The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, London's favourite radio art station, is aired this Wednesday afternoon at 4pm.
My guests will be designers and artists Michiko Nitta & Michael Burton.
Michael works on the edge of speculative design, arts, and as a researcher. His works investigate the choices we face in our evolution as a species and in redesigning life itself. Meanwhile, Michiko's interests are in the relationship between nature and humans, often taking extreme vantage on how humans can change their perception to live symbiotically with nature.
You might have heard of Michiko and Michael's work already. Last year, they were at the Victoria and Albert Museum with a performance that showed how opera singers with powerful lung capacity might produce food in a future world where algae have become the world's dominant food source. And in Spring they were at the Watermans cultural center to explore the possibility of a city that would be isolated from the wider environment and where food, energy, and even medicine, are derived from human origin and man-made biological systems. Obviously, you're in for a weird ride with two charming people...
The radio show will be aired this Wednesday 6 November at 16:00, London time. Early risers can catch the repeat next Tuesday at 6.30 am. If you don't live in London, you can listen to the online stream or wait till we upload the episodes on soundcloud.
Last week, i mentioned my quick trip to Leiden to see the winning projects of the third edition of the Designers & Artists 4 Genomics Award, an international competition that gives artists and designers the opportunity to collaborate with life science institutions carrying out research into the genetic makeup of people, animals, plants and microorganisms.
One of the winning works is The Living Mirror, a 'bio-installation' that combines magnetic bacteria with electronics and photo manipulation to create liquid, 3D portraits. The piece was developed by Laura Cinti & Howard Boland from the art-science collective C-Lab in partnership with AMOLF, a research institute focusing on nanophotonics and physics of biomolecular systems
Living Mirror involves cultivating magnetotactic bacteria, a group of bacteria able to orient along the magnetic field lines of Earth's magnetic field. The artists collected the bacteria and used an array of tiny electromagnetic coils to shift the magnetic field, causing the bacteria rapidly reorient their body that changes how light is scattered. The resultant effect can be seen as a light pulse or a shimmer. Taking pixel values from darker and lighter areas in captured images, [C-Lab] programmatically harmonise hundreds of light pulses to re-represent the image inside a liquid culture.
I had a quick Q&A with the artists:
Hi Laura and Howard! The Living Mirror, to me at least, almost belongs to the world of magic.It uses software, hardware and wetware. It is a particularly complex project. How did you know it would work out in the end? And what were the biggest challenges you encountered during its development?
Indeed, as a work it has been a very ambitious undertaking that integrates quite complex processes of wetware, software and hardware. We had to work very closely with various types of engineering disciplines and work as engineers ourselves. Over the past few months we built several prototypes to help us understand how a magnetic culture of bacteria might work. In the beginning when we worked on pulling biomass our biggest challenge was to generate enough bacteria and have a system that could produce a significant magnetic pulling force.
The interactive art installation was aimed at producing real-time images using living bacteria - but pulling biomass was slow. When we discovered that these bacteria produced a shimmering effect in real-time we were intrigued and felt that this was a better phenomenon to pursue and also allowed us to work with much lower magnetic forces. By changing the magnetic field we were seeing bacteria rapidly switching direction in a synchronic rotation causing light to scatter and producing a visible shimmer. So the major challenges we have encountered so far has been cultivating these bacteria and producing the electronic boards needed for approximately 250 individual magnetic coils.
There are many unknowns in the project which is what makes it quite exciting for us - having living bacteria respond in real-time is not something we experience on a visual scale we are accustomed to and finding out whether this system will be able to produce shimmering pixels that can form a portrait image is to be seen in the weeks to come.
To see the shimmering effect we observe, please see these videos below:
In LIVING MIRROR, multiple pulsating waves of bacteria are made to form a pixelated image using electromagnetic coils that shift magnetic fields across surface areas. By taking pixel values from darker and lighter areas in captured images, LIVING MIRROR programmatically attempts to harmonise hundreds of light pulses to re-represent the image inside a liquid culture.
In the proposal you wrote for the competition, you say that "Recent years have seen the human body reconfigured as an ecosystem of mostly non-human bacterial cells. Together with fungi and human cells, these form our complex 'superorganism', an image the work seeks to renegotiate by literally reflecting and fleshing out these ideas." Could you elaborate what you mean by that?
Until recently, our understanding of human 'self' was, at least biologically speaking, thought to be 'human' cells. This perspective is now understood to include microbial communities and interestingly, these microbial cells not only outnumber our own 'human' cells but our bodies contain significantly more of microbial DNA than our own genome. (Our bodies contain a mere 10 per cent of human cells and 90 per cent microbial cells). In this sense our bodies can be seen as a 'superorganisms' - working collectively as a unified organism or an ecosystem.
As a liquid biological mirror, LIVING MIRROR draws on the idea of water as our first interface predating today's screen-based digital technologies. It points to the myth of Narcissus who fell in love with his own image by believing it was someone else in the water reflection. Drawn into the image, he tragically drowned - a reminder of how we continue to immerse ourselves in similar mirrors as we extend our identity into the virtual. Simultaneously, the work highlights how contemporary science has shattered the idea of our own body by recognising that we are mostly made up of non-human bacterial cells. These ideas have shaped digital and biological understandings of our human self and are technically and conceptually reflected in LIVING MIRROR.
A living mirror is a very seducing idea. Do you see possible applications for it? Or was it just an artistic experiment?
Throughout the project we have been in communication with many leading researchers and there are certainly some specific technological overlaps (i.e. possible use of shimmer as a magnetic measurement or methods for orienting or guiding cells). As a display what can be seen is certainly different to existing technologies and LIVING MIRROR remains a research-based artwork.
Thanks Laura and Howard!
The Living Mirror and the other winning projects of DA4GA are on view until 15 December at Raamsteeg2 in Leiden, in The Netherlands.
Last weekend i was in Leiden, a short train trip away from Amsterdam, for the opening of an exhibition of the winning projects of the third edition of the Designers & Artists 4 Genomics Award.
The DA4GA give artists the opportunity to develop ambitious projects in cooperation with life science institutions carrying out research into the genetic makeup of people, animals, plants and microorganisms.
One of the recipients of the award is Charlotte Jarvis who used her own body to demystify the processes and challenge the prejudices and misunderstandings that surround stem cell technology.
Ergo Sum started as a performance at the WAAG Society in Amsterdam. In front of the public, the artist donated parts of her body to stem cell research. Blood, skin and urine samples were taken and sent to the stem cell research laboratory at The Leiden University Medical Centre iPSC Core Facility headed by Prof. Dr. Christine Mummery.
The scientists then transformed the samples into induced pluripotent stem cells, which in turn have been programmed to grow into cells with different functions such as heart, brain and vascular cells.
The whole process used the innovation which earned John Gurdon and Shinya Yamanaka a joint Nobel Prize last year. The two scientists are indeed behind the discovery that adult, specialised cells can be reprogrammed and turned back into embryo-like stem cells that can become virtually any cell type and thus develop into any tissue of the body.
The pluripotent stem cells offer an alternative to using embryonic stem cells, removing the ethical questions and controversies that surrounded the use of embryonic stem cells.
But let's get back to Charlotte's stem cells. Copies are now kept by the university for scientists to use in their research. And because the cells can be stored for an unlimited period, they are immortal. The ones that are on view at the exhibition in Leiden right now have to be kept alive by a team of scientists who regularly visit the exhibition space to care for the cells.
The synthesized body parts (now brain, heart and blood cells) are kept in an incubator made especially by a company specialized in museum displays as traditional incubator don't have a window that would allow the public to have a peak inside. The cells are accompanied by videos, prints of email exchanges, photos and other items that document the whole story of the project.
Ergo Sum is a biological self-portrait; a second self; biologically and genetically 'Charlotte' although also 'alien' to her - as these cells have never actually been inside her body.
You first idea was to donate your eggs for the project but the scientists told you this might not only be illegal but also unnecessary. Could you explain why the eggs were unsuitable for the experiment and what the lab used in the end?
In the first instance I was unable to donate an egg because of the birth control I take. I have a three monthly injection (the DEPPO) which works by stopping egg production. It can take a year for your body to start producing eggs again after stopping the DEPPO, so I would not have been able to produce an egg in time for the project.
However, there were also ethical reasons for not donating an egg. I believe fervently in the use of embryos for scientific research, as of course do the scientists I work with. They have to fight for the right to use embryos in their research and under no circumstances would I do anything to jeopardise that. The use of embryos for artistic purposes is a different moral question. I felt that it would have been wrong (and potentially damaging to the scientists working on the project) to confuse those two ethical questions by making an art project utilising the scientific method for making embryonic stem cells.
What we used instead was stem cells derived from adult tissue. These are called Induced Pluripotant Stem Cells (IPSCs) and it is this technology that won the Nobel Prize last year. I donated skin, blood and urine to the lab. The lab was then able (using this new and wonderous technology) to send those cells back to how they were when I was a foetus - to turn them back into the stem cells they had been roughly 29 years ago. You could call it cellular time travel! I find our ability to do this completely awe inspiring.
Now that you've finally met your 'second self, your dopplegänger, do you feel you have some kind of connection to it?
Seeing my heart cells beating was a unique experience - especially the first time I saw it. There is something that feels distinctly 'alive' about the beating heart cells and something quite extraordinary about seeing part of your own heart beating and living outside your body. But in general I would say that I feel no more connected to my second self than I would any other self portrait. I do not feel that these parts of me are sacred in some way, or even that they really belong to me in anything other than the genetic sense. That is really the point of the project - to question how we build our identity as humans and how that might change in the future. This may sound obvious, but I have learnt that I am more than the sum of my parts; that just because something has my heart, my brain and my flowing blood it is not 'me' and it is not a human.
Ergo Sum and the other winning projects of DA4GA are on view until 15 December at Raamsteeg2 in Leiden, in The Netherlands. Ergo Sum is funded by the Netherlands Genomics Initiative.
Today i need something silly to cheer me up: i'm in Turin, it's August and the whole place is inert. All the art galleries are closed. Half of the cinema are 'on holiday pause' and even the postman hasn't brought any bill nor urgent (sigh!) parcel for two weeks at least. I'm in need of a distraction so let me tell you about the Poo Printer....
Fabrizio Lamoncha entrusted a group of male zebra finches to be the main makers and actors of the Poo Printer, an analog generative typography printer using bird-poo to slowly trace the Latin alphabet characters, poo pixel by poo pixel, over a large paper roll placed under the cage.
The Poo Printer consists of a wooden cage sized 170x120cm and 100cm high with a removable tray in the center. This tray has interchangeable parts looking like tree branches with integrated food dispensers. According to the order of placement of these pieces it creates the shape of each of the characters of the Latin alphabet. The birds will hang out there most of the day, eating, pooing and even eating and pooing simultaneously.
The Poo Printer webpage said too much or not enough and i'm curious. So i asked the artist and designer to tell me more about the poo printing experiment:
Hi Fabrizio! What made you develop the work in the first place? A desire to bring humour to generative typography? A passion for male zebra finches? What were you researching exactly?
The first idea was to make this project outdoors with wild birds, but I had to find out if the project would work or not, so I simulated this process with captive birds. The conceptual idea was questioning technological development in relation to the current definitions of nature, inquiring the response of the audience to this topic. I decided to document the research very rigorously to be able to give detailed information about my work with the finches, just as rigorously as any experimentation with animals should be.
Why did you chose to work with male zebra finches specifically?
Zebra finches are one of the most common and known captivity birds worldwide. They are small birds and that allowed me to reduce the size of the prototype. Something that also made me decide for the finches and no other species of birds is that although the finches have adapted very well to the captivity conditions, they are still afraid of humans. On the other hand we still consider them as pets, and when they are exhibited, the visitors, whatever their opinion on the project is, still inevitably empathize a lot with the birds. This natural engagement of the audience was very positive for my research.
Now for a short list of trivial technicalities:
During the research period, I worked with four of them. Currently, I am exhibiting the final version of that first prototype. This one is sent empty, together with instructions and tips for the correct care and adequate environment for the birds, such as the light conditions, ventilation, etc. In this case, the contractor is the one in charge of finding the birds and taking responsibility for their welfare. Last time, for example, the curator borrowed the finches from a nearby animal shelter and at the end of the exhibition, they brought them back.
The description of the project says that "The observation of this group of non-breeding birds in captivity and the experimentation with induced behaviors has been rigorously documented for this task." Could you explain and maybe give examples of the observation and research you're referring to?
This project simulates a product performing generative typography with bird droppings. My goal as the producer was achieving maximal efficiency, which means finding the ways to make the birds focus on the feeding - the more they eat, the more they poop. This variety of birds have different daily routines, such as times for feeding, sleeping, pecking, grooming, etc. But these routines can be modified according to their needs. For example, finches are hierarchical animals. It´s part of their nature, and as I said before, part of their daily routine is to peck at each other to move up the hierarchy. This is not an act of violence, but just a role game. My work was to transform this power structure into a peaceful flat hierarchy. Since I was documenting their routine 24/7, I found out that their perception of human presence stimulated their social bonds. Human presence represented a threat for them, and their reaction to that was to come together. On the other hand, as soon as they were alone again, the pecking would continue. Since I was not able to stay around them all of the time, I researched the ways I could simulate human presence. I researched on their abilities to form concepts, and recalling 1984, I tried placing severe human portraits, and playing recordings of political speeches. The funny thing is that everything worked -but only for a while.
How long does it take for the birds to print a letter?
It depends on the amount of birds and surface area of the letter. I just can tell you that with four finches you can make an I in one day, or an A in a bit more than two days, it all depends on the shape of the symbol.
Did everything go according to your plan? Or did the birds manage to surprise you?
From the perspective of the development of the project itself, I have to say that everything went surprisingly well from the beginning. I documented myself a lot before, but I still think that I am very lucky. From the personal experience, I guess whoever has shared a part of his life with animals could tell you the same. Taking responsibility for the welfare of a living being is a transforming experience.
Are you going to keep the birds as pets?
To be honest, I was never a big fan of keeping animals in captivity. When I decided to start this project, I weighed the pros and the cons of developing an artistic research under these conditions and I finally decided to put my moral issues aside and go for it. It has been an invaluable experience from all perspectives and I am very happy with the result. Of course, after sharing all that time, I became very attached to them. I wish I could have kept them all, but this was not an option.
Is this good for them to be kept in strictly male company?
Actually, I read that if you are not interested in breeding them it´s better to keep males and females apart, because during the breeding, the male can be very aggressive to the female. Finches are social animals, but as long as they are more than one per cage everything is fine. When they are just males, they still gather together in couples for grooming, and they are happy and peaceful with each other. It´s worth seeing!
The work has received an incentive for production from the VIDA competition. So how are you planning to go further with the project? Try all the letters of the alphabet? Do other type of research in how to use birds in typography?
VIDA14.0 was a great surprise and it meant a lot to me that they considered my work. In the last months, I finished the letters and the documentation and as far as I am concerned, the research is finished. Now I am focusing on the exhibition, but I wouldn´t turn down working with living animals again, it´s a very interesting topic.
Any upcoming project, exhibition, areas of investigation you'd like to share with us?
I keep working on the pooprinter and at the moment I am developing the instructions for an outdoor version, so people interested in the project can CNC the parts, build their own and install a pooprinter outside in their garden or wherever they want. No more bird cages.
The Weather Underground -also called the Weathermen- were a 1970s American radical left organization characterized by positions that included the opposition to the Vietnam War, the achievement of a classless world, a marked sympathy for the radical Black Panthers, etc. Their strategies included active recruitment in schools and violent militancy.
The Weather Underground inspired The New Weathermen, a fictional group of activists at the center of David Benque's investigation into the interrelationship between ideology and science. The New Weathermen are equally dissatisfied with the state of the world but the focus of their demands is climate crises rather than capitalism and racial privileges. Their weapon is not the bomb but Synthetic Biology.
Their ideas to achieve radical environmental change are neither the ones of the Bio-Conservatives who argue for a curbing of consumption, a return to an unadulterated Nature and are suspicious of new technologies. Nor are they the ideas of the Techno-Progressives who enthusiastically embrace progress, and see technological and scientific developments as the solution to modern problems.
Instead, The New Weathermen are looking into possible alternatives for the relationship between environmentalism and science. Among these are the DIYBIO or Biopunk movements and the campaign for open access to science, as well as efficient, headless and cell-based networks of activists such as Anonymous.
Challenging the borders between activism and crime, The New Weathermen's actions aim to disrupt the status quo and propagate an ambitious vision for the greater good. Deliberately radical and ambiguous, they provide a starting point for discussion about our existing beliefs and ideologies.
The whole ethos of the New Weathermen is based on the idea of the symbiosis (see the PDF of their manifesto):
The New Weathermen's ambitions are represented in their testing rigs and small scale experiments that reflect much more radical ambitions and are designed to make people aware of the group's larger mission. Their plans are slightly delusional (some are very seducing though.) Here are 3 of them:
The first one is The Pirate Pollen Club which targets the perfectly manicured lawn of the suburbs and golf courses. The New Weathermen would use Open Source GMO weed able to remove the gene responsible for the grass resistance to herbicide and ultimately outcompete it.
The action makes use of TALENs Transcription activator-like effector nuclease which uses enzymes for genome editing in situ, cutting DNA strands at a specific sequence when they are introduced into cells.
The scheme reminded me of Heath Bunting's SuperWeed Kit, a DIY kit capable of producing a genetically mutant superweed, designed to be resistant to current herbicides and thus threaten corporate GMO monoculture.
And now for my favourite plan: PalmOPS, an oil press that zeroes in on the increasing use of palm oil in the food and biofuel industries. Although the rush to palm oil is motivated by the necessity to reduce greenhouse gas emissions, the irony -as Greenpeace writes- is that the effort could make things worse because the growth of the palm industry is often accompanied by deforestation, displacement (without compensation nor consultation) of indigenous people occupying the land, loss of natural habitats for endangered species such as the orangutan and Sumatran tiger, increased greenhouse gas emissions, etc.
The New Weathermen's oil press inserts a lypase inhibitor in the kernel of the palm fruit that will make it impossible for you body to digest the oil.
PalmOPS is inspired by the inky caps, common mushrooms that are edible but become poisonous when consumed with alcohol. Inky caps contain coprine, a chemical which blocks the action of the enzyme that breaks down acetaldehyde in the body, leading to violent hangover symptoms. Coprine was studied by scientists who wanted to use it to make alcoholics averse to drinking.
Finally, Bioccupy Diesel, attempts to sabotage fossil fuel. The project was inspired by an existing bacteria responsible for the diesel bug that creates a biofilm that separates oil from water and and creates waste. Over time, the (existing) bug is responsible for a sediment which forms in the tank. These build-ups will not pass through the filters of the car and can eventually damage the vehicle.
New Weathermen would optimize the bacteria using synthetic biology. The modified bacteria would then contaminate car after car through petrol stations. To be effective, the infection would have to start with just one petrol station. All the cars refueling there would become infected.
On 12 July, the Arts Calalyst organised one last evening of discussions in its Clerkenwell Road HQ.
The Language of Cetaceans brought together two men who share a passion for whales. One is environmental scientist and marine biologist Mark Peter Simmonds who investigates and raises awareness about an issue that is far away from our sights: the threats to the life of marine mammals caused by the increasing emissions of loud noise under water. The other is artist and inventor Ariel Guzik who has spent the last ten years looking for a way of communicating with cetaceans.
The evening started with Nicola Triscott, Director of the Arts Catalyst, showing us the Field Guide To UK Marine Mammals. I had no idea there were whales, dolphins, seals and sharks sharks on the coast of the UK!
We might think that oceans are silent but they are filled with noises and animal conversations. First of all, marine mammals, fish, and a few invertebrates depend on sound to locate food, identify mates, navigate, coordinate as a group, avoid predators, send and receive alert of danger as well as transmit other types of information. It's very dark deep in the ocean so hearing is the sense they rely the most on.
Nowadays, however, whales and other mammals cannot hear with each other because of all the man-made noise intruding on their habitat.
Some of these sounds are so loud, they are driving the animals away from areas important to their survival, and in some cases injuring or even causing their deaths. The intense sound pulses of mid-frequency military sonars, for example, have been linked to several mass whale strandings. But it's not just the military that is to blame. The fossil fuel industry is firing loud air guns fusillades to detect oil buried under the seafloor, undersea construction operations drive piles into the seafloor and blast holes with explosives. Add to the picture, the dramatic growth in shipping traffic that generates a constant noise.
Whales are particularly vulnerable because they communicate over vast distances in the same frequencies that ship propellers and engines generate. The whales are not only unable to communicate with each other but they also panic when the noise gets too loud. When they are hit by a blast, the creatures flee, abandon their habitat and with that the source of their alimentation.
NGO Ocean Care has launched the Silent Ocean campaign. Have a look at their video, it explains the issue with more clarity and details.
And here's the video of Mark Peter Simmonds's talk:
Ariel Guzik then presented his attempts at creating instruments that would mediate the communication between cetaceans and humans. One of his latest instruments is currently shown in the Mexican Pavilion at the Venice Biennale.
The devices that the artist developed over the course of his career go from Laúd Plasmaht which uses the electric variations of Mexican cactuses to make a concert for plants to Nereida, an underwater capsule that doubles as a musical instrument to establish contact with cetaceans.
Here's Ariel Guzik's talk. It is not as fast-paced and entertaining as the one by Mark Peter Simmonds but Guzik is one of those 'crazy' visionary artists whose work involves biology, physics, music and a deep respect for the environment. His work, i'm sure, will fascinate you:
The rest of Ariel Guzik's talk is over here!