Recall Terminal predstavlja spekulativni vmesnik, ki bi posameznikom omogočil skeniranje, shranjevanje in rekonstrukcijo spominov. A spomin nikoli ni zvest posnetek preteklosti, temveč je sestavljen iz praznin, napak in subjektivnih reinterpretacij. Če bi tehnologija te fragmente lahko popolnoma poustvarila, bi sploh lahko še govorili o spominu?
Vizualna interaktivna zgodba obiskovalca_ko popelje v liminalne prostore, ki jih hkrati preveva občutek domačnosti in zapuščenosti. Med navigiranjem po zemljevidu razdrobljenih spominov ter sprehajanjem mimo fragmentov preteklosti, koordinate, datumi in odstotki ohranjenosti razkrivajo, koliko spomina je še nedotaknjenega in koliko ga je že razpadlo. Prvoosebni tok misli ob vsakem artefaktu razkriva nejasnost in netočnost spomina – vsaka podoba je le približek, vsak detajl je že nekoliko zbledel.
Matej Mihevc s tem delom nadaljuje spekulativno raziskovanje minljivosti, nostalgije in spomina ter postavlja vzporednice med rekonstrukcijo spominov in delovanjem umetne inteligence, ki na podlagi razdrobljenih podatkov ustvarja celoto, nikoli povsem zvesto izvirniku. Z uporabo principov izgradnje svetov se sprašuje, kaj bo ostalo od pretekle kulturne produkcije in kako lahko neznane ostaline preteklosti vzbudijo hrepenenje po nečem, kar ni več dosegljivo, a hkrati negotovost, ali je to sploh kdaj resnično obstajalo. A delo ne raziskuje le preteklosti, temveč odpira tudi vprašanja o prihodnosti spominjanja. Ko umetna inteligenca ne bo več le orodje za rekonstrukcijo, temveč aktivni soustvarjalec naših spominov, kako bomo ločevali, kaj je resnično in kaj ne?
Matej Mihevc (1995) je interdisciplinarni umetnik, ki deluje na področju interaktivnih virtualnih okolij, 3D‑modeliranja, kiparstva, animacije, oblikovanja, orodij umetne inteligence in različnih industrijskih produkcijskih tehnik. Diplomiral je na Oddelku za video in nove medije Akademije za likovno umetnost in oblikovanje v Ljubljani, kjer trenutno zaključuje magisterij. Njegovo delo pogosto združuje elemente spekulativne fikcije, gradnje svetov ter različne pop‑kulturne reference in kode. Z opiranjem na post‑internetno umetnost, sodobno filozofijo, znanstveno fantastiko in medijsko teorijo raziskuje, kako nastajajoče tehnologije oblikujejo načine, na katere se konstruira želja. Svoja dela je predstavil na več samostojnih in skupinskih razstavah. Je tudi voditelj radijske oddaje Modem, posvečene podtalni internetni glasbi.
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Recall Terminal is a speculative interface that would allow individuals to scan, store, and reconstruct memories. But memory is never a faithful record of the past; rather, it is composed of gaps, errors, and subjective reinterpretations. If technology could perfectly recreate these fragments, could we even still call it memory?
A visual interactive story takes visitors into liminal spaces that are simultaneously imbued with a sense of familiarity and abandonment. As visitors navigate a map of fragmented memories and wander past fragments of the past, coordinates, dates, and preservation percentages reveal how much of the memory remains intact and how much has already disintegrated. The first-person stream of consciousness accompanying each artefact reveals the ambiguity and imprecision of memory – every image is merely an approximation, every detail has already slightly faded.
With this work, Matej Mihevc continues his speculative exploration of transience, nostalgia, and memory, drawing parallels between the reconstruction of memories and the functioning of artificial intelligence, which creates a whole from fragmented data that is never entirely faithful to the original. Using the principles of world-building, he asks what will remain of past cultural production and how unknown remnants of the past can evoke a longing for something that is no longer accessible, while at the same time raising uncertainty as to whether it ever truly existed. But the work does not merely explore the past; it also raises questions about the future of remembering. When artificial intelligence is no longer just a tool for reconstruction but an active co-creator of our memories, how will we distinguish between what is real and what is not?
Matej Mihevc (1995) is an interdisciplinary artist working with interactive virtual environments, 3D modeling, sculpting, animation, design, AI tools and various industrial production techniques. He holds a BA in Video and New Media from the Academy of Fine Art and Design in Ljubljana and is currently pursuing an MA at the same institution. His work frequently integrates elements of speculative fiction, world‑building and various pop‑culture tropes and codes. Drawing from post‑internet art, contemporary philosophy, science‑fiction and media theory, he examines how emerging technologies shape the way we engineer desire. He has presented his work in several solo and group exhibitions. He is also the host of Modem, a radio show dedicated to underground internet music.
