Attributes of Slovenian Mediterranean Artist
Preliminary Report

Vuk Cosic

After a detailed survey of given artists, and after a thorough statistical analysis of collected geo-artistic facts a conclusion finally gained ground that a specific Mediterranean Artist residing in Slovenia is definable. The premises leading to this conclusion are basically coming from two families of data: physical and psycho-social. We will present these data in the annexed forms, prepared for this research.
Physical characteristics of Slovenian Mediterranean artist, as the analysis shows, can be described as interesting. The cumulative weight and the average eye colour are surprisingly similar to all dominant south European types, and the hair colour, with maybe one or two exceptions, conforms to the Kossina tables. The obvious massiveness of the average individual thought, as shown in Figure 1, is a new element, and its highest peak is much steeper than the one in the analysis of artists coming from Italy or France. This element indicates that the influence of the Pannonian diet definitively cannot be neglected in any further research, and that serious attention should be paid to the beer industry of the continental region of Slovenia. The research was restricted to body characteristics, and a broader study of motor functions is unfortunately lacking at this stage, so it was impossible to understand the possible physical restrictions that might influence the motion and thus the social behaviour of Slovenian artist.
The scientific evidence leading to the reconstruction of the socio-pathological patterns in everyday life and work of the given type of artist is only circumstantial, and in no way it is offering any hard behavioural facts that would pretend to become axioms. Nevertheless, most of the observed regularities indicate a certain lifestyle also noted by our distinguished colleague Luther Blisset in his brilliantly concise essay “Slovenian Artist”. Our investigation into this particular topic did not offer a single piece of fact that would lead us to any discordance with Luther Blisset’s theses, and it was very important for all members of our Institute’s research team to be in the position to offer further evidence in support of this popular theory. Of course, our aim was also to provide an authoritative opinion regarding the overall socio-pathological panorama in the Slovenian Mediterranean art arena, and only the notion of radicalised historical comformism is tangible as a result. Anyway, our recommendation is not to attack this, but to call for sympathy with these innocent victims of conformism, with special emphasis on the total lack of contact between art and social environment in current art production.
To conclude this quick overview of the first results we would like to draw attention of the academic public to the cute Slovenian Mediterranean coast as a key factor in understanding our whole object of research.

Luther Blisset, “L’artista sloveno”, “Luther Blisset - rivista mondiale di guerra psichologica”, No. 3, Bologna, inverno 1995/96.
Hakim Bey, “A ruota libera”, Castelvecchi, Bologna, 1996.
Critical Art Ensemble, “Electronic Civil Disobedience”, Autonomedia, New York, 1997.
Alexei Shoulgin, “Art, Power, Communication”, “ZKP 3.2.1”, Vuk Cosic and Heath Bunting (ed.), Ljudmila, Ljubljana, 1996.
Carl Z. Simmons, “The Paris Commune”, Drunken Boat, New York, 1994.
Terence C. Sellers, “Coprofagy and Urinology”, from “Polisexuality”, Francois Peraldi (ed.), Semiotext(e), New York, 1995.
F. T. Marinetti, “La Cucina Futurista”, Longanesi & C., Milano, 1996.
Encyclopaedia Da Costa, Robert Lebel & Isabelle Waldberg ed., Paris, 1948 (quoted by Encyclopaedia Acefalica, Alastair Brotchie ed., Atlas Press, London, 1995).