April 7th, 2013

links to projects

ZOOETICS
2014-present
a research project that explores new ways to engage human knowledge – scientific methods and the infrastructure of institutions – and research with other forms of life, and to imagine designs, prototypes and interfaces for future interspecies ecologies.
http://www.zooetics.net/


RIVER RUNS

2012
a river laboratory/playground that explores how river (and water) as a public good operates to define our sense of belonging on an individual and collective scale.
http://www.vilma.cc/river/


HUSBY CHANNEL

2012
a workshop in networked cultures and participatory media to investigate democratic games in connection to citizenship, participation and urban development.
http://www.vilma.cc/husby


UTO-PIA

2011
a research project that works with experimental media and communication techniques to map heterotopias – spaces that are remote and simultaneously next to us.
http://www.vilma.cc/uto-pia


DISOBEDIENCE ARCHIVE. BOSTON CHAPTER

2011
a research and  installation of Boston Chapter – an ongoing video archive of practices in art and activism co-curated with Marco Scotini.
http://disobedience.mit.edu/


SPLIT NIK

2010-2011
a media navigator and viewing device that looks back and forward at the same time, and investigates negotiations between two ideologies with the attempt to study forms of critique in writing, media and design.
http://www.vilma.cc/splitnik


GVS: GUGGENHIEM VISIBILITY STUDY

2008-2010
a project by the experimental pedagogy group conducting case studies, field trips, documentation and archive to research and underprop the planned Guggenheim Hermitage Museum in Vilnius.
http://www.vilma.cc/2G/


VILLA LITUANIA

2007
a study of the mechanisms constructing the last occupied  territory (of Lithuania) through a set of events featuring pigeon race, development of pavilion architecture, and recycling of political encounters. Project commissioned for Lithuanian pavilion at 52nd Biennale di Venezia 2007
http://villalituania.lt


PRO-TEST LAB

2005
a space and archive of various protest forms against the corporate privatization of public space; and a case study of destruction of Lietuva – a cinema theater – the largest pavilion type building of soviet modernist architecture in Lithuania.
http://nugu.lt/dossier/index.php?mid=220


PRO-TEST LAB ARCHIVE

2005 – ongoing
an archive of available forms of protest against the privatization of public space: actions, video performances, fashion collection, posters, props, installations.
http://nugu.lt/dossier/index.php?mid=270


DRUZBA

2003
[friendship], a project that is build as reading device of a psycho-geography of the oil network (Druzba – the biggest oil pipeline build by soviets) to study the flows and energies produced through disintegrating infrastructure of power.
http://nugu.lt/dossier/index.php?mid=224


RUTA REMAKE

2002 – 2010
a project (and instrument) that navigates through a study of social construction of the women voice, weaving layers of gender, technology, performance and fashion.
http://nugu.lt/dossier/index.php?mid=219


TRANSACTION

2000 – 2004
a project that traces a script of the victim through the history of media; inviting institution of psychiatrists, film and women intellectuals into a triangulating dialogue.
http://nugu.lt/dossier/index.php?mid=218
http://www.transaction.lt/


KARAOKE

2001
the performance of karaoke of ABBA` “Money Money Money”.
http://nugu.lt/dossier/index.php?mid=221


TVVV.PLOTAS

1998 – 1999
a TV project, that is developed as collaborative platform and production space for institutional critique on the National TV channel, merging tools of broadcast, net-cast and meetings in a physical space.
http://nugu.lt/dossier/index.php?mid=222


JUTEMPUS

Jutempus [interdisciplinary art programmes] is non-profit, artist-run initiative (NGO), that was founded in 1993 and re-organized in 1997.
http://www.vilma.cc/jutempus/

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October 22nd, 2016

Future Fictions Think Tank

[Surmised to be an extract from Icelandic officer’s transcribed recordings dating from November 2005. The author could not be identified or located.]

To whom it may concern,

The base grounds are bleak. It’s November in Iceland—horizontal rain, banshee winds that get into buildings no matter how they’re sealed. Most of the facilities are already abandoned. Much of the classified files and sensitive technology was removed in September, I’m told.

Gaining clear information on the research being carried out is proving extremely difficult. There appear to be four divisions: Modifications, Temporalities, Communications, and Biointerfacing. The project start date was 1971. I have been informed of the project peak-personnel numbers: twelve P.I.’s – three in each section – a total of eight men and four women. When I arrived only one of the scientists was present: one of the later arrivals to the Communications division—Dr. Dora Kepes, an ecologist specializing in rhizomatic migration. Contact with the others—especially the original PIs—is proving impossible. They were an international group—getting records from the former Yugoslavia and Soviet Union is a task… ongoing.

I carried out a series of interviews with Dr. Kepes, but many of my questions went unanswered. Unclear how much she knew about the first decades of the research. Did soldiers volunteer for the project? Were there casualties? Have any casualties been identified? It seems that some scientists and soldiers went missing—are missing…

I asked: What was the aim of this symbiosis project? To produce a human-body enhancing transspecies interface? My interview subject responded: No. They were working towards finding new feedback loops between both terrestrial and marine environments via multi-temporal analytics among other methodologies.

It appears that the research team eventually started experimenting on themselves, and all of the researchers in the Temporalities and Biointerfacing Sections were involved in that. I wondered how they managed to record their results. They seem to have decided that experimentation and experience were necessarily one and the same. The observations they have been recording appear to be reducing, at least in any recognizable form.

Did the symbiosis take effect? I mean, this is a system that worked (is still working?) right? Transported to another location? “Did you have access to the tanks yourself, before they went offline?” I asked. She said no, but I don’t know how to read her. She claims this research is over and that no strategy for disseminating or releasing results was in place. But vibrations are still coming down the swim pipe from the tidal tanks, a kind of residual song. Currently seeking tank access. Slated for removal in April.

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Division 1: Modifications

Diagram: Evolutionary Situations of the Environment

Reports: Working Hypothesis – symbiosis, new indication capacities, interspecies communication and knowledge enabling counteraction of predicted progress towards hypertrophy and entropy. Without radically new knowledge enabling shifts in culture and actions, our futurecasts and all projections display rapid trajectory through health damage, environmental damage, hypertrophy of exploitation, hypertrophy of the environment, hypertrophy of humanity and ecological disbalance.

Stage 1. Subjects began a program of algae ingestions, soaking in tidal algae tanks, eel windings. Initial tidal immersions were undertaken with breathing apparatus and tethers. After one week bacteria patches were applied. Varying individual tolerances to high levels of iodine noted. Psychosomatic/placebo effects factored in. Obs.: Enhanced taste capacities in salty range; pigmentation shifts, thickening of skin which is demonstrating patches of heavily whorled textures.

Stage 2. Subjects developed holdfast feet complexes. Under-skin vesicles developed, particularly clustered around collar-bone area. Arms have lengthened and are tending towards frond-like flagellata. Experiencing increased difficulty in releasing holdfasts. Obs.: regulating body temperature for cold water; osmoregulation; development of conceptacle cavities containing viable reproductive organs. Rhythmic shifts in verticality and horizontality observed i.e. Subjects are erect during sea immersions and layered horizontally in periods of air exposure.

Stage 3. Subjects are demonstrating increased blindness and reliance on enhanced haptic, tactile and olfactory capabilities. Tethers are no longer necessary since holdfasts are functioning adequately for anchorage. Flattening and softening of skeletal structure and tendency to apical morphology noted. Vesicles are making underwater breathing feasible for duration of tidal immersions. Subjects appear to be integrating with surrounding algae colonies and are displaying mixotrophic energy derivation.

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Division 2: Temporalities

Diagram: Spherical Curves Representing Rhythmical Shifts of Human-Algae Symbiotic Interaction

Reports: The Modifications experiments examined continual contact between human subjects and algae, as a newly installed and technologically tested symbiotic interaction. Although the precise mechanisms remain unknown, the consumption of different species of seaweeds, inhalation of the algae extracts, algae skin applications, and reproduction of aquatic environment of algae had an effect on the circadian, biological and social rhythms of the participants. Registered effects include desynchronization and resynchronization along the axis of what is traditionally called a human temporal structure.

Varying species and quantities used as well as calibrations of light and salinity. Obs.: different algaematic sets caused accelerations and slow-downs within the system of metabolism, blood circulation, functioning of hormone system, processes of rejuvenation and senescence as well as increase or decrease in exposure to extreme temperatures. Noted shifts in mental activity, attention span, memory storage capacity, enhancement or diminishment of sensations, improvement or weakening of IQ, boost or decline in activity of imagination.

Modifications experiments produced a dehumanizing impact on the perception of time, intertwining with different temporalities imposed by marine plants and consequently proposing a speculative notion of “aquatic time”.

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Division 3: Communications

Diagram: Interaction of Human Systems and Natural Systems of the Environment

Reports: Attempting cross-species perception and cross-species learning to counteract projected ecological disbalance. Analysis of symbiosis-based communication to assist in developing a program for biosphere equilibrium. Initially other modalities appear incomprehensible. Symbiosis may produce results leading to enhanced understanding of the optimum operations at all levels: atmosphere, lithosphere, pedosphere, biosphere, hydrosphere, cosmosphere.

Stage 1: Subjects’ initial immersions producing sleep-like, trancelike consciousness shifts; the mouth can function as a knowledge sensor; ingesting, digesting, metabolic structure, playing a role in consciousness. Nothing intelligible yet, however embodied sensory dialogue with algae appears increasingly likely.

Stage 2: Subjects are reading wave power, wind strength and direction, tides, phases of the moon. Subjects are able to taste impacts from chemical and other marine contaminants. We have been able to derive what appear to be algae sensing and desires; plans even. Analysis of sounds and vibrations created by the kelp colonization of the severed acoustic sea-cables is in progress.

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Division 4: Biointerfacing

Diagram: Structure of Techno-Media of the Environment

Reports: Analysis of algology symbiosis evidences positive results. Some subjects demonstrate adaptation to tidal and seasonal rhythms. Greatly enhanced consciousness of interscalar and trans-systemic relationships are being recorded.

Prolonged rhythmic immersions are resulting in reflexive consciousness, a form of self-archaeology.

Consequent to this aquatic marine research phase, further symbiotic exploration is planned involving freshwater, aerial, lichenic, parasitic and motile algae.

Mycelial power supplies and transfer chains to be incorporated in the next phase of algo-human co-perception to improve receptor binding and reduce neuro-toxin uptake in the human system.

Planning timescale needs to change to 100 years or more. Visions of new ecologies glimpsed. Confronting light is the darkness. The awe-ful rainbow.

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With textual contributions by Tracey Warr,  Kristupas Sabolius, Lucas Freeman, Nikola Bojić, Viktorija Šiaulytė, Nomeda & Gediminas Urbonas and with participation of Thomas Pausz, Garðar Eyjólfsson, Tinna Grétarsdóttir, Sigurjón Baldur Hafsteinsson, Hildigunnur Sverrisdóttir, Oksana Anilionytė, Sigrún Thorlacius, Ari Jónsson, Eydís Mary Jónsdóttir, Ashley Rizzo Moss, Jennifer Gabrys and Hinrik Carl Ellertsson

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October 20th, 2016

Future Fictions Summit

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Press Release, October 2016

Earlier this month, a select group of international experts gathered at Iceland’s rainbow bridge—Ásbrú, the site of a recently decommissioned US Naval Air Base skirting Keflavik—to join local intelligence experts and historians in a special think-tank operation aiming to authenticate and decipher newly discovered documents from a clandestine and extraordinary research project carried out at the base during the height of the Cold War. The team of experts from the US, Canada, UK, Germany, France, Croatia and Lithuania included anthropologists, myceliologists, marine biologists, systems designers, information architects, bio-logicians, acoustic engineers, philosophers and communication specialists. The think-tank has concluded its preliminary investigations and Icelandic authorities have deemed a limited set of their materials declassified and open for public speculation.

Sources within the think-tank confirm that much of their work was aided by field-notes, report fragments and diagrams—written in many languages—recovered from the base some years ago by an anonymous Icelandic special intelligence officer. They revealed the presence of a communications bunker at the centre of a vast network of cable sensors running out into the North Atlantic and a hidden pipeway or ‘swim-tube’ linking the bunker to a series of open air tidal tanks which appear to have hosted experiments in human-algae symbiosis. According to members of the think-tank, there are still considerable gaps in the material due to a combination of file redaction and natural corrosion of the abandoned technology; and the principal investigators, moreover, are nowhere to be found. What’s more, even the best intact reports were hard to digest—one of the most intriguing of these, dated to 1971, contained four confounding diagrams or “visions” of interscalar and trans-systemic relationships supporting these experiments in interspecies exchange.

‘We’re having to do a lot of guesswork here, but it’s exciting stuff. At first we thought they were simply researching marine life or tracking Soviet submarines, but after taking a closer look at the site facilities, archival reports and recollections from former personnel stationed here, we discovered we had something altogether unexpected on our hands. They were developing some sort of bio-cybernetic feedback loops and new ecologies. But why here? We’ve only just scratched the surface of this world they were trying to create.’

Selected notes and diagrams from this special operation will be revealed to the public as part of the Future Fictions Summit, to be held in the specially tuned multi-media hall at Reykjavik’s Hafnarhús, 22 October, 2016 at 3 PM. This exclusive event is intended to be the first in a series of exposés and public discussions on the emerging ecologies and narratives surrounding Ásbrú. We will start with a lecture by sociologist Jennifer Gabrys, author of Program Earth: Environmental Sensing Technology and the Making of a Computational Planet.

The exposé will be invigorated with biointerface by the researchers Eydis Mary Jonsdottir, algae geographer, and  Hinrik Carl Ellertsson, metabolism engineer.

see details of the program here: https://www.facebook.com/events/1798445257069157/

Future Fictions Summit / 2016 / www.zooetics.net

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October 1st, 2016

What is A___Zooetics pavilion?

First of all it is infrastructure. It is perhaps similar to scientific infrastructure that could be developed for working with life sciences, or for what is today called “growing matter”. There is a big fascination with the growing of building materials, hacking of biotechnologies, hacking of the life sciences and democratizing them, making them more accessible to the people. Why is this?

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Some years ago, biology and computer sciences were specialist disciplines. Now with hacker culture, with democratization we have access to the “software”, so to speak. There is an open software movement. We can take technology into our hands. It’s no longer closed within military circuits, corporations or universities. We can create small-scale labs in garages; with the help of computers we can build new technologies and so forth.

Why is this so important? Speaking about the computer networks, it’s a foundation of building civic society. We have technology in the hands of small communities, and they can sustain themselves, publish their views, participate and so on.

A similar thing is happening with biotechnology nowadays. There is a democratization of that going on. There are critical issues of agency and trust at play here. First of all, with the life sciences and biotechnologies in the hands of corporations – can we trust them? In the capitalist condition, when the only aim and reason is profit, food can be poisoned, water can be poisoned. In that situation, one is forced to sustain one’s life – to take matter into one’s own hands.

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In a way, our work is dealing with this urgency: how to democratize biotechnologies? How to show people through educational programs, through outreach attempts, how to build, develop, fabricate different technologies themselves, including the things that are “biotech”. As artists we want to intervene in these trends and demystify this kind of making.

To be more concrete, we are going after a very interesting and timely trend that could be called mycomania. There is a big fascination about mushrooms. Paul Stamets who has been working more than thirty years, popularized this. His idea is simple. He says that mushrooms are the next frontier. Mushrooms are, in fact, under-researched. It’s an incredibly huge kingdom. They’re neither plants nor animals. Mushrooms control many bodies. We have mushrooms in our bodies, inside and outside. We are colonized by fungi. Our soil is colonized. Our forests are managed by mushrooms. Mushrooms can kill or rejuvenate whole territories. Mushrooms can be vitamins, can be antibiotics, can be destructors, can be fantastic materials for filtration. Paul Stamets says that mushrooms can filtrate water 100 times more powerfully than any existing technology today. He is opening this frontier, which is very fascinating for us. To understand the power of mushrooms is very important.

With this project we are tapping into the ability of mycelium, which is the roots of mushrooms, in colonizing different substrates and creating new hybrids. In this case, new materials. We have developed an infrastructure and will experiment with different local substrates: sugar cane, corn, eucalyptus tree. We also wanted to use coffee, but we heard the harvest was not so good this year… We will make a material that has qualities very similar to foam.

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For us, the new frontier is to think how we can change the conventional materials that surround us, materials that are toxic for the environment; the production of those materials is also very toxic. Two of the biggest challenges for humanity (and the humanities) are concrete and plastic. Our civilization is very proud to have achieved such a huge production of plastic and concrete. Wonderful brutalist architecture in Brazil is made of concrete. And all this was great. But now we have come to the point where we realize the effect this has had on the environment. We have much more knowledge today than we had in fifties and sixties. Engaging in material experimentation or material production is no longer solely a matter for the material scientists and engineers, but is now humanists’ matter. It’s a matter for humanities, and therefore a matter for artists.

Coming to terms with the Anthropocene and understanding human impact on the environment, which we realizing now, is to understand eco-systematic relationships. Maybe fracking is good for getting gas, but it makes an impact on the water, and this water impacts living conditions, and this impacts migration and so on. To understand these eco-systematic relations you no longer can trust capacity and competence of one disciplinary field. I’m coming back to the idea of the artwork and artist, because we are interested in the capacity of art to connect different fields. Hopefully art can unfold this eco-systematic thinking. Eco-systematic thinking is at the core of understanding the Anthropocene – understanding relations and relationships between these different registers, different constituencies, different players and different causes. Up to now, the question of material in art was not essential in that sense. Artists were working with asbestos, with some Japanese lacquer techniques that are highly toxic. They didn’t know. But now we are coming to the point when we have to be responsible for the material from the perspective of what art is made of, to the extent of what materials are surrounding us in our built environment. To engage materials that can grow, to grow materials, is a very exciting idea, very poetic one. You can grow a brick for your house at home, and while growing a brick you can eat mushrooms. The mycelium makes the material and it grows the food. You do not need to go to the forest anymore, you can go home and eat your house. What a poetic idea!

Pedagogy is also important for us. As we build this infrastructure, we bring young people who will be introduced to the ideas surrounding the making culture of these materials.

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We also make connections with the history of architecture – a very specific period of time in architecture that we call civic architecture, the “grand civic narrative” in architecture, which is brutalism. We are looking at a specific fascination coming from people like Antonio Maluf, the great Brazilian designer, who designed the poster for the first Sao Paulo bienal. In the fifties and sixties there was a great fascination with biology, but also computer sciences. Sequence, seriality, repetition, something what we later recognize in John Cage’s work, – a strong musical component shows up in Maluf’s graphic patterns. This is the point where computer science and biology meet. These amazing patterns become part of architectural expression. We think that this moment, when humanities meet sciences, which was once great narrative in sixties and seventies, has been lost. This is what we wish to bring back to the discourse of art.

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There was a big fascination with biomimicry and morphogenesis described in the book of D’Arcy Wentworth Thomson “On Growth and Form”, and brought to the discourse at the turn of the 20th century. There we look at nature more visually, studying different patterns, trying to decipher them and their meaning. But now, with more knowledge of eco-systematic relations, which again comes from cybernetics, from an understanding of feedback loops, we no longer understand just the visual patterns of nature, but we understand their functionality. We no longer look at how a bee looks or how it is constructed, or how it dances, but we look at how it is reacting and how it understands, perceives coming danger, which we can’t perceive as humans. We definitely have to study nature and its patterns beyond biomimicry. Biomimicry is the first step, valued maybe a hundred years ago, but no longer. Perhaps we have to regain that focus. If we talk about indigenous cultures, they have much more of that knowledge which we gave up on the way towards the civilization.

The technological development that started after the WWII had fantastic ideas inspired by discourse in the humanities. One of those ideas was to connect the human body with the environment. That was in the core of thinking at MIT. The idea was fueled by the technologies of the time. When Americans first sent Apollo and took that first photograph of the Earth, they extended the hand with the help of Apollo and made the first selfie. Again, think feedback loop. We are sensing ourselves with the help of cameras, and sending this image back to ourselves. We realize that with the help of technology we can create much stronger relationship with our environment. It’s a beautiful idea. Instruments, sensors were developed after this idea. What happened eventually is quite tragic. The shift from extending the capacities of our bodies to connect us with environment paradoxically turned back, and we no longer connect ourselves with our territory. We are making just a mirror image of ourselves, but not of our surroundings. Now the next biggest frontier is to reestablish this link with environment and with territory. It’s a historic task. We have a territory and the map. How to recalibrate that to have the embodied experience of the territory and the surrounding? But contemporary technologies dissociate us even more. We are living in maps: in a map of social network, in the google map, we can trace, locate, position ourselves. We know each other from these maps, but not from the territory. You play pockemon. People are even dying because they are so dissociated from their surroundings. It’s quite symptomatic. It’s like Chernobyl, but in other terms.

We feel mycomania all over. On the way to San Paulo we stopped in Boston. We went to the shop and look what we found: mushroom coffee. It’s just crazy. You find cacao, coffee, lots of products with mushrooms. It’s like an obsession. Mushrooms can help to boost your brain, help to get energy, filter toxins. It’s another big frontier. People discovering mushrooms again. A lot of this knowledge comes from indigenous people. Their knowledge and links with the environment were never interrupted. In that respect I could say we are little bit indigenous (not that civilized, in a good way). In Lithuania, we have a very strong tradition of mushroom foraging. Everyone goes to the forest. People know when and where to go. And it’s big competition to see who will find the best and biggest. You have to wake up early, at 6 AM or so, with the first light, when it comes. If you come at 9 AM or later, nothing is left. Even generations of people from the cities  still maintain the tradition, going to the forest on the weekends, just for one of the days. There are reports on the newspapers and on social media everyday about the discoveries in the forest, who found the most beautiful and biggest porchini. Also new species are being found. A couple of years ago we went to the botanical institute and spoke with a mushroom specialist there. He told us interesting stories about how mushrooms migrate. For example, how species originating in Canada reached Europe in three years. It’s still a mystery, how. Migrating birds might carry spores on their bodies. We are living in this global eco-system. The spore, tiny thing, without the aid of humans, can travel thousands of kilometers just in three years. That mushroom was very particular – it colonized an enormous territory of the forest and killed it. One mushroom, not a colony of them. It has very long mycelium and can colonize territories. The only way to fight it: find another fungi. There is DNA programing involved in that. It’s possible to program mushrooms to eat some things. Or there are so called bio-destructor mushrooms. It often happens with architecture if buildings are not kept properly, certain mushrooms colonize the space and it’s bad for human health. Chemicals are sprayed. But there is a more advanced technology: finding the right fungi to fight other fungi. It is another interesting frontier for science. Artists are always interested in inventing things and expanding our reality. Therefore experimentations with technology and biology are very interesting for artists as well. They open new possibilities, new pedagogies, new materials and new imaginations about life.

Here in Sao Paulo we went to meet Edison de Souza and visited his company Brasmicel. He is one of the best  mycelium specialists in Brazil. He’s been working with mushrooms for many years and comes from a botanical institute, from a mushroom research group there. Later he went to develop organic farming, with the idea to work specifically with mycelium. So it’s not really a mushroom farm, even though he does grow mushrooms for himself and his family. Edison is almost programing the back end of the process. He takes a piece of mushroom, inhabits it in agar in a petri dish, the culture starts growing and multiplying there, and then he seeds them in specific substrates to develop mycelium. Then he uses that mycelium for spreading and preparing to grow mushrooms. Since he is a scientist, not simply an agricultural engineer, he is tracing genealogies of each specific species, groups and families. For example, in this project we are working with oyster mushroom (pleurotus ostreacus). Edison has ninety different species of that. We expected to find four or five pleurotus ostreacus – one yellowish, one beige, one brownish and pink. But this guy said he had ninety. And he told us we have to work with number two: PO2. And we could trace production of that PO2 more than thirty years back. He’s been working with the same mushroom for that many years, cloning the same mushroom again and again for many generations, testing how strong it remains and if it’s worth keeping it in production.

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Mushrooms come from outer space. This is what scientists are claiming. They tested that in sixties, when they took spores from mushrooms and sent them out into the cosmos and exposed them to radiation, severe temperature, everything. The spores survived. A mycelium does not need oxygen to grow. Mushrooms have two organs: one for multiplication and another for communication. Mycelium functions as conduit for nutrition, but also as communicator. Other species are using that network. When we talk about interspecies dialogue, for example, trees use mycelium networks to inform each other or other species about incoming dangers. It’s like a communication network. Paul Stamets calls mycelium the “internet of the earth”. It’s the internet of plants, bugs, worms. Of course, it’s slow communication, but scientists have proved that this is happening. They knew about the communication happening, but they didn’t know it occurred via mycelium. There are so many things that we are only now starting to realize.

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by admin | Posted in pavilion vol.3, zooetics | Comments Off on What is A___Zooetics pavilion? |
September 10th, 2016

Zooetics Pavilion at the 32nd Sao Paulo Bienal

The installation at 32nd Sao Paulo Bienal draws inspiration from the short-stories found in Vermilion Sands (1971), a science fiction book by English author J. G. Ballard, which imagines a world where technological devices would be alive and sentient, such as a house capable of responding to the emotional states of its inhabitants. Zooetics Pavilion provides the concept of a future in which objects can not only be constructed but also cultivated by its human inhabitants and users – and vice versa.

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Using mycelium, the part of the fungus responsible for the absorption of nutrients, oxygen, and energy in a symbiotic relationship with other cultures and materials, participants can create their own biotechnological artifacts – mycomorphs, promoting mycelium’s interaction with coffee skin, sugar cane bagasse, corn pollard or eucalyptus saw dust.

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Photos: Diego Guerra

press links:

PSYCHOTROPIC HOUSE • ARTWORK ACTIVATION BY NOMEDA & GEDIMINAS URBONAS
http://www.bienal.org.br/evento.php?i=2801

NOMEDA & GEDIMINAS URBONAS
TALK ON THE PROJECT ZOOETICS PAVILION WITH LARS BANG LARSEN
http://www.32bienal.org.br/en/soundfield/o/2864/

A SÃO PAULO BIENNIAL IN PRAISE OF UNCERTAINTIES
BY Tatiane Schilaro
http://www.artnews.com/2016/09/13/a-sao-paulo-biennial-in-praise-of-uncertainties/

MIT mushrooms pop up in São Paulo
by THE ART NEWSPAPER  |  8 August 2016
http://theartnewspaper.com/news/in-the-frame/mit-mushrooms-pop-up-in-s-o-paulo/

ARTE!Brasileiros
Um grito pela saúde do planeta
http://brasileiros.com.br/2016/09/um-grito-pela-saude-planeta/

Bienal de São Paulo tem obras de arte com cogumelos e moscas Tema ‘Incerteza viva’ forma curiosas parcerias.
http://g1.globo.com/jornal-nacional/noticia/2016/09/bienal-da-sao-paulo-tem-obras-de-arte-com-cogumelos-e-moscas.html

Biennale all’insegna di una sana «Incerteza»
–di Elena Giulia Rossi  11 settembre 2016
http://www.ilsole24ore.com/art/cultura/2016-09-10/biennale-all-insegna-una-sana-incerteza-145447.shtml?uuid=ADCLZA9

Bienal de São Paulo: grátis e obras acessíveis
por JORNAL SP ZONA SUL
http://jornalzonasul.com.br/bienal-de-sao-paulo-gratis-e-obras-acessiveis/

Installation View I
32nd Bienal de São Paulo
The title of the 32nd Bienal de São Paulo, INCERTEZA VIVA (Live Uncertainty), proposes to look at notions of uncertainty and the strategies offered by contemporary art to embrace or inhabit it.
http://www.contemporaryand.com/magazines/32nd-bienal-de-sao-paulo/

Med øjnene helt nede i mudderet
Av Mathias Kryger
http://www.kunstkritikk.no/artikler/med-ojnene-helt-nede-i-mudderet/

Art for an Uncertain World at the São Paulo Biennial
by Elisa Wouk Almino
http://hyperallergic.com/326384/art-for-an-uncertain-world-at-the-sao-paulo-biennial/

http://leedor.com/2016/09/10/zooetica-de-nomedagediminas-urbonas-32bienal-incertezaviva/

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January 3rd, 2016

Mycomorph lab at the Bunkier Sztuki Krakow

The iteration of Zooetics Pavilion in “A Million Lines” exhibition at the Bunkier Sztuki Gallery of Contemporary Art, Krakow, Poland, incorporated sound element with the mycomorphs. The sounds, sourced from various life forms: maggots, crickets, stick-insects, seals and pelicans, were looped and mixed by sound artist Antanas Dombrovskij after an interspecies writing workshop Zoo Stories at the Lithuanian Zoo in Kaunas in October 2015. The mycomorphs here took on function as amplifiers for another case of interspecies communication.

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Zooetics Pavilion was conceived in partnership with Baltic Champs, Lithuania-based edible mushroom production company. The Mycomorph Laboratory architecture was realized in collaboration with Paulius Vaitiekūnas, Andrius Pukis, Jautra Bernotaitė, Mykolas Svirskis; visualization – Sayjel Patel; mycelium growing technology – Paulius Pilipavičius, project communication – Dionizas Bajarūnas.  The project was also supported by contributions by Marijus Bakas, Dalius Keršys, Gediminas Stoškus, Skirmantas Zygmantas, and KTU volunteer students.

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September 4th, 2015

Psychotropic House: Zooetics Pavilion of Ballardian Technologies

Zooetics is a notion in progress to explore new ways to engage human knowledge – scientific methods and the infrastructure of institutions – and research with other forms of life – from mammals to microbes to molluscs – and to imagine designs, prototypes and interfaces for future interspecies ecologies. Psychotropic House is one of the experiments that aim to articulate this notion…

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December 1st, 2014

Zooetics

Zooetics is a notion in progress to explore new ways to engage human knowledge – scientific methods and the infrastructure of institutions – and research with other forms of life – from mammals to microbes to molluscs – and to imagine designs, prototypes and interfaces for future interspecies ecologies.

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April 19th, 2013

sensors, actuators and arduinos

Thursday, April 18 2013  Intermedia studio space, KIT, NTNU, Trondheim
David Robert (M.I.T.) unpacks arduino suitcase.

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April 19th, 2013

sensor search fieldrip

Sensor search field trip at Svartlemon.

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April 19th, 2013

Intro to sensor workshop

Sensor workshop participants from KIT and Architecture department at NTNU.

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April 18th, 2013

sensing sensor

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March 28th, 2013

Aalto safari

Thursday, March 28 2013. Aalto Safari in Helsinki.

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March 27th, 2013

Tree Mountain

Thursday, March 28 2013. Trip to explore Tree Mountain.

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March 26th, 2013

Kiasma safari

Tuesday, March 26 2013. Kiasma Safari, Helsinki.

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March 24th, 2013

Pia’s Eco Village

Sunday, March 24 2013. Visit to Pia’s future eco-village.

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March 23rd, 2013

Vartiossari Safari

Saturday, March 23 2013, visit to Vartiossari island.

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March 22nd, 2013

Suomenlinna Safari

Friday, March 22 2013. Suomenlinna Safari in Helsinki.

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March 21st, 2013

Eco welcome to Helsinki

Thursday, March 21 2013. Eco-techno workshop at KUVA, Helsinki.

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August 30th, 2012

River Runs

The River Runs project investigates movement in artistic practice towards less tangible and more complex spaces of public/private contestation, spaces that challenge the notion of belonging itself. Developed as a river laboratory/playground during residency at Modern Art Oxford (2012) project explores how river (and water) as a public good operates to define our sense of belonging on an individual and collective scale. The work examines where and how a public sphere, or “publicness,” can be constituted today, and the role of artistic intervention in its production.

For this project, Urbonas Studio consists of artists Nomeda and Gediminas Urbonas, writer/curator Tracey Warr and architect/designer Giacomo Castagnola.

The project is being assisted too by many other people, living, working, playing on and in the river, cropping up in the course of the narrative . Most of the research files are collected during August 2012 while at Project Space Residency, Modern Art Oxford, UK.

More at project’s blog: http://www.vilma.cc/river

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August 9th, 2012

Aquatic Biomimicry Workshop

The Adults’ Workshop investigated new solutions for living in a Water Age.

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August 8th, 2012

Children Workshop: Inventions for the Water Age

Children Workshop: Inventions for the Water Age was  joined by 17 children of different ages to creatively investigate what we could learn from aquatic flora and fauna for living in a possible future Water Age. We discussed river journeys and boats (and, at the most stripped down, swimming costumes and wet suits) as they already are devices for action/floating labs, various types of constructions and rafts in use for habitation, mobility, joining separated communities (bridges, fords), leisure, sport, exploration, study…

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June 15th, 2012

Mist Machine

In an essay entitled “Art and Ecological Consciousness,” which was published as the introduction to Arts of the Environment, Georgy Kepes writes: “The human body has an inbuilt self-defense, a physiological mechanism that protects it from extreme imbalance. We have begun to see that our extended body, our social and man-transformed environment, must develop its own self-regulating mechanisms to eliminate the poisons injected into it and recycle useful matter. Environmental homeostasis on a global scale is now necessary for survival. Creative imagination, artistic sensibility, can be seen as one of our basic, collective, self-regulating devices.”

He thought that one such device would be a water purification system that could replace public art at the river, at the same time exposing the relentless process of labor to visualize the ecological condition of enslaved and contaminated nature. Thus the large-scale environmental form could become an educator of sensibilities where the layers of human intervention recorded in the sediment and other toxic forms would provide material for the archive. Thus the public could be engaged as an “active participant in the educational setting thus help to develop a long overdue ecological consciousness.”

Mist Machine prototype, screening CAVS River project 1971 Slide Show, was presented at The Future Archive, curated by Ute Meta Bauer, NBK – Neuer Berliner Kunstverein, Berlin, Germany, and at On Dilettantism, curated by Frank Motz, HALLE 14 Kunstverein, Leipzig, Germany, both in 2012

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June 15th, 2012

Uto-Pia Bunker installation

Uto-Pia project examines the ways in which art, design, and technology can be leveraged to develop creative tactical responses and potential future practices within societies forced to cope with a deepening ecological crisis. The work deals with nature, bio-political resistance, and networked bodies in the environment to inquire into the ecology of sustainable everyday life. An iteration of Uto-Pia project was produced as an installation for the Connected by Art international art exhibition at the State Art Museum in Schwerin, Germany (2012).

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May 18th, 2011

Uto-Pia

Uto-Pia is a research project working with experimental media and communication techniques to map heterotopias of the dysfunctional infrastructures, to address and respond to the environmental damage left by the industrial and military interventions in the Turku archipelago of the Baltic Sea. The project is commission by CAA – Contemporary Art Archipelago, Turku, European Capital of Culture 2011, Finland, June-August, 2011

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January 31st, 2009

Urbonas Studio

Founded by Nomeda & Gediminas Urbonas (artists and educators, born in Lithuania) Urbonas Studio is the interdisciplinary research program that advocates for the reclamation of public culture in the face of overwhelming privatization, stimulating cultural and political imagination as tools for social change. Often beginning with archival research, Urbonas Studio methodology unfolds complex participatory works investigating the urban environment, architectural developments, and cultural and technological heritage.

Nomeda & Gediminas Urbonas have exhibited internationally including the Venice, San Paulo, Berlin, Moscow, Lyon, Gwangju Biennales and Manifesta and Documenta exhibitions. Their writings on the artistic research as a form of intervention to social and political crisis were published in the books “Devices for Action” by MACBA Press, Barcelona and “Villa Lituania” by Sternberg Press.
Urbonas live in Cambridge, Massachusetts and work at MIT.

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September 10th, 2007

Drawing Lesson

Drawing Lesson was conceived of as a performative intervention as well as a questioning tool, for use in educational session at the Documenta 12 exhibition in Kassel, Germany. Teachers and students from the Trondheim Art Academy (KIT) were motivated and inspired by Documenta 12’s exhibition invitation, which highlighted education as one of the project’s central motifs, and asked audiences not only to visit and observe, but to actively participate. The KIT group gathered in Documenta Halle to negotiate a dialectics of aesthetic and political experience made manifest by artist Peter Friedl in the form (and metaphor) of a stuffed giraffe. The dead animal, a victim of the military conflict in the West Bank, has half-shut eyes and a ratty coat, and appears to have been stuffed by an amateur taxidermist. Friedl suggested the giraffe was a migrating form, something more real than the flood of photographic images that emerge from media coverage of the war zone. The Drawing Lesson locates intervention within a pedagogical context and responds to the artist’s open invitation to invent a story that will take on new meaning. In an effort to study institutional hegemony as well as the exhibition’s educational ambitions, the Drawing Lesson employs a notion of conflict as a performative strategy as well as a methodological tool.

concept: Nomeda and Gediminas Urbonas; participants: students and faculty at Trondheim Academy of Fine Art, KIT, Norway; the Documenta XII staff; visitors to Documenta Halle; two policemen from the Kassel, Germany Police Department.

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June 9th, 2006

pro-test lab archive

The pro-test lab archive is an art project that organizes a collection of images and props, observing the relationships they produce with the act of protest. The archive maps attempts to stage an autonomous platform for action through art projects that can penetrate reality through political acts. This develops both inside and outside the art system by simultaneously considering the tension and synergy that such a relationship produces.

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