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Exploring the geological substrates of digital technology in a series of lithic attunement exercises. Part of the Alchorisma publication, these exercises are an invitation to reestablish relationships with local geological entities and glacial timescales by algorithmically re-confusing binary distinctions between nature and culture, human and non-human, life and death.
In the slow swarm of light they remain silent, luminous. Eyes in the place of eyes, Ears in the place of ears, tongues tasting chemical gradients across the fungal network of thread-like cells. A truly underground communications network, spreading through the vastness of earth substrate, acting with ecosystem intelligence to form interfaces across symbiotic networks of root chatter.
In this paper I share my personal attempt of co-working with plants as ghosts and how this has started to shape a curatorial practice that tries to resist extractivism. I wanted to rethink my own practice as a curator and investigate how to shape relations and ethics differently. For this work I turned towards plants and ghosts as teachers and allies. They pointed me towards strategies of being-with, generosity and sympoiesis, which I am trying to transpose into a (life-)practice. Rooted Hauntology Lab as an artistic-curatorial project is both the result and ongoing practical playground for this experimentation.
“From that historically brief quite opaque moment, came the chaos of our material history, an anarchy of chronology, of mismatched remnants…”
nightly build is a tiny A7 sized photocopied zine that fits in the palm of your hand so you can always carry it with you. It is a collaborative collection of thoughts, writings, prose, poetry, drama, problems, solutions, images, photos, drawings, circuits, concepts, interpretations, illustrations, dreams or philosophical fragments.
When we intervene in complex systems, our future-shaping actions are hard (or perhaps impossible) to predict. How can engineers, entrepreneurs and technopreneurs embrace complexity and uncertainty, in order to act in meaningful ways, whatever the future may bring? This article includes a series of suggestions, propositions and open questions.
A sonic exploration of the desert, condensed into 12“ vinyl. The album contains two 18 minute speculative tracks — “dust” and “shadow”. It is packaged with dust, sand and detritus collected from the Sonoran, Mojave and Great Basin deserts which can be used for further physical manipulation and divergence from the recorded sound matter.
In this paper we present a cross-section of FoAM and Time’s Up’s work with physical narratives (PNs), which draw upon experiential futures and experience design. We introduce PNs as explorable, multisensory spaces before discussing the importance of enabling social interaction. We describe a series of creative experiments with PNs to illustrate our approach to futures in an artistic context, including installations, exhibitions and festivals. We do not intend to provide a critical analysis of the design process, methods or implications, rather, the article offers a reflection on our motivations and insights. As an invitation to further dialogue between transdisciplinary fields, we conclude with a call for futurecrafting at a human scale.
How to use design to speculate about possible futures? Interview with FoAM's co-founders Maja Kuzmanovic and Nik Gaffney for Speculative Edu, European project designed to collect, exchange, reflect upon, develop, and advance educational practice in the area of speculative design and its self-critical approach.
Why, then, is it so difficult to remain in that state of calm and relaxed focus whether in work or in life? Why do we rush through life mindlessly, only to regret it? Do we have a tendency to fill up our plates with too many things? How can we take the time we need with the work and people we love without feeling chased? Is it a question of finding the right balance or do we simply need more rest? And if so, is it physical rest we need or is there something more to it?
The Ephemeral Garden evokes the sense of convivial gatherings under a pergola. The murmur of conversation, complemented with the sound of animate matter. Recorded and composed in Istria during May 2018, this piece is part of FoAM’s sound installation presented at the Croatian pavilion of the Venice Architecture Biennale 2018.
The swamp doesn’t allow for a cartesian way of mapping, it doesn't allow to figurate it and give it a fixed identity. Connected bodies of water push their way into ever new sinks and streams. New spots of land are revealed, through drought or human intervention, while other parts flood and hide the pathways and places that were there before. Where the swamp starts and where it ends is processual. It doesn’t have clear borders but rather transient zones. As such, it is a liminal being, always becoming, always in-between.
An emerging viral pathogen truncates population age structure in a European amphibian and may reduce population viability
Data collection and storage in long-term ecological and evolutionary studies: The Mongoose 2000 system
A novel approach to wildlife transcriptomics provides evidence of disease‐mediated differential expression and changes to the microbiome of amphibian populations
Visualising the urban green volume: Exploring LiDAR voxels with tangible technologies and virtual models
The work of care in the Anthropocene is a struggle with scale and scope and sentience. Maybe in order to care across spatial and temporal scales — to care for a loved one as much as for an eroding hill or decaying infrastructure — we need alternatives to the current cultural imaginaries. We need new stories to live by. New or alternative myths, drawn from ever more diverse mythologies. Terraforming, for example, can be understood as planetary engineering, composting or home making. Humankind has been terraforming earth for millennia, and before leaving the planet to terraform the solar system and beyond, it might be wise to focus on terraforming our internal landscapes first...
nightly build is a tiny A7 sized photocopied zine that fits in the palm of your hand so you can always carry it with you. It is a collaborative collection of thoughts, writings, prose, poetry, drama, problems, solutions, images, photos, drawings, circuits, concepts, interpretations, illustrations, dreams or philosophical fragments about the theme of this issue — the passage.People who collaborate receive a freshly printed zine straight to their letterbox. You can find a digital version for printout or e-reader in the attached documents.
Population genetic structure in European lobsters: implications for connectivity, diversity and hatchery stocking
In this paper we use genetics to see if lobsters form separate populations around the coast of Cornwall in the UK. This information is useful for conservation organisations which release hatchery reared young lobsters into the wild in an effort to replenish lobster numbers. If separate populations exist, they would need to be much more careful when choosing release sites. This research contributes towards evidence-based policy that is essential for improving the sustainability of fisheries.
The Sonic Kayak is a musical instrument used to investigate nature and developed during open hacklab events. The kayaks are rigged with underwater environmental sensors, which allow paddlers to hear real-time water temperature sonifications and underwater sounds, generating live music from the marine world. Sensor data is also logged every second with location, time and date, which allows for fine-scale mapping of water temperatures and underwater noise that was previously unattainable using standard research equipment. The system can be used as a citizen science data collection device, research equipment for professional scientists, or a sound art installation in its own right.
This article presents a series of informal experiments in software and weaving, most of which were conducted as part of the Weaving Codes, Coding Weaves project. Different aspects of weaving, including plain weave, a four-shaft loom, tablet weaving and warp-weighted weaving are simulated, in order to gain greater understanding of the craft from the perspective of computer science. The production rules of L-Systems are employed to begin to explore the expansive possibilities offered even by our simple simulations. In order to test our models and gain deeper understanding, the languages we produce are interpreted both as computer simulations and by our human selves, through the weaving of textile by hand. Physical user interfaces are introduced, in order to help communicate the structures and thought processes of weaving. Finally, we share our approach to representing a weave from the point of view of a thread. Throughout, our aim is not to simulate a weave in its entirety, but to gain and share insights into its complexity, and begin see how the long history of weaving, as a fundamentally digital yet ancient craft, can inform the younger fields of computer science and engineering.
Improving the health of the ocean is one of the urgent, complex problems of our time. The threats to the marine environment and by extension to human wellbeing are too entangled for simple single-issue solutions. Another approach is to observe and interact with the ocean from multiple perspectives, to imagine, experiment and learn from failure. This is the essence of the "lab approach" – enabling accelerated systemic innovation while reducing risk. While there are many different types of labs, most share a few key aspects. Labs conduct experiments. Labs foster emergence. Labs evolve through collaborative creation and peer learning. Labs cultivate unique mindsets, values and cultures.