Visual artist Melle Smets and researcher Joost van Onna followed the travel of discarded cars from Europe to Ghana and ended up at Suame Magazine, near the town of Kumasi, in Ghana. In this area, 200,000 artisans are working in 12,000 workshops, stores and factories to repair and give a new life to European disused vehicles.
Smets and van Onna then collaborated with local craftsmen and mechanics to build a African concept car in three months. The vehicle is called SMATI Turtle. SMATI because it is the acronym for the Suame Magazine Automatics Technical Institute, an engineering training centre for the artisans. And Turtle because the vehicle is strong and sturdy like the reptile.
The completed car was even inaugurated by Otumfuo Nana Osei Tutu II, King Asantehene of the Kingdom of Ashanti.
The show opens on October 8 and i caught up with project leader Melle Smets to have him talk about his adventures in African mechanics.
Hi Melle! The text describing the project mentions the Buafo. Was this pickup truck prototype at the origin of your project? Where did the idea for the Turtle 1 come from exactly?
The Buafo was a car from the 70ies. From this vehicle we extracted a lot of essential idea's of what a African car should be. The existence of this car was unknown to us until a old mechanic from the neighborhood told us this story. Then we started to look for it and found one around the corner of our workshop. The reason we searched for this vehicle was the fact that we don't know anything about cars, and needed a lead to start working from.
And once you had the idea for the Turtle 1, what happened? You and Joost van Onna just turned up in Ghana and put your project into a full working prototype?
The idea to build a car came much earlier. We wanted to research the potential of a society without formal structures. Suame Magazine looked like the most incredible example of a city which was also a working car plant. Something we could hardly imagine as we thought car assembling is a very high tech business. Because the place is very hectic we thought of a narrative to tell the story of the informal car assembly line. This is how the idea came to built a car from scratch and go from workshop to workshop to learn the process and tell the story.
How did you navigate the Suame Magazine and find the right people to work with?
We went there a year earlier to scout the area and try to find a partner. This became Suame Magazine Industrial Devellopment Organisation. They liked the idea as a PR stunt for their NGO. They are a umbrella organisation for all guilds.
Apart from being skilled and resourceful, what did local people bring to the project in terms of creativity, ideas?
The car is developed by the whole neighborhood in terms of storytelling, throwing idea's, bringing in their networks and their labor. We tried not to take the lead in design and organised every step in the proces as a communal decision. For example the car design is done by wooden sticks. On the other hand people started to use the project to draw the attention on SMIDO by the media. This free publicity was good for the project but also good for growing the network of SMIDO members. In terms of work, we had to pay people to actually do the job.
And conversely, what did you bring that the Ghana craftsmen needed? They were already repurposing car parts after all....
The most lucrative thing we brought them is a story. The Turtle became a National story which they used to get access in the highest networks of the country. And this is where the real business is done. Wright now they are making contracts with Danida (Danish devellopment organisation from Ministry of Foreign Affairs of Denmark) for over 2 million dollars to set up a new land for a car production fascility.
The project involved building a car in 12 weeks. Why was this timeframe important to you?
Do you think it would make sense for western consumers to have a car culture driven by the moto "let's make things simple"?
We need to seriously start thinking in terms of what we really need and want, instead of try to build a paradise of things around us.
Of course our infrastructure is evolved in a way we need sophisticated cars to be save driving 140 KM/hour. But it would be healthy to keep rethinking the whole concept of traveling. There are a thousand ways we can go from A to B. Why we make ourselves dependent on this system? The concept of a highway is a hundred years old and in the time they made it up there were fantastic idea's to get from A to B in total different way. We would like to remind people on this freedom of choice but also responsibility to give meaning to our environment.
And is there any commercial interest for the prototype (or an adapted version of it) outside of Africa?
Not that I know of. But we also never put energy in this. I envision a car production future where every continent has its own species of cars. The climate, economy and landscape demand certain needs to a vehicle. Technology will make it possible to manufacture more on demand and more specific adjustments.
Turtle 1 is part of a broader project that looks at "the stream of discarded cars to Ghana in order to document their hitherto unknown destination." So which kind of images, videos and discourses do you bring to European destinations where you show the Turtle prototype?
We do lectures to governments, sit in advisory boards, work with industry on new idea's. Next to this we did some exhibitions on car shows, art festivals to show drawings, photo's and video's. Every member of the team had it's own medium. You will see on the exhibition. There was also a lot of media coverage on television, news papers and magazines in Germany and the Netherlands.
The prototype is called Turtle 1. Does it mean that there will be new and improved models of the Turtle? More generally, what's next for the project?
We are now working together with the Dutch car industry on a vocational training program. The ambition is to start this program in Suame Magazine next year. In the Dutch Design week we organise workshops around this businesses case. See Word doc for more detailed concept.
Check out the vehicle at the DISNOVATION exhibition, on October 8th- December 6th, at Le Bel Ordinaire, Billière, France. The 14th edition of the festival itself will run November 13th -16th, 2014, at Le Bel Ordinaire + associated venues in Pau & around. Programme curated by Nicolas Maigret and Bertrand Grimault.
I already mentioned the exhibition Strange Weather: Forecasts from the future in a number of posts (in particular this one which focused on clouds) so i won't bore you with repeating myself too much. The artworks on show invite the public to think about today and tomorrow's weather with the gravity that befits the topic but also with lightness and humour, asking questions such as:
Should human culture be reshaped to fit strange weather or should we reshape weather to fit our strange culture? Who is going to take advantage of climate chaos and how will strange weather benefit me? How will you choose to work, celebrate, live and die when weather gets weird?
Since so many pieces in the shows got my attention, i thought i should write on last post about Strange Weather. This one will include plastic flowers modelled on the alien species that have started to invade the Arctic, an instrument that monitors 'space weather', HazMat Suits for kids and more.
The Raindrop machine works like a mini open wind tunnel and it is both a continuation of the scientists original experiment and an artwork exhibited in a very different cultural context.
Scientists and ecotourists visiting the Arctic are bringing in thousands of seeds that were attached to the sole of their shoes or are falling off from their pockets. It wasn't a problem until a few years ago but temperatures are warming up and the seeds are now taking root, potentially disrupting the ecosystems.
Tania Kitchell 's Occupy II is a representation of alien and invasive plant species that have been sighted in Arctic regions.
In Occupy II the plants are made of ABS plastic that have been formed with 3D modelling software and formed on a 3D printer. Photos were used as references to reproduce plant forms; there is an intentional disregard for a precise likeness as sizes and proportions are not adhered to, but there is a strong connection to the existing plants.
Does this disconnect between perception and reality in any way parallel our misconceptions about the Arctic?
This was one of my favourite works in the show. It is simple and elegant. Yet, there is something slightly disturbing in this assembly of 3Dprinted plants. Even before you even read the text that explains what they represent.
The Solar Wind Aeroscope is another subtle, unassuming but fascinating work.
Jonas Hansen and Lasse Scherffig built an instrument that monitors 'space weather', the environmental conditions created by the Sun and the solar wind and that ultimately influence our own atmosphere.
The system relies on global network of amateur HAM-radio stations known as WSPRnet to measure radio signal range. The signals from this network can travel for thousands of kilometers, by bouncing off of the ionosphere. Because the ionosphere and its reflectivity is affected by the solar wind, the activity of the WSPRnet echoes space weather conditions.
By monitoring radio signals and their origin, the Solar Wind Aeroscope can 'see' the current atmospheric conditions caused by the solar wind. To make these measurements perceptible, the instrument translates the solar wind into actual wind--transforming the gallery into a terrestrial weather station for extraterrestrial weather. The effect is actually very subtle, you need to place your hands on the Aeroscope to perceive the strength of the wind.
Archive of Old and New Events, by Jodi Newcombe and Tega Brain, imagines what festivals and gatherings will be like after climate change has seriously messed up with the seasonal cycles and local climate conditions that were at the origin of these revelries. Strange new cultural phenomena could take their place.
This speculative project, set in 2030, brings side by side two collections; The Collection of Lost Festivals holds materials from events that have fallen into oblivion. The other is The Collection of New Festivals which documents recent cultural phenomena that have emerged in response to new weather and climate.
How could anyone not covet these stunning 'Toboggan shorts' worn by 2028 race winner worn for the 5th Ave Toboggan Race in New York City:
Or this container of dried jellyfish snack that will be a staple of our diet when jellyfish overpopulates seas that are getting increasingly warm.
Creepy children-size mannequins wearing HazMat Suits are loitering around the Science Gallery.
The corporation DuPont patents their Tychem cleanup suits for hazardous materials, these outfits are used in petroleum industry disaster response to mitigate ecological disasters. Cleanups are thus conducted with the same materials that potentially harm us. Marina Zurkow hand-sewn little HazMat suits for children. These suits, however, are sealed to prevent them from ever being worn by a child.
CoClimate invited artists and scientists in STRANGE WEATHER to produce scripts about what weather forecast will be like in the future. And then they had the brilliant idea of installing a fully functional weather forecast set, complete with green screen, teleprompter and camera. Visitors are invited to step in and play the television weatherman, recording the futuristic forecast of their choice and share it on YouTube if they want to.
More images from the show:
Strange Weather: Forecasts from the future was curated by artists Zack Denfeld, Cat Kramer from CoClimate and meteorologist Gerald Fleming. The show is open at the Science Gallery in Dublin until 5 October 2014.
There's nothing remarkable about a can of tuna, an empty packet of candies, a plastic toy bird, or a battered video tape of a Queen concert. But stories and issues that affect us all can hide behind the most mundane objects.
These items and many others are part of A People's Archive of Sinking and Melting, a growing collection of objects "from places that may disappear owing to the combined physical, political, and economic impacts of climate change." Each time the project is exhibited in a new city, artist Amy Balkin calls for local people to contribute to the archive and donate items which constitute an evidence of rising sea level, coastal erosion, desertification and extreme weather getting more extreme. Each object is then catalogued and archived as if it were a rare historical artifact, because one day it may well be.
The materials in the archive mark the asymmetry of present or anticipated loss, standing in as proxies for the contributors' recognition of the geopolitical production (or spatial politics) of precarity and slow-onset dispossession. Together, the contributions form one material record among many; a collection of community-gathered evidence, a public record, a midden.
So far, the collection includes objects from the antarctic, items rescued from the floods caused by Superstorm Sandy, water from Venice, etc. And i'm looking forward to seeing what Dubliners will contribute to the project as the archive is now on view (and open for submissions) at the Science Gallery. In the meantime, i've contacted
Hi Amy! The items collected come from places that may disappear owing to the impact of climate change. So how does Dublin fits into this? Are the effects of climate change already visible in the city and more generally in the country?
I hope your questions will be answered by people living in Dublin and across Ireland and its outlying islands, whose contributions to the archive, whether related to predicted increases in coastal flooding events along the East Coast, or other experienced or forecast climate impacts, will form a new Ireland Collection.
What kind of items have people in Dublin added to the archive so far?
None yet-the exhibition opened recently-the call for contributions is at https://dublin.sciencegallery.com/strangeweather/peoplesarchive
What were the most unexpected items that have been contributed to the archive so far?
It's hard to say, as each contribution is complicated by the circumstances and context of it's submission. Your readers can view the entire archive at sinkingandmelting.tumblr.com and decide for themselves.
And which ones would you say are the the most representative of the climate change crisis?
Items contributed from places where people's ability to remain is difficult or becoming untenable, such those in the Kivalina (Alaska, USA) Collection.
The description of the project says that "Through common but differentiated collections, contributed materials form an archive of the future anterior; what will have been." Could you elaborate on this? Explain in more details what the 'future anterior' means?
The phrase "common but differentiated" is taken from Article 3 of the United Nations Framework Convention on Climate Change, which states "The Parties [which have ratified the convention] should protect the climate system for the benefit of present and future generations of humankind, on the basis of equity and in accordance with their common but differentiated responsibilities and respective capabilities.
In A People's Archive of Sinking and Melting, all contributions together form a 'common' archive, a coalition of items from radically varied situations. These are 'differentiated' based on the UNFCCC Party status/commitment category of the country each was contributed from, which is included on the museum label (Annex I, II, B, Non-Annex, No Status) for each item in the archive .
In the context of the archive the language of "common but differentiated" is taken to situate the archive against the inequity of present climate politics, including the UNFCCC treaty process, which as it politically constructs the atmosphere, influences the habitability of locations represented by objects in the archive, influencing the meaning of the archive, the individual items within it, and the lives of the archive's contributors.
The future anterior, which describes "what will have been," is a position the archive asks its contributors, audience, and users to take. I understand this as a political task demanding insight and the willingness to confront uncertainty and loss.
I think what strikes me the most about A People's Archives is how tangible it makes the issue of climate change feel. When i discovered the project at the Science Gallery, i suddenly visualized how much part of daily life it has become, even if we don't necessarily realize it yet. The fact that you left the archive in the hands of everyone played a big role in this feeling. But do you 'curate' the collection? Or do you accept anything people give?
One framing idea of the archive is that it is not 'curated,' and is always presented in its entirety, whether all the contributions are exhibited, as they are in Dublin, or available as a research tool in archived collections, as it was at the Prelinger Library earlier this year.
As of August 2014 the archive contains roughly 100 items, none of which weighs more than 1kg, so presenting all the contributions hasn't created any logistical problems. If the archive gets much larger, there may be a need to do things differently.
Everything contributed to date has been accepted, other than two items offered that misunderstood the parameters of the archive. More complicated is the question of including items contributed after specific weather events, such as materials sent from Germany after the 2013 European Floods or from New York and Cuba after Superstorm Sandy, or materials offered from places that are at risk but will have significant adaptation infrastructure built, like Venice, Italy, which is getting a $7 billion flood-protection system.
Where will the objects go after the Dublin show? Because the project has been exhibited in several countries so far so i suspect that the collection is getting quite voluminous by now.
The archive will go to New York next for the exhibition Lenin: Icebreaker, which opens at the Austrian Cultural Forum in December. I'm currently working with Olga Kopenkina to solicit contribution from across Russia, with particular attention to the northern autonomous okrugs (administrative divisions) and Murmansk Oblast.
If your readers want to contribute to A People's Archive of Sinking and Melting, from Ireland, Russia, or anywhere else, how to submit is www.sinkingandmelting.org
Strange Weather: Forecasts from the future was curated by artists Zack Denfeld, Cat Kramer from CoClimate and meteorologist Gerald Fleming. The show is open at the Science Gallery in Dublin until 5 October 2014.
One of the thing that surprised me when i moved from Belgium to Italy all those years ago is that i suddenly found myself in a culture where the weather wasn't part of the conversation. The sky never changed much. Every day was mostly sunny and fairly dry. This is less the case nowadays. I'm living in London where the Summer has been boiling hot. Meanwhile, Northern Italy has been showered by torrential rains. The weather has decidedly taken a turn for the weirder.
Newspapers publish alarming and disconcerting articles about climate change and 'extreme' meteorological phenomena on a daily basis. It seems that no matter how much we cycle to work and recycle our trash, this is too little too late (becoming a vegetarian would have a bigger impact anyway.) Climate change is a phenomenon so complex and grim that most people feel powerless and inadequate even taking about it..
The exhibition Strange Weather: Forecasts from the Future at the Science Gallery in Dublin gives a more human dimension to the issue. The show features 26 artworks that, each in their own way, act as springboards for new discussions and debates about the eccentricities of the weather.
The show goes from the very absurd (the Halliburton survivaball) to the very dark and dramatic. But the adjective that pervades the show is 'fun'. While visiting the exhibition, i've been drinking cloud, watched a 1959 film that speculates on how weather control departments would use satellites and met with little child mannequins in Hazmat suits in the most unexpected places.
Strange Weather is one of those rare shows that's never dull, never obscure, never preaching. A quick video walk-through of the exhibition will prove my point:
Given my enthusiasm for the exhibition, there's a lot i'd like to blog: all the ideas, all the works i've discovered. Being notoriously lazy, i'm going to bide my time and slowly publish stories about Strange Weather. Here's a first batch of artworks which explore clouds in the most poetical and critical ways:
Karolina Sobecka climbed to the Sally Gap in the Dublin Mountains to harvest clouds, decant them into little tubes and invited gallery visitors to consume them.
The artist built her own Cloud Collector, a device that is sent into the atmosphere attached to a weather balloon. Clouds condense on its mesh wings and flow into a sample container. These cloud samples are analysed for microorganisms and ingested by experimental volunteers. By combining the cloud microbiome with their own, the volunteers become part cloud and keep a cloud journal reporting their transformation.
Thinking Like a Cloud owes a lot to Aldo Leopold's land ethics motto 'thinking like a mountain'. It describes an ability to appreciate the deeps interconnectedness of all the elements in the ecosystems. By ingesting clouds, clouds become part of you and you become part of the atmosphere yourself.
I was strangely moved by Studio PSK's proposal for the ash dispersal of your loved ones. I don't care whether it is speculative or art or whatever, i want this project to be real.
I Wish to Be Rain suggests that after their death, people could literally become part of the weather by having their ashes used for cloud seeding, the dispersing substances into the air to trigger rain.
Following a funeral and cremation of a body, the crematorium will give the bereaved an aluminium vessel that contains their loved ones remains and a dormant aerostat. When the family are ready, the encapsulated ashes are sent skywards tethered to a weather balloon, to be dispersed in the macroscopic structure of a cloud. The capsule becomes increasingly pressurised. At the point it reaches the troposphere, the highest point at which clouds form, the capsule bursts, dispersing the ashes into the clouds below. When dispersed into the clouds, the remains get enveloped into a macroscopic structure far beyond the most grandiose human experience. But this is short lived, again they enter the domain of the miniature, falling back to earth as raindrops, before eventually finding their way back into the sea.
One thing i noted when i spoke to people who live or used to live in Dublin is that they all have something to say about the fluctuating prices of the houses in the city. Matt Kenyon's Cloud therefore feeds into two concerns: real estate and weather. The artist turned the last 10 year of housing market into a stream of small house-shaped clouds that fly to the ceiling of the gallery, stick there for a while, lose stamina (and metaphorically value) and then fall down to the floor.
The viewers witness common house-ownership dreams disappear as fast as they materializes -- just as many saw the false promises of their homes disappear as they were quickly foreclosed upon during this period.
Strange Weather: Forecasts from the future was curated by artists Zack Denfeld, Cat Kramer and meteorologist Gerald Fleming. The show is open at the Science Gallery in Dublin until 5 October 2014.
The weather, that once innocent topic of conversation, now comes the bearer of fears and dark scenarios. Hurricanes, typhoons, flooding and heatwaves are more violent and frequent than ever and climate change has transformed our good old weather into 'extreme' weather.
One of the rooms in the gallery hosts a Tornado Diverter, a device built by artists Bigert & Bergström to intercept and stop a tornado. The sculptural machine radiates 100,000 negative volts and has the power to repel the positive charge of the tornado that causes twisters to touch down.
The artists first read about such machine in a Wired magazine interview with Russian weather-modification scientist Vladimir Pudov. Bigert & Bergström met Pudov in 2007. He had then retired from his position at the the Institute for Experimental Meteorology and no longer had the means to develop his invention. The artists decided to step in, improve the scientist's drawings of the machine and "build it for him.'
In May 2011, the artists mounted the Tornado Diverter machine on a custom built trailer and, accompanied by Canadian meteorologist and storm chaser Mark Robinson, they traveled to the Midwest in the US to hunt down a tornado and place The Tornado Stopper in front of the approaching twister.
The Science Gallery is also screening The Weather War, a film in which the duo documents the increasingly hostile weather patterns and man's attempts to control them. I couldn't watch it until the end alas (i needed to take the bus to the airport) but 20 minutes of it were enough to convince me that the film is simply brilliant.
The documentary takes us on a historical and geographical journey into climate-management. The artists look at how the science of meteorology has advanced in line with military goals throughout history. They also interview people who build concrete shelters that can protect up to 50 (squeezed) people from violent tornadoes, Chinese scientists from the Beijing Weather Modification Office who fired rockets into the sky to seed clouds and make sure that it wouldn't rain over the 2008 Olympic opening ceremony, etc.
What makes the work so fascinating is that it gives a vision of how scientists are now attempting to control the weather. Should we put our trust into their hands? Or should such experiments be undertaken by governments? Are we sure they can also control the socio-political consequences of their experiments in climate control? Are we even entitled to modify the weather? And in the background of these questions lies the issue of global climate change:
How do we behave to meet those challenges? Do we adapt? Or do we wage war against increasingly aggressive weather phenomena? Bangladesh is building protective walls against coming floods. China shoots rockets into threatening clouds. And in Italy, anti-hail cannons are fired to protect the year's wine harvest.
Yet another post about a work i discovered in RIga when i visited Fields - patterns of social, scientific, and technological transformations, a (fantastic and still open) exhibition featuring works by artists who have adopted an engaged, critical and active role in society.
Sketches for an Earth Computer is an ongoing series of living "laboratory" studies that explore the links between the earth, code and the human psyche of the viewer.
Over the past few years, Martin Howse has been investigating the possibility to build a computational device that would not only be constructed solely from the earth but would also be embedded within the earth as a critical monument to human technology.
The computer enters a feedback loop with the environment itself as geophysical, biological and electro-chemical elements can both encode and be modified by the computational structures.
Questions to Martin Howse:
Hi Martin! Could you explain the setting of the installation at the FIELDS exhibition?
As background it's important to understand that all of these elements are simply fragments of sketches towards the working out of what could be described an earth computer. The images in the background show elements of the installation operating within a forest environment in Germany. So the elements of the installation are designed as pointers towards these functional aspects of the earth computer, which may or may not operate correctly within an exhibition environment.
For example, the hanging sealed earth container references the potential recoding of electrochemical earth elements using a primitive solar cell constructed between copper, copper oxide plates and forest earth.
The large, floor-situated earth container (using forest earth dug one hour away from Riga in the "magic forest", and gypsum from a nearby quarry), refers to potential chemical changes in the earth induced by water passing through this stack of minerals above the earth. At the same time all of these containers draw attention to the drawing of a boundary for the earth, and the disconnection from the deep forest setting for which the earth computer is intended.
The last, most complex earth computer demonstrates several parts of the earth computing system; a display based on early telegraphy technology, the mirror galvanometer, transduces and makes visible signals from the earth using a moving mirror, fixed coil and small laser light beam. This is the interface to the earth computer. Forest earth in this container is also seeded with oyster mushroom mycelium and doped with silver nitrate, attempting to form over time a processor for the earth computer.
You developed an earthboot that 'enables almost any computer to boot straight from the earth'. How reliable is the system exactly?
The system is far from reliable, given that the earth has no interest or intention in correctly coding an operating system. Most of the time the computer crashes silently; a blank unresponsive interface. In perhaps one out of twenty sessions there are more colourful (see image on: http://www.1010.co.uk/org/earthcode.html)
Would any kind of earth do? or is it like a plant, responding better to certain types of earth (drier, more acidic, etc.) than to other?
Dry earth presents more problems for the flow of signals so is not so well suited for the earthboot device. I also prefer to use more active soils, with plenty of mycelial or insect/worm action. I modified the earthboot device towards the production of worm coded sound performance and worm poetry recitals. This came directly from work with Shu Lea Cheang focusing on links between code or data and the composting process.
The project puts the computer in direct contact with the Earth which at first doesn't sound very eco-friendly. What about all the mercury and other polluting chemical elements leaking into the soil?
Well the earthboot operates on a very small scale and there are no polluting chemicals directly in contact with the earth or soil, but other projects such as The Crystal World with Jonathan Kemp and Ryan Jordan have explored the techno-ecological cycle of extraction (of minerals) and return of polluting elements to the earth. I'm very interested in less direct parallels between such cycles and computation itself.
In an interview with Motherboard, you say: "One question I'm very interested in which you could say fuels my research is to ask where exactly software executes. In other words, where exactly do these seemingly abstract coded processes which seriously effects our lives, where do these take place?" Could you explain in more details what you mean by that and how the earth fits into this?
Software is viewed as a more or less invisible, obscured or blackboxed process which is situated, if at all, in computer hardware. Yet the exact place of the transition from physical, material flows or changes to symbolic structure is hard to pin down. So I was interested in speculating where that place of transition might be located, also in moving it away from this black-boxed laptop, phone or PC. These new locations I viewed as sites of execution, of where that thing called software enacts on the physical. One site could be the earth, as code runs predominantly on silicon substrates which have been synthesised from sand/earth.
And concerning the literal impacting of software on humans, I considered skin as another potential site of execution, relating this to computer virus and pornography. I also created a work called Pain Registers which explored very literally this connection; in this piece minute software changes operating under the interface surface of say an app like Firefox are literally painstakingly translated (by code) into the movement of a needle tattooing the hand of the user.
The work in the FIELDS exhibition is called Sketches for an earth computer', does it mean that this is just the beginning, that you are going to push the project further?
Sketches forms the background of a range of works and performances over the years and definitely the central idea of an earth computer or earth interpreter (in the software sense) will be pushed further. I'm interested now in looking at how software processes coded by the earth instead of being simply observed can equally re-code or impact on the earth. Parallels could be established with certain mining practices and I've recently explored these possibilities with Jonathan Kemp during our Stack, Frame, Heap residency in Lueneburg which also aimed to see how this exploration can mesh with historical land art, or large-scale alterations to the landscape.
Check out Sketches for an Earth Computer at the Fields exhibition, produced by RIXC and curated by Raitis Smits, Rasa Smite and Armin Medosch. The show remains open at Arsenals Exhibition Hall of the Latvian National Arts Museum (LNAM) in Riga until August 3, 2014.
Other posts about the Fields exhibition: Ghostradio, the device that produces real random numbers, On the interplay between a snail and an algorithm and FIELDS, positive visions for the future.