organism: making art with living systems

The idea of making art with living systems is not new; you might even consider a garden or a goldfish pond to be biological art. What is new is the degree of control over biological systems and materials contemporary technology offers us. Topics on the organism weblog include technical, practical, aesthetic, and ethical issues related to making art with living systems. Artists, scientists, engineers, students, and anyone else with an interest in this area are invited to contribute.

August 30, 2008

The Naked Garden

Filed under: artists & works, exhibitions — regine @ 2:39 am

Over time, parasitic micro-organisms such as cyanobacterias and the Cladosporium genus of fungi, have occupied and taken over the walls of the abandoned Alumix factory in Bolzano, Italy. The restoration of the ex-factory means that the building is loosing its value as habitat for the organisms.

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Architects Stangeland and Kropf decided to engage with this transitional state. The Naked Garden is generated by the mediation of different modes: biological propagation, mathematical abstraction and technological execution. A robot, programmed with the rules by which the fungi grow, engraves and perforates the wall already inhabited by fungi, thereby allowing light, water and wind to enter and to facilitate the basic conditions of life.

On view until November 2 in Via Volta, 11, Bolzano, as part of Manifesta 7 – the European Biennial of Contemporary Art.

August 28, 2008

Mossenger

Filed under: artists & works, exhibitions — regine @ 1:33 pm

The Mossenger Project by Anna Garforth is an eco-grafitti made of moss. The artist uses a type of moss that sticks well to walls and glues it with yogurt and sugar.

The project is part of YCN LIVE, a two-week long public and participatory art initiative currently underway in London.

Mossberger will be on view until September 5th, on a brick wall near Clissold Park in London.

Via psfk.

Stinkhorn

Filed under: artists & works — douglas @ 12:09 pm

Greatest video ever:

http://www.youtube.com/watch?v=suvDQoXA-TA

(I sure hope there’s a band somewhere called Stinkhorn!)

(via BoingBoing; via Grow-A-Brain)

August 27, 2008

Graffiti for Butterflies

Filed under: artists & works — douglas @ 11:47 am

Directing monarch butterflies to urban food sources along migratory routes in North America

GFB uses images of milkweed flowers to broadcast the location of food sources to monarch butterflies. In the prototype at left, the graffiti is placed on a wall above an actual milkweed plant in New York City, signaling the presence of nectar to hungry monarchs in the vicinity.

Monarchs regularly pass through wide swathes of human settlement as they migrate each year from wintering sites in Mexico to summering grounds in the United States and Canada. GFB is the equivalent of a fast-food sign on a highway, advertising rest stops (waystations) to monarchs traveling through the area.

http://www.dziga.com/graffiti

August 21, 2008

Observing beast, time, evolution

Filed under: exhibitions — regine @ 4:45 pm
Ariane Michel, “Sur la Terre”, video still, 2005.
observing beast, time, evolution

Art and Science

A joint project of the Kunstverein Hildesheim and the Roemer- und Pelizaeus- Museum Hildesheim in Germany. September 7 to November 2, 2008

Mark Dion, Frank Hesse, Katie Holten, Sanna Kannisto, Ursula Hansbauer & Wolfgang Konrad, Künstlerkollektiv finger, Jochen Lempert, Ariane Michel, Helen Mirra, Jürgen Stollhans & Federico Geller, Susan Turcot, Lois & Franziska Weinberger

What is life? How long will our fossil resources last? What is time? Who is responsible for climate change? Are we permitted to intervene in evolution?

Questions concerning genetic research, natural catastrophes, and species extinction were fields long reserved for the natural sciences. They are now also dealt with on a political and economic level. After the most recent UN Climate Report their brisance can be brought to a head in the question: Can the Earth be saved?

Against this very current backdrop, the Kunstverein in cooperation with the Roemer- und Pelizaeus-Museum Hildesheim has invited over a dozen contemporary artists to position their works. The show taking place simultaneously in both houses and integrates the museum’s paleontological collection.

The participating artists have worked for many years in the context of the natural sciences, research, and ecology. For the Hildesheim exhibition they have taken up topics from the museum’s geological collection and employed scientific methodology for their own fictional documentations. They slip into the role of amateur scientists setting up beehives, baiting birds of paradise, or collecting gene data. They undertake expeditions to the edges of the earth with the verve of an explorer or archive weeds, inspects, and trees in the urban space.

As the exhibition title suggests, they observe animals, reflect on the passage of time, and devote themselves to subtle changes in our environment.

Curated by Elke Falat and Sabine Mila Kunz.

August 18, 2008

EVOLUTION HAUTE COUTURE. ART AND SCIENCE IN THE POST-BIOLOGICAL AGE

Filed under: exhibitions — douglas @ 3:51 pm

postcard

The National Centre for Contemporary Arts (Kaliningrad branch, Russia) and the “MediaArtLab” Center for Art and Culture (Moscow) presents in the framework of the IX MediaForum 2008 the collection of the videodocumentaries of the art projects which use high technologies of the XXI century as a medium of implementation – artificial life, robotics, and bio- and genetic engineering.

25 June 2008, 7 p.m., Era Foundation
Russia, Moscow, Trubnikovsky per., 13, bld.1.,
tel. 290-51-46

Project curator: Dmitry Bulatov
The National Centre for Contemporary Arts (Kaliningrad Branch, Russia)

Project coordinator in the framework of the IX MediaForum 2008: Olga Shishko
“MediaArtLab” Center for Art and Culture (Moscow, Russia)

About the project:

Today the human body is correlated with nothing. It’s just a place where the programming is realized. All of us, both “self-users” and “self-programmers”, find ourselves in the reality which comes to the production of postbiological entities. Art that is created under the such new conditions of postbiology – under the conditions of an artificially fashioned lifespan – cannot help but take this artificiality as its explicit theme. However, time, duration, and life cannot be shown directly but only as documentation. The dominant genre of postbiological art is thus technological documentation: ideas, drafts, and videodocumentaries for realized projects. It is precisely at this point where documentation becomes indispensable, and produces the life of the living thing: the documentation inscribes the existence of an object in history, and gives the object a lifespan which this existence (independent of whether this object was ‘originally’ living or artificial).

The project is divided into several parts:
- Artificial but Actual (Artificial Life)
- Limits of Modeling (Evolutionary Design)
- Shining Prostheses (Robotechnics)
- Body as Technology (Technobody modification, WearComp, Biomechatronics)
- More than a Copy, Less than Nothingness (Bio- and Genetic Engineering)
- Semi-Living (Tissue Engineering)
- Post-Sodom and Post-Gomorrah (Nanoengineering)

Artists in Project:
Mauro Annunziato & Piero Pierucci / Marcel.lí Antúnez Roca / James Auger and Jimmy Loizeau / Brandon Ballengee / Laura Beloff / David Bowen / Oron Catts & Ionat Zurr / Carlos Corpa / Critical Art Ensemble / Joe Davis / Marta de Menezes / Louis-Philippe Demers / Erwin Driessens & Maria Verstappen / Tagny Duff / Arthur Elsenaar & Remko Scha / Julie Freeman / Paula Gaetano Adi / George Gessert / Ken Goldberg / Isa Gordon / Andy Gracie / Paul Granjon / Mateusz Herczka / Floris Kaayk / Verena Kaminiarz / Leonel Moura / Orlan / Steve Potter & SymbioticA / Nicolas Reeves / Natasha Vita-More / Ken Rinaldo / Kathleen Rogers / Phill Ross / Adrian David Cheok / Stelarc / Paul Thomas / Tanja Visosevic & Guy Ben-Ary / Bill Vorn / Adam Zaretsky

Special educational screening
in the framework of the IX MediaForum 2008 – one of the official programs of the XXX Moscow International Film Festival (MIFF) – is organized by The National Centre for Contemporary Arts (Kaliningrad branch, Russia) and the “MediaArtLab” Center for Art and Culture (Moscow) with the generous support of the Ministry of Culture of the Russian Federation, Ford Foundation (The Moscow Office), and The Dynasty Foundation (Moscow) in funding this project.


http://www.ncca-kaliningrad.ru/index.php?name=News&file=article&sid=85

August 16, 2008

The Eleventh International Art and Artificial Life Competition VIDA 11.0 Now Accepting Entries

Filed under: calls & opportunities — regine @ 3:38 am

The Eleventh International Art and Artificial Life Competition VIDA 11.0
Accepting Entries until 6 October 2008. Last year they opened up their scope a bit and awarded the second prize to Symbiotica so i thought some organism readers might want to give it a try.

One of Telefónica Foundation’s main objectives is to promote the relationship between art and the new technologies. As a part of this goal, Telefónica Foundation is announcing the eleventh edition of the international VIDA competition to recognize artistic excellence in the field of artificial life and related disciplines.

The competition is open to art projects that explore the interaction between “synthetic” life and “organic” life as a reflection of the field of artificial life. 572 artists from 32 countries have participated in the ten previous editions and prizes have been awarded to more than 100 projects which included robots, electronic avatars, chaotic algorithms, cellular automats, computer viruses and virtual ecologies.

VIDA 11.0 will award a total of 80,000 euros to winning projects in two categories: one open to already-finished projects and another as an incentive for production in Ibero-America, Spain and Portugal. The winning works of art will be exhibited, as usual, at the Telefónica Foundation stand at ARCO.

The works of art submitted will be reviewed by an international panel made up by Mónica Bello Bugallo (Spain); Daniel Canogar (Spain); José Carlos Mariátegui (Peru); Sally Jane Norman (France-New Zealand); Simón Penny (United States-Australia) and Nell Tenhaaf (Canada). Terms and conditions of the competition, which is open to participants from all over the world, are available in Spanish, English, German, Portuguese, Korean and Chinese.

Entry Period: 15 June to 6 October 2008

August 14, 2008

Scientists ‘listen’ to plants to find pollution

Filed under: news & oddities — regine @ 2:40 pm

Scientists in Israel have discovered a new way to test for water pollution by “listening” to what the plants growing in water have to say.

By shining a laser beam on the tiny pieces of algae floating in the water, the researchers said they hear sound waves that tell them the type and amount of contamination in the water.

“It is a red light, telling us that something is beginning to go wrong with the quality of water,” said Zvy Dubinsky, an aquatic biologist at Israel’s Bar Ilan University. “Algae is the first thing to be affected by a change in water quality.”

Although most of the earth is covered in water, 44 percent of the world’s population live in areas with high water stress, and the number is likely to increase because of factors such as global warming and rising population. As water sources deteriorate worldwide, the testing of algae could be used to monitor water quality faster, more cheaply and more accurately than techniques now in use, Dubinsky said. The secret, he said, is to measure the rate of photosynthesis in the algae, meaning the plant’s ability to transform light into energy. During photosynthesis, plants also release oxygen into the air.

Dubinsky’s technique is easy to perform because of the over-abundance of algae in the planet’s water. Most of the oxygen in the atmosphere comes from algae.

A prototype tester, that occupies about one square meter of a laboratory desktop, shoots a laser beam at water samples to stimulate photosynthesis in the algae. But not all of the laser’s heat is used. Depending on the condition of the algae and the rate of photosynthesis, some of the heat is shot back into the water, creating sound waves, Dubinsky said.

With a special underwater microphone, researchers are able to analyze the strength of the sound waves and determine the health of the algae and the condition of the surrounding water.

“Algae suffering from lead poisoning, like waste discharged from battery and paint manufacturing plants, will produce a different sound than those suffering from lack of iron or exposure to other toxins,” said researcher Yulia Pinchasov. She said that testing algae photosynthesis can determine water quality more accurately and easily than labor-intensive methods now used like chemical and radioactive carbon testing.

With proper funding, a commercial product could be ready in about two years. The team has published its research in numerous scientific journals, most recently in the journal Hydrobiologia.

August 12, 2008

PIG 05049, a conversation with Christien Meindertsma

Filed under: artists & works, books & articles, exhibitions — regine @ 2:11 am

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Christien Meindertsma is a designer with an investigative mind. She analyzes, surveys and in her latest project she went as far as dissecting a pig.

A few years ago, as she was graduating from the Design Academy Eindhoven, she bought for a few euros the 3267 items taken from the passengers who embark at Schiphol airport in Amsterdam during one week: spoons, nail clippers, golf tools, bottle openers, pipe wrench, pocket knives, one axe, combs, toy pistols, etc. She photographed and archived the collection in Checked Baggage, a book containing the pictures of all these ‘tools of supposed soldiers of skyjacking and terrorism.’ The book itself was not safe for air travel as it came packaged with one of the ‘prohibited items’.

Next, Meindertsma set her sight on sheep. She used the wool of one sheep to make a sweater, a pair of socks, a scarf and a pair of gloves. She then attached to each garment the identification number of the sheep that donated the wool.

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Christien Meindertsma has now filled a warehouse of pig products in the Rotterdam Kunsthal during an exhibition called Kunsthal Kookt (’The Kunsthal cooks’). Most of these products would never grace the display of your local butcher. They are the result of her investigation on what happens to a pig after it has been slaughtered. Part of it ends up BBQ’d but what about the rest?

Over three years, the designer tracked the products made from parts or even tiny particles of pigs. Her quest led her to a tattoo artist, dentist, farmer and weapon specialist. She discovered that the skin, bones, meat, organs, blood, fat, brains, hoofs, hair and tail of the pig are used in no fewer than 187 products: shampoo, medicine, munitions, cardiac valves, matches, desserts and bubblegum, beer and lemonade, car paint and brake discs, pills, bread, etc.

After slaughter, bits and pieces of the Dutch pig travel around the world. Gelatin from its skin ends up in liquorices and gums, and even cheesecake and tiramisu. In the weapon industry the gelatin is used as conductor for bullets. Pork fat is one of the ingredients of, amongst others, anti-wrinkle cream and shampoo, information that producers are not too keen on admitting. The glue made from pig bones makes matches sturdier and porcelain is manufactured from its ashes. Protein from pig’s hair contributes to making bread soft. Every part of a pig is either eaten or processed. Should anything be left over, it is converted into green electric power. She documented her findings in the book PIG 05049 (amazon UK and USA).

If you understand a bit of dutch, here’s a video interview of the designer. If not, i’m afraid you’ll have to read the one we did via email:

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Portrait of Christien Meindertsma, courtesy of the designer

What is behind the title of your latest work, PIG 05049?

PIG 05049 is a book that shows 185 endproducts that are made of a single pig. They are catagorized under the chapters Skin, Bones, Muscles, Blood, Internal intestines, Fat and Other.

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You have filled a warehouse with pig-derived products in the Rotterdam Kunsthal for an exhibition which runs until September 28. How does the public react to the shocking news that there are traces of pigs in shampoos and bubblegums? Do you find them eager to change their buying habits?

They are curious and read all the products information. I expected more shock then there actually is. It is more surprise and curiosity. It would be impossible for consumers to find out which shampoos and gum actually have traces of pigs inside. I followed one pig and found all these products at the end of the line, but that doesn’t mean that – for instance- all shampoos carry pig traces inside.

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Image 100% mike

Tattoo parlor, dentist studio, workshop of a weapon specialist, etc. The research for this project led you to meet a wide range of people. Can you tell us about one of the most interesting/surprising/exciting encounter you made over those 3 years spent working on this project?

It was very interesting to find such a wide variety of products, places and people. Some were very exited about cooperating, others were very secretive. One of the most surprising products is a bullet. It is made in the USA, gelatine from the pig is used to transport gunpowder into the bullet smoothly. So the pig is not actually inside the bullet but it is used in the production process.

The strangest encounter was with a director of a company that makes heartvalves for human hearts out of pig hearts. A beautiful high- and at the same time lowtech product. He told me he didn’t want his product -pig’s heartvalves-to be associated with pigs.

Revealing the use of pig ingredients to make some beauty creams and even in some candies might jeopardize their marketing value, especially among some religious communities. How difficult was it to obtain precise information from the cosmetic and food industry about the presence of pig ingredients in their products? Did you encounter any resistance at some point?

I received most of my information from a company that is at the beginning of the chain. They make all the raw materials for producers, so they know what is made of their materials. I am very greatful for their cooperation, they were very open and sponsored me in knoledge without wanting anything back for it, which is special because their clients were not always that open.

Which lesson(s) do you hope that the public will draw from your research?

That we should know more about the products we consume and the materials they are made of. I think a simple interest in them, what they are made of, who makes it and how, would already be a great step forward.

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Image courtesy of the designer

I like the simple design of the PIG 05049 book. What is this yellow plastic thing stuck to its cover?

That is a duplicate of the eartag of a pig with number 05049 that the book is named after.

Are you a vegetarian? Or did your relationship to food changed since you started working on this project?

As a child I used to be. I eat some meat and fish now but not so much and when I cook it myself I try to buy good eco friendly meat.

I think I became more aware of ingredients in products generally, food as well as non-food. I started realy appreciating pure products with simple ingredients as well as complex products. For me as a designer i think i learned a lot.

What happened to These Flocks? Are you still working on the project? Selling some knitted garments?

I am currently working on new knitwear for Flocks. The large scale knits like the poufs and rugs are all made by hand in the Netherlands and for the smaller more fine pieces I started working with 3d knittingmachines. I like the contrast. The website is currently under construction.

New within flocks is the use of color. I added color as an ingredient to the products. Indigo, wauw, meekrap – all plants- and cochenille -lice- are added to the existing products creating bright blue, yellow, red and pink.

Farm Fountain

Filed under: artists & works, exhibitions — regine @ 2:03 am

Farm Fountain is a system for growing edible and ornamental fish and plants in a constructed, indoor ecosystem. Based on the concept of aquaponics, this hanging garden fountain uses a simple pond pump, along with gravity to flow the nutrients from fish waste through the plant roots. The plants and bacteria in the system serve to cleanse and purify the water for the fish.

This project is an experiment in local, sustainable agriculture and recycling. It utilizes 2-liter plastic soda bottles as planters and continuously recycles the water in the system to create a symbiotic relationship between edible plants, fish and humans. The work creates an indoor healthy environment that also provides oxygen and light to the humans working and moving through the space. The sound of water trickling through the plant containers creates a peaceful, relaxing waterfall. The Koi and Tilapia fish that are part of this project also provide a focus for relaxed viewing.

The plants we are currently growing include lettuces, cilantro, mint, basil, tomatoes, chives, parsley, mizuna, watercress and tatsoi. The Tilapia fish in this work are also edible and are a variety that have been farmed for thousands of years in the Nile delta.

Farm Fountain is a collaborative project by artists Ken Rinaldo and Amy Youngs. We hope you will be inspired to create one yourself. Please visit our illustrated “How-To” pages to see how we made our home version and join our free online forum to share your ideas.

Check out the live webcam! (6am to midnight EST)

Farm Fountain 4, the large-scale version of this project is currently on display at the Te Papa Museum in New Zealand until January 2009. The project has received a “Green Leaf Award from the Natural World Museum

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