his video Vpoem14 (an example of animated poetry[28]), in which the smallest units of meaning within words recombine, collide and intertwine to generate new meanings. The sense remains adrift, but is re-constructed in each collision inside the VR matrix: a “surrounding substance within which something originates”, as comes into sight in this virtual poem from 1996;[29] “forcing a genetic moment”, says the author, “obtaining from the very heart of the havoc the possibility of the origin of a new existence”.[30]

To Clemente Padín, Győri was one of the two Latin American precursors at the electronic poetry field in 1997, alongside with the contemporary artist Eduardo Kac.[31] The Uruguayan poet and performer points out five kinds of Latin American experimental writing: Visual Poetry, Nueva Poesía (close related to Mail Art), Performatic Poetry, Holopoetry, and finally, the last stage that subsumes all the previous ones, Virtual Poetry, where the main generator of meanings is the particular bunch of relationships established among all its varied aspects (movement, sound, interactivity, morphing, virtual reality immersion, and so on), including, of course, the verbal and the visual one.[32]

The semantic problem, as it is known, arises as a critical issue in new media. In 2002, Craig Lindley, then researcher at the Interactive Institute of Sweden, highlighted[14] Győri’s vision about the Virtual Poetry Domain (which implies the emergence of an n-dimensional virtual world accessible through all of our senses, hyperconnected, endowed with artificial life, and artificial intelligence), where the Argentine author assesses hypermedia as a poor metaphor for the poetics of virtual reality, since it is all syntax and no semantics. And semantics is essential in Győri’s work, in the opinion of Anna Wendorff, a literary specialist in the field of Latin American studies at the University of Łódź in Poland,[6] not only because the usual writing order of verbal language has been supplanted by other types of structures and, therefore, semiosis, but also because the whole process embodied in it, lastly, wants to represent, by means of a digital system, the functioning of the human brain. Virtual Poetry, constituting probably the most complex and ambitious phase of cyberpoetry (asserts Silvio De Gracia[33]), took a definitive step, according to the Polish researcher, for the transformation of visual arts and aesthetics at the end of the 20th century and the beginning of the 21st century. In this same way, Funkhouser, in his "Chronology of Works",[13] opens the references of digital poetry with the first programs of computer poems, known as Stochastische Texte (a text generator), by the German computer scientist Theo Lutz in 1959, and closes it at 1995 with Győri’s Virtual Poetry, which seems to force the initiation of a new era in the general poetic creation, as the Argentine author assured.[34]

Additionally, his work was referenced both in The Johns Hopkins Guide to Digital Media[35] and in The Cambridge Companion to Latin American Poetry.[36]

References

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  1. ^ "About the author". Ladislao Pablo Győri. Retrieved 27 January 2022.
  2. ^ Funkhouser, Christopher (2007). Prehistoric Digital Poetry: An Archaeology of Forms, 1959-1995. Tuscaloosa: University of Alabama Press. p. 173.
  3. ^ Johnston, David Jhave (2016). Aesthetic Animism: Digital Poetry's Ontological Implications. Cambridge, Massachusetts: The MIT Press. p. 162.
  4. ^ a b c d Peterlini, Patrizio, ed. (2019). Rivoluzione a parole. Poesia sperimentale internazionale dal 1946 a oggi. Manifesti e testi teorici. Ravenna, Italy: Danilo Montanari Editore. pp. 253–254.
  5. ^ Dencker, Klaus Peter (2010). Optische Poesie. Von den prähistorischen Schriftzeichen bis zu den digitalen Experimenten der Gegenwart. Berlin, Germany: Walter de Gruyter. pp. 238–240.
  6. ^ a b Wendorff, Anna (2010). Vanguardias poéticas en el arte digital en Latinoamérica. Venezuela: Secretaría de Cultura del Estado Aragua. pp. 72–91.
  7. ^ Arte Madí (Exh. cat.). Madrid, Spain: Museo Nacional Centro de Arte Reina Sofía. 1997.
  8. ^ Doctorovich, Fabio (2006). "La tradición poética matemático-compositivista en Argentina, y su influencia en la poesía digital". Revista Canadiense de Estudios Hispánicos. 31 (1). McGill University, Montreal, Canada: 53.
  9. ^ Ortega, Julio, ed. (1997). Antología de la poesía latinoamericana del siglo XXI. El turno y la transición. Mexico City: Siglo Veintiuno Editores. pp. 191–198.
  10. ^ Kosice. Obras 1944-1990 (Exh. cat.). Buenos Aires: Museo Nacional de Bellas Artes. 1991.
  11. ^ "Un complejo hidroescultórico de Gyula Kosice". La Prensa. Buenos Aires. 1993.
  12. ^ "Manifiesto TEVAT" (PDF). Ludión.
  13. ^ a b Funkhouser, Christopher (2007). Prehistoric Digital Poetry: An Archaeology of Forms, 1959-1995. Tuscaloosa: University of Alabama Press. p. 175.
  14. ^ a b Lindley, Craig; et al. (2002). "The Emergence of the Labyrinth: The Intrinsic Computational Aesthetic Form" (PDF). COSIGN 2002 Proceedings, 2nd Conference on Computational Semiotics for Games and New Media. Bavaria, Germany: University of Augsburg: 5.
  15. ^ Buccellato, Laura (2005). Arte y Nuevas Tecnologías, Premio MAMbA 2004-2003-2002 (Exh. cat.). Buenos Aires: Fundación Telefónica.
  16. ^ Picabea, María Luján (18 February 2012). "Un ensayo sobre la obra de Kosice. La imaginación como cualidad transformadora". Revista Ñ, Clarín. Vol. 9, 438. Buenos Aires.
  17. ^ "Aero". Aero Edita. Retrieved 27 January 2022.
  18. ^ a b "Digital works | art + poetry". Ladislao Pablo Győri. Retrieved 27 January 2022.
  19. ^ Győri, Ladislao Pablo (2010). First 25 Visual Years. Buenos Aires: ARTgentina.
  20. ^ "Aero". Aero Edita. Retrieved 27 January 2022.
  21. ^ Minarelli, Enzo (2018). Polypoetry 30 years 1987-2017. Paraná, Brazil: Editora da Universidade Estadual de Londrina.
  22. ^ Funkhouser, Christopher (1998). "Net time eyebeam: stretching corporeal conduction". Hypertext'98. Pittsburgh, Pennsylvania.
  23. ^ Marchal, Hugues (2000). "Écrire à l'âge de l'Internet - Le texte au risque du virtuel : e-litérature et écrits d'écran". Magazine littéraire. 392. Paris, France.
  24. ^ Donguy, Jacques. "Chronique annoncée de la poésie numérique". Lightning archive. Retrieved 22 June 2003.
  25. ^ Donguy, Jacques (2000). "Vers une esthétique du cyberespace - Ou une poésie du quantum linguistique". Doc(K)S. 3.21/22/23/24. Ajaccio, France.
  26. ^ Romano, Gustavo (2006). "<RE>CODIFICACIONES - Selección de obras de Net art". Centro Virtual del Centro Cultural España en Buenos Aires. Retrieved 2 July 2019.
  27. ^ International Anthology of Digital Poetry (CD) (CD). Chicago, Illinois: New Media Editions. 1996.
  28. ^ Ryan, Marie-Laure (2014). The Johns Hopkins Guide to Digital Media. Baltimore, Maryland: Johns Hopkins University Press.
  29. ^ Poésie animée par ordinateur (CD) (CD). Ajaccio/Villeneuve d'Ascq, France: DOC(K)S/alire. 1997. 3.13/14/15/16. Retrieved 30 March 2022.
  30. ^ "8. Evolutions in Virtual Space. Virtual Poetry and Aided Creation in Cyberspace". Ladislao Pablo Győri. Retrieved 30 March 2022.
  31. ^ Padín, Clemente (1997). "Poesía electrónica. Dos precursores latinoamericanos: Eduardo Kac y Ladislao Pablo Györi". Texturas. 7. Vitoria-Gasteiz, Spain: 4–10.
  32. ^ Padín, Clemente (2001). "Diccionario de la Poesía Experimental Latinoamericana". Escáner Cultural, Revista virtual de arte contemporáneo y nuevas tendencias. Santiago, Chile. Retrieved 1 July 2019.
  33. ^ De Gracia, Silvio (2013). "La technopoésie dans les environnements numériques". Inter. 114 (114). Quebec City, Canada: 48–51.
  34. ^ Győri, Ladislao Pablo (1996). "Virtual Poetry". Visible Language. 30 (2). Providence: Rhode Island School of Design.
  35. ^ Ryan, Marie-Laure (2013). The Johns Hopkins Guide to Digital Media. Baltimore: Johns Hopkins University Press.
  36. ^ Hart, Stephen (2018). The Cambridge Companion to Latin American Poetry. England: Cambridge University Press.
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