Archiwum | zwierzęta w mieście RSS feed for this section

BERLIN WILD LIFE

12 Kwi

Speculative future of cohabitation between people and wild animals.

Berlin Wild Life presents visionary ideas that describe how we could organise cohabitation with
wild animals in the city of the future. We invite the citizens of Berlin to engage in a debate about
urban wildlife. With several interventions and installations, we create spaces for discourse in the
public domain. We influence the general perception of wildlife through these designed experiences.
Our interventions and installations are for once provoking and aim to stimulate debates about
the purpose of wild animals in cities, but they also imply –speculative – solutions.

Photo: Michael Burton

The city of Berlin evolves to a space for negotiation between people and wild animals.

Berlin is the most species-rich capital in Europe. We count about 20.000 different species at the
moment, yet, constantly, we can see new species arriving. It is Berlin’s special history on the one
side and its star-shaped settlement development on the other, that makes it easy for the animals
to migrate to the city centre. Where other capital cities show orderly designed, concreted spaces,
Berlin still allows a certain degree of »chaos« with its fallow lands and abandoned buildings.

The city becomes a hunting ground.

In most cases, we stay unaware of the wild animals. But when people notice the animals around
them, conflicts almost automatically arise. Wild city animals are regarded as annoyance or even
threat. Following a general public opinion, all »ownerless« animals must leave the city. Berlin
city council’s reaction was to employ about 30 city hunters, who can be asked to »eliminate« the
unwanted animals.

What can we do for the animals–what can they do for us?
Strona Susanna Hertrich & Michiko Nitta
tutaj i tutaj.

ANIMAL ESTATES, FRITZ HAEG

10 Kwi

The Animal Estates initiative creates dwellings for animals that have been displaced by humans. Each edition of the project is accompanied by some combination of events, workshops, exhibitions, videos, printed materials, and a temporary headquarters presenting an everexpanding urban wildlife archive. The project debuted at the 2008 Whitney Biennial, with other 2008 Animal Estate developments located in Austin, Cambridge, San Francisco, Utrecht, and Cleveland.

KATALOG wystawy w Portland.
Postawowe informacje tutaj.
Inne projekty CASCO 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.

ZOO: When Species Meet. O spojrzeniu na ‘poza-ludzkie’. Sztuka i teoria w Warszawskim Ogrodzie Zoologicznym

28 Mar

Amerykański socjolog i urbanista Mark Gottdiener powiedział, że zaczyna wizytę każdego nowego miasta od ZOO, jako odniesienia do modelu danego społeczeństwa, a także wizji jego urbanistycznej i kulturowej strategii. Ogrody zoologiczne są miejskimi oazami, heterotopicznym krajobrazem kontrastującym z resztą tkanki miejskiej, w którym natura jest taka, jaką ją sobie chcemy wyobrazić: spokojna, bezkonfliktowa, sielankowa, pasjonująca i niedostępna. Spacerując wśród dzikich zwierząt, przemierzamy strefy klimatyczne, odtworzone środowiska, kontynenty i czasy: lew sąsiaduje z antylopą, czarny łabędź z różowym flamingiem, australijski step z ptasim azylem. Taka pokojowa kohabitacja egzotycznych gatunków, utopijna jak arka Noego, w której nieomal wcielamy się w tę biblijną postać, stawia pytania o historię, sposób i znaczenie reprezentacji zwierząt. Ogrody zoologiczne powstały na skale masową w połowie XIX wieku, równolegle z pasażami handlowymi czy muzeami i wywodzą się ze zwierzyńców i kolekcji egzotycznych stworzeń przy dworach królewskich. Według dyrektywy rady wspólnoty europejskiej współczesne ogrody zoologiczne to „instytucje, gdzie zwierzęta dzikich gatunków przetrzymywane są w celach pokazywania ich publiczności przez siedem lub więcej dni w roku”.

Projekt na terenie ZOO w ramach festiwalu Warszawa w Budowie jest serią mikro-interwencji w scenerii warszawskiego ogrodu jako ruchomego obrazu kultury i samo-świadomości społeczeństwa nieustannie redefiniującego schemat ewolucyjny. Neoliberalny model kultury, którego cechą nadrzędną jest konsumpcja i rekreacja w pięknym, bezpiecznym i egzotycznym otoczeniu, jednocześnie uświadamia nam nasz ambiwalentny stosunek do zwierząt. Krytyczne spojrzenie na ogród zoologiczny jako wytwór człowieka stawia pytania o status ontologiczny i granice naszej odpowiedzialności, o potrzebę zakwestionowania dychotomicznego rozróżnienia na kulturę i naturę na rzecz analizy biokapitału i rozwoju ekologii politycznej. Funkcjonująca od kilkunastu lat dziedzina animal studies rozwija metodologię i teorię międzygatunkowego porozumienia, w której człowiek, obok zwierząt, maszyn i cyborgów jest jednym z równorzędnych elementów systemu. Seria komentarzy stworzonych przy współudziale artystów, naukowców i antropologów stawia pytania o charakter naszego spojrzenia na to co ‘poza-ludzkie’, o kulturowy, społeczny, naukowy czy performatywny klimat antropocentrycznego myślenia. Jacques Derrida napotykając wzrok własnej kotki, czy Witold Gombrowicz spotykając krowę odczuwali wyobcowanie w naturalnym środowisku, uświadamiając sobie bycie „zwierzęciem dziwnym, nawet niedozwolonym”.