There are two methods of introducing new technological processes into art. One approach—I would tentatively call process-oriented—sees the material as a vehicle that reveals unstable, interim results that can, in some cases, serve to document the working process. This method addresses the transitoriness of process and defines its relationship to the conditions of exhibiting as well as the concrete situation of reception. The second approach bears the traits of a calculated operation: a technological procedure is introduced into a conventional artistic technique. It serves, as in the