On 12 July, the Arts Calalyst organised one last evening of discussions in its Clerkenwell Road HQ.

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Ariel Guzik, Resonador espectral armónico

The Language of Cetaceans brought together two men who share a passion for whales. One is environmental scientist and marine biologist Mark Peter Simmonds who investigates and raises awareness about an issue that is far away from our sights: the threats to the life of marine mammals caused by the increasing emissions of loud noise under water. The other is artist and inventor Ariel Guzik who has spent the last ten years looking for a way of communicating with cetaceans.

The evening started with Nicola Triscott, Director of the Arts Catalyst, showing us the Field Guide To UK Marine Mammals. I had no idea there were whales, dolphins, seals and sharks sharks on the coast of the UK!

Next was Simmonds' talk. It was very entertaining but also almost heartbreaking.

We might think that oceans are silent but they are filled with noises and animal conversations. First of all, marine mammals, fish, and a few invertebrates depend on sound to locate food, identify mates, navigate, coordinate as a group, avoid predators, send and receive alert of danger as well as transmit other types of information. It's very dark deep in the ocean so hearing is the sense they rely the most on.

Nowadays, however, whales and other mammals cannot hear with each other because of all the man-made noise intruding on their habitat.

Some of these sounds are so loud, they are driving the animals away from areas important to their survival, and in some cases injuring or even causing their deaths. The intense sound pulses of mid-frequency military sonars, for example, have been linked to several mass whale strandings. But it's not just the military that is to blame. The fossil fuel industry is firing loud air guns fusillades to detect oil buried under the seafloor, undersea construction operations drive piles into the seafloor and blast holes with explosives. Add to the picture, the dramatic growth in shipping traffic that generates a constant noise.

Whales are particularly vulnerable because they communicate over vast distances in the same frequencies that ship propel­lers and engines generate. The whales are not only unable to communicate with each other but they also panic when the noise gets too loud. When they are hit by a blast, the creatures flee, abandon their habitat and with that the source of their alimentation.

NGO Ocean Care has launched the Silent Ocean campaign. Have a look at their video, it explains the issue with more clarity and details.


Underwater Noise - The Overlooked Catastrophe

And here's the video of Mark Peter Simmonds's talk:


The Language of Cetaceans - Introduction and presentation by Mark Peter Simmonds

Ariel Guzik then presented his attempts at creating instruments that would mediate the communication between cetaceans and humans. One of his latest instruments is currently shown in the Mexican Pavilion at the Venice Biennale.

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The devices that the artist developed over the course of his career go from Laúd Plasmaht which uses the electric variations of Mexican cactuses to make a concert for plants to Nereida, an underwater capsule that doubles as a musical instrument to establish contact with cetaceans.

Here's Ariel Guzik's talk. It is not as fast-paced and entertaining as the one by Mark Peter Simmonds but Guzik is one of those 'crazy' visionary artists whose work involves biology, physics, music and a deep respect for the environment. His work, i'm sure, will fascinate you:


Ariel Guzik - The Language of Cetaceans. Part 1

The rest of Ariel Guzik's talk is over here!

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The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, London's favourite radio art station, is aired this Wednesday afternoon at 4pm.

My guest tomorrow will be Marco Donnarumma, a young performer and sound artist who gained fame across the world for a series of performances and instruments that use open biophysical systems to explore the sonic dimensions of the human body. His interactive instrument Xth Sense won the first prize in the Margaret Guthman Musical Instrument Competition and was named the 2012 "world's most innovative new musical instrument" by the Georgia Tech Center for Music Technology, US. 

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Xth Sense, 2011

We'll be talking about Xthe Sense and also about a work that intrigued me a lot: Nigredo, a 'private experience of altered self-perception and biophysical media' that uses Xth Sense. One visitor sits in a blacked out room facing a mirror and wired to sensors that capture the low frequency sound pulses of their heart, muscles and vein tissues. The signals are augmented, and fed back to the subject's sensory system as auditive, visual, and physical stimuli. Marco will tell us more about the effects the installation had on the public during the show. It includes sensory deprivation, feeling of being physically touched, etc.


Nigredo, 2013

The show will be aired this Wednesday 17th of July at 16:00, London time. Early risers can catch the repeat next Tuesday at 6.30 am (I know...) If you don't live in London, you can listen to the online stream or wait till we upload the episodes on soundcloud.

Photo on the homepage: Marco Donnarumma, Hypo Chrysos. Image Chris Schott.

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Supereste ut Pugnatis (Pugnatis) ut Supereste (SPPS), 2013. Photo credit Ian Hobbs

There was a time, not so long ago, when you could visit a new exhibition showing 'bio tech artworks' every second month. These days are over. At least in Europe. But it's a different story in Australia where semipermeable (+) opened last month in the context of ISEA2013. semipermeable (+) looks at the membrane as a site, metaphor and platform for a series of artistic interventions and projects, some commissioned specifically for the exhibition and others selected from the many projects developed at SymbioticA (an artistic laboratory located within the School of Anatomy, Physiology and Human Biology, University of Western Australia) since 2000.

I haven't seen the show so i'll let Oron Catts, curator of the exhibition, present it in the interview he did with RealTime:

realtime tv @ ISEA2013: semipermeable (+), SymbioticA

Some of the works in the show have been developed by artists while they were in residence at SymbioticA in the past. Others were especially commissioned for semipermeable (+). This is the case for Supereste ut Pugnatis (Pugnatis) ut Supereste, or SPPS, by sculptor and sound artist Dr Nigel Helyer.

Helyer's work is rich and manifold. Behind its alarming aspect, SPPS considers selectively permeable structures under lenses that range from the molecular level to the macro scale.It explores the (xenophobic) history of immigration in Australia and more generally current infrastructures that define socio-political boundaries. It also looks at the history of biowarfare, from Antique Chinese gunpowder rockets carrying poisonous material to virus injected into chicken eggs.

There was much to talk about and ask Nigel Helyer. hence the email exchange i'm copy/pasting below:

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Supereste ut Pugnatis (Pugnatis) ut Supereste (SPPS), 2013. Photo credit Ian Hobbs

What makes your work particularly attractive is the menacing steel weapons. They look like missiles. What inspired their shape exactly?

Two things, firstly the long tradition of Chinese gunpowder rocketry which is documented from the C10th. These were used for both festive and military purposes and there are accounts of "bio-hazardous" material being included in the payload (for example excrement or putrefying remains). The second strand is primarily morphological - the profile of the rockets is based upon an elongated "Bacteriophage" a virus that locks onto bacteria, injects its DNA and in effect turns the bacterium into a virus replicating factory. This resonates with the concept of genetic and/or ethnic mixing within national borders.

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Nigel infecting eggs

One of the phase in the development of the project involved infecting eggs. Can you take us through this process? What did you use to infect them? Is it the 'omnisexual bacterium' your text mentions?

As the work is designed for public museum display the work had to be relatively innocuous. Thus I used chicken eggs which I first 'blew' I.e. emptied them if their contents, and then lacquered and sealed at one end. Next the eggs were injected with a small amount of a lab strain of E.Coli bacteria (common in the human intestines) suspended in a polymer. These were left to dry out in a lab facility and samples tested for viability. Once the samples showed no further growth possibility the eggs were sealed and then double contained in scientific glass (making them safe for the Museum context). The omni sexual bacterium in the text actually refers to the structure of Metaphor. In essence the idea that in the work several apparently desperate strands if thought, history and biology are bought together to 'mingle' - I parallel this to the omni sexuality of bacteria which can exchange genetic material quite freely, mixing and matching, as with ideas as with metaphor.

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Supereste ut Pugnatis (Pugnatis) ut Supereste (SPPS), 2013. Photo credit Ian Hobbs

The work, you write, pays an "ironic homage that reprises the origins of modern bio-warfare research, where chicken eggs were the bio-reactor of choice at the Chemical Defense Establishment of Porton Down near Salisbury UK." I've never heard about the role of eggs in biodefense. Could you tell us more about it?

Well rather simple really. eggs are obviously natural incubators and were chosen as the original bio- reactors in most Chemical and Biological Warfare labs prior to the development of artificial (and therefore more standardized bio- reactors.) Eggs components are still used in the production of many serums and inoculations for regular medical use.

What makes your work 'semipermeable'? What gets in and what is left outside?

This relates more to the socio-political reading of the word, the border, the frontier, the policing of who may pass and who is turned away.

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Dictation test exemption certificate

There is also a sound component to the work, if i understood correctly. Can you explain it to us? What it is and which role it plays in the whole work.

This relates to the above, the national border, and the "Dictation Test" as applied to Asian immigrants to Australia between 1901 and 1958 under the "White Australia" policy. Asian migrants were made to take a 50 word dictation as a test of English skills. In reality many English speakers would fail and the system was a thin disguise for a racist policy for refusing entry to anyone other than Caucasians.

The scrolling text on the LED board contains just three of the hundreds of examples (to be found in the National archives) and the audio component is a Chinese translation of these three texts.

Ultimately, your work looks pretty dangerous. How do you get to exhibit a work that looks like a weapon and contains infected eggs? Are there special rules to comply to show the work in an art exhibition?

Again simple common sense from the museum team, I ensured that the bio hazard was reduced to less than a Big Mac Burger (actually a sample from a MacDonalds Cafe table could well be more harmful) and then the museum was okay with just a simple discreet wire barrier - so far no fatalities!

Thanks Nigel!

Semipermeable (+) semipermeable (+) at the Powerhouse Museum in Sydney until 21 August 2013.

Also part of the exhibition: In-Potentia, from foreskin cells to 'biological brain'.

The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, London's brilliant radio art station, is aired this Wednesday afternoon at 4pm.

My guest today is Atau Tanaka, a composer and performer whose practice bridges the fields of media art, experimental music, and research. During the show we will be talking about the relationship between art & tech and how it has evolved over the past few years, about reenacting one of John Cage's performances, about the space and place for (new) media art in the contemporary art world, etc.

This episode of #A.I.L is as entertaining as it is thought-provoking. But back to Atau Tanaka's bio:

Atau creates sensor-based musical instruments for performance and exhibition, and is known for his work with biosignal interfaces and his research into collective musical creativity in mobile environments.

Atau was born in Tokyo, educated in the States but I first met him 7 or 8 years ago when he was a researcher at Sony Computer Science Laboratory in Paris. He has been working all over Europe ever since: he has been mentor at NESTA, Artistic Co-Director of STEIM in Amsterdam, Director of Culture Lab Newcastle, and is currently Professor of Media Computing at Goldsmiths, University of London.


Atau Tanaka, Global String, 2000

The show will be aired this Wednesday 26th of June at 16:00, London time. Early risers can catch the repeat next Tuesday at 6.30 am (I know...) If you don't live in London, you can listen to the online stream or wait till we upload the episodes on soundcloud.

Image on the homepage: NIME New Interfaces for Musical Expression, Media Lab Europe, Dublin, Ireland, May 24-26 2002.

A few weeks ago i was in Brussels for The Digital Now, the first thematic exhibition of a series produced by Cimatics, that explores relevant artifacts within the current artistic context and media art related discourse.

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HC Gilje, Wind-up birds, 2008

The first chapter in this series, 'Drones / Birds: Princes of Ubiquity', looks into autonomous technology through the lens of birds as objects reflecting our contemporary relation with technology.

The bird has long been seen as a symbol of freedom, communication, transborder mobility but also as an indicator of environmental change. However, much of the bird physical and spiritual significance has been lost on the way to and from the industrial revolution. But according to Bram Crevits, curator of 'Drones / Birds: Princes of Ubiquity', digital culture has brought birds back to the fore. Or maybe it's the birds which have forced their way into our techno-mediated world. Think Twitter of course. And birds incorporating ringtones into their repertoire so effortlessly that Richard Schneider of the NABU bird conservation centre in Germany suggested that, in the interests of ecology, mobile phone users convert their tones to pop songs which are too complex to be mimicked by the birds. Woodpeckers attacking CCTV cameras. Or confused birds trapped into the twin columns of light shot into the sky each year on September 11 in New York. The bright memorial short circuits some of the cues that birds use when they are migrating at night. And then there's drone watching as the new bird watching. And drones counting birds.

The relevance of drones -or Unmanned Arial Vehicles- in relation to birds is more than purely formal or anecdotal. Another source of inspiration for the exhibition is indeed the New Aesthetic and the focus on the ways we experience our digital condition: always on, always there. Drones have been related to this New Aesthetic debate ever since it started.

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Christoph De Boeck & Patricia Portela, Hortus, 2012

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Christoph De Boeck & Patricia Portela, Hortus, 2012

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Part of the exhibition was located at the Botanique. Christoph De Boeck & Patricia Portela installed invisible birds inside the greenhouse. Sensors measure the dynamics of wind and light harvested by the plants during their photosynthetic process, and translates it into bird sounds. When there is human movement in the garden a financial algorithm (similar to the ones used in a speculation economic market) interprets the variation of the received data and transforms and remaps the natural garden soundscape to which plants seem most profitable in that split second.

However, most of the works were in a gallery hidden inside a tunnel. It took me ages and a couple of panicked phone calls to find it. The show was pretty exciting though because instead of showing only artworks and building up the usual art&tech discourse around it, the curator chose to insert the works into a broader context that included the political and the downright popular.

For example, two videos demonstrated the impact that unmanned aerial vehicles have on every day life in Pakistan.

On the one hand, a video shot by Noor Behram outside his house in North Waziristan, the footage shows a reaper drone flying over Waziristan. For more than five years, Behram has been documenting drone attacks in Pakistan's tribal areas, the hub of the CIA's remote assassination program.

Trevor Paglen interviewed Behram a while ago: "[The few places where I have been able to reach right after the attack were a terrible sight" he explains, "One such place was filled with human body parts lying around and a strong smell of burnt human flesh. Poverty and the meagre living standards of inhabitants is another common thing at the attack sites." Behram's photographs are miles away from official American reports that deny civilian casualties from drone attacks: "I have come across some horrendous visions where human body parts would be scattered around without distinction, those of children, women, and elderly."

Pop song Za Kaom Pa Stargo Stargo Drone Hamla" (My gaze is as fatal as a drone attack) shows the other hand of the spectrum, where the increasing appearance of unmanned vehicles over the skies of Pakistan (see data viz Drone war: every attack in Pakistan visualised for more details) inspires little more than the lyrics of a song:


Sitara Younis, Za Kaom Pa Stargo Stargo Drone Hamla" (My gaze is as fatal as a drone attack)

'Drones / Birds: Princes of Ubiquity' was thus full of contrasts. One moment, you were reflecting on surveillance technologies, next you were laughing (the suitors of the frantic singer are peerless.)

I'm now going to revert to my usual "throw as many images and projects in their face" mode and leave you with a few works i've (re) discovered in the show:

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Dries Depoorter, Subtwitter

Subtwitter is a free application that scans subtitle-files (.srt) of a film and replaces them with similar tweets. The application uses the original subtitle-file of a movie or series of your choice, then looks into each separate sentence of the subtitle and crawls the twittyverse for a similar tweets. The result are --sometimes absurd and sometimes witty- subtitles that consist of computationally associated tweets.

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Zimoun, Woodworms, 2009-2012

A microphone picks up and amplifies the sound of woodworms eating their way through a piece of wood. Temperature, humidity and other environmental qualities determine how the wood worms dig their tunnels and 'play' the piece of wood.

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Addie Wagenknecht , Pussy Drones, 2013

The Pussy Drones gifs trigger a new form of discourse between the web­based experience (lolzcat, memes, gifs) and historically closed systems of the patriarchal structures which control the physical world. That is to suggest drones are merely 'unmaned' cocks controlled by (finding) pussy.

In theory the democratic nature of the internet should allow everyone to create equally, controlling its code at an open root p2p level. Yet the internet­ net art, the very essence of the web (programming, the code structure itself) is still ruled by men and corporations who control and own it in its entirety. We are not Facebook's customers, we are their product. The web has never been a democratic medium, Mark Zuckerberg said 'There are probably 200 million people who think that Facebook is the internet.' It is easy to include the digital life is not any different than our life away from the keyboard.

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David Bowen, Fly Tweet, 2012

David Bowen's now famous Fly Tweet sends Twitter messages based on the activities of houseflies living inside an acrylic sphere along with a computer keyboard. As a particular key is triggered by the flies, the corresponding character is entered into a Twitter text box. A message is tweeted as soon as 140 characters are reached or when a fly triggers the "enter" key.

More fly thrills at https://twitter.com/@flycolony

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Marcus Coates, The Plover's Wing, 2009

Marcus Coates uses shamanic rituals and his knowledge of the animal world to try and solve problems faced by local (human) communities. In 2009, he visited the mayor of Holon in Israel who asked him how he should handle the problem of the violent youth in the city. Coates first consulted with the animals that he had encountered, and in particular the plover, a bird known for luring predators away from its young by pretending to be injured so as to appear as an easy target for predators. His reading of the meeting with the plover was then explained to the Mayor. According to Coates, The important thing for [Israel] as a nation is, through education, to emphasize shifting identities and an empathy with a different position. It's a fundamental position of resolution within a conflict, to be able to emphasise with your enemy or oppressor.

His solution to Holon's social ills is to teach empathy and recognise that victim status is often used as justification for violent behaviour.

Hi answer left the Mayor very impressed as you can see at the end of the video i've pasted below:


TateShots: Marcus Coates

Erica Scourti's video were among my favourite. Taking her cue from stock video sites corresponding to the key words 'woman', 'nature' and 'alone', the young artist filmed herself performing each action described in the title. The video and title was then uploaded to YouTube, forming a collection of 'rushes' which were used to create the final single channel version. After that, videos started to get a life of their own, with artists and film makers using Scourti's films as another stock library and including then in their own videos.

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Erica Scourti, Woman Nature Alone, 2010

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Erica Scourti, Woman Nature Alone, 2010

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Esther Polak & Ivar van Bekkum, Urban Fruit - Street Wrapper, 2012

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Paolo Cirio, Street Ghosts, 2012

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The Digital Now is produced by Cimatics, a Brussels-based arts organisation which activities includes the production support of audiovisual and digital creations as well as live events, exhibitions, workshops and guest-curations.

All images courtesy Cimatics. Except the ones illustrating the work of Erica Scourti and Marcus Coates,
Image on the homepage: Zimoun, Woodworms, 2009-2012. Photography by Zimoun ©

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Mammoth Imperator, -4,5M years ago, Installation view - Photo credit: Stuart Bailes

More than 2 years ago, i was interviewing young designer Marguerite Humeau about her attempt to bring back to life the voice of extinct creatures by reconstructing their voice box. The idea is even bolder than it sounds because the lungs, trachea, larynx + vocal folds, mouth and nose are made of soft tissue, and therefore don't fossilize. Marguerite started by giving her voice back to Lucy (aka Australopithecus Afarensis), one of the first hominids who used to live 3,85 to 2,95 million years ago.

Since then, Marguerite's work has gathered awards, been presented in several exhibitions and discussed in conferences. But even more interestingly, the resuscitation endeavour has expanded to more extinct animals. A mammoth and two ultra ugly and fearsome creatures, the Walking Whale and the Terminator Pig, have now joined the loud party.

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The Opera of Prehistoric Creatures. Left to right: Entelodont, "Hell Pig", -25M years ago; Ambulocetus, "Walking Whale", -50M years ago; Mammoth Imperator, -4,5M years ago. Photo credit: Dirk van den Heuvel, March 2013

To re-create the vocal tract of the animals, the designer met with paleontologists, elephant vocalization specialists, explorers, engineers and other experts. The process of reconstruction involved shaping 3D models of the soft tissue from MRI scans and/or fossil data. Sending air through the resulting prototypes triggers a sound that might be similar to the sound the prehistoric creatures made when they were alive.

Marguerite presented the animals in the Politique-Fiction exhibition in Saint-Etienne. Check out the audio recording. More recently, the prehistoric creatures where in Eindhoven for the STRP biennial where they performed live for the first time together with Dutch musician and DJ Jameszoo. If you're curious about the result of the encounter, just click on the images at the bottom of this page.

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Entelodont, "Hell Pig", -25M years ago - Photo credit: Dirk van den Heuvel - March 2013

Sadly, i missed the prehistoric creatures' performance in Eindhoven. Which gave me a good excuse to contact Marguerite and get more details about her work:

Hi Marguerite! I first interviewed you during the work in progress show at RCA. You were starting to work on 'bringing back to life' the vocal chords of Lucy (Australopithecus Afarensis) who used to live 3,85 to 2,95 million years ago. Your new opera features 3 prehistoric creatures. An Ambulocetus, an Entelodont, and a Mammoth. Can you tell us why you chose these 3 creatures? And what they are exactly?

We talked at the very beginning of my epic quest to resuscitate the sound of prehistoric creatures by reconstructing their vocal tracts.

'The opera of prehistoric creatures' now features three beasts namely an Ambulocetus aka 'Walking Whale' (which used to live 50 to 48 million years ago), an Entelodont aka 'Terminator Pig' (which used to live 38 to 16 million years ago), and a Mammoth Imperator (which used to live 4,5 million years ago). All three pieces are realised on a 1/1 scale and standing on trestles at the height of each original animal.

I first started to work on Lucy, one of the first hominid. Lucy is now part of the MoMA permanent collection and touring as part of a show curated by Mark Leckey for the Hayward Gallery (Hayward Touring program) called The Universal Addressability of Dumb Things. The show deals with our contemporary animistic relationship to the objects around us. As Mark Leckey explains, "as modern technology becomes more pervasive objects appear to communicate with us". This seems to bring us back "an archaic state of being, to aboriginal landscapes of fabulous hybrid creatures, where images are endowed with divine powers, and even rocks and trees have names".

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Ambulocetus, "Walking Whale", -50M years ago, Installation view - Photo credit: Felipe Ribon

The three large pieces - Entelodont, Ambulocetus, and Mammoth Imperator - are hypothetical reconstructions of the beasts vocal tracts. Because the vocal tract (larynx, vocal chords, trachea, lungs, resonance cavities) is made of soft tissue, it does not fossilise. This was problematic from a scientific perspective. But as a designer, solving this enigma was really exciting. I would have to redesign all these inner parts, using different areas of science, but also, and most important, other tools like speculation, design, rumours, collective imaginary.

My work of reenactment was therefore made difficult. The project questions the way we talk about prehistory - and about our history. How can we talk about something that has entirely disappeared? All the attempts to tell this story will only be one version amongst many different versions of the original story.

This was made very clear in the process of the project. We have a lot of clues on how Woolly Mammoth used to look like, to sound like, where they used to live, etc. Also, as we talked about last time, there are a few Woolly Mammoths which have been found in the Siberian permafrost. We have much less clues on how the Mammoth Imperator used to be like. This is why I was really interested in it.

The plot thickens with the Walking Whale, a terrestrial mammal which started to swim. I speculated on its vocal tract. It might have been somewhere between a larynx (like terrestrial mammals) and a sonar (like dolphins).


Ambulocetus, from the BBC series Walking with Beasts

There are equally very few fossils of the Terminator Pig. I therefore even had to recreate a fictional skull of this creature so I could base my research on something tangible.

The beasts are now revived. They are semi-real, synthetic ruins.

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Setting-up the performance

The 3 beasts are performing in an opera which premiered at the STRP biennial a few weeks ago. I couldn't be there for the performance but i did see the beasts in the exhibition. How did you animate them? What was the performance like?

The beasts perform an opera. Each of them produces a sound as their vocal chords vibrate. The sound is controlled by a 'brain' which was designed by Julien Bloit. We had long conversations together with Julien Bloit and our sound collaborator Charles Goyard on how this brain should be constructed. We looked into Claude Levi-Strauss research and were especially inspired by this quote: «Humanity is constantly struggling with two contradictory processes. One of these tends to promote unification, while the other aims at maintaining or re-establishing diversification».

We were interested in the idea of creating a fictitious cycle for a speculated rebirth. We also looked into Oudeyer's research on the evolution of speech.

Instead of starting from a parent (single) call, and then get more and more complex like most languages; we would reverse the process so the beasts would get born as complex beings and tend towards simplification and unification.

Each performance lasts for 1H30.

For STRP we tried a new experiment. We asked local dubstep musician Mitchel van Dinther (aka Jameszoo) to tell the beasts a story in 3 acts. For the performance, I asked Mitchel to face the beasts, so it was a battle between himself (the maestro) and the three creatures. As if he was persuading them to reveal something. Mitchel was challenging them to react to the story, trying to find the right notes and attempting to have an impossible conversation.

PERFORMANCE

Synopsis
No reenactment is possible without destroying the original versions of the extinct and unknown creatures that we are trying to resuscitate. We soon realised that, in the absence of evidentiary material, we would have to pillage past and present times. We don't copy, and we don't remix, but what we do is recreate. We clone beasts and we clone beats. The soundtrack is dark and exhilarating, creating an electronic ceremony for semi-real animals. We are the tour guides of this post-prehistoric jungle.

Act I - Extinction - 3"
This act shows the creatures' last days and their fight against extinction. The last descendants of each of these species have disappeared and the circumstances of their extinction remain unknown. This first act is a reenactment of the process of extinction which took place millions of years ago.

Act II - Prehistoric cryogenics - 7"
Millions of years later surprising discoveries are made around the Taymyr Peninsula in Siberia. In 2007 the body of a 37,000 year old baby mammoth is found frozen and perfectly preserved. This baby mammoth, Lyuba, is now the oldest baby on Earth. The sleeping beauty has now awoken and its genes will be used to clone a synthetic woolly mammoth. Similar processes will be used to clone a 'terminator pig' and a 'walking whale'. This act also relays the story of a modern Professor, Frankenstein, whose ambition is to grow prehistoric vocal cords. At the end of this act the beasts are brought back to life and the first semi-real roars can be heard.

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The carcass of the world's most well-preserved baby mammoth, named Lyuba, is displayed in Hong Kong on April 10, 2012. Photo credit: Aaron Tam / AFP - Getty Images

Act III - Reverse evolution - 4"
The beasts are semi-real and suddenly they roar in a non-macabre but spectacular pandemonium. The beasts are alive, but while their voices and their linguistic skills evolve they face complex challenges. Claude Levi-Strauss wrote that humanity was constantly facing two contradictory processes; the beasts are struggling with similar evolutionary contradictions. While one process promotes unification, the beasts will also try to maintain and reaffirm diversification. It is not known whether the beasts will embrace a unique, primal sound or if they will succeed in their quest to become complex and ever-evolving creatures.

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Walking Whale in Politique Fiction exhibition curated by Alexandra Midal, installation view. Image credit: Felipe Ribon

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Mammoth Imperator. Larynx with vocal cords, 2012

A text describing the opera says that the performance "sets up the rebirth of three cloned prehistoric creatures, showing their wanderings and their epic journey through time. They are seeking to evolve in our contemporary era." How do you see them evolving in our era? Surely, there is no place for them now?

The opera is an ambiguous piece of work. On one hand, the revived creatures and their sounds are fascinating and exhilarating. On the other hand, one might think: "How far will we go with cloning technologies? Is this really what we want?".

Proposal for Resuscitating Prehistoric Creatures- Installation trailer (Video: Ben Penna, Sound: Association Phonotonic)

Are you planning to do something else with these creatures? Or are they happy staring in an opera only?

"Proposal for Resuscitating Prehistoric Creatures" is now comprised of a trailer directed by Benjamin Penaguin; a book called "The Infinite Odyssey" gathering all my documents and correspondence; an 'Épopée' in 14 chapters which has been published in TAR Magazine Issue n.9.
There is the large-scale installation with the three creatures, and Lucy ... Then the performance with Mitchel van Dinther accompanied by a libretto.

I am very interested in the idea of an infinite, never-ending project, a project that always renews itself and comes back to life in different forms.

This project is the first chapter of the 'design trilogy' I am currently working on, which deals with attempting to communicate with unreachable, extinct or unknown forms of life.

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The Infinite Odyssey - correspondance et documents -- 38 X 26.5 CM - Edition of 10- Collection: MoMA, New York, 2011

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Tar Magazine
"Epopée" written and designed by Marguerite Humeau with extracts from book designed by Ghazaal Vojdani - 32.5 X 35 CM - April 2013

I'm also intrigued by the people you collaborated with in order to create the opera. Namely, Jameszoo, Julien Bloit and Ben Penna. How did you get to work with them? Is it easy to convince other artists to work on an opera for prehistoric creatures?

In June 2011, I completed the Mammoth Imperator for my final show at the Royal College of Art. I was then commissioned by curator Alexandra Midal to complete my opera for the exhibition Politique-Fiction at the Cité du design in Saint-Etienne.

I started then to work with Julien Bloit who is a research engineer and musician; and engineer/inventor Charles Goyard whom I worked with to refine the design of the larynges and vocal cords. Working together was truly fantastic. We would spend days experimenting in Charles' studio in Montreuil, discussing about the project on a more conceptual level, building and testing prototypes.

The project is like a science-fiction adventure film made for real. I was also interested in using strategies from the film industry to exhibit the project, as an installation, online, as a printed story, and so on.

I have been discussing about this project from the very beginning with art director/graphic designer Benjamin Penaguin . We then developed the idea of a trailer together and I gave him "Carte blanche". We now work and discuss a lot together. Benjamin also designed the libretto for the performance Beasts Back Saga with Mitchel van Dinther.

I discovered Mitchel's music recently. I immediately became a big fan of his EP Faaveelaa. He mixes the sound of his chicken (which lives in his kitchen) and of his parrot to create very strange and interesting beats. I wrote a story in three acts and asked him to create a track for each chapter. It was also a "Carte Blanche".

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The Opera of Prehistoric Creatures. Installation view 
in Politique Fiction exhibition
. Curator: Alexandra Midal. Image credit: Felipe Ribon

Any upcoming project, field of investigation, or exhibition you'd like to share with us? Do you want to talk about the letters to the (almost) Aliens?

I am working on the second chapter of my design trilogy for my upcoming solo show.

With 'The Opera of Prehistoric Creatures' project, I wanted to explore the use of design as a catalyst of supernatural events and miracles, as a producer of real-time science-fictions and as the prosthetics of parallel worlds. These are topics I have been investigating since my Master dissertation at the Royal College of Art.

In this second chapter I will explore the idea of the 'designer-illusionist' further.

This new project is an epistolary novel relating my attempt to communicate with the possible 'almost-alien' inhabitants of the Vostok Lake in Antarctica.

The Vostok Lake is one lake amongst four hundreds subglacial lakes in Antarctica which are covered with kilometres of ice. The Vostok lake has been isolated under three kilometers of ice from the rest of the world for more than fifteen million years.

A dilemma emerges from this situation. Drilling through the ice and reaching the lake (like what the Russian scientific team has been doing in the past years) means altering its 'alien' character. But if we choose not to enter this lake we are left with a complete mystery.

This situation also occurs in Fellini's film Roma. While building the Roman subway, the workers reach a wall. They have to drill through this wall in order to pursue the construction of the subway. They discover behind this wall a magnificent roman villa covered with beautiful frescoes. These paintings had been isolated from the rest of the world for thousand of years.
The hole is drilled. Immediately, the paintings start vanishing. Exposing them to modern air triggers their instant destruction.


Fellini, Roma, 1972

How could I find an alternative way to communicate with these 'almost-aliens' without penetrating the lake pristine waters? And how could I convince them to reveal their identity and tell us more about what is hidden under the ice? How could my "letters" to them look like?

Maybe I could trick them into thinking that we know who they are... using illusions, mimicry, or camouflage, building dummies in order to trigger a response.

I am really inspired by the work of illusionist Jasper Maskelyne who was hired by the British Army during the Second World War. He and his "Magic Gang" used magic tricks on a large-scale: they made Alexandria disappear, created a dummy army with fake tanks and soldiers and so on.

This project could also refer to Ettore Sottsass "Ceramics of Darkness" designed in 1963.

I am currently being advised by glaciologists, illusionists, psychologists, conspiracy theorists, telepathy practitioners and even dowsers.
The piece will be unveiled in a solo exhibition curated by Alexandra Midal in the Design Project Room, at the HEAD in Geneva in November 2013.

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Mammoth Imperator, -4,5M years ago, Installation view. Photo credit: Dirk van den Heuvel, March 2013

Merci Marguerite!

The Universal Addressability of Dumb Things curated by Mark Leckey is at Nottingham Contemporary until 20 Oct 2013. I think i might go....

Previously: The rebirth of prehistoric creatures and STRP Biennial, a walk through the city of cyborgs.

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