Trying to decipher meaning of a word Runegraph is not at all an easy task. Naturally, the first idea is to look up a dictionary where one finds that the nearest notion is runegraphy (Goth rune, Gk graph(os), drawn, written ), runic letter, runes. Looking up a word rune (Goth, pl. secrets) one finds it connotes straight-line letters used by old Germanic peoples until they met and accepted Latin characters. The oldest runic alphabet has 24 signs.
Does this explanation in any way relate to a device under a name of Runegraph? In a world of non-Euclidean geometry this may even be so, but in our ordinary world resting upon Euclid's idea, it is not the case! As a matter of fact, the Runegraph is a device drawing lines, curved lines, actually a long, unbroken line, and the last thing it can (but actually cannot) draw is a straight line. To cut a long story short, this magic device - bungled from wood, copper, little bit of plastic, brass and iron with inbuilt ‘chips’ from 60ies computers and engines from up-to-date printers and plotters - this device draws. It draws with coal, crayon and air brush. It does not literally draw on its own, but rather follows an instruction given by the artist or it draws according to a previously set up algorithm. Actually, using an ‘old’ technology is what gives charm to the device, its working and its drawings.
So, the Runegraph can be the device for drawing curved lines.
Dubravko Kuhta Tesla (HR)
I was born many years ago during the past millennium, in 1957, in a small city under Mt. Medvednica which has grown into a metropolis in the meantime. For my sixth birthday I was given my first model train, which I took apart to see how it worked. This event proved to be crucial. Afterwards I took apart a huge pile of toys and some more expensive stuff, which I further used to put together my “inventions.” And I have done so ever since to the present days (except that today I rarely dismantle anything that still functions!). These ideas together with my claim that “nothing except teleportation is unfeasible today, and that it is just a question of how much money one is ready to invest into the realization,” are what brought me into collaboration with numerous artists and institutions in order to solve apparently unsolvable problems. Besides “solving” a few big and a few smaller exhibitions in Zagreb and abroad (Zdravo budi!, Here Tomorrow, Sao Paolo Biennial, Venice Biennial, architecture Biennial in Venice...). I was a sound engineer at Vatroslav Lisinski Concert Hall for many years and have designed multimedia space projects. Finally, I have ended up at the Academy of Fine Arts in Zagreb, the Department for Animated Film and New Media. In my free time I experiment with Kinetic Art, sometimes I even get prizes for it. Some of my last
experiments were shown at major Croatian exhibitions like The Triennial of Croatian
Sculpture, Croatian Drawing Triennial, Device_ Art, T-HTaward@msu.hr...
