The Architecture Department at the Royal College of Art had some thought-provoking projects at the work in progress show. Architectural Design Studio 1's exhibition was looking at how a dense and vertical architecture can bring back food production and consumption in the city.
One of the students of the course, André Ford, looked at the intensification of the broiler chicken industry. Each year, the UK raises and kills 800 million chickens or 'broilers' for their meat. Broiler rearing might be unethical and unsustainable but it is now the most intensified and automated type of livestock production.
Broiler chickens spend their 6-7week lives in windowless sheds, each containing around 40,000 birds. They are selectively bred to grow faster than they would naturally which often causes skeletal problems and lameness. Many die because their hearts and lungs cannot keep up with their rapid growth. Information about the atrocious conditions in which they are raised can be found online.
Philosopher Paul Thompson, of Purdue University is a proponent of The Blind Chicken Solution. Chickens blinded by "accident", he says, "don't mind being crowded together so much as normal chickens do." He adds that while most people would think that creating blind chickens for the poultry and egg industry is an abomination, it would nevertheless be more humane to have these blind chickens.
Sadly, the demand for chicken is rising and methods of production will need to intensify in order to meet this increase. André Ford proposes to adopt a 'headless chicken solution'.
As long as their brain stem is intact, the homeostatic functions of the chicken will continue to operate. By removing the cerebral cortex of the chicken, its sensory perceptions are removed. It can be produced in a denser condition while remaining alive, and oblivious.
The feet will also be removed so the body of the chicken can be packed together in a dense volume.
Food, water and air are delivered via an arterial network and excreta is removed in the same manner. Around 1000 chickens will be packed into each 'leaf', which forms part of a moving, productive system.
The model in the exhibition showed the system in which a chicken would be grown at The Centre for Unconscious Farming. Feed lines provide sustenance, excreata lines remove waste, electrodes stimulate muscle growth.
Questions to the architect:
First of all, i found your project extremely shocking. Shocking because of all the cruelty it reveals -the way chickens are raised in windowless sheds is brutal- but also shocking because the solution you suggest -while it is not as atrocious as the way these poor animals are raised- might sound cynical. So how much provocation is there in Farming the Unconscious? Is the idea mostly an invitation for people to reflect on what they are buying and eating?
The project is almost effortlessly provocative because it is dealing with a subject matter which the majority of people are aware of, complicit in and culpable to varying degrees. The mass media is saturated with documentary films, books and celebrity chef hosted exposé's that document the plight of animals bred for our consumption and I don't wish to add to the plethora of information readily available. The information is there, but the majority of people don't care to know or purport they can't afford to care.
In the past six years we have witnessed an unprecedented increase in the demand for meat. Higher welfare systems are available but this project looks at addressing the inherent problems with the dominant system that produces the majority of our meat - the system that will be increasingly relied upon to cope with the ever-increasing demand for meat.
I think it is time we stopped using the term 'animal' when referring to the precursor of the meat that ends up on our plates. Animals are things we keep in our homes and watch on David Attenborough programs. 'Animals' bred for consumption are crops and agricultural products like any other. We do not, and cannot, provide adequate welfare for these agricultural products and therefore welfare should be removed entirely.
Earlier in the project I was proposing the chickens would be rendered unconscious, or desensitized by complete removal of the head but this has since been revised. Desensitisation will be achieved by a surgical incision that separates the animal's neocortex, responsible for sensory perceptions, and its brain stem which controls its homeostatic functions. The head remains intact.
So in short, I would refer to this solution as pragmatic, not cynical and if the project does cause anyone to reflect on his or her dietary habits then that's great.
How have people reacted to your idea so far? Did they raise the issue that this is not a 'natural' way to raise chicken?
Mostly disgust, but it varies. When meat eaters express disgust I put to them this argument, borrowed from Jonathan Safran Foer, in Eating Animals:
One piece of flimsy logic that we omnivores employ to justify our dietary choice, is that our superior intelligence and greater ability to comprehend the world, verifies our position at top of the food chain. So, if for the sake of the argument, our planet became occupied by a species that was more intelligent than our own, what would our argument be for not being eaten? If you are a meat eater, you might not have an argument, or if you did, you'd run the risk or being a hypocrite. So then you have to ask yourself, how would you like to be farmed?
An ancillary part of my proposal is to use the blood of the chicken posthumous, to hydroponically feed a nursery of rare orchids. The rationale behind setting up this unlikely mutualism is to display the similarities between these two organisms once the chicken has been desensitised. The unconscious chicken is just a different expression of the same chemical elements as in the orchid.
To answer the second part of your question - The project is overtly a hybridisation of nature and machine which is how I see the future of farming. Unfortunately, there is very little that is natural about the way the our food is currently produced. The monocultures and intensive farming systems upon which we rely are technological landscapes, harvested and processed using high-tech, and increasingly robotised machinery.
Could you describe the system the new farming system would be based on?
The system does not subscribe to contemporary intensive farming models, which are not nearly productive enough and are incredibly wasteful with regards to land and resources. This system would be closed-loop and looks to achieve density through verticality and a layering of programmes within these productive spaces.
Did doing the research for this project influence your relationship to animal products, whether it's chicken, eggs, ham or dairy?
Absolutely. I have had a full reassessment of the choices I make as a consumer, in all products that have a welfare factor. I am in denial about my impending return to vegetarianism but I could never be a vegan.
How do headless chicken produce the muscles that will end up on people's plates?
The brain stem of the chicken which remains intact, is responsible for the metabolic systems involved in muscle growth. The muscles will need exercising in order to grow and this could be done physically by providing some sort of resistance, or as I am proposing, using electric shocks as in 'in-vitro' meat production.
Last question is about a detail really. you wrote on the blog of Naturoids that the coloured light used in batteries 'has a calming effect on the birds and reduces cannibalism.' Cannibalism? Why does that happen?
The exact etiology is unknown, but essentially they are bored. There is a greater propensity for it to occur in barren environments that restrict or limit natural behaviors like nesting, perching and foraging. This coupled with overcrowding and/or a lack or resources and flock behavior takes over.
Thank you André!
Related story: The Meat Licence Proposal.
The premise of Raphael Kim's project at Design Interactions' work in progress show --which closed a couple of days ago at the Royal College of Art-- contained all the ingredients to intrigue me: The falling cost and increase in speed of DNA sequencing has given rise to two extreme scientific worlds: giant pharmaceutical companies who trawl the Arctic Ocean in search of potent genes that would profit them in a lucrative cancer market; and DIY biologists who try to beat the system.
The device would rely on rotifers, tiny animals capable of absorbing environmental DNA, that have been genetically programmed to start glowing as soon as a target gene is spotted in their environment. The rotifers sit inside a chamber attached to the gene hunting device, and wait for the targets to come near. This kind of "LED switch" can be obtained by fusing a commercially-available fluorescent gene with a part of rotifer's own DNA (see image on the left).
A motor spins at high speed to draw the air onto the sampler while the outer mesh of the device protects the delicate samplers and filters out large, unwanted particles.
In-line with biohacking philosophy, these actions can be done, in theory, using an open-source data and hardware available to the public. Ever since the complete DNA sequence of human has been made public, genetic maps of other organisms have been published gradually, including those of rotifers, on free online database such as GenBank. Many other pieces of biohacking equipment can either be made at home or can be purchased on eBay.
Unsurprisingly, i left the show with many questions for Raphael:
The description of your project in the show mentions the 'falling cost and increase in speed of DNA sequencing', so how cheap and how fast can this be done nowadays? do you mean 'cheap' for corporate labs or do you mean 'so cheap that anyone can do it'?
This is a 'Carlson's curve' that monitors cost of DNA sequencing over time (see blue line). At the moment, my understanding is that for each base of DNA it would cost you a fraction of a penny. The cost of DNA synthesis (the act of actually creating new strands of DNA) is falling as well, albeit relatively slower (red and yellow lines).
If we think about sequencing the entire genomes of organisms, the cost can be huge for an average biohacker. Humans, with three billion base pairs of genomic DNA, would cost just below $20,000 using the latest sequencing technology, and even a relatively simpler E.coli bacterial genome would be costly. However, most biohack projects do not need to involve the entire genome, but a selection of few genes from its massive catalog. These are in the regions of hundreds to thousands of bases, which brings the cost down to a manageable level, and they can be sequenced by commercial companies that can take your sample away and sequence them for you on your behalf.
Some companies even offer an overnight sequencing service, that would allow them to sequence around 1,400 bases of your sample through the night. So yes, the speed is there, and also affordable for ordinary people to carry out.
This is already happening in citizen science. DIY bio groups in Europe have already started to create microbe maps - by collecting samples from various parts of a city and analyzing them they are trying to paint a picture of microbial diversity in a given area.
It is also important I think that whilst low cost of sequencing and synthesis is a significant trend that allows biohackers to explore the genetic contents of their environment, it is only a part of a bigger economical landscape in which 'biohacking' practice as a whole, sits in. In fact, most biohack projects do not involve DNA sequencing at all, as they can buy cheap, ready made DNA components and templates for use (think of it as components of an electric circuit board - resisters, amplifiers, LEDs etc), as well as cheap second hand lab equipment bought from ebay, sold by pharma companies who are going bankrupt from the credit crunch.
The gene hunting device you're showing would thus be used by a citizen to do their own gene hunting. Does it look in any way like the tools used by pharmaceutical companies? Do you know which kind of instruments they use to discover new genes?
If we think about what kind of genes we are looking for, what kind of organism these genes sit in, and where they might live, the design of the collecting device can be extremely diverse. At present, most gene-hunting is targeted at micro-organisms, such as bacteria, fungi, protozoa and planktons, which narrows it down a little.
For solid surfaces (e.g. skin, soil etc), the 'device' would simply consist of a cotton swab which is enough to pick up microbes. These swabs would then be sealed and taken to a big machine in laboratory for analysis. For water samples, they would use some kind of filter/net system to filter out biological samples according to size. The Craig Venter research group use specialized equipment which can be found here.
As for sampling air, which the device that I am showing at the moment is doing, simple machines called rotorod samplers are used in industry, as shown below:
They consist of rotating rods powered by motor. The rods are covered in sticky material for the microbes to land on, which can be analysed.
The story I am working on is a device based on this technology. The idea is that the biohackers gather around a fish market, trying to pick up exotic microbes that become airborne from drying and decaying fish. And the rotating rods are found at the end of the device as shown below.
The air is a seemingly-unlikely source of microbes, but recent studies show that it contains abundance of them, and who knows if these could come from different parts of the world? The bacteria that coexist with fish - either living/found on its skin, or inside their stomach (ingested as food) or simply in contact with parts of the ship etc. or any other possible sources could possibly become airborne once it reaches the fish market.
A bit of imagination was used to design the rest of my object - how long should they be to reach pallets of fish in the market, how could they imply a notion of a 'hunting tool', and also additionally, could they use some kind of a bait to help them capture the gene that they want? Where will the bait be positioned, how will it work?
Bait, here, is the rotifer, which leads me to your next question.
What made you think that rotifers would be the best ally of the bio hacker?
Many reasons behind this:
* Also - perhaps most importantly, rotifers are used because they are able to absorb environmental DNA. This is known as horizontal DNA transfer - and rotifers do this first by eating the source of DNA (eg. oncoming bacteria, plankton, yeast etc). The rotifer then needs to undergo some kind of stress - eg. heat, dryness, etc. This produces an unknown mechanism in which the rotifer 'patches' the DNA content of its stomach into its own genome. Using this mechanism, the hackers try to engineer a switch that can be incorporated into the animal so that when gene horizontal transfer occurs, the organism lights up as shown below:
The book that is in the exhibit is a journey and experiments that were undertaken to produce this switch.
Japanese love hotels go out of their way to satisfy the most outlandish fetish: some rooms offer the feeling of being inside a subway carriage, a class room, or a Hello Kitty SM room, others locks you into an alien abduction nightmare (/dream).
Ai Hasegawa, second year student in Design Interactions at the Royal College of Art in London, proposes to close loving couples into an even more extraordinary fantasy.
Her Extreme Environment Love Hotel simulates impossible places to go such as the Earth of three hundred million years ago (during the Carboniferous period), or the surface of Jupiter by manipulating invisible but ever-present environmental factors, for example atmospheric conditions and gravity.
Our bodies would survive if we were propelled back to the Carboniferous period but they would need to adapt if we'd stay over long periods of time. It is estimated that during that time, the peak oxygen content of the atmosphere was as high as 35%, compared to 21% today. This oxygen level resulted in insect and amphibian gigantism--creatures whose size is constrained by respiratory systems that are limited in their ability to diffuse oxygen. For example, the ancestor of the dragonfly, the Meganeura, grew up to seventy-five centimeters due to the huge concentration of oxygen in the air.
Life on Jupiter doesn't sound very pleasant for us either. The atmospheric environment of the largest planet within the Solar System is one of strong gravity, high pressure, strong winds, and extremely cold temperatures.
How might our bodies change, struggle or even adapt with varying conditions around us?
The first of Ai Hasegawa's Extreme Environment Love Hotel room, the carboniferous one, is currently on view at the work in progress show of the Royal College of Art. The prototypes show how couples would have to carry a suitcase containing higher levels of oxygen that recreate the atmosphere of the Carboniferous period, they would also be surrounded by plants similar to the ones that proliferated in the warm and humid climate: large trees covered with bark and huge ferns growing in swamps.
The designer's work is of course a bit eccentric but it also propose to reflect on how making love inside an Extreme Environments Love Hotel room might give rise to new evolutions and mutations of the human body and sex and give it a brand new role away from our biologically-programmed needs and inclinations.
Why did you decide to explore new frontiers in Love Hotels?
Love hotel is a utopia to serve the people's dream and fantasy.
We are able to go to space or have a hyper gravity experience at NASA , but that is only for chosen people, the rich or some elites.
A love hotel, however, is opened to all adults. I could have worked on a 'Fun fair/ amusement park' type of attraction, but these gives us only short time experiences that don't last more than 5 minutes.
I wanted to have an experience longer than a funfair ride, an experience that would last until our body could feel slight changes and adapt to them. You can stay at the hotel for one hour, for a week or a year. Also sex is a hard form of exercise, and a "love" hotel is the perfect place to challenge the limit of our body in extreme environmental conditions.
Also from critical point of view, Love hotel is designed for sexual urge. It is a place for desire and pleasure, probably not for love nor reproduction.
I feel sex isn't motivated solely by life instinct, by the need to reproduce and make our species survive. Sexual urge can make us take some life-risking actions such as HIV infection.
I wonder if our DNA might need to be modified in order to redesign the strategy of reproduction... In other words, why not have some evolutions?
To trigger evolutions, we might want to use a technology to modify our DNA, of course. But before that, we need to study our body potentials with basic elements, invisible factors, such as atmosphere, gravity, temperature, electromagnetic waves, etc. We need new environments, new frontiers.
I chose places where 'we are not able to go to' for a romantic or melancholic reason. We don't have any strong reason to go to Jupiter. Moreover, we are able to have a time-trip to the future (possible in theory, but it's only a one-way trip), but not to the past (the theory hasn't been proved yet, i think). The love hotel would be the ideal place to serve such dreams and fantasies.
What does their body risk if the lovers keeps the breathing mask for a long time?
There is no risk. If healthy people breath 100% oxygen for long time, they would have lungs problem, but this Carboniferous portable room portable supplies only 35% oxygen under usual atmospheric pressure. A real chamber, thus not the "portable" version will be higher atmosphere, but still it will be fine. This real chamber will be similar to Hyperbaric medicine. It would probably be slightly easier to breathe and recovering energy would be faster than usual in this room.
You're also working on a Jupiter room. What will it be like? And feel like?
Customer might need to wear a harness to support the weight, they might also need to wear a bone protector, just in case. You have to be careful with the position you chose. If you want to adopt a 'woman on top' position, then your body might be too heavy to climb up. Besides, the man's hipbone might break under the weight. But if you stay for a week or a month, maybe after a while your body will adapt and become more masculine.
In a Hotel room, you also need to have a toilet and a shower. The water in the Jupiter room would fall 2.35 times faster than usual. One day lasts only 9 hours and 55 min in this room.
If you want, you might probably be able to make a baby under the hyper gravity...
Check out The Extreme Environment Love Hotel: Carboniferous Room at the Student Work-in-Progress Show, Royal College of Art, London. The exhibition end on Monday afternoon.
Because he is interested in the ethics and dilemmas of eating meat, John O'Shea is looking into schemes to achieve a more compassionate meat consumption. Since 2008, the artist has been working on Meat Licence Proposal. Under the law proposal, citizens willing to buy or consume a certain type of meat would need to obtain a licence to do so first. And the only way to acquire the licence is to slaughter the animal yourself.
If you happen to be in The Netherlands right now, head to Stroom in The Hague where O'Shea is showing two works related to The Meat Licence Proposal as part of the Food Forward, an exhibition presenting scenarios for the future of our food based on the work of artists and designers.
The first work in the show features the responses recorded on the streets of Manchester to The Meat Licence Proposal. The audio fragments are presented within a bespoke technological interface (developed in collaboration with artist and developer Tom Schofield) which makes connections between the recordings and actual written legal documents which support but also sometimes contradict claims that people made in response to the proposal for a new law.
The second piece is Black Market Pudding, a real and ethically conscious food product of a new type. The project involves making the traditional blood sausage but this time using blood from a living pig. Black Market Pudding is also supported by a business plan that would ensure a fair deal for farmer, animal and consumer.
O'Shea is currently working within the Clinical Engineering department of the University of Liverpool in collaboration with Prof. John Hunt on Pigs Bladder Football , a football ball grown from living cells, for Abandon Normal Devices Festival as part of the London 2012 Cultural Olympiad.
Plenty of reasons to be willing to interview John, then!
Hi John! You have been working on the Meat Licence Proposal since 2008. After 4 years developing and presenting the proposal, do you think you're getting closer to seeing it accepted?
I can positively say that, following several consultations, dinners and public meetings, I think that many of the ethical and legal challenges for implementing a law like the one being proposed have been fleshed out.
The Meat Licence Proposal is a much more developed discourse than when it began as a web dialogue in 2008. Since then, there seems also to have been a steady increase of alternative ideas around meat consumption and production entering the mainstream consciousness in the UK, particularly through television programmes focusing on the origins of meat products and celebrity chefs advocating nose to tail approaches and so on, so I think that the cultural environment is more ripe than ever for this kind of law to work.
However, despite any small successes The Meat Licence Proposal may have had in terms of consciousness raising around apparent discrepancies between the products and processes in our food supply, I really don't think that we are any closer to making the proposed meat licensing law an actuality for the UK. I think that I would have to take responsibility for this lack of progress in terms of actually getting the law accepted, which has mostly been down to a failure on my part to properly understand how our laws are made within our democratic society.
Fortunately, through research with Newcastle University (and the Law School there) I have begun to get a more proper understanding of the actual way in which food producers, supermarkets and other large corporations actually relate to the legal and democratic process of lawmaking around food. As I understand it now, the way things really work is pretty much the opposite to what one might expect: where The Meat Licence Proposal has started from a position of principle (people who are comfortable eating meat should be comfortable with killing animals) and attempted to extrapolate a policy from there, our actual laws and regulations around food, rather than being pro-actively constructed based upon an existing value system, are in fact developed quite subversively, in reaction to particular products and trends which emerge and are successful within the free market.
How have ordinary meat-eaters but also lawmakers and politicians reacted to the proposal so far? How much support/opposition has the proposal encountered?
One of the pieces on show within the Food Forward exhibition (entitled "The Meat Licence Proposal, 2012") features a whole series of short audio pieces which are recordings of people on a Manchester High Street giving their opinion and gut-reaction to the law as it is proposed. These views vary wildly but most people seem very apprehensive about the idea that they would have to get involved with animal slaughter in order to consume meat. There is a great deal of skepticism too about how a proposed meat licencing law could work in practice; however, these logistical questions are for the most part already dealt within existing parts of UK and European law and this is what the work attempts to demonstrate, through literally using a video projector to "shed light" on over a hundred different legal statutes.
My practice is, of course, as an artist, and, to begin with I wanted to wait until the proposal had reached a reasonable level of development before approaching "professionals" and "specialists" in government and law. My justification for this quite oblique strategy is that, having been subject to innumerable laws for my whole life, I thought it would be interesting to have a go myself, on my own terms. More recently, I have been in contact with legal scholars at Newcastle University Law School and for them, The Meat Licence Proposal presents and intriguing case, since it does not operate in a way which we might expect laws to behave - it is an object of curiosity.
A few years ago I also had a brief conversation with a high ranking UK government minister about the proposal and their view was, regardless of his own opinion on it, any law which might be seen as unpopular in the short-term presents a difficult case for government (hence the very long consultation period before the inevitable implementation of UK wide bans on smoking in public places.)
What was the inspiration for the proposal?
The Meat Licence Proposal in itself is not a particularly original idea - I had discussed this kind of thing many years previous with friends and it crops up sporadically on internet forums, at dinner parties and down the pub. I think the element which distinguishes this work is my decision to actively work towards making the idea for a law which would control meat into a legal reality. That strategy didn't come from a moment of "inspiration", as such, but like most of my work, actually emerged from a much more sustained period of anxiety around a blatant contradiction (at the time I ate meat pretty much every day, but had never killed an animal) and also the claustrophobic legal infrastructure which appeared to me to be impenetrable. I just wanted to get involved in these two parts of my daily experience and, to begin with, an activist approach seemed most appropriate.
If the proposal is enacted as law one day, how would it be put into effect? Would there be specially designed slaughter houses that anyone can enter to kill a pig and get a license? Would the killing be made following a special ritual? Using special weapons or tools? How would the law affect the distribution of meat?
These questions are very important, and I think that the suggestions you have made are probably not far off the mark. Discussions around the actual logistics of making a workable meat licencing law are still very much at the centre of this public research and development. To take the points you have made specifically: In my opinion slaughterhouses would not require very significant physical changes in how they work - instead changes would be needed at the level of policy.
At the moment you or I would typically not be permitted to enter the majority of slaughterhouses in the UK, even to see what is happening, since these are private enterprises. The right of entry is one of the first things which would have to change and I would see this as being in a similar realm to laws enabling citizens to enter courts of law and witness legal process. I think we should have similar guarantees of transparency around hidden processes in society since, at the end of the day, we are the consumer of these products and should be allowed to witness how they are made if we choose. Regarding taking part in the act of slaughter - again, there are various systems in place which allow subtle, often religious, variations on how the slaughter takes place and I think much could be drawn from existing regulation of special allowances around these methods. An illustrator, Chris Rodenhurst, with whom I have worked on several elements of how the proposal has been presented to date, produced a lovely set of sketches to suggest potential new tools for citizen slaughter. Like anything else, once this engagement with killing is happening on a national scale it will be in the hands of designers and marketers to determine exact specifications for new kinds of execution devices.
When i read about your proposal, i thought 'great! the emotional stress of killing an animal might put people off meat' but recalling the sad story of Marcus the sheep, i'm not so sure anymore about how much people can be moved by animals.
In your opinion, how would the law affect the way people see animals and consume meat?
Yes, I remember this Marcus the sheep story being all over the media at the time; for the "animal loving" (and mostly meat eating) British public it seemed to pose a kind of conundrum i.e: "Why has the killing of this particular animal caused such outcry?" I think the answer lies in part with the peculiar cultural and emotional distinctions made, across the world, between animals kept as "pets" and animals kept to be slaughtered for food. I think, even more important, in this case, is the act of giving the animal a (human) name which demands an identification at the level of the individual animal which would not be usual in the context of slaughter, where animals are numbered. "We are going to butcher Marcus..."
The aim of The Meat Licence Proposal is to facilitate a more coherent engagement with both animals and meat. Those people wishing to eat meat would obtain their licence by actively taking part in the slaughter of an individual animal (which would correspond to the type of meat which they would like to eat.) I think that there is a strong likelihood that some people may be put off, but this it important to keep in mind that this is certainly not a pro-vegetarian law and, surprising as it may seem, some people may find that they actually enjoy killing.
Can you tell us about the Black Market Pudding that you're showing at Stroom in The Hague? Will it really be manufactured using blood from a living pig? The description on Stroom's page says "In purchasing and consuming Black Market Pudding we are keeping the animal from slaughter - no animals are harmed!" How would this ensure that the animals won't suffer?
Black Market Pudding is my own culinary invention. It is a subtle variation on the traditional black pudding which is a blood sausage dish of the UK and Ireland made using congealed pigs blood, oats and different herbs and spices. I have devised my own special recipe for what I call Black Market Pudding where, crucially, the key ingredient (pigs blood) is obtained without any animals being slaughtered; this is the unique selling point: No animals are harmed.
I worked with Stroom over several months prior to the Food Forward show to establish a supply-chain in the Netherlands in order to obtain blood from living pigs in a way which is legal, humane and safe. For the show I made several Black Market Puddings in the kitchen at the gallery, using blood from the living pigs and these are presented within a refrigerated deli-counter as "real" proof-of-concept products. An important aspect of this work is that it is not speculative or representational in a way which might be expected within a future oriented show: Black Market Pudding is already "real".
Of course the true reality for Black Market Pudding would be for this delicacy to be for sale on the open market and this is an aim about which I have spoken at length with Karen Vershooren (curator of Food Forward). Over the course of this year I will be attempting to set up a legitimate production and sales operation for Black Market Pudding within Europe and I have made a simple website where people can register their interest. The challenges in bringing Black Market Pudding to market would be quite great I think, especially within the UK (where I am based) because it is difficult to work with animal blood in the food chain since the BSE crisis (where dried pigs blood found within animal feeds was seen to be a contributing factor). If the product were to be sold, it would be necessary that it be subjected to all of the regulations which would face any food innovation for human consumption and perhaps in this instance (where the process is different to the normal order - the animal is not killed) perhaps new laws would have to be developed for this.
I hope that Black Market Pudding can be seen as a continuation of consumer trends towards food products which contain not only their intrinsic value as foodstuffs and sources of energy but also a kind of additional ethical value which is quite difficult to quantify. If we think about the "fair trade" and "free range" labels, people are paying extra to opt out of a system which they believe to be exploitative; with Black Market Pudding I am proposing a similar business model. The name "Black Market" hints at the fact that this product operates outside of the normal order of things and the idea would be that the Black Market Puddings are sold at such a premium that, not only are you buying a delicious product, but also you are buying the animal out of the regular supply chain and ensuring it will not be slaughtered. This business model presents a fair deal for the producer (who is compensated) the animal (which gets to keep its life) and the consumer (who has this unparalleled piece of mind).
There is I suppose one caveat with Black Market Pudding and that is, by going outside of the regular carnivorous foodchain, where humans, as flesh-eaters, would consider themselves to be at the very top - here we are taking blood from an animal which is alive and so our own position in the hierarchy changes - as animals consuming the blood of another living animal we are explicitly "parasites" and so the real question for the market is whether people would be comfortable with that designation.
What are the MLP next steps?
At the very beginning of January 2012 I made a statement on the front page of The Meat Licence Proposal website explaining that there would be a change of strategy. Over the last several years I have focused my energies on a democratic approach, engaging directly with processes of law-making and suggesting that a new law could (and should) be developed in a public and transparent way, by citizens themselves, in a similar way to open-source development models which operate within software culture.
These kinds of initiatives can continue I think but it is my view now that the overall approach needs to be much more market-oriented and, once Black Market Pudding is established, I will be looking to identify more products and strategies which can close the gap between product and process (especially in meat production).
I'll leave you now with an anonymous quote from one of the participants of a 2010 consultation exercize:
"Ultimately, The Meat Licence Proposal must engage and identify with the values of 'the market' where production (killing animals) is about making money, and consumption (eating meat) is about getting what we want."
Check out The Meat Licence Proposal at the Food Forward exhibition, Stroom, The Hague, NL. The show is curated by Karen Verschooren and remains open through April 1, 2012.
Related story: Solo exhibition of Adel Abdessemed postponed.
If you're in London you might want to swing by the Architectural Association School and check out H.O.R.T.U.S. (which stands for Hydro Organism Responsive to Urban Stimuli.) To be honest i'm not sure what to think about this one but it's been a slow week art-wise for me so i'll throw the information in this post in the hope that it will help me make up my mind about the project.
With HORTUS, the architects from ecoLogicStudio are inviting the public to become cyber-gardeners and "invent new protocols of urban biogardening."
There's a bright green carpet on the floor and hundreds of intravenous-style bags are suspended above our heads. The bags are in fact photo-bioreactors and they form a 'greenhouse' that hosts nine different species of algae, from chlorella to algae found in London's canals. Visitors can blow into flexible plastic tubes, fostering the growth of the algae with their carbon dioxide and activating the oxygen production.
The plastic bags carry a QR code. You hold up your smartphone, scan the code and are directed to a page of information about the algae you've just 'fed' with your breath. Large containers are distributed between the algae bags, they host bioluminescent bacteria that automatically fed through a pump with air from the oxygen released.
The greenhouse cohabits with a virtual garden that feeds on visitors' scans and tweets about the exhibition. Their 'interaction' with the algae shape a garden rendered in real time on a screen.
I wasn't much impressed with the QR codes and the virtual garden created by tweets but it turns out that the project is much more than just another demonstration of how 'nature meets buildings meet the virtual.' H.O.R.T.U.S. is one of the manifestations of ecoLogicStudio's exploration into the role that algae might play in our future life: to produce nonpolluting hydrogen-based energy, to filter water or take a more important role in our alimentation.
The architects recently had the opportunity to try and test their idea on a larger scale in Simrishamn in Sweden. The Swedish Municipality is in need of new urban ideas to help boost its economy: the fishing industry is declining and young people are leaving the area.
ecoLogicStudio came up with an Regional Algae Farm plan that involves a series of algae-related urban activities and architectural prototypes.
H.O.R.T.U.S. enables the public to engage directly and simply with ideas and systems that might form a larger part of our life in years to come.
Some researchers have observed that apes held in captivity watch tv programmes. Some of them are fond of the Teletubbies, others favour emergency room dramas or Disney cartoons. But is it possible to script, shoot and screen cinema just for primates? That's what Rachel Mayeri set out to discover with her work Primate Cinema: Apes as Family.
The artist worked with Stirling University comparative psychologist Dr Sarah-Jane Vick to identify which kind of action, narrative or images a group of chimpanzees from the Edinburgh Zoo were most receptive too. The scientist and the artist observed how monkeys reacted to documentaries, cartoons, dramas screened inside a research pod where the animals could pop in and out as they pleased. The monkeys would spend a few minutes in front of the images then go away, come back, sit down for a moment, get up and bang violently against the wall that protect the tv screen, etc. Unsurprisingly the monkeys reacted more strongly to scenes featuring sex, food, violence but they were also interested in drumming and seemed quite fascinated by humans dressed as monkeys and by humans removing their monkey masks.
The result of the artist's research is a 20 minute movie. The video installation juxtaposes two screens. The right screen shows the movie for apes, its stars are actors dressed as and acting like monkeys. The second half displays the reactions of the ape audience when the film was shown on a chimp-proof screen at Edinburgh Zoo last August.
The hero of the film for monkeys is an actress wearing an animatronic suit with motorized eyes that are controlled by a puppeteer. She enters a house, gets a soda from the fridge, goes upstairs and falls asleep in front of the tv. Soon, a group of chimpanzee intruders enter the house as well and start misbehaving: they help themselves to the bananas and carrots in the fridge and basically trash the house. The clatter wakes up our chimp heroine. She gets up and goes downstairs to see what's the tumult about. That's when the plot thickens. Because chimpanzees also appreciate to watch social and sexual dynamics on screen.
Rachel Mayeri told us a few thought-provoking facts during her presentation:
- chimps might like to watch tv but that only happens when they are in captivity. Left in the wild, they have far more interesting things to do than watch tv.
- even the zoo is not the most suitable place to study the reaction of monkeys to moving images as the chimps' backgrounds may vary dramatically: some were rescued from poachers, others used to be mascots, some were born in captivity, etc.
- it's not correct to say that we descend from chimps as they haven't stayed exactly the same while we were evolving, our closest cousins have evolved too.
- chimps don't focus solely on the images appearing on the TV, they regularly check the changing social situation around them. They monitor each other ("who around me is sexually available?" for example) just like we do on facebook. Two of the most 'avid' tv watchers were a mother and daughter. During the research, the females were the ones who spent most time watching the tv screen. On the day of the screening of the finished movie for chimps at the Edinburgh Zoo, they were in rut, distracted and the center of male attentions.
- The artist is conscious that she made a film that reflects her own, very human prejudices and ideas of what a film should be like. She therefore asked herself "If a chimp director had to do a film for humans, would it have done the same mistakes and made a film for chimps rather than one for humans?"
Rachel also showed an extract of her first Primate Cinema video experiments, Baboons as Friends. In the two channel video installation, field footage of baboons are shown next to a reenactment by human actors, shot in film noir style.
The work was inspired by primatologist Deborah Forster who, unlike most people, can watch babboons for hours as if they were actors in a soap opera. The artist attempted to translate the plot of lust, jealousy, sex, and violence into the human world.
Primate Cinema: Apes as Family is at The Arts Catalyst in London until 13 November 2011.