The sculpture Elizabeth Gardner bears the name of a Scottish natural scientist who died in 1988 at the age of thirty-three after devoting much of her research to neural systems.
A highly sensitive replica of the human vocal organs is concealed Inside the pale wooden head of the large, Insect-like structure of black vinyl contained in a corset of tubes. The visitor notices the battery of mini cameras and motion detectors only at second glance. These accessories are the eyes and sensors of the sculpture, and function as the interface for the mutual confrontation between man and machine. They observe, check and control from extreme locations; transmit impulses and unreal insights to the matrix which is the second sculptural element. The wall of monitors at the nerve end of the sculpture resembles an observation HQ and reveals the sensory perceptions of Elisabeth Gardner. Even here, however, a vigilant electronic eye transforms the spectator into an impulse-transmitting object of observation.
All works by Baginsky, who describes himself as a sculptor, use the option of reciprocal influence between sculpture and spectator to address the capabilities and characteristics of cybernetic machines and autonomously acting sculptures. His research Is devoted to artificial Intelligence (Al), the striving of our technological age to penetrate the mysteries of the chaotic systems of the human structure. This preoccupation with Al is reflected in the diverse artistic and philosophical components united in his sculpture.
sculpture, 11 monitors, 5 CCD mini cameras b/w, 4 motion sensors, 6 video channels (Loan from the Hamburger Kunsthalle)