Should you be interested in accommodating a small volcano in your living room, designer Nelly Ben Hayoun has one ready to cover your interior with dust and erupt gloop on your carpet. While the first prototype is still a fairly modest and manageable size, The Other Volcano aims to build a series of semi-domesticated volcanoes that would almost reach the ceiling and provide you with all the discomfort you can expect from this new breed of geological pet. The mini volcano would be housed for a couple of weeks in the living spaces of volunteers, long enough to generate a love-hate relationship between them and a 'sleeping giant' that promises domestic explosions and a range of visual effects that the owner of Xanadu himself would envy.
With The Other Volcano I will try to question the domestication of nature for entertainment purposes.
How would you deal with a live volcano in the middle of your living room? Would you try to destroy it? Would you just disconnect it from the mains? Would you be more popular because you share your life with a volcano? Would you invite people to see it, and switch it on at the end of the meal to create a 'surprising' effect? How will you feel when you will
The Other Volcano relates very much to my preoccupation with the juxtaposition of the epic with banal details, the extreme with domestic.
The Other Volcano is currently gracing (if not endangering) the window of the Wellcome Collection on Euston Road, London. I wanted to ask Nelly a few questions before The Other Volcano moves to a more homely location:
You worked with the volcanologist Dr Carina Fearnley (Lecturer in Environmental Hazards at the Institute of Geography and Earth Sciences, Aberystwyth University) on the Volcano project. Can you tell us how this collaboration started? And was she mostly a source of information or did her opinions modified in any way the original vision you had of the volcano?
Before meeting up with Dr Carina Fearnley, I think I have scared a few volcanologists! It all seems to be part of the process of my projects.
Before for the Soyuz chair, I managed to terrify some astronauts when I jumped on them after their lecture, with my 'Cosmic Drive Rocket' jacket, to ask them to be part of the project. Even worse was when I wanted to generate dark energy in my kitchen sink or when I decided to do a neutrino observatory in my bathroom!
Only the bravest scientists usually answer me. So I usually expect sparklers and creative explosions from our meetings.
Dr Carina Fearnley is a very dynamic volcanologist. I was so amazed by her energy when I met her the first time. She has been to a number of dangerous volcanoes such as Long Valley Caldera, USA, Mt Vesuvius, Italy, and Mt Unzen, Japan, this forces admiration. But this wasn't all, Carina is angry, Carina is a revolutionary in her field. She was finishing her PhD at the Aon Benfield UCL Hazard Research Centre, Earth Sciences department at UCL, when we met up. Her research explored the issues related to standardising volcano early warnings systems, and how to understand and better manage uncertainty, risk and complexity in volcanic crises. She is mixing up mediums such as sociology, and anthropology to interpret data using a bottom-up approach. This has not been very well perceived everywhere! Many scientists don't consider sociology to be a science and have difficulties to accept it as part of a scientific research.
I think our 'hot blooded' mix started from there.
She really influenced my thinking, as a designer, I now wonder what we have done in terms of a revolution? Paintings went over period of intense friction and conflict, with photography, BUT what about design?
I think this is one of the areas that the project tries to question.
So far I have explored in my previous projects and in Home chaos. The Other Volcano is still part of this context, it is for your living room. Now I wonder how much we can extend this? We shall see in the future projects...!
I contacted Dr Carina Fearnley with a fair idea of what I wanted to do already. I planned doing the project since December 2009! The project outline was there: in short: "In order to make myself recognized by the Other, I must risk my own life" said Sartre. The Other Volcano imagines a love-hate relationship, a 'sleeping giant' in the corner of your domestic environment, with the power to provoke excitement with its rumblings, and also perhaps fear" which Carina answered by telling me: "I think you raise some interesting and powerful questions about peoples perceptions on the forces of nature, especially for volcanoes that can not only be beautiful and gentle like that seen Hawaii, but explosive and deadly like Mt St Helens. Volcanoes are fascinating because they provide life, yet also take it ruthlessly."
Dr Carina Fearnley, made the experience tangible and much more precise, The other volcano is one of the type of the Mount St Helens and its ceramique (It is made of ceramic by the way, did you notice?) white aspect is borrowed to the most unique white volcano Ol Doinyo Lengai volcano, The white Volcano- altitude 2886 meters (9524 feet), is a unique and extremely fascinating volcano that towers above the East African Rift Valley in Northern Tanzania, just south of Lake Natron. It is the only volcano in the world that sometimes erupts natrocarbonatite lava, a highly fluid lava that contains almost no silicone. Contact with moisture rapidly turns natrocarbonatite lava white because of chemical reactions that occur when the lava absorbs water. Mount St Helens is an active strato-volcano located in Skamania County, Washington, in the Pacific Northwest region of the United States. This volcano is well known for its ash explosions and pyroclastic flows.
Alongside working with Dr Carina Fearnley and learning more on the variety of explosive systems of volcanoes as well as warning systems, I worked with Austin Houldsworth, a designer himself, he knows a lot about making explosions! Maybe I should say 'pyrotechnics'! This probably sounds safer!
Do you think it is going to be easy to find volunteers who would accommodate your volcano in their house?
Well surprisingly, yes! After The Other volcano has been exhibited for the London Design Week along with projects from my studio mates in our little but dynamic Sunbury Workshops. I had offers from New Scientist to host it in their London offices and from many people around the world.
Unfortunately, this first version is rather....how can I say that....hmmm....unsafe....! When erupting we still didn't fully control the explosion and it has a tendency to seriously burn the carpet more than creating dust. Austin Houldsworth knows more than I do on this, we recently added some magnesium to have more 'flakes' and dust appearing during the explosion.
The other volcano then moved to Dunne and Raby, Voss Street studio, where it stayed for a few weeks before setting itself up in the Wellcome Trust windows.
I think that once we have it to a stage where it can actually be plugged in your living room with a socket, we will need to 'prepare' the participants to receive it, and here we will need volcanologists such as Dr Carina Fearnley to learn you what are the warning systems. Because you might want the thrill of the explosion but you might not want to change your furniture all the time, so 'The other Volcano' needs enough attention and interest as its effect can be destructive.
Having the volunteers to host it would help to figure answers on How would you deal with a live volcano in the middle of your living room? Would you ignore it? Would you wrap it up? Would you try to destroy it? Would you just disconnect it from the mains? Would you be more popular because you share your life with a volcano? Would you invite people to see it, and switch it on at the end of the meal to create a 'surprising' effect? How will you feel when you will climb on top of it? Can you become a hero of modern mythology while in your living room?
You did have an explosion of the volcano in your own living room, right? Can you tell us how it went and the consequences of this domestic exploding show?
Yes, we actually did the picture in my living room. This is another story in itself...
First I have flatmates, and even if they are very supportive of my work, it has been a serious decision taken all together. At that stage Austin Houldsworth and I didn't know if this will create 'smoke damage 'or not.... Then my landlord's office is actually a floor below my flat... truly a nightmare! The other being that the volcano will burn the floor and end up in my landlord office after creating a massive smoky hole on his ceiling!
He isn't usually there but I didn't know if he was going to turn up the day of the photoshoot or not...
Before this I installed this beautiful velvet carpet on the top on the wood floor and I was hoping that 'the other volcano' would not burn the house down.
Following this a very surrealist phone conversation happened with my local firemen, I told them that on that specific day I will be using 'a smoke machine' in my flat (I wasn't going to tell them that I was having a volcano erupting in my living room, of course!). They told me that they can't stop the calls coming in and if someone calls them they will be there with us... and the volcano.....
So this all was rather stressful ...
Finally everything went according to plan- see pictures of the making off taken by the photographer Nick Ballon.
It is a miracle that we are all still here to tell the story. This photoshoot asked nearly 1 month of preparation.
The day after the photoshoot, I was taking to plane.... To Tel Aviv, where I was doing a Petcha Kutcha's talk.... As you can imagine... my shoes were full of 'pyrotechnic' powder... The rest is a long story!
What all of this tells is that Design is also about taking risks, the process of making it, is often thrilling in its own rights.
What was the inspiration for The Other Volcano? If I remember well you were interested in volcanoes well before anyone had ever heard of infamous Eyjafjallajokull.
True! I wrote 'The Other Volcano' project in December 2009 initially to do a residency in Eyebeam. I was at that time exited by the idea of having a 9 meters high ceramic volcano in New York for people to climb on the top and have a swim in the lava.
What more and more interest me is the way we can use design to confront ourselves with reality, and how actually the experience of it can explore areas of fantasy and science fiction.
I love Maywa Denki for this reason; his all company philosophy is based on Nonsense.
The Other Volcano is part of this questioning, what can we do to generate that human challenge?
When the eruption of Eyjafjallajokull happened, I was still in the process to get funding for the project, which is an other type of reality for designers and artists ( it sometimes take a full year to get it!). It was terrible by its effects and also, because the project if he ever got funded after that, would have been presented in response to the actuality. Which wasn't the case at all.
Your presentation text explains that The Other Volcano questions the domestication of nature for entertainment purposes. Do you have examples that show this domestication is already happening?
Well, Cities are a form of domestication of nature. We use nature in billions of way to sustain practically our human's activities. Now what the project actually questions more precisely is how concept such as 'entertainment' and 'thrill', which are part of our human culture can be explored using nature.
Now I guess the logical future step would be to explore what actually is/make our culture? And at the very moment my messy head is telling me that to give an answer, I should learn more on dinosaurs, minerals and .... Shakespeare!
The Other Volcano is part of the 'What If...?' window exhibition at the Wellcome Collection headquarters on Euston Road, London. Curated by Anthony Dunne and Fiona Raby, the window features several design works that attempt to inspire debate about the human consequences of different technological futures by asking 'What If...?'
Just back from Venice after a visit of what was my fourth and definitely not favourite Architecture Biennale. Mind you, I'm in a minority here, most of the reviews i read so far were very enthusiastic.
I still have to go through the hundreds of pictures i made, the catalogs, leaflets i grabbed and notes i scribbled. Before i come back to you with a fleshier report, here's a quick and easy post about Cloudscapes, one of the most talked about works presented inside the Corderie, a 319 metres long space once used to make ropes and cables for the Italian navy and now hosting a part of the main exhibition.
Architect Tetsuo Kondo has teamed up with German climate engineering firm Transsolar to fill a closed space inside the Corderie with clouds. Clouds, after all, are part of our architecture: they frame outdoor space and filter natural light.
Visitors can experience the cloud from below, within, and above as they climb up 4.3 meter high helical ramp erected in the center of the room. The cloud is based on the physical phenomenon of saturated air, condensation droplets floating in the space and condensation seeds. The atmospheres above and below the cloud have different qualities of light, temperature, and humidity, separating the spaces by a filter effect. The cloud can be touched, and it can be felt as different microclimatic conditions coincide.
The cloud is created through climate engineering. Three layers of air are pumped into the room: cool dry air at the bottom that keeps the cloud floating, hot humid air in the middle to fashion a dense fog and hot dry air at the top.
More information in this short interview of founder of Transsolar Matthias Schuler and silent Tetsuo Kondo by Hans Ulrich Obrist:
And here's a video of the cloud experience with comments from Matthias Schuler in german:
See also Diller and Scofidio's Blur Building for the 2002 Swiss Expo.
The Venice Architecture Biennale continues until 21 November, 2010.
Last year, the UK government announced their plan to build new nuclear power stations in 11 locations in England and Wales in order to meet their CO2 emission targets. Nuclear offers a clean, near limitless energy solution that could allow the UK to meet its emission targets without having to moderate consumer's access to energy. The broad public however is everything but prepared to accept the move. Over the past few years, science have failed to assuage the public's unscientifically-based fears and sometimes irrational concerns over nuclear energy.
With his speculative proposal Nuclear is good. What will it take to convince you?, Oliver Goodhall is trying to shape convincing arguments in favour of nuclear energy. The project is in no way propaganda, it's more about opening up a debate about nuclear energy and energy policy in general. The video below gives a clear overview of Oliver Goodhall's project:
One of the outcome of Goodhall's research was walking and talking tour to the site of a potential power station in Bradwell-on-sea, in Essex, England. He enrolled nuclear engineers, environmentalists and designers to have a nuclear-theme picnic with plenty of mushrooms and toxic-looking icecream but more importantly, to exchange views about nuclear energy in a way that would not have been possible had the encounter taken place in an office meeting room.
Among some of Oliver's proposals is a protective barrage cloud hovering over the power station to respond to fears of a disaster incident that would release radiation into the atmosphere; benefits to citizens for accepting to take responsibility of their individual nuclear waste; a special emergency team always on call to intervene in case of a problem at the power station, etc.
What if we ask for protective barrage balloons, establish concrete emergency services and resign ourselves to the perceived 'hazards'? What if we embrace pet polar bears and pineapple ice cream along with other benefits that nuclear energy could bring? And what if not; are we prepared for blackouts instead?
My research was based on UK policy, partly because of the immediacy of some of decisions that need to be taken (the Department of Energy and Climate Change was running consultation on the new nuclear power stations at the same time as the beginnings of my project too) and partly because of the re-emergence of nuclear energy as a potential energy source after a long time out in the cold.
My favourite examples of other strategies employed by other countries came from France. This probably stems from France being highly invested in nuclear energy, and it gets over 75% of its electricity this way. A couple of these examples formed the basis for some of my proposals - although I extrapolated them to a farther fetched conclusion.
One was the reporting of the Chernobyl accident in the French press whereby a supposed meteorological anticyclone effect prevented the radioactive cloud from settling, which was discredited more recently. If that story allayed fears about a nuclear accident in France for all that time, then could it be a solution to generate an artificial anticyclone to protect UK inhabitants from this perceived hazard?
The other example I enjoyed was about the channel tunnel. In order to meet CO2 emission reduction targets Eurostar switched is electricity supply from 50% UK 50% France to 100% France. As nuclear energy produces a tiny fraction of the CO2 emissions of the coal and gas-fired power the UK relies on, this slight of hand allowed them to easily meet their target. What if you scaled this up as a policy solution applied to parts of the UK?
I thought these were both fascinating examples, although not necessarily for entirely honorable reasons.
A part of your project involved a guided tour of the site of a potential new nuclear power station in Bradwell-on-sea, Essex. Do you know if the inhabitants of the area have a say in the installation of the power station? Did you go around Bradwell-on-sea to ask how people felt about the proposal?
Locally, they are consulted as part of the planning of the Government's proposed power stations and the local people I spoke to (although not many) were positive about Bradwell producing electricity again. It is a big industry, offering jobs and employment and local prosperity - before the current power station was decommissioned it provided a socio-economic stimulus to this part of Essex.
Interestingly, there were quite a few anti-windfarm stickers in the village protesting the nearby off-shore wind farm. So it's not that people are undiscerning about their energy supply choices.
What were the reactions to your project outside of the design sphere? Did you get feedback, invitations, critiques and comments from members of the governments or from scientists?
My proposals came from 9 months of research and investigation, and were heavily influenced by conversations I had with professionals from the fields of ethics, political science, materials chemistry and the Government's Department of Energy and Climate Change. Reactions were varied, but these other professional fields are engaging with the topics I was interested in; affecting policy choices and contributing to decision-making.
I think in terms of design, a common question tends to be 'what did you design?'. I say I designed an argument. Engaging with large-scale policy topics requires negotiating complex issues, getting to grips with them, and finding ways to engage the public in a meaningful debate. I'm keen to take a similar approach to other topics, such as rising sea levels, GM or land use futures (there was an interesting government report issued earlier this year on this).
The practice I established, We Made That, has just been offered an opportunity to take forward a project on energy supply vs. demand - so I think that the approach has a broader value.
I'm a bit puzzled by your idea of a cloud hovering around station. i guess i'm not comfortable with the association between cloud and nuclear. Can you explain me what it would be made of and how it would work?
This was loosely based on the example of the Windscale fire incident; escape of radioactive particles through the containment being breached. Reactors now have containment and passive safety controls. But these are shrouded within a generic shed-type building - the cloud was about us considering a more conspicuous and obvious safety infrastructure. What would it take to convince you that this safety infrastructure was sufficient?
The conversations that stemmed from this proposal were very interesting - especially with the nuclear engineers - about the 'public understanding of' reactor safety, and what measures might be most expedient to convince an unsure public. Some of this debate can be seen in the documentary film of the guided tour.
You mentioned that science didn't quite manage to convince about the benefits of adopting nuclear energy and that a reason for that was that science had to face argument that are "irrational or unscientifically founded". Can you tell us more about these arguments and why they are unscientifically founded?
Nuclear energy has been around for 60 years in the UK, but now we are at a point of dilemma; looming climate change alters our perspective on energy production. If the scientific arguments put forward are falling on deaf ears then how else can you go about convincing naysayers that difficult choices need to be made? On the guided tour there were both pro-nuclear and anti-nuclear participants - and the argument between them typically came back to;
"It's very very unlikely, imperceptibly unlikely, that something could get out of all that containment"... "But is that meant to comfort people?"
This reinforces that a shift in tactics or approach might be necessary - although not an admission that science might be very comfortable with.
You will present your work at the sustain 2010 exhibition. Are you going to present the project in the exact same way you did at the Summer show? Or has the content of your project or the way you communicate it changed over the past few weeks/months?
I'll actually be showing the project differently. I imagine it will remain fairly provocative in terms of sustainability, nuclear tends to be a divisive topic, but the implications of our energy choices still need to be addressed. Setting these energy choices against climate change leads to difficult questions.
I personally consider nuclear to be necessary as part of an eco-pragmatic energy agenda. My approach to the project considered nuclear the 'what if', but there's also a 'what if not?' choice available to us - but maybe this is less palatable than the nuclear option. As you might be able to tell, I question whether it is genuinely 'sustainable' to continue making more 'sustainable products' - and I would rather address the fundamentals at the root of our energy choices.
Ehécatl Cabrera Franco is an architect, he's also the founder of the collective of the digital media and urban activism group MANGUM and an independent researcher of various urban phenomena. Whether he is busy doing graphic/architectural/industrial design, developing interventions in public space, organizing happenings or shooting videos, Cabrera is interested in making fissures into architecture. The hackarchitect believes that since architecture isn't able to answer the many issues that a city has to face nowadays, we should raise and 'make the city ourselves'.
In 2007, Carbera created MANGUM, an independent agency of digital media and urban activism. While MANGUM pays homage to MAGNUM it also differentiates himself radically from the photographic cooperative by encouraging a more bottom-up approach in which the very people who were so far only the subject of photos must now be recognized as critical actors.
MANGUM questions traditional models of cultural management, its objective is to generate answers to existing but inadequate institutions. MANGUM doesn't just portray the "otherness", it interacts with it.
MANGUM seeks to build an urban culture characterized by action and critique, to find opportunities in underused or intermediary spaces, to inhabit public space. The members of MANGUM believe that interacting with the city is an important form of daily communication that shouldn't be left in the sole hands of artists, activists and architects. They believe that a city is produced day by day through critical encounters, relationships, actions and events.
One of MANGUM's projects is PÁPALO PAL TACO, a series of workshops about urban gardening that aim to disseminate alternative forms of participation, diversify the use of space and create environmental awareness among participants. Some of the activities were especially designed for children such as a workshop about 'vegetal activism', eco-cine, etc.
MANGUM built the miniLAB, a mobile station built with cheap materials that travels through the streets of Santa Ursula Coapa (in the area of Coyoacan, DF, Mexico) to promote the activities of PÁPALO PAL TACO and explain passersby that instead of just buying fruits and vegetables, they can also cultivate them and while doing so contribute to the construction of a more participative public space.
Tomo had invited Raúl Cárdenas to close our last day at Postopolis. Cárdenas is the founder of Torolab, a collective workshop/laboratory for territorial research and contextual studies, based in Tijuana. The artist was in Mexico city to present his ongoing project Instituto de la Basura (The Institute of Waste.)
The city of Mexico produces 12.500 tons of waste every day, only 12% of it is recycled. Raúl is proposing to set up a platform that would encourage a dialogue and exchange of ideas between citizens and experts on the issue of waste.
Called Instituto de la Basura (The Institute of Waste), the proposal is part of a wider project called Residual. Artistic Interventions in the City. Residual addresses the problem of garbage from different points of view and aims to raise awareness among residents about the shared responsibility associated with its generation and management. The projects attempt to interact with the local community, and are developed in collaboration with a multidisciplinary group of university experts.
The themes, questions and problems explored by Instituto de la Basura are restricted to the context of Mexico city. Waste is an international issue, the pollution generated by an inadequate handling of waste knows no boundaries. Therefore, Torolab suggests to create the Embassy of Waste. The Embassy is the traveling branch of the Institute, it would move from location to location, adapt its approach to local contexts and reflect on themes closely related to the issue of waste (which should not necessarily be regarded trash.)
Both the Institute and the nomadic Embassy actively attempt to develop an international and interdisciplinary network of experts who would share their knowledge and look for -technical, legal, urban, social, environmental, or economic- solutions to problems related to consumption, and to the generation and management of waste.
The Museo del Estanquillo is currently lending its terrace to the project. There, the Instituto de la Basura has not only started to archive the information provided by specialists, it is also organizing and recording talks, interviews and working sessions around the issue of waste.
The furniture that the Instituto is using for its office in the museum is made mostly of wooden crates used to pack and transport art works, tetrapacks and other recycled materials.
You can visit the Instituto de la Basura until September 5, 2010 at the museum. After that, the institute will move to San Francisco, California to follow the discussion in a different context.
No matter how often i go to The Museum of Photography in Antwerp, i never seem to find any fault with their exhibitions. American Documents is no exception. While writing a report about it this afternoon, i realized that one of the body of works i discovered at FoMu deserved its own post.
In American Power, Mitch Epstein explores and questions the 'power' that lays at the core of the United States. 'Power' in this case stands for both strength and energy. Over the course of 5 years he traveled through 25 states to photograph nuclear reactors, oil refineries, mines, rigs, abandoned gas pumps, wind parks, pipelines as well as their environs.
The project started in 2003 when a magazine commissioned Epstein to photograph a town called Cheshire, Ohio, where American Electric Power Company owns one of the largest coal-fired power plants in the country. In a bid to ward off lawsuits caused by environmental issues with the plant's emissions, the company decided to buy out all of the residents.
Fascinated by interconnections between energy production, the community living there and consuming that same energy, between industrial corporatism and environmental issues, the photographer decided to broaden his research and investigate how the transformation of the American landscape reflects social order.
As he moved from site to site, Epstein quickly attracted the attention of Homeland Security agents. As he explained in an interview with BOMB magazine: Soon, though, I was facing harassment from local and federal law enforcement agents whenever I went to shoot in the vicinity of a corporate energy production site, despite being on public property. This got me pretty angry. I was suddenly subjected to national paranoia, not just reading about it in liberal magazines. Cops or the FBI threw me out of town and inspected my pictures. Their actions were illegal under the Constitution as I knew it, before the Patriot Act. The fury I felt about losing my freedom as an artist fueled a desire to keep working and get the better of the system; it made me want to make pictures that would express the tension and fear I felt contending with that system. So, yes, the project began about energy, but quickly became about power in all its dimensions--not only voltage power, but governmental and corporate power.
The project is documented in the book American Power (available on Amazon UK and USA) but Epstein didn't want to turn his back on the issue right after the publication. Along with his wife editor Susan Bell, he has since been working on a public art project which turns some of his pictures into billboards and transportation posters in order to raise passersby's awareness on environmental issues. The accompanying website, which reproduces many of his magnificent and bleak photos but also details the environmental facts behind them, invites people to join the discussion about energy production and consumption.
In the mountain of ludicrously overdue posts that prevent me from getting the sleep of the righteous is a report on the first chapter of Herbologies/Foraging Networks which took place at the Kiasma museum during Pixelache Helsinki in March.
Told you that was so long and cold ago...
Herbologies/Foraging Networks is a series of workshops, seminars and expeditions that explores the connection between traditional knowledge of herbs, edible and medicinal plants and media networked culture. The result of the Helsinki chapter of H/FN was a wonderful and eye-opening fusion of hydroponic technologies, vodka-making workshop, fermentation sermon, DNA isolation experiments and lectures on herbs and berries.
The conference was particularly good. We snacked on apples that had been foraged during a Dumpster diving trip through the bins of Helsinki and heard about topics as different as biopiracy, urban beekeeping, and the best plants to eat when you suffer from poor circulation.
Here's a few highlights from the two days i spent in the company of the Herbologies/Foraging Networks crowd:
The participants that completely blew me away were the members of KULTIVATOR, an experimental cooperation of organic farming and visual art practice located in the village Dyestad, on the island Öland, Sweden. Founded in 2005 by 3 artists and 2 farmers, Kultivator is a platform for art and agriculture that involves an organic farm with cows, sheep, vegetables, forestry but also residences for foreign artists, exhibitions and screenings on site on Öland or internationally.
Over its 5 years of existence, Kultivator has been harvesting potatoes and milking cows but they have also been busy installing rapeseed oil press in art foundations, building a chicken house with students, inviting foreign artists to leave their mark on the landscape of Dyestad, wondering how the open source philosophy can be applied to farming, producing a Glocal guide for an old walking trail from Dyestad to a nearby ancient ceremonial ruin and organizing a dinner with ruminants.
Publik.dk has a great interview with KULTIVATOR.
Another high point of the seminar was Christina Stadlbauer's presentation of her experiences in beekeeping on urban rooftops. She installed 3 honey bee hives in Brussels, one of them at NADINE, another at OKNO and the last one on a private rooftop. She observes the hives, how their weight fluctuate over time, how well they can cope in urban environment, etc. The bees' behaviour and the honey they produce act as monitors of natural processes in the city.
Within half an hour of being relocated on the Brussels rooftops (with the authorization of the neighbours), Christina's bees had understood where they were and set out to find food over the city (they can fly up to 3 km to find flowers.) The flora of a city is much more diverse than one would expect. In cities, bees can feast on wild flowers growing in abandoned parking lots, tulips in backyard gardens, tomatoes cultivated on small balconies, etc. Besides, there might be a lot of pollution in cities but there's also less pesticides on the flowers. The honey that city bees produce has therefore a totally different flavour. In city, there's also less competition for food and the good season lasts longer as it's warmer there than in the countryside. The successful Ginza Honey Bee Project, which has hundreds of thousands of Western and Japanese honeybees living on the roof of a 11-story building in downtown Tokyo, demonstrates that bees can thrive in urban settings.
Unfortunately, many of Christina's bees didn't wake up from Brussels' Winter.
Next, Andrew Gryf Paterson gave a fascinating presentation of foraging culture. Among the projects he mentioned, was Kayle Brandon and Heath Bunting's The Keepers. Since 2005, they've been mapping edible plants that can be found in public places in Bristol. Each plant is assigned a Keeper whose mission is to learn by heart the locations, uses, histories and biology of the plant, committing to share their knowledge when requested.
Keeping and sharing the knowledge about food that can be foraged is important.
That evening, Adam Zaretsky gave a popular and lively workshop on how to extract DNA using everyday households. I'm not going to blog about it since i've covered a couple of Adam's workshops in the past. What i can say, however, is that each time i meet Adam he does something totally unexpected, not to say utterly bizarre. This time he found horse poo on the street of Helsinki, brought it to the workshop and added it to the ingredients he mixed to obtain the juice we extracted DNA from.
The morning after, we met at Kiasma again, this time to harvest some plants that had grown on the Windowfarms installed in February in the museum. Right after that, we moved to the botanical garden for a series of workshops.
The vodka tincture-making workshop was inspired by one of SERDE's research about the instruments people have at home to brew their own vodka. Although it is illegal in Latvia*, moonshining is still alive and part of the intangible cultural heritage of the country. The alcohol produced by homebrewing can be turned into curative herb tinctures that are later used for internal use and external application. Ironically, SERDE organized workshops on Moonshining in Latvia with the blessing of local authorities and even won a State award for their contribution in 'innovation in tradition.'
Turns out that making your own alcohol is much easier than i expected. You just need simple kitchen tools, fermented apples or fermented jam and bread.
The second half of the programme took place a few weeks ago in the Kurzeme region, Latvia. I'm so sorry i had to miss it. Kultivator wrote a small report and there's some more information on Herbologies/Foraging Networks facebook page.
* Andrew Gryf Paterson just informed me that 'Since april this year, Latvian government have apparently changed the law so that farmers (who have surplus produce such as apples) are legally allowed to make homemade alcohol (i guess for small to medium -scale sales and use).'