Ladislao Pablo Györi

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] He has been described as one of the rare "poet-practitioners dedicated to 3-D art".[3]

Ladislao Pablo Győri
Born (1963-07-13) 13 July 1963
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

Life and career

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 (1988), 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 deserved to be 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at Brown University.[9] These verbal experiments advanced toward other formative fields of poetry in several still unpublished works from 1989 to 1993.[4]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]

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 visual 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]

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]

Works

Artworks (selection)[17][18]
  • 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 (1989).
  • Sculpture Projects 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, virtual reality project (2002).
  • e-stori.ar/el_sur, virtual reality project (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).

Books[17][19]
  • 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

References
  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. 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. 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. McGill University, Montreal, Canada. 31 (1): 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. Funkhouser, Christopher (2007). Prehistoric Digital Poetry: An Archaeology of Forms, 1959-1995. Tuscaloosa: University of Alabama Press. p. 175.
  14. 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. "Digital works | art + poetry". Ladislao Pablo Győri. Retrieved 27 January 2022.
  18. Győri, Ladislao Pablo (2010). First 25 Visual Years. Buenos Aires: ARTgentina.
  19. "Aero". Aero Edita. Retrieved 27 January 2022.
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