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The Future That Never Was: Alter Nature

10 Kwi

Wieści z Belgii. W Hasselt, w muzeum mody i designu trwa projekt   The Future That Never Was Alter Nature. Poniżej zamieszczam tekst wyprowadzający – niestety, nie dotarliśmy do tego miasta, dlatego pozostaje mi tylko odesłać ciekawych na stronę MODEMUSEUM:

From the 29th of January 2011 until the 5th of June 2011 the Fashion
Museum of Hasselt (MMH) shows visions of the future from the past, and
the possible future of tomorrow.

The Future That Never Was presents a ‚futuristic’ view on the magical
year 2000 from designers from the sixties and shows you a glance of new
possibilities of tomorrow.

Throughout fashion history there has always been a strong connection
between fashion and scientific, industrial innovations. Fashion
designers have always used new technologies in their designs and the
possible image of the future also springs from the new sciences and

Modern discoveries and progress are often directly reflected in their designs and collections.

In the sixties a new generation of these ‚modern’ designers rises.
Pierre Cardin, Andre Courrèges, Rudi Gernreich and Paco Rabanne amongst
others experimented with new forms and (synthetic) materials. These
designers often represent an era in which fashion does not find
inspiration in the past, but eagerly looks at the future.

The clothes that I prefer are those I invent for a life that does not
exist yet – the world of tomorrow, Cardin once said. This resulted in
dynamic new designs and styles that are still a source of inspiration
for many (young) designers today.

The impact of the industrial revolution on textiles and confection was
rather slow in comparison to the changes that were about to happen in
the next 50 years. New technological developments and innovations
promise to turn the fashion world upside down again. The evolutions in
bioscience and technology encourage the creation of new textiles,
clothing and functions, always with an eye on aesthetics. One of the
most important aspects of this ‚eco-fashion’ is that it foresees future
possibilities and applications in fashion.

Besides this, social, cultural and environmental aspects – for example
durability and honest production processes – are gaining importance. On a
long term, the fashion world will have to adapt to this.

High end fashion is finding more and more difficulties to distinguish
itself on a continuing competing market. The demands of the consumer
rise, while the budget for fashion gets smaller.

The Future That Never Was places these new possibilities next to the
vision of the future of prominent designers from the Space Age period. A
period that changed fashion forever.

Participants : Victoria & Albert Museum London(Paco Rabanne, Pierre
Cardin, Edward Mann)(UK), Museo del Traje (Paco Rabanne) (ES),
Gemeentemuseum Den Haag (Gijs Bakker, Emanuel Ungaro, Paco Rabanne,…)
(NL), Modemuseum Hasselt (André Courreges, Mary Quant, Paco Rabanne,
Pierre Cardin, Rudi Gernreich,…)(BE), Lisa Shahno (DE), Suzi Webster
(CA), Alexandra Verschueren (BE), Anke Loh (BE), LucyandBart (NL),
Wieteke Opmeer(NL), Anita Evenepoel (BE), Anna Heylen (BE),
NatureVSFuture (US), BioCouture -Suzanne Lee (UK), Olivia Ong (US),
Atalanta Weller (UK), Knowear (US), Marloes ten Bhömer (UK),
BioJewellery (UK), Christopher Raeburn (UK), Katharine Hamnett (UK),
Lanvin (FR), Thierry Mugler (FR), …

Curator & concept: Kenneth Ramaekers

Assistant Curator: Eve Demoen

Research: Lise Braekers & Romy Cockx

Scenography: Lien Wauters

Design: Brusatto

Mediapartners : TVL – ELLE België – De Standaard

Sponsors : LEVIS – Vedett – JBC – Halelujah

Alter Nature

Four exhibitions, a symposium and more on how we can and do change nature, and how this changes our view of the world.

In Alter Nature the focus is on changing nature. That humankind has an
impact on nature is beyond question: we have been consciously changing
nature since the beginning of time. This can range from the displacement
and demarcation of nature to the setup of selective cultivation
programmes; from animal species being bred into the perfect specimens
and plant types that are grown to be more productive, to roses and
carnations produced in all colours of the rainbow.

Over the last decade, developments in bioscience and technology have
given this evolution new momentum. Conjuring genetic material out of
nothing, or growing human skin in a laboratory; it may sound like
futuristic science fiction, but this is reality.

People have altered nature to fulfil all sorts of needs: nutrition,
health and protection, but also aesthetics, experiment, success, myth or
just pure curiosity. Whatever the reason or form may be, this
interference in nature has not only fundamentally shaken our views on
and the functioning of our society. Rather, the term ‚nature’ itself is
being continually challenged.

What’s more, these developments have inspired not just scientists, but
also artists, fashion and other designers. For this reason, Z33, the
Fashion Museum Hasselt, CIAP, the Flemish Institute for Biotechnology,
the University of Hasselt and the MAD faculty have joined forces to
present four different exhibitions and a symposium. 50 artists and
designers explore how we can and do change nature, and how this changes
our view of the world.

Between 21 November 2010 and 13 March 2011 you can visit Alter Nature:
We Can in Z33 and Alter Nature: Harder, Better, Faster, Stronger in the
CIAP. From 28-January 2011 another two locations will join Alter Nature:
the Hasselt Fashion Museum will be showing Alter Nature: The Future
That Never Was, and in the High Spaces of Z33 Tuur Van Balen and Revital
Cohen will display their work in Alter Nature: The Unnatural Animal.

As part of the Social Spaces initiative, students from the MAD faculty,
too, are dedicating a semester to these themes under the title Alter
Nature: My biological (r)evolution. The results will be on show in Z33
between 28 and 30 January 2011. And finally, on 18 February 2011 various
scientists, artists, policy advisers and businesspeople will come
together to tackle a range of topics in an Alter Nature symposium.


Radical Nature

9 Kwi

Radical Nature–Art and Architecture for a Changing Planet

19 Jun–18 Oct/09

The beauty and wonder of nature have provided inspiration for artists and architects for centuries. Since the 1960s, the increasingly evident degradation of the natural world and the effects of climate change have brought a new urgency to their responses. Radical Nature is the first exhibition to bring together key figures across different generations who have created utopian works and inspiring solutions for our ever-changing planet.

Radical Nature draws on ideas that have emerged out of Land Art, environmental activism, experimental architecture and utopianism. The exhibition is designed as one fantastical landscape, with each piece introducing into the gallery space a dramatic portion of nature. Work by pioneering figures such as the architectural collective Ant Farm and visionary architect Richard Buckminster Fuller, artists Joseph Beuys , Agnes Denes , Hans Haacke and Robert Smithson are shown alongside pieces by a younger generation of practitioners including Heather and Ivan Morison, R&Sie(n) , Philippe Rahm architects and Simon Starling. Radical Nature also features specially commissioned and restaged historical installations, some of which are located in the outdoor spaces around the Barbican while a satellite project by the architectural collective EXYZT is situated off site.

Radical Nature – Sustainable Architecture

Radical Nature -Dalston Mill

Radical Nature – Environmental Activism

Radical Nature – Guerrilla Gardening with Richard Reynolds

Tutaj znajdują się nagrania wykładów:

Cape Farewell: Art and Climate Change
Grounds for Gardening
Futureproofing the City
Alasdair Nicolson: The Art of Protest
Who Has the Right to Tell us What to Eat?
Guerilla Gardening

Tree Radical tutaj

Twoja poczta się ślimaczy?

9 Kwi

Give yourself some time
The moment you click ‚send’ your message travels at the speed of light to our server where it awaits collection by a real live snail. Yes, that’s right we’re not called real snail mail for nothing! When time is worth taking RSM is the service for you.

How it works
Our snails are equipped with a miniaturised electronic circuit and antenna, enabling them to be assigned messages. Your message is collected from a despatch centre at one end of their enclosure. Once associated with the tiny electronic chip on the snail’s shell your message will be carried around until the snail chances by the drop off point. Here more hardware collects your message and forwards it to its final destination.

The current average delivery time for a message is 615 days 15 hr 37 min 27 sec*
The current average transfer time for a message is 17 days 13 hr 52 min 8 sec**

RealSnailMail is currently using the 13 Agents listed below which are carrying 20mm RFID disc tags.
The previous Agents are inactive and resting in greener pastures.

* the average time from when the email was sent to when it finally arrives at its destination
** the average time from when the snail collected the email to when it forwarded the emails.

Real Snail Mail accompanies Aspiration Storm
A Real Snail Mail™ live enclosure is on show in boredomresearch’s new exhibition By this time next year accompanying the artists latest web project in Georges House Gallery, Folkestone from 5th-30th March 2011. Children from Castle Hill Community Primary School in Folkestone collected and named the snails in this enclosure and you can see the childrens drawings on the snail profile page.

Inspiring creative learning
We are using Real Snail Mail™ as a vehicle to enrich school’s curriculum. Educational workshops and lesson plans are being built around the RSM Educational kit to encourage creative interrogation of en-grained paradigms in an effort to promote innovative thinking regarding future technologies. The first pilot project launched in February 2010 at the Gloria Fuertes Infant School located in Gijón, Asturias supported by Laboral Centro de Arte y Creatión Industrial, Gíjon, Spain

Informacje na temat projektu tutaj.
Profile ślimaków tutaj.
Grupa na fb tutaj.

Gołębie po gębie!?

8 Kwi

Oto projekty, które dotyczą gołębi:
1. Gołębie ze złota, już zaistniały na tym blogu, więc podaje tylko link.
2.PigeonBlog, Beatriz da Costa:

Wcześniejsza strona projektu tutaj.

Instalacja podczas ISEA

Pigeonblog was an attempt to combine DIY electronics development with a grassroots scientific data gathering initiative, while simultaneously investigating the potentials of interspecies co-production in the pursuit of resistant action. How could animals help us in raising awareness to social injustice? Could their ability in performing tasks and activities that humans simply can’t be exploited in this manner, while maintaining a respectful relationship with the animals?

Pigeonblog was developed and implemented in the southern California region, which ranks among the top-ten most polluted regions in the country. Pigeonblog’s aim was 1) to re-invoke urgency around a topic that has serious health consequences, but lacks public action and commitment to change; 2) to broaden the notion of a citizen science while building bridges between scientific research agendas and activist oriented citizen concerns; and 3) to develop mutually positive work and play practices between situated human beings and other animals in technoscientific worlds.

When thinking of pigeons, people tend to think of the many species found in urban environments. Often referred to as “flying rats,” these birds and their impressive ability to adapt to urban landscapes isn’t always seen in a favorable light by their human co-habitants. At least by association then, PigeonBlog attempted to start a discussion about possible new forms of co-habitation in our changing urban ecologies and made visible an already existing world of human-pigeon interaction. At a time where species boundaries are being actively reconstructed on the molecular level, a re-investigation of human to non-human animal relationships is necessary.

Dokumentacja video projektu PigeonBlog znajduje się tutaj.

3. Pigeon’s Hotel – więcej informacji tutaj.

Just a few roofs away from V2 in Rotterdam is the Pigeon Loft, an alternative project to control the city’s pigeon population. Since 2003, instead of killing off the birds or capturing them, the loft offers nesting space for about 200+ birds. Any eggs produced by the birds are replaced by fake eggs. The birds are fed proper food instead of pommes frites and the place is maintained by volunteers. According to the loft’s designer/artist Stefan Gross the loft managed to reduce the population noticely in an area up to a 1 mile radius, including the popular shopping area around Rotterdam’s Binnenwegplein. The germany originated project showed superior to methodologies like killing pigeons off, which in most cases only resulted in a pigeon populaton explosion as a reaction, sometimes ending up with more birds than before.
Despite it’s success in other cities like Amsterdam and Bijenkorf.

4. Urban Eyes

najwięcej informacji znajduje się na stronie V2 tutaj.

Award winning cross-media project Urban Eyes is a networked urban space installation and critical design concept. It aims to provide an alternative view on the city, using pigeons as the messengers of camera and other imagery overlooking the main streets and back alleys as their eyes.

With the help of modern technology, Urban Eyes introduces a new agent to the layered data networks of any large scale cityplex, the living biomass and behaviour patterns of the city pigeon or rock dove (Columba livia). Born from the psychogeographic notions of Bill Drummonds map based concepts and a spoonful of sousveillance movement, Urban Eyes twists the panoptic atmosphere, asks what we know about modern security technology like RFID and connects us back to a very alive in the form of the animals, yet dead practice of shamanism in urban architectural „ruled” space.

Together with Jussi Ängeslevä, Marcus Kirsch presented the project’s origins and concept back from his MA at the Royal College of Art and the findings of his research during the V2_ residency and will give an exclusive example run of the prototype built in and with the help of V2_ Lab over the last two month as well as Urban Eyes’ future.

In a mixture of revived shamanism and panoptic view that might challenge the artificial network of CCTV cameras, the pigeon population’s unpredictable movement patterns offer a set of eyes that could offer a unique view onto unknown places. Based on the Bavarian Pigeon Corps from 1903, where homing pigeons were equipped with tiny cameras to take aerial shots from behind enemy lines, Urban Eyes uses RFID and wireless technology to turn the once able urban pigeon into a chaotic agent and messenger of visual impressions from the road you never took.

Perceived as a critical design concept and public art installation, Urban Eyes accesses the live network of pigeons to expand what you know about your own city and reclaim the exploring stage of citylife. In 2004 the project proposal of Urban Eyes won 3rd price at Fusedspace, an international competition for innovative applications for new technology in the public domain.

5. ozz

projekt Jeremijenko, o którym już wspominałam na tym blogu tym razem ozz dla gołębi.

Pigeon d’Or

2 Kwi

Pigeon d’Or

The city is a vast and incredibly complex metabolism in which the human species is the tiniest of fractions; tiny and yet intrinsically linked into an organic embroidery beyond our understanding. It is within this complex fabric that (future) biotechnologies will end up. Pigeon d’Or proposes the use of feral pigeons as a platform and interface for synthetic biology in an urban environment by attempting to make a pigeon defecate soap.
By modifying the metabolism of pigeons, synthetic biology allows us to add new functionality to what is commonly seen as “flying rats.” A special bacteria is designed and created that, when fed to pigeons, turns faeces into detergent and is as harmless to pigeons as yoghurt is to humans.
Through the pursuit of manipulating pigeon excrement and designing appropriate architectural interfaces, the project explores the ethical, political, practical and aesthetic consequences of designing biology.
Two objects are being presented in the project. The first one is a contraption that allows these pigeons to become part of your house, part of the architecture. This pigeon house is attached to your windowsill and allows you to feed the pigeons, separate and select them and direct them through different exits. It facilitates bespoke urban disinfection.
The second artefact is an interface for a parked automobile, allowing the produced soap to land on the windscreen. For this object, bacteria have been designed and created that specifically produce a biological window soap. These bacteria produce lipase and lower ph to attack the grease and dirt on the windscreen.
Pigeons and feral pigeons present themselves as the ideal platform and interface for urban biotechnologies. While seen by many as venom, one could argue they’re actually a product of biotechnology as their ancestors were designed to look pretty, deliver post, spy, tumble or race. The project draws on the rich culture around pigeon racing: from the refined pigeon-psychology to the social and economical practices.
In collaboration with James Chappell. Thanks to Pieter Baert, Jan Boelen, Rob Culverhouse, Simon Delobel, Cate Edgar, Toby Hadden, Keith Plastow, Albert Stratton, Kasper Van Rompay & Joep Verburg.

What If…?

2 Kwi

WHAT IF…insects could diagnose illness? WHAT IF…clouds were modified to snow ice cream? WHAT IF… we lived in a society where our every thought was public? These are just some of the questions asked in the current exhibition at Science Gallery which probes the space between reality and the impossible and where designers meet scientists to explore the future.

WHAT IF… has been curated by leading London based design duo Anthony Dunne and Fiona Raby and features a range of works by designers who have explored everything from using animals as life support machines, through to what happens in a society where machines can read your every emotion.

We want your comments and thoughts on the pieces on show. Each individual exhibit has its own Twitter hashtag – if you comment on this exhibition please use this hashtag.