TANGLES¶
Framed under my ongoing research around the domestic, gathering and collective rest, i look into rituals that fabulate in opposition to the commodification, domestication and exploitation of all,- both organic and inorganic beings and matter,- as labor forces under the current extractivist paradigm. Currently i’m deepening my research into the absent, questioning the boundaries between organic and inorganic life. I’m interested in processes of deep time, unreachable to our human sight, into unperceptible mechanism that create movement and vibrations escaping our awareness. I look into nature’s simbiosis relational modes: comensalism, parasitism and mutualism, to develop methodologies that involve collective creation (sympoiesis). Rooting these process in an life-long curiosity of mine, the senses, i want to connect movement, bodies, touch and sound, starting to experiment with sonification = the use of non-speech audio to convey information or perceptualize data to explore water and soil resonances, into 3D bioprinting. The material to print would be resoulting a local research on rural and domestic waste and turn it into resource as substrate.
5 Ws who, what, when, where, why¶
who¶
Organic and inorganic waste from household and the BDC lab. 3D fluid printer Grasshopper + Rhinoceros Streets and parks near by my house Soil
what¶
IMMERSIVE, PARTICIPATORY, SENSORIAL, REGENERATIVE SCULPTURE/S,, HOME FOR MORE~THAN~HUMAN BEINGS Develop a co-relation system for parametric design of biocomposite/mycelium sculptures with a system of sensors for translating soil measurements into sound output. Sculpture made on biocomposite / bagasse for mycelium with a sensor system that translate soil measurements into sound. I wonder about what shape should be the base for this sculpture, even defined by soil measurement parameters, i'm looking into different animal shelters for defining it, such as insect and bird houses.
how¶
CREATION: development of a co-relation system for parametric design on Grasshopper of the sculpture. With relational connexions between shape and soil measurments from specific locations around my house in Bilbao, these locations are in either partks or green areas in the street. With a tool for measuring the soil i'm obtaining data for 5 parameters, from the SOIL, its fertility, moisture, pH, and temperature; and the sun light and humidity of the ENVIRONMENT.
MATERIAL FABRICATION: 3D biocomposite / bagasse printing for mycelium, turning household / workshop residue into resource for growth. This sculpture/s becomes HOMES FOR MORE~THAN~HUMAN BEINGS to be placed back at the measurement location.
SENSORIALITY: This/ese sculpture/s becomes sensorial again by being added an electronical system for translation of the soil measurements into sound, with different sensors and other electronic equipment like small speakers. The activation happens by a movement sensor. Am interested in making invisible processes like movement, humidity, and hidden exchanges into tangible sensory outputs, such as forms and sound.
when¶
The sculpture should become part of the landscape of that street, park or hike path.
where¶
Soil measurments are taken from specific locations around my house in Bilbao, these locations are in either partks, green areas in the street, or hike paths in the city's surroundings.
why¶
WASTE into RESOURCE: repurpose rural and household waste into resources for zero-wate homes. CO- HABITATION: foster other-than-human life, that suffers extremely from extractivism, intent for biodiversity in near context
References¶
The Singing Compost has involved the creation of a functioning system that not only generates healthy, nutritious compost from garden waste, but also makes visible and audible the bacterial activity and metabolic processes of soil in all its liveliness, transmitting clicking noises that have become part of the surrounding sonic landscape. The Singing Compost can be understood as a prototype for a sensorial, educational and ecologically regenerative artwork, that invites connection and relation with the living ecosystems that we all are part of and depend upon.
Dafne Phono , Nour Mobarak
A reinterpretation of the first-ever opera, “Dafne,” based on Ovid’s story of Daphne and Apollo, the installation involves 15 sculptures—encasing a multichannel sound installation within mycelium structures—recount the tale in some of the world’s most phonetically complex languages.
Design for Collaborative Survival: An Inquiry into Human-Fungi Relationships
Saša Spačal Postmedia artist, merges living systems research with contemporary art, emphasising the interconnectedness of the environment-culture continuum within planetary metabolisms. Her artistic endeavours include developing caring biotechnological methodologies and interfaces that engage with both organic and mineral soil agents. In parallel, she explores the fragility of posthuman scenarios, intricately weaving mechanical, digital, and organic logics within the realms of contemporary biopolitics and necropolitics.
Anti-Futurismo Cimarrón, Óscar Martín and Katia Sepúlveda
The Invisible Forest by Studio Antoine Bertin
Mycelium dough workshop by Sasha Fishman and Lera Niemack
Utopies entomologique by Raphael Emine
Papers¶
Design for Collaborative Survival: An Inquiry into Human-Fungi Relationships
Sounds of Soil: A New World of Interactions under Our Feet?
THE LIVING ROOM: NEW EXPRESSIONS OF BIOHYBRID TEXTILE ARCHITECTURE
Prototype¶
