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we have the cats cat majest and he's making a different kind of the kinds of installations and performance is that it's it's blowhole we in humans is connected to the environment and he's going to tell you about that so give them a warm last these vertex few few it's for everybody and thank you very much for the introduction half s thank you for coming to the my talk and later the people online uh that thank you 15 in online and same I'm gonna be talking to you today about the approaches the II have been developing and was summers and I've been developing to explore and the connection between ourselves in the environment and I'll be discussing installations as have said that work on the body to create an emotional response so as in humans to humans and and I'll be talking about workshops and performances and where participants techniques drawn from lots of different disciplines and to investigate the different aspects of and the what we might consider outside world and say I want to give you a couple of preamble say that you know where I'm coming from and 1 is a is is that I'm going to be talking a lot about and you know ourselves in the environment because that's all my work's about that I want to see the quite clear on the fact that actually the work is interrogating the days boundaries that we would have considered that to be between ourselves in the environment and so on we have we have these conceptions of boundaries and there are partially conceptual partially real so for instance we've got the skin and say the skin on on 1 scale unary it was from on my skin I see the water it makes the sort of washed off the on microtubule or molecular-scale actually my skin is very very permeable in its letting in now as things that are in on what I consider to be myself all the time right and say that my body is actually really quite a lot in constant flux and so that kind of exploration of the deceased misses the boundaries between the self and other at the fundamental to the work that I didn't say when we talk about you know myself and the environment excuse the hateful and quite actually what I'm talking about is an the various things with very very permeable boundaries that are constantly being redefined knots why and the subtitle for the torque is multiple knowledge is in the definition of the cells because that thought and exploring with all this work so you In a try and get the slides on of had a bit of a computer malfunction that k let's just
this so the 2nd preamble is on and I don't like it don't like being anchored kids to things very much that the 2nd preamble is to explain that is where I'm coming from 18 and less conceptual terms and say that I like to think of myself as a person and then it's and I also have their amazing opportunity T B and kids as a culture for layer at the University of Leeds cultural institute where I'm a culture of fella in arts and sciences and I'm also have been for this year the artist in the optics of the friends of Scott early research Institute at the University of Cambridge and abundance someone nation expeditions he sent me into the optic this 0 I'm going to be talking about that a little bit later on the and I have a term and residency at the Department of Chemistry in University College London and I and II lecture and in we talking about 1 of the projects that I work on with my students on my lecture that batch was another scientist at University College London as well and and so 1 of the reasons that it's important to tell you about about all of these anchors is because a lot of the work of ideas facilitated by all funded by some of these institutions so that and the people that I worked with these institutions are huge instrumental in shaping the work that I did the say props to and that also saying this is the central
question that I'm interested in and I hope that you also can be interested in it and the way that I've been trying to answer and so we know a lot about environmental issues in general and specifically climate change there's a lot of on data out there there's a scientific consensus about ah and parts in in contributing to climate change other and and other environmental issues and and yet friend in every scale from individual 3 to global governance we are not making significant inroads into tackling these problems and in their that sounds terribly Desmond so but really I think it's about time we did something that we think cited I was wondering like is there something else that we need to know you to galvanize ourselves interaction and and how do we need to know that and this is a personal question for me as well right because I've been working on environmental problems in 1 capacity or another full my whole career and then I've been engaged in environmental issues and since I was a child sigh and yet still sometimes you know I fly I don't take the train sometimes you know you are not playing like many of us are also not blameless say you it's it's partially in personal exploration into these issues time then we talking to you about today the and said I want
to see the kind of 1st approach 1 of the things I was really interested in is the role of emotion in I'm being a kind of creating a different type of knowledge within ourselves 1 that perhaps might motivates us a little bit more and then the fact that we're bombarded with quite often and when it comes to questions of climate change and other environmental problems often we have these responses that are kind of and demarcated as either anxiety or the the the what they considered to be of primary emotional responses to you and these kinds of issues and I was wondering is there a way to you create a more sympathetic in a more sophisticated environmental relationship with the environment and and so 1 of the kind of concepts that really underpinning this work is this idea of on touching the other and and as you can see that there's been a lot written on and this is a fantastic rate from Karen Barad and which is to say what is only in the encounter with the inhuman the liminality of nice thing as in all its liveliness its conditions of impossibility that we can treat he confronts are inhumanity are action blocking compassion so I thought the maybe if we want to foster a bit more compassion for the environment maybe I should try and touching the inhuman or the human in the case of the work that I'm gonna be telling you about now
come and say I wanted tell you about the content the device which is my attempt to touch the nonhuman that is coral and the columns the device is an immersive installation of as you can see it's 1 over the head uh and the aim of it is to indeed engender empathy with coral in the marine environment on it's not aiming to replicate the conditions of Colin marine environment what it's trying to do is to look at specifically anthropogenic and the consequences the coral and then to create an environment for humans that should engender a similar type of response without and you from all sizing coral or ascribing tear emotions that our human in any way I am I I'm going to tell you more about the column to the device shortly but 1st I
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heard the the columns the device and takes you into this kind of a in environments where you're surrounded by an sounds and you're all say surrounded by smells and vibrations and that's what you experience when you put the helmets on and we'll talk a tiny bit about that in a little minute by just wanted to clarify sort of why why talk coral right why why did I pick coral for this match me say and well corralled for starters an icon in it also are environmental impact you know this year with the 2nd year in a writer where there was a significant bleaching events on the Great Barrier Reef and and without sort of time in between these bleaching events there really doesn't have stand and ability to recover itself and so you get on a kind of the increased complete death as the coral reef and and not happening partially because of climate change and warming but it's also a happening because of on acidification on plastic pollution in the environment and and so it's In this kind of the that it has some and precariousness it's this fantastic kind of I don't wanna use the word fantastic has to have the it's this very powerful icon of of pedantic impacts on the environment and we also
have uh a huge amount of kind of bad literature about coral and its its meaning to us but was things I find kind of most evocative about it is the fact that in some ways it can be considered as quite a nice analogs for and all metaphor of the humanity as well we have a relationship to even there it looks nothing like us inasmuch as an innate coral is that a steward of a lot of named marine life you that them coral reefs at wonderfully ecosystems systems that foster lots and lots of different and species it's they're very bright over us on and just like where stewards of our environment you can consider that coral assisted of its environment take an similarly with humans are actually not just human cells Langer evil heads all of that and statistics flying around about India how much as body is also a a microbial buying and full of bacteria and fungi deal working together and and coral Livingston biases with algae and in much the same way and that it just as our microbiome can affect our decisions and and he or ability to digest and you know a lots of other things about keeping us alive and and the way that we live in the coral has this and then by of the relationship happening within it all the time as well and you know what that speaks to you for me as a kind of and reliance on the other that's actually you materially embodied right and so the other thing about coral that I think is say for interesting and it's the case of a lot of marine life and was 1 of the reasons I've been focusing on pondering life and for the past couple of years is that at coral hazard decentralized nervous system and and and I think that's quite interesting when you all when we're thinking about kind of some social structures for you know because we have some we we work is an organism ourselves pull together you know a and I think they're kind of thinking about are in decentralization moving away from thinking of ourselves as brains with the body that helps me to bring about and but also you thinking more about us as individuals as part of a whole is part of kind of step change the really might be quite useful if we want to see and change our attitude towards living in the world and then maybe later and live in a more sympathetic weight with the outside world including other people in there and including non-human entities as well the and so here 1 of the
reasons that I take you 8 with the columns the device as you saw in the video games black printed on you can't see thing when you could on and and 1 of the reasons I did that was because I wanted to focus on kind of on the other sensors and use In fact the gay and experiment with and the concept of embodied knowledge embodied knowledge is an it's just phenomenological thing where you think about doing without representing so it's kind of what you might call that probably shouldn't instinctive or the reactions in some ways that it's more balanced and responding to the physical environment without creating a mental model and with how about how you can respond beforehand and now embodied knowledge is safer interesting in and of itself that shake it's not care and if you is a very interesting and Japanese phenomenologist has been writing about how embodied knowledge helps to create the sympathy and empathy with the other 3 into reality and and as he says here and this reference favor as 3 these embodied interactions into subjective meanings are created and undirected shared between the self and the other without being mediated by mental representations so this is what I do I'm trying to aim for with the column the device using an artistic implements you create these mediated and interactions between the human he experiencing and the other and which is a bit of a step that I think it's been working will see and yes I units
reveal about each day and saying if you want to take quick plug if you want to see more about and the kind of background to this approach that I've been talking about and II just over christmas this paper that I wrote about it has been published in the Oxford artistic practice based research platform and and this is looking at kind of a deeper look at the philosophy and a deeper look at an embodied knowledge and validation of the of an approach that attempts essentially t and creates a way of communicating there is non code if I'd say by which I mean not using language and not using the same kind of visual language that we often use particularly when we're trying to communicate about environmental issues so there have been other projects that try to see and create empathy with with the natural world and and you're probably familiar with lots of them and a lot of them rely on and visual stimuli that over other and embodied stimuli and and my aim with the current the device fundamentally was to explore what the other sensors can bring to that by removing codification and looking at non-measurable and and tacit knowledge is so I'm going to be talking a little bit more about that kind of approach surely and the but 1st I want to tell you a bit more about the kind of research that happened in the background to create this lack of and how that feeds into another approach that I used so the column the device and was initially conceived out of a workshop that was convened by Robert Jaenisch again it's um for pixel festival and it was good to pick slave deep died aged underwater intersection and and as part of the 4 of us and I got together to run this workshop and and we were looking at a Keestick deletion and micro plastic pollution and stay with us and the directors the air Institute Gina's she chips or a uh created these will we started on the on the path to create DIY chemistry and tricycles that could be used to look at Microsoft sticks in the environment and the size of a deck his communion with DIY science but nobody's like looking like they're wanting to jump back and say that they are safe and DIY chemistry essentially is an taking chemistry out of the labs and putting it into the public realm where people can do you certain types of chemistry using chemicals the eating Delft the shells and or of the internet rather than using a sophisticated labs with lots of different licenses to their and and say to you on myself as uh base have scientific training in way way back and and so we decided to have a crack at it and saying if we could extract micro plastics and analyze them without the of on that sophisticated lab uh so it's sort of trying to work on in and help you know seaweed I it was a better difficult because be like this strengths is that the biological framework in the cells so what we ended up doing
was and moving across to fish guts and other consisted of are a lot easier to break down and you get into these larger identifiable particles on the official invested and so you we set up and see she relate which is the project looking at Microsoft sticks in fish and and it's a multi-day workshops which um in which participants are invited to work with us to use on household products that can be like dying you have or um drinking which is has a hydroxide in it at to digest the fish guts and filtering extracted and am and then analyze the different sizes and and try to use uh a column density Colin to you identify what kind of plastics days might be and and fundamental to this approach is that we we do all of the DIY science we cannot compare it to using and the chemicals that you need to get from the lab and and then we talk about the topic as a whole in the conversation cultural aspects of it and then at the end of the workshops we can design with the participants a popup exhibition it's open to the public and and on the documentation you see here is from a I worship that we did in Norway a conference in collaboration with pixel festival and HTS and and we use locally sourced Norwegian fresh and and perhaps not surprisingly that rather sadly we found them quite a lot of uh as Microsoft sticks in the fish guts but then you know they should do what you need to recently that's not a solar surprise because it's in all our troubles her anyway say and to drinking out of maybe maybe not I might say that this approach this bringing DIO II and chemistry together with other disciplinary approaches and then adding creation is something I've been using also for another project to I want to tell you about which is on the other project mentioned in the abstract of this talk which is vital flies vital slave is a a kind of a 2 projects and and the topic of vital flavor is phage and our relationship to cities and now all of the projects I'm talking about here due in fact relate to you on to climate change and the environment you may not think the feedstuff does but it really does because book because 3 have that must carbon and footprints the provisions having with the carbon footprint and it's an an enormous factor in social inequalities on and health the current this is the main reason why I wanted to focus on the that it's the most easy to understand an example of this diffuse boundary between ourselves and the outside world that there is because whenever we eat we take the outside world inside of self and then you can fill in the other and say not fight or flight and vital it is the process so it's a dot we used and and flows are my 18 and artistic interpretations from partaking in those processes and so I'm going to talk about
vital 1st and there's some growing documentation on that vital the dog and about the different processes and the different tools that I'm developing with vital and so if you're interested like that some of the stuff is going to be talking about it is up there and it's going to be you know updated more as as time goes on and on and there yet so here I have been iterating on these processes through a using them in collaboration with a community and the communities say I turned this project into an undergraduate course at University College London for the arts and sciences bachelor's and and
it's we run the 1st guy was there last year and I'm running again next month and with a whole new intake and so what we did is used not just DIY chemistry vote on but also the other techniques i form the and foraging and even foraging and co-creation and and mindful esthetic eating and cultural exchange and K. creation devices already to explore our relationship to feed and so on so the DIY chemistry part I should say is and is not looking for nasty things in the like that I decided with vital flies that I wanted to celebrate I wanted to celebrate our relationship with the aid of because there's a lot of scaremongering and maybe it's time for something happy you know like it's funny I was thinking the other day and I think it turned into a bit of a the because I was thinking in their Weiss life we just left each of them all will not be light the yeah outside that's my an approach for this should say this like what if we just celebrated the nice things about certain kind of enriched ourselves that way so why making out with the with the DIY chemistry 58 is an micronutrients things that are important for our health the the on posted on the back of the and from the back of a predicate unit so and I developed to you protocols that work on fairly well for extracting micronutrients and I used uh we use the DIY spectrometer to characterize books we get out so we're looking at lycopene and agreed to from tomatoes and grapes respectively and and it's just a star right there on you can see a linked off of uh the vital phage website there's a link to that for the lab documentation and the armed development of those principles and best essentially we using engine stuff two-thirds and uh surgical Starrett to data extractions and using a DOI spectrum motility analyze their results of spectral workbench and and studies a comparison between uh laboratory spectra using the this machine in the ECO chemistry labs at versus the DRI spectrometry in like it's a good start by I think and but 1 of the key things about deleting all of these processes including you including the form theater including cultural exchange of the diaries and is that these are techniques that helped to give us a sense of agency in the world because we're generating knowledge for ourselves by doing and that's 1 of the reasons that I'm so committed to DIY and citizen science because it it really changes knowing me and the world of science that it changes the person who's doing it to you get a greater sense of agency on In doing it and I think you know they that's where this project stemmed from I wanted to find something that meets all of these wonderful things I've been experiencing 3 hackerspaces and learning about and DIY science in learning about artistic research want is made all accessible to other people who maybe hadn't come across it yet and and say your thought this setting up a sea of workshops I could do with communities which is what do in other parts of my work the might be a good way of starting to make that sort of accessible on and so so here we run the workshops on 7 workshops with the young people and you can see on the top right we're out foraging in Bakhtin Park in east London and we're working with students at and music phone call each other and the that they would great new is a tricky place because it and it's not a super well-off and its own Evan feet does that which means that you have to walk a lot further to get to a fresh free and vegetables than you do to have to get to a like a phosphate shop and and and 1 of 1 of our students actually like right at the start of and 1 of the students from all music from college said that he was able to tell just by and tasting it which chopped the fried chicken he was eating with coming from so he become like released like soup expert in identifying like the sources that the feed that was most commonly coming into his life and is at the end we
created this exhibition which ran for a few days and it was really interesting was that you know like for the 1st round of of this on projects I didn't bring in a lot of political and aspects you know even they like to me it's a highly political project but what really surfaced was I'm from the from the experiences and from the participation was this idea of accessibility and of different types of phage Syria and we did we didn't talk about me in being if it does that we have to the desert um we didn't talk as a huge amount about global supply chains that actually you know the the installation in the bottom right is all about accessibility of fees and and it covers everything from financial accessibility to culture accessibility and to physical accessibility and on the top right and that's the been on a journey and it's about the global supply chain and the financial considerations of non importing and what the impacts on the environment for that so you and you know the the the these with the relevant questions for the young people I was working with and and what was really gratifying was that it did seem to have yes rich how they were thinking about fades say when we started off on in the 1st workshop with the young people and you its on college I asked I was the most was the most important thing about stage and universally they answered it was the calorie content and calorie content is a highly well calories are highly political uh units right state the calorie was actually devised to and be considered to be representative of the amount of fuel that feed has in it and not the nutritional content not the taste just the amount of pure energy and and that's not even the energy by available it's just the energy and it was done so that the fracturing his kids work how how much fuel their work is needed to run through a day and that that's the origin of the calorie and it's not think a representative of anything is particularly useful for the person he's eating and and so what was the quite interesting was that by the end of the course the young people's attitudes to fade had changed
quite a lot and and this is 1 of my favorite quotes from 1 of the participants and I'm I have a diversity of them that I can share with you if you're interested and and I'm putting them in a forthcoming paper but at this 1 this so I think is useful I connectors my feet and experiencing it experience it using my full sentences and and it made my heart saying good to see that uh because I you know it really kind of felt like OK the there was a a new esthetic appreciation at least and that was coming into this young persons experience a siege and and that's why I was hoping for really was to as I say celebrate our relationship with people understand that better and in so doing understand what motivates our decisions at about the age and then you know we can make a better judgment on on what we want to do and when we better informed size
there ah yes right and so the tools are this is just the use of fly showing the tools you know that's k design on the on the left we've got an a dream feed my name in the middle and I see the Jane Friedman is a really interesting in looking at the dynamics between people because we had great that integrates sort of 5 or 6 people and UCL undergraduates and music students together and and we had some that tried to imagine a completely new recipes that synthesized and everybody's likes and some that are light you know we're just going to have a menu that everyone can pick what they want software in a and say that they all manage to find some sort of nice collaborative way of of creating menu and to keep everybody happy and on the bottom right that's a the UCL students think together a DIY spectrometer and and this is an example of the 1 of the protocols and fair extracting like the inference Marseille's that this is the kind the layout that I used and which is designed to be safe and informative and easy to follow and and this is online and as you know if you think of any improvements all want to use it yourself then it's up there and it's all there is to be used at some it'll Creative Commons say go ahead basically um all right yes sigh
naked ladies who knows they look of naked ladies look at the picture in the middle while I tell you about slaves and which is the other half of vital flies I'm and this is an brought the idea was an inspired to make the it's an ongoing project say that's probably going to be more coming out and after this next round of interactions and trees workshops that 1 of the things that I was really kind interested to the cat was an this supranormal satisfies nation of phage i'm leaving into the visual realm and in as you know from what I've been saying about the column the device I'm really interested in this and the privacy that we give to visual and what that means for how we understand knowledge and and you know this the the the point hashtag is I have in massive amount of that images associated here on social media and SEO II went through and found some of these 3 . images and I turned them into the top card now for those of us who you didn't live in London in the nineties and this cards are what we see these young ladies are having made to advertise themselves and in London same doctors in these are I mean and nowadays they have a lifespan of about top 30 minutes in London find books make when I 1st moved to London User they'd be that might the the whole of find books should be painted with them forever and that saved I thought it was as fun just a position t use on images of the poor and the like star the right using the same esthetic and to that rig up a whole load of fighting numbers at with appropriate ways from messages see you at to receive any telephone calls and then put them up In the intervention and in central London say I did not last February and and before you ask I haven't listened to the voice mails I'm not sure that I actually want the styles they promised myself that I wouldn't say to him and so that's that's taught causes the 1st intervention from as slaves and the 2nd I wants to watch about is essential eating talismans and and essentially thing talismans are all about this kind of flux and flavor of the boundaries of the self three-stage and I want to read to you the the pattern that actually and the that the that the placards buried beneath the Tasman the inspired by an and it's called a mistake by DH Lawrence say out warning poetry they call experience supersenses mystic when the experience is considered so an apple becomes mistake when I tasted it this summer and the the wild well 2 of us and the insistence of the sun all of which things I can surely taste in a good article there is some articles taste preponderantly of water wax and flour and some of 2 much sun breakage tweets likely given more so there has been too much and if I say I case the thing than the Apple I am called mystic which means a life the only way to means an apple is to hold it down like a cake and takes nothing this is real that if I need to natural I like to eat it with all of my senses awake hogging it down like a pig I call the feeding of corpses OK and I want to say thank you to the Simon Baruch last here is apparent friend of mine who you are and when he saw the central meeting talismans pointed me toward this pattern which I think more directly the layer eye candy sums of actually what I'm aiming for with vital flavors and say today the talismans and so that's all later talismans and yeah take them with the and keep it with the and when you eat you use it as an icon to remind yourself of this process that you're engaging in this kind of communing with the world that you're engaging in because we don't want a breathing to that in a if we thought about how the time would probably not get anything done and says
finally I want to talk to about the project that I'm working on at the moment and I'm going to keep it quite brief but this the murder the soul is the project by I began this year on my residency in the Arctic tonight traveled to battle islands in Canada and so the Canadian High Arctic and as the 1st step in this project and developing it now as part of my and finish apparently and the matches the soul is taking the approach used in the column the device but instead of trying to you on trade empathy with a non-human species it trying to create empathy with an entire ecological region which is the optic and and specifically trying to engender at feeling of dispersal and transformation and the focus is on the specimen transformation because we I want you to think about melting in a different way and I wanted to think about migrating in a different way so I the transformation between water molecules in water and ice and water molecules in the war so it is a physical 1 and the water molecules base comprise size or the sea water federal say affected by the the emergent properties of multiple was molecules being in that state and you can consider that we humans act in the same way in all cultures so I think 1 of the reasons that I started thinking about this is because I emigrated here to Germany and few years ago and I noticed that there were forces acting on me but also that my presence in the presence of other at other migrants was changing things and around me in the In the place are alleged the we need to think about what's molecules doing the same thing so you know I can specifically if you think about as a water molecule and i it's kind of 16 qi quite tightly held unit and but it's still vibrating be made into water and it's got laid formation good dancing around a lot more but it's also and if you're talking about and I in the optic in and see what's like it's also surrounded by lots of other agents that changing how it behaves to Unix tho that that stadium in some chlorine placing about all those ions a changing how it's behaving and so I wanted to think about these these transitions with our at trying to use and the the so the judgments all aspects that we normally the give it to you uh effects of climate change because I think that maybe that's quite a useful thing when we when we start to think about climate change actually and what limitations also doing things about you know I can I think it's bad the wider I think it's about I think it's but mostly because In the end it's gonna hurt human beings and irrevocably change the planet and and and I think that you know they kind of bringing ourselves back into thinking about you know like why do we care about it might be and quite interesting way forward say not very finely crafted brain thoughts coming out at you the last because it's a work in progress slaves and the aim with it is to use uh later recordings the
primates and when I was in the Arctic you create means that that will be played through a sculpture in the same way as the columns the device and a bit different and and yeah and say that's not gonna happen over the next year and then they created the this sounds that come out of so I I'm measuring rather than making the recordings of the war II and measuring the the acidity the pH in the salinity of the war something and then taking sounds from those measurements there's also an it's also a critique on the act of measurement as a way of engaging with the environment I which is something that if you've watched carefully is actually an undercurrent in life worked chemistry chasing the other projects to it and so it's exploring that active measurements as well sonically and and the sounds come out of we the yeah pH meters and conductivity me to the facts and which were initially hacked with the help of Simon Schaffer from Monday shop in Berlin and and I'm gonna play here
and quite quick video that gives you an
idea from the raw silence so the the unedited sounds all yeah I know
every day which I have it in
the in the in in in the thank you thank you thank you thank you and I am without a make a symphony of that some of and write and save it without further ado the plan is me pretty much done and I'd like to answer questions
that got time and that I just want to say before we get to that thank you to all of these people here listed on here without them I wouldn't b here in front of you having had the opportunity to tell you about this work which I hope you find interesting and thank you very much for sticking with me and listening the happens to the left has hand this work this is if you have any of the there's the question in the IIsi may that that and if you want to ask questions they're microphones here and there that just come to them so the question from the internet is related to the beginning after talking from the part of other quarrelsome just read the question some my understanding sentence is a prerequisite for empathy accurately showing compassion for an entity's seems to require a subjective evaluative awareness on the part of the being we empathize with which you agree and in light of that could you clarify your problems for coral sentence or in other words why does it make more sense to empathize with the quarrel them it would jeopardize group a piece of chalk what this thank you very much for the question and i in I considering that I'm not trying to emphasize with that entire ecosystem might no I don't agree that there has to be sentenced on the other hand for empathy and money starting at my starting point for empathy is to fill with and other and rather than to just feel for another and that the I don't think that sentence is a prerequisite for part OK I thank you have any questions just come to the microphone reasonable number 1 is next to you yes hi and difference forceful things look for a year and a super interesting talk when you get a chance to actually discover your work this is your friends we just the thing actually get to see each other in any way what about each other's work and so Europe um gap talking a lot about the you know essential knowledge and a you would call it that were just knowledges that we acquire through whatever sensors may be less focused on the visual sense of them actually wondering because there is an while I'm aware of its it's like the early 2 thousands that this new like branch in academia that is not the sense returns and uh you know also going against wall there's a certain like school isn't in Montreal going against like you know visual and like visual listen and and actually wondering how you relate to that I mean it's a it's a huge trade it's a hazardous Nashville that GM wondering like how you see your work I'm relating to that and maybe maybe maybe taking a stand or maybe you actually don't wanna you know be part of that any of this movement at all and I'm just curious and notice it's a very large question and but maybe you could give us like some some insight into that OK thank you for the question are in and the so you I guess yeah there's I would say the from the get go that those works the mind and using to create empathy or to try to engender empathy our experiments rather than answers so they there a full of questioning and and partially book I'm questioning is and what the relation of the different sensors house to our ability to know in different ways and the and so you you know I guess what you're referring to kind of relates to all all sorts of things from like that the primacy of vision arguments to act different uh stratifications of knowledge sharing knowledge grids and the as which also relates to consciousness but I think what I I don't have a position on it except that accepts that what I'm using as the basis for my experimentation is the work the phenomenological work on the looking embodied knowledge which is a multisensory approach so I guess I'm playing with lots of sensors and seeing based subjectively and hopefully and in collaboration objectively what's answers I can find 3 those experiments on with you live with phi told
with a that's a real focus on multisensory experience the streets and and there is evidence definitely that if you add hair up taste with other sciences visual visual or an auditory senses it changes your taste perception and that's 1 of the things that we explore in the workshops and so you and you know you on that basis I would say that I'm more in the count of an appreciating more of the senses and appreciating the defenses not in isolation any more questions take the microphone the and so I thank you for your talk there's parts of it that I mean those that want to do the part that I really resonated with me it was was on the poetry and it's interesting because with climate change were often I think many people are are intellectually able to engage the topic the big challenges often going from thinking to feeling which I looked looks like something that something that you're interested in and poetry often does that to me as does music to finance to reach different audiences you don't you want the music you work with something that's more immersive sensorial to finance a particular medium works better or is that what what some how do you choose your museum in that context thank you for the question whether the question and so so yes I think that different approaches work with different people and I don't think it's very easy to generalize what's going to work with whom and the 2 approaches that I really aiming for of these these embodied approaches and also experiential approaches and which is the workshops where we kind of explored multiple different uh modes of connecting with knowledge of generating knowledge and so I suppose uncritically 1 might call that a bit of a scattergun approach and my hope is that what I do is a small contribution to lots of creative and Creative outputs of people working back to address this problem and and then I hope that people will self-select to engage with the things that touch them nice In order to address it OK we have 1 more minute so 1 last question thank you for you to all kinds system kind is summarize what it views saying for myself promise of a OK gonna try to tell what you're doing it could also use say it's some kind of education about climate change and then I was wondering what is actually the difference between an artistic intervention and education so why is so that you use the umbrella of artistic you in this helpless questions not of fans of north-central and you have every right to raise any question that you see fit the and and and no it's interesting because I like you obviously you know 1 of the projects happens within an education to education environments right and the I would say the difference is let's the by providing a the means by which to raise questions and the Quran answers and In in not eject rather than an rather than kind of giving why would consider a classical education I'm not I'm not educating people about climate change like there's a lot of information about climate change and it all a lot clearer than winding which with as with some of my projects to try and work out how to create a more emotional engagement with their hands with others is to try and work out how um investigation funding for oneself changes the self say the your question tho and I don't have a better answer at saved maybe we can have a chat about after its instead a case fundamental apply that could then maybe I can be educating to the humidity the unleashes its primary and and it's certainly not my primary with this work either will thank you very much for your target I really would like to enjoy efficiently with wave falls into the way and let it give a world of love dependence of the house
what to watch your
reasons if the if at the time but it kind of pep at the
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Metadaten

Formale Metadaten

Titel Don't stop 'til you feel it
Untertitel Artistic interventions in climate change
Serientitel 34th Chaos Communication Congress
Autor iamkat
Lizenz CC-Namensnennung 4.0 International:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen.
DOI 10.5446/34793
Herausgeber Chaos Computer Club e.V.
Erscheinungsjahr 2017
Sprache Englisch

Inhaltliche Metadaten

Fachgebiet Informatik
Abstract This talk will report on my current research in bringing to bear multiple knowledges on problem spaces around the environment and digital culture, and in so doing questioning both the prevailing knowledge hierarchy and the institutionalisation of knowledge production. To connect with the environment, for instance, do we need to connect with how it feels? This talk draws on works exploring both the marine environment and food, using knowledge from science, art, culture, instinct and history to create happenings and instances that break out the border of "me" and "my environment" to create an empathic response linking what we traditionally consider to be inside and outside. This will be demonstrated in the context of two artistic works - The Coral Empathy Device and Vital | Flows.
Schlagwörter Science

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