Synthetic Aesthetics. Investigating Synthetic Biology's Designs on Nature, by designer Alexandra Ginsberg Daisy, social scientists Jane Calvert and Pablo Schyfter, bioengineers Alistair Elfick and Drew Endy.
Publisher MIT Press writes: Synthetic biology manipulates the stuff of life. For synthetic biologists, living matter is programmable material. In search of carbon-neutral fuels, sustainable manufacturing techniques, and innovative drugs, these researchers aim to redesign existing organisms and even construct completely novel biological entities. Some synthetic biologists see themselves as designers, inventing new products and applications. But if biology is viewed as a malleable, engineerable, designable medium, what is the role of design and how will its values apply?
In this book, synthetic biologists, artists, designers, and social scientists investigate synthetic biology and design. After chapters that introduce the science and set the terms of the discussion, the book follows six boundary-crossing collaborations between artists and designers and synthetic biologists from around the world, helping us understand what it might mean to 'design nature.' These collaborations have resulted in biological computers that calculate form; speculative packaging that builds its own contents; algae that feeds on circuit boards; and a sampling of human cheeses. They raise intriguing questions about the scientific process, the delegation of creativity, our relationship to designed matter, and, the importance of critical engagement. Should these projects be considered art, design, synthetic biology, or something else altogether?
Synthetic biology is driven by its potential; some of these projects are fictions, beyond the current capabilities of the technology. Yet even as fictions, they help illuminate, question, and even shape the future of the field.
I don't think i've ever reviewed a book and recommended it to scientists. Synthetic Aesthetics, however, should appeal to the art/design crowd and to the science community alike. It should also interest anyone who is eager to look beyond overenthusiastic headlines that promise a world-saving 'green' technology and who would like to understand better the benefits, risks and uncertainties of a field that might sometimes appear foreign and abstract.
Synthetic Aesthetics brings together synthetic biologists, social scientists, designers and artists to talk about what it means for science, culture and society to not only redesign existing organisms but also to design new ones, constructing in the process completely novel biological entities. As you can expect from the avant-garde minds invited to take part in Synthetic Aesthetics, the essays discuss the possibilities, real and imagined, of a future in which 'synbio' is part of 'nature', design and everyday life but some of the authors also look at the historical and cultural precedents of human interference with nature, from The Island of Doctor Moreau to producing GMOs.
Synthetic Aesthetics doesn't offer any easy answer regarding the challenges and potentials of 'synbio'. What it does very well, however, is opening up a space to have a broad discussion about questions as critical as: Could reprogramming organisms answer the problem of the finite resources of the planet? How do you design what doesn't exist, not even in our imagination? When should we turn to synthetic biology rather than to political or technical solutions? What are the implication of applying an engineering mindset to life materials? etc.
Roughly one half of the book explores projects that resulted from a close collaboration between scientists and artists/designers. I'll just highlight one of them because it has a good balance of 'sci-fi' and everyday practicality.
Packaging that Creates its Content envisioned a probiotic drink that relies on bacteria to morph into a physical cup when exposed to a specific light wavelength. During shipping and storage, the cups remain dormant until water is poured inside, creating a healthy drink. After several uses, the cup's walls begin to degrade and it can be composted.
'Packaging That Creates Its Contents' helps people think about what the world would be like if packaging never created waste.
Get that book! I've searched high and low for a book that would explain synbio in a clear, engaging and intelligent way. I'm glad i've finally found it.
Views inside the book:
Image on the homepage: Alexandra Daisy Ginsberg, The Synthetic Kingdom: Carbon Monoxide Detecting Lung Tumour, 2009. Photograph by Carole Suety.
I already mentioned the festival Age of Wonder last week in my notes from Nick Bostrom's talk about (human and artificial) Super Intelligence. The festival attempted to reflect on the challenging but ultimately exciting techno-mediated times we are living with a series of performances, keynotes and art installations. BioArt Laboratories illustrated the essence of the festival with Tree Antenna, an installation and workshop that engaged with alternative wireless communication, ecology, DIY culture and historical knowledge.
The Eindhoven-based multidisciplinary art&design group recreated an early 20th Century experiment in which live trees are used as antennas for radio communication.
General George Owen Squier, the Chief Signal Officer at the U.S. army not only coined the word "muzak", in 1904 he also invented in 1904 a system that used living vegetable organisms such as trees to make radio contact across the Atlantic. The invention never really took off as the advent of more sophisticated means of communication made tree communication quickly look anachronistic.
Tree communication was briefly back in favour during the Vietnam War when U.S. troupes found themselves in the jungle and in need of a reliable and easy to transport system of communication but after that, only a few groups of hobbyists used tree antennas for wireless communication.
During the last afternoon of Age of Wonder, BioArt Laboratories invited members of the public of all ages and background to join them and bring back tree antennas to our attention. Participants of the workshop could craft simple and affordable devices that would allow anyone to use the tree in their backyard as a radio receiver (it is also possible to broadcast from your tree but the technology is slightly more expensive and it requires permits.)
Squier drove a nail into the tree, hung a wire, and connected it to the receiver. The BioArt Laboratory team used flexible metal spring that wrapped around the trunk as planting a nail into the tree would have damaged it. Their system definitely works as the team managed to communicate with amateurs radios from countries as distant as Italy and Ukraine.
Right now there are only a few amateurs using tree and other high plants for wireless communication but the BioArt Laboratory's objective is to spread the word about this simple and affordable technology and gradually build up a world-wide forest of antennas.
Obviously, in this experiment the tree is part and parcel of the functionality of the antenna. We're thus not speaking of questionable antennas disguised as tree.
Having previously given life to a robot that enables plants to move around as they please, Ivan Henriques has collaborated with scientists from the Vrije Universiteit Amsterdam to develop the prototype of an autonomous bio-machine which harvests energy from photosynthetic organisms commonly found in ponds, canals, rivers and the sea.
The Symbiotic Machine uses the energy collected from micro organisms to move around in search for more photosynthetic organisms which it then collects and processes again.
The Symbiotic Machine is currently spending two months in an aquarium in the Glass House in Amstelpark, Amsterdam.
Short conversation with the artist:
Hi Ivan! How does Symbiotic Machine relate to Jurema Action Plant. Is this a continuation of that previous work? Did you learn something from JAP that you are applying to the Symbiotic Machine? Or is this a completely different exploration?
The research that started with Jurema Action Plant led to the development of the Symbiotic Machine (SM). I have created a range of works that explores such concepts as: the future (reinvention) of the environment; the acceleration of techno-scientific mutations; when nature becomes culture; the use of natural resources; where these hybrids of nature and technology will take place in the near future and reshape and redesign our tools to amalgamate and be more coherent with the natural environment (these concepts were discussed in the e-book Oritur). When JAP was being exhibited I noticed that as the interaction between the person and the plant enables the machine to move, people were envision a living entity, which was responding to them - i.e. it likes me!, when JAP was moving towards the person and It doesn't like me!, when it was moving away from the person touching it. That is the reason why I gave the Action Plant a first name: Jurema.
In the past years I have been creating machines that operates within the biological time combining different energy sources. In JAP, the variation of electrical signals inside the plant changes when someone touches it and in Symbiotic Machine it is a machine that makes photosynthesis to generate energy for itself, like a plant. In JAP the machine reads electrical signals and in SM the machine makes photosynthesis in order to have these electrical signals. It is a further research into plants electricity and development of a hybrid entity.
Could you talk to us about the collaboration with scientists from the Vrije Universiteit Amsterdam? How did you start working with each other? And what was the working process like? Was it just you setting up instructions and telling scientists what to do? Or was it a more hands-on experience?
When I first met Raoul Frese, scientist from the Biophysics Lab from VU Amsterdam, (The Netherlands) I wanted to develop further JAP. I got very inspired after his speech in a symposium at the former NIMK in Amsterdam about photosynthesis. Later we did an appointment to discuss further our possible collaboration. To develop the Symbiotic Machine we had several meetings in my studio and in his lab. Soon, Vincent Friebe, PhD student from Biophysics lab also joined the team.
In this project I wanted to create an autonomous system, which is able to live by itself, as most of the living entities do. For me it is very poetic to create a hybrid living system that can move to search for its own energy source, process it and have energy to do its own life cycle.
We had lots of hands on experiences and exchanging ideas and techniques. The project started with the concept and the technology we could use, but this Beta version was designed according to the necessities and mechanisms the bio-machine required. The project also had collaborations with Michiel van Overbeek who developed the hard/software and the Mechanical Engineer lab from CEFET/RJ (Technological University of Rio de Janeiro, Brazil).
What are the photosynthetic organisms that the machine harvests? Could you give a few examples? What makes them interesting for the scientists you were working with?
For this prototype we focused in a specific algae: Spirogyra. It is a genus of filamentous green algae, which can be found in freshwater such as canals and ponds. Spirogyra grows under water, but when there is enough sunlight and warmth they produce large amounts of oxygen, adhering bubbles between the tangled filaments. The filamentous masses come to the surface and become visible as slimy green mats.
I asked Raoul Frese why he is interested in photosynthetic organisms: " Scientists are researching photosynthesis and photosynthetic organisms to learn how processes occur from the nanoscale and femtoseconds to the scale of the organism or ecosystem on days and years. It is an excellent example how a life process is interconnected from the molecules to organism to interrelated species. For biophysicists, the process exemplifies molecular interactions upon light absorption, energy transfer and electron and proton transfers. Such processes are researched with the entire experimental physics toolbox and described by theories such as thermodynamics and quantum mechanics. From a technological point of view, we can learn from the process how efficient solar energy conversion can take place, especially from the primary, light dependent reactions and how light absorption can result in the creation of a fuel (and not only electricity)."
Why were you interested in photosynthetic organisms, and in creating a machine that would feed on them and function a bit like them?
My interest in photosynthetic organisms started when I wanted to develop further JAP in a way that a hybrid organism could harvest its own energy to live like a plant. In April 2013, during the residency in NY I had the opportunity to research these microorganisms when I created the installation Microscopic Chamber #1, using a laser pointer to magnify these microorganisms, where people could see in naked eyes projected on a wall different kinds of microorganisms swimming. These living organisms were collected at Belmar beach, in New Jersey and were displayed in the installation in an aquarium where I cultivated them.
The algae Spirogyra is very common in The Netherlands. The choices of the organisms presented in my works are based on the concept, their own technology and location of the specimen. One of the ideas is to adapt the mechanics and electrical system in the machine to be capable to function with the mili-voltages that plants, animals and us have. Create an autonomous system that could use such small scale of electricity to operate. After the residency I had several meetings with scientists from VU Amsterdam where I had the opportunity to research further the Spirogyra and other photosynthetic creatures.
In this research about plant and machines I want to find a way of coexistence between living organisms and machines more integrated, and inspire people for a possible different future.
Could you explain us the shape of the floating mobile robotic structure? Because it looks much more 'organic' than typically robotic. Could you describe the various elements that constitute the robotic structure and what their role is?
The machine is designed to communicate with the environment. For this first model the machine is planned to process the algae from specimen Spirogyra to generate electricity. As this specimen is a filamentous floating organism, the robot has to be in water, floating together with the algae.
The structure is composed by an ellipsoid of revolution with 3 conical shaped arms. Attached to the arms tentacles equipped with sensors. The structure is transparent to catch sunlight at any angle. The choice for an ellipsoid of revolution is to create more surface area for the electrodes (photocells) and to use more of the sun rays onto the photocells when the light reflects in the golden electrodes - using more sunlight by consequence. The tentacles make the robot extend its senses to search for algae. The arms create closed chambers to place electronics.
The machine has a complete digestive system: mouth, stomach and anus. See the video:
Sealed with a transparent cylinder a motor, an endless worm and a pepper grinder aligned and connected by one single axis compose the mouth/anus, like a jellyfish. This cylinder has a liquid inlet/outlet (for water and algae spirogyra) placed at the end part of the endless worm. The endless worm has an important function to pump liquid in and out and to give small propulsion for the machine.
In order to "hack" the algae spirogyra photosynthesis' and apply it as an energy source, the algae cell's membrane has to be broken. The pepper grinder that is connected at the end of the endless worm can grind the algae breaking the membrane cell, releasing micro particles.
These micro particles in naked eyes looks like a "green juice" which is flushed inside the machine: the stomach.
A tube that comes from the end of the mouth with grinded algae goes though the stomach, inside the ellipsoid of revolution. This tube is fastened on a 2-way valve placed in the center of the spherical shape. Inside the ellipsoid of revolution there is another bowl, just one centimeter smaller aligned in the center. Placing this bowl inside, it creates two chambers: 1] the space between the outer skin and the bowl and 2] inside the smaller bowl. In chamber 1 the photocells are placed in parallel and in series. The photocell is composed by a plate covered with gold, a spacer in the middle covered with a copper mesh. This set up allows the "green juice" rest between the gold and copper.
After the light is shed on the electrons of the grinded algae they flow to one of these metals, like a lemon battery. As all the photocells are connected, with the help from the electronic chip LTC 3108 Energy Harvester is possible to store these mili-voltages in two AA rechargeable batteries. A life cycle with functions was idealized in order to program the machine and activate independent mechanical parts of the stomach: it has to eat, move, sunbath, rest, search for food, wash itself, in loop.
The 2-way valve mentioned above is connected as: valve 1 hooked up with chamber 1 and valve 2 with chamber 2. When the stomach works is sent information to the machine that the valve 1 has to be opened. The algae flow to this chamber and the machine uses a light sensor to go towards where there is more luminescence to make photosynthesis. After the 10 min sunbathing (photosynthesis) the machine has to clean its stomach - and the photocells - to be able to eat again. Water is sucked in again with the mouth, and via the same valve from the algae, it pumps more water inside chamber 1 in order to have an overflow of this liquid in chamber 2. The liquid, which is now in chamber 2 is flushed out by the motor turning the endless worm and having the valve 2 opened. Fixed on the edge of the structure opposite the mouth, an underwater pump connected by a vertical axis with a servo powers the movement of the structure giving possibilities to steer 0, 45 and minus 45 degrees. The movement programmed for this machine was written concerned about the duration/time, space and energy.
What is next for the Symbiotic Machine and for you?
This version of the Symbiotic Machine still has to be improved and I would like to continue the research and develop this bio-machine further. I want to keep working to improve what was done. The exhibition is from March 9th until 27th April at the Glazen Huis in Amstelpark, Amsterdam.
Previously by the same artist: Jurema Action Plant.
Last week was the School of Design students work in progress exhibition at the Royal College of Art, that's probably my favourite show at RCA because everything is still gloriously wild, promising and unpolished.
Marcel Helmer from Design Interactions had a very puzzling display showing sketches of an audio recorder inside of a walnut that squirrels would then bury in enemy territory, nuclear landmine warmed up by live chickens, military equipment for insect related units, etc.
He called these scenarios Technocratic Fables. They tell the tales of machines depending on, cooperating with or being defeated by animals. The work looked closely at animals in military use. Some of his examples came from the past (believe it or not, in the 1950s the UK seriously planned to put chicken inside landmines to regulate its temperature), present and looked at how engineered animals might shape the future of warfare.
These fables show potential of putative simple organisms in the past, present and future. What if invasive species become a weapon? What if the next danger is an engineered physical insect, not a digital one?
The designer kindly accepted to answer my questions:
Hi Marcel! Why did you decide to present the work as 'fables' and not as just 'projects' like most other works in the show?
Technocratic fables are a collection of stories. All of them based on animal/technology interaction inside the field of military purposes. They are placed between the 1930 and the not too distant future, embedding the most sophisticated technology of each specific time into the tale. Showing its vulnerability, dependency or cooperation to/on/with animal behaviour.
Traditional fables use anthropomorphised animals not only to tell fantastic and entertaining stories, but to teach and exemplify sociological human behaviour. My idea is to use animals and technology not to explore the human/human interaction, but the human/technology side of society of a specific time. Specific time for the reason, because of the idea that a relationship of course changes throughout history, whether it actually does may remain unanswered though. It is certainly not about finding new uses for animals in warfare, even though it mentions the possibility of invasive species used as weaponry.
Can you walk us through some of those animals used for military purposes?
My favourite story so far: During the cold war Germany was separated into the soviet east and the allied forces' west. The western forces were seriously concerned about the possibility of the soviet army conquering western Europe, therefore they developed a plan B. Burying nuclear landmines to make central Europe inhabitable in case of an invasion. The only problem they had, German winters can be quite rough, and the electronics of the time weren't made for those temperatures. The proposed solution: burying live chicken with the bombs to use their body heat to keep the sensitive electronics alive. The soviet reaction to this plan was the attempt to train foxes, not only to track down the bombs but to "defuse" them by killing the chicken.
This is one example of the past, more recent ones include squirrels captured by the iranian government because they were "carrying espionage equipment", jellyfish fields blocking passage ways for multi million dollar nuclear submarines or moths distracting sonar controlled homing missiles.
Why did you associate a particular animal with a particular military use? Are they already used for similar purposes?
This is the twist: the stories i just mentioned are true! Design fictions like to use fantastic narratives to communicate scenarios, encasing and presenting them as realistic as possible, perfect renderings, tables and facts to create plausibility. I'd like to go the other way around, i cloak the stories as fictions to surprise with the truth, stressing once more that reality can be stranger than fiction! My design is the communication of the story and the speculative next step of these truths, what if this really happened and became the standard of warfare? What are countermeasures to chicken bombs? What does a squirrel use to spy on you? How can jellyfish become a weapon? It is an alternative century of animals in warfare.
Are animals still used in warfare?
Absolutely. But today its usually less spectacular and experimental, since computer technology supposedly became the answer for most problems. It is no more necessary to use pidgeon as pilots for "intelligent" missiles (again, true story!). We still cherish the advanced sense of smell of dogs, or recently even rats to find hidden landmines. One of the more fantastic approached is the research of the U.S. navy using dolphins to find sea mines. On the other side, who knows what's happening behind closed curtains? The "chicken bomb" was a rumor, until it has been proven in the early 90s by secret documents, which became open to the public after the fall of the Soviet Republic. It definitely leaves enough space for speculations of future stories, especially in regard to engineered organisms, which will be part of the "near future story" i develop.
These factors are also part of the reason why i choose to place it in the realm of military technology. It's the secret, yet fantastic nature that evolves out of the almost blind trust into technology inhabited by this area. Pushing the boundaries of technology with only limited emphasis on ethical or moral restrictions.
Are you planning to push the project further?
Yes, it is definitely going to be one of my main projects i'll be presenting in the Summer show. While i personally appreciate the idea of mixed media installations to offer the audience artefacts to explore the fables, i'd like to work closer to the expectations of classic fables in literature. Whether this is going to be a book, including the fables and the research or another traditional form of storytelling is still to be determined. I certainly have a lot more fantastic stories written not only by me, but history itself i can work with.
The Work in Progress show of the design school is over, alas! but the School of Architecture Work-in-Progress Show opens in a few days in the Kensington building.
I don't normally blog about calls or upcoming events. Mostly because as breathtaking as they are, press releases 'copy/pastes' are not my idea of an appealing content. I do like to make exceptions to the rule though. One of them is the Bio Art & Design Award. It used to be called the Designers and Artists for Genomics award but its objective remains unchanged: the award invites designers and artists interested in life sciences to propose projects that push the boundaries of research application and creative expression. Each year the three most remarkable ideas are awarded a 25,000 euro grant to bring the project to life and exhibit it.
To be eligible for the award you must have graduated no longer than five years ago from a design or art program (at either the Masters or Bachelors level). Applicants are encouraged to relate their proposals to recent advances in the Life Sciences, including those within specialties such as ecology, biomedicine and genomics.
The deadline is 2 February 2014.
The selection process is rigorous, the research institutes associated seem to be genuinely enthusiastic about the collaboration and the results of the partnership are usually so exciting that i've blogged about them relentlessly in the past (check out in particular: The Living Mirror, Ergo Sum, the now iconic 2.6g 329m/s, aka the 'bulletproof skin', etc.)
I took the call for proposals as an excuse to chat about the award with Angelique Spaninks and Wilma van Donselaar. Angelique is the head of MU, the art center which is going to exhibit the winning projects next Winter and Wilma, who works at the the Netherlands Organisation for Health Research and Development, has been working on the Award from the beginning.
Designers and Artists for Genomics is now Bio Art & Design Award. Why did the name change? Does it involve any modification in the award? The way it is organized, its purpose, the spirit, the organizations involved?
Angelique Spaninks : The change of the name is partly due to a shift in organizational parties. The Netherlands Genomics Initiative that has set up the award has ceased to exist per January 1 of this year but it has managed to guarantee a budget for a similar award. This has been brought under care of ZonMW, the Netherlands Organisation for Health Research and Development, that is now in the lead. The other new partners are NWO (the Dutch Research Council) and MU, one of the leading art foundations in the Netherlands with a hybrid program reaching from contemporary art to design, media art and popculture.
MU will take care of coordination towards the exhibition of the three winning projects, combined with other new bio art and design projects. De Waag is still on board and so are several leading universities and research centers for the Life Sciences that provide teams of scientists that will closely collaborate with the artists and designers that will be selected to work on their proposals. In that sense the purpose and spirit have not changed, and neither has the prize money.
I'm, as always, impressed by the quality and quantity of scientific organizations the award got on board. Why do you think they accept the challenge to work with an artist or designer? What does the collaboration with a creative individual with an entirely different background and -i suspect- perspective bring to their research activities?
Wilma van Donselaar of ZonMW: At first the only scientific organizations that participated were funded by the Netherlands Genomics Inititiative and they had to be persuaded a bit in the beginning, but quite soon they thoroughly enjoyed the collaboration. The artists bring in completely new ideas and often challenge them into exploring new technological possibilities. There has to be a connection of course, but that is something that already becomes quite clear during the matchmaking event at the start of the competition. The only reason why it is difficult to keep scientists on board year after year is that it takes a lot of time. That is why we also bring in fresh research groups. But since we can show the results of previous award rounds now, that is not so difficult anymore.
Who should apply to the award? Is it mostly interactive designers and media artists or could a more 'traditional' artist/designer get a chance provided he's passionate enough about the possibility to engage with Life Science materials and ideas?
AS: We don't exclude anyone with an exciting but also viable proposal, who has graduated no more than five years ago in the field of art and design. Of course it will be more easy for artists/designers with some experience in working with Life Science materials and ideas, but the award is also there to stimulate young creatives to explore new territories and enhance the options for collaboration between creatives and scientists. All this to broaden and deepen the interest in and debate about the Life Sciences through the arts and examine it's social, cultural and ethical contexts.
How is an artistic/design proposal paired with a scientific institute? What is the process?
AS: Each participant can submit only one application before February 2. This application consists of a preliminary idea, portfolio and filled out registration form. Only 16 applicants will be selected for a matchmaking meeting in The Hague in March, where the creatives have to find a match with a team of scientists from one of the participating Dutch Life Science institutes. A list of the participating research groups of the 12 Dutch Life Science institutes can be found on the website www.badaward.nl. Once the matches are made artists/designers and scientists write a joint full proposal for the Award before end of April. Then mid-May all teams have to present their final proposals to the international jury which will then select the 3 winners. All proposals will not only be presented to the jury that day but also to the public. From June till November the Award winning proposals are realized by the artist/designers and scientists together and will be exhibited in MU art space on Strijp S in Eindhoven for 2 months starting from November 28, 2014.
Also I was wondering how the winning projects get accepted (or not) by the design and/or art world? Are they seen as hard to grasp and comment on pieces or does the art press and the art public embrace them as valuable and challenging expressions of creativity?
AS: The Award functions as a springboard, either for new nominations or Awards, new or extended collaborations, grants, positions or new publications. Experience with the first 3 years and 10 Award winners has learned that there is a growing interest in bio art and design in press and society but the art and design world themselves are lagging behind a bit. By presenting the winners in a respected yet hybrid contemporary art space like MU and in a leading art, design & technology driven city like Eindhoven we are convinced this will gradually change.
Thanks Angelique and Wilma!
From the back-cover: Every second year the Finnish Society of Bioart invites a significant group of artists and scientists to the Kilpisjärvi Biological Station in Lapland/Finland to work for one week on topics related to art, biology and the environment. "Field_Notes - From Landscape to Laboratory" is the first in a series of publications originating from this field laboratory. It emphasizes the process of interaction between fieldwork, locality and the laboratory. Oron Catts, Antero Kare, Laura Beloff, Tarja Knuuttila amongst others explore the field and laboratory as sites for art&science practices.
I was about to add this book to the list of books i liked in 2013 but i decided at the last minute that i might as well give it its own space.
In 2011, the Finnish Society of Bioart organised the Field_Notes - Cultivating Grounds laboratory. Five working groups led by Oron Catts, Marta de Menezes, Anu Osva, Tapio Makela and Terike Haapoja developed various art and science projects while in contact with nature and ecology in Kilpisjärvi, a rural area in Lapland, Finland.
The book contains seventeen articles (in both English and Finnish) that report and meditate on the research, reflections and activities that took place during the scientists and artists' stay in Lapland. Field_Notes offers one of the very few residences that allows people who engage with art&science to work and experiment directly in a natural environment and not exclusively in laboratories or galleries.
I wouldn't say that this is a book for anyone who's interested in bioart. It's not the kind of crazy sexy pop bioart you read about in Wired magazine (or in my own blog.) It is sober and at time theoretical, but not less surprising and thought-provoking than any razzle-dazzle bioart works you've read about in the past.
Field_Notes offers is a great mix of essays by scientists and lively stories of experiments by artists. I particularly enjoyed reading Laura Beloff's essay on how experience is a key aspect (and sometime even the main objective) of art practices that use organic materials or has some affinity with science. Professor Antero Järvinen wrote about the icon of global warming that is the Arctic charr and more generally about the difficulty of drawing simple conclusion of complex material systems and phenomena. Oron Catts came with the most unexpected essay about a piece of plexiglass from a German aircraft that had crashed in Kilpisjärvi in 1942 and how the discovery led him to explore 'new materialism in action'. Andrew Gryf Paterson has a great piece about berries foraging and a proposal to set up Berry Commons which sounds trivial until he makes you realize the politics of berries. Maria Huhmarniemi looked at the dilemma of preserving the endangered Capricornia Boisduvaliana butterfly or building an hydroelectric power plant.
I'll close with two of the many projects i discovered in this book:
A Unit is a miniature green area an individual would wear on their shoulder. A Unit speculates on the concept of green environment and its beneficial impact. It experiments with an idea of wearable miniature green space that becomes part of ones everyday existence and asks if this can be considered as natural environment with potential health benefits?
A Unit contains a GM-plant or other primarily human-constructed plant and as such acts as a training device for our changing relation with organic nature for the future when both humans and nature are artificially modified or constructed.
Niki Passath took his touristic robots for walks around Kilpisjärvi and soon found out that fungi and bacteria had adopted them as a habitat. Traces of moss and lichen started to grow on the structures.
So there you are: a serious, solid book for anyone who'd like to go beyond the easy reductions, the fast conclusions and simplification that sometimes characterizes articles and books about bioart.