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Motivation
During my engagement with my Master’s process exhibition in a shed in a riverine forest in Kloof, Durban, I observed the dynamic nature of my Lithic Fragment Cairn installation. It exhibited signs of life as it rustled and moved, which evoked a sense of alarm in me, albeit with a sad undertone, considering that my late husband's ashes were contained within the cairn. Curiosity compelled me to don thick gloves and investigate the source of the rustling by moving the fragments. The vibrant liveliness of the installation enthralled me, as I noticed the presence of frogs, oyster mushrooms, and scurrying beetles. I couldn't help but think that Donna Haraway, a prominent scholar in posthumanist theory, would appreciate this installation (Haraway, 2016). In contemplating how to enhance viewer engagement in this hidden world, I delved into the possibilities offered by visible, audible, and olfactory sensory fluctuations. I posed questions regarding dynamic fluctuations in sight, such as dim wandering lights, dynamic fluctuations in sound, such as groaning and rustling, dynamic fluctuations in movement, including bumping and tilting, and dynamic fluctuations in smell, which could manifest as earthy and mushroomy scents. These sensory variations, programmable into the artwork/installation, would introduce random elements rather than relying solely on my control, aligning with my post-humanist objective of decentering the human. Additionally, they would allow me to position myself within an interdisciplinary liminal space encompassing electronics, robotics, chemistry, biology, ecology, videography, and art, thus embracing the essence of STEAM education. (STEAM education is Science, Technology, Engineering, Art, Maths education.) However, I am concerned that this approach might inadvertently resemble a Halloween party installation, which prompted me to explore Julia Kristeva's concept of Abjection for guidance. For further insights on this topic, I refer to Barrett's work on Kristeva (Barrett, 2010). |
Lithic Fragments installation. 2022
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Regarding practical ideas for animating the inanimate, the focus of posthuman design on animate and inanimate entities presents intriguing possibilities. Although I encountered this concept in my previous readings, I refrained from pursuing it during my Masters due to other foci. As a starting point, I revisited Haraway's Cyborg Manifesto (Haraway, 1992) and delved into the writings of Martin Heidegger on Technology, Ecology, and the Arts, as well as exploring Lack's examination of Heidegger's ideas (Lack, 2014). In addition, I plan to consult David Cayley's work on the Nature of Science (Cayley, 2009), Bolter's article on Posthumanism (Bolter, 2016), and Borgdorff, Peters, and Pinch's Dialogues between Artistic Research and Science & Technology Studies (Borgdorff, 2020).
Further inspiration was drawn from the video seminar on Posthuman-Centered Design at Stanford (Stanford, 2015), the Posthuman.studio website (2020), and the Posthumanart website (2020/21). Moreover, I aim to explore Vone’s application of circuitry in jewelry design, as exemplified by her work on crafted evolution, which can be found in her publication available on Kindle. Additionally, Vones' utilization of Arduino circuits in her designs piques my interest, and I plan to explore light installations on Designboom as a potential follow-up avenue (Vones, n.d.)(Designboom, n.d.).
Further inspiration was drawn from the video seminar on Posthuman-Centered Design at Stanford (Stanford, 2015), the Posthuman.studio website (2020), and the Posthumanart website (2020/21). Moreover, I aim to explore Vone’s application of circuitry in jewelry design, as exemplified by her work on crafted evolution, which can be found in her publication available on Kindle. Additionally, Vones' utilization of Arduino circuits in her designs piques my interest, and I plan to explore light installations on Designboom as a potential follow-up avenue (Vones, n.d.)(Designboom, n.d.).
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Electronic Collaborators
As a general concept, motion sensors with sound and light responses are desired, along with the possibility of incorporating infrared sensors with similar or potentially different responses. The design of the circuits should allow for timed responses, preferably involving a slow dimming process followed by a reset. To accomplish this, an Arduino breadboard will be employed to facilitate the design and testing of features. Considering the initial prototype phase, it is advisable to utilize an Arduino simulator for testing purposes. Previous experience with ICT work on Tinkercad, particularly in collaboration with Grade 8 and 9 students, makes this simulator a suitable choice (Moore 2023, website). |
Arduino sound circuit
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Housing for the Electronic Components
The housing for the electronic components could hypothetically be achieved through the use of a clay infrastructure. Additional materials such as fiber weaving and rusted metal may be incorporated based on the requirements of the project. Raku clay, known for its forgiving nature and minimal need for human control, will be initially employed for this purpose. Basic coiling methods will be utilized, guided by intuition and a focus on durability, without the need for detailed drawing or planning. The development of the housing structure will occur spontaneously as the process unfolds (Moore 2023, website). Straw, fungal mycelium and electronic components will inhabit the tower. |
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Microbiological Collaborators
As an initial position, I will extend my Master’s investigation into the interaction of art and the biology of the Fungal Kingdom. Pleurotus ostreatus (illustrated here from my Master’s exhibition) is the species with which I am both comfortable and familiar, so I will see where this leads me. I am inspired by the work of Dr Gwen Miller in this field, as her photography, drawings and paintings of the fungal world were a reaction to the death of her husband; a commonality shared with me (Miller, 2021). |
Pleurotus ostreatus
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Framework and methodology
Enactivism is an emerging framework for sense-making with increasing applications across many disciplines and is therefore a useful methodology with which to work in the liminal spaces between disciplines. Enactivists reject the dualist idea that sense-making is situated in the brain or can be reduced to simulated neural processes. Instead, Enactivists argue that people are embodied and action-oriented (performative), and that sense-making emerges from relational processes distributed across the brain-body-environment (Stillwell, 2021). Barad goes further when she calls these relational processes 'performative intra-actions' in an entangled milieu (Barad, 2003). The word 'environment' encompasses - literally - the rest of the universe and can feel - in my opinion - overwhelming. I note that writers, such as Haraway (1991; 2008; 2016), Latour (1999; 2018; 2021), Morton (2011), Stillwell (2021) and Braidotti (2018), situate themselves in carefully examined positions while making their contributions in the disciplines of - for example - ecology, medicine, literature, psychology and geo-politics.
“The inevitable limitations of any overview of the field can be turned to advantage if the specific frames and scholarly contexts on which the respective collection is based are explicitly acknowledged.” (Zapf, 2016)
However this enviro-embodied methodology (referred to here as Enactivism) easily allows movement across disciplines to show their 'intra-connectivity'.
This framework is situated within the Practice-led Research domain, about which much can be written. Briefly, I propose that my practical artworks and experimental processes (praxis) suggest and inform relevant theoretical research writing (exegesis), as is typical of PLR. As I research and review the relevant literature, missing areas will emerge and suggest further practical work for me. This is a feedback loop typical of PLR which will generate a third creative liminal space for me (Pickering 2012:1)(Barrett & Bolt 2007: 2610/4512).
Enactivism is an emerging framework for sense-making with increasing applications across many disciplines and is therefore a useful methodology with which to work in the liminal spaces between disciplines. Enactivists reject the dualist idea that sense-making is situated in the brain or can be reduced to simulated neural processes. Instead, Enactivists argue that people are embodied and action-oriented (performative), and that sense-making emerges from relational processes distributed across the brain-body-environment (Stillwell, 2021). Barad goes further when she calls these relational processes 'performative intra-actions' in an entangled milieu (Barad, 2003). The word 'environment' encompasses - literally - the rest of the universe and can feel - in my opinion - overwhelming. I note that writers, such as Haraway (1991; 2008; 2016), Latour (1999; 2018; 2021), Morton (2011), Stillwell (2021) and Braidotti (2018), situate themselves in carefully examined positions while making their contributions in the disciplines of - for example - ecology, medicine, literature, psychology and geo-politics.
“The inevitable limitations of any overview of the field can be turned to advantage if the specific frames and scholarly contexts on which the respective collection is based are explicitly acknowledged.” (Zapf, 2016)
However this enviro-embodied methodology (referred to here as Enactivism) easily allows movement across disciplines to show their 'intra-connectivity'.
This framework is situated within the Practice-led Research domain, about which much can be written. Briefly, I propose that my practical artworks and experimental processes (praxis) suggest and inform relevant theoretical research writing (exegesis), as is typical of PLR. As I research and review the relevant literature, missing areas will emerge and suggest further practical work for me. This is a feedback loop typical of PLR which will generate a third creative liminal space for me (Pickering 2012:1)(Barrett & Bolt 2007: 2610/4512).
Reflection
Based on Barbara Bolt's webinar on PLR titled "Mapping the Movement", which I attended in 2022, I created a 'cartographic' reflection on my proposed work (Bolt, 2022). This reflection explores the potential revelations that may arise from engaging with the work under discussion.
It is suggested that such work has the capacity to simulate hidden lives, encompassing both animate and inanimate entities, in order to heighten awareness of these concealed existences and our intra-connectedness with them (Haraway, 2016).
Regarding the impact on artistic practice, the exact nature of the transformation is currently unclear to me. I propose that the steep learning curve involved would generate a sense of mental rejuvenation for me, shedding off accumulated mental ‘rust’. This experience will represent uncharted territory for me promising an unprecedented shift in my creative endeavors. In addition, the potential influence of this work on material practice and discourse within the fields of design, art, and theory criticism is considered. As I concurrently explore these domains, I acknowledge the entangled nature of my work on these fronts. My journal maintenance will document the movement between these areas, suggesting a reciprocity of ideas and insights (neithmoore.com).
I also reflect on the potential impact of this work on other disciplines, such as psychology and electronics. To gain a comprehensive understanding, I emphasize the importance of maintaining active engagement with peers and lecturers, suggesting participation in professional learning networks (PLNs) and seeking input from relevant online forums.
Considering the effect on the audience, the precise implications are currently unknown and can only be speculated upon. The concept of 'abjection' (Kristeva) is a potentially provocative and discomforting factor, while an alternative outcome, inspired by Woodward, could engender positive and comforting responses. The final impact will only be discernible once the work is ready for installation, perhaps outdoors instead of in a gallery.
Furthermore, the potential for this body of work to reshape our understanding of the world we inhabit can be highlighted. Influenced by the ideas put forth by Latour (2018) and Haraway (2016), I reflect on the concept of living in a 'post-Anthropocene' era, emphasizing the necessity for adaptation and a fundamentally different approach to existence and mortality. Haraway, from a ecological and biological point of view (PoV) asserts that ‘critters’ and people coexist and evolve through ongoing practices, with intertwined pasts shaping their present and future trajectories (Haraway, 2016).
The question of how one can ascertain these transformations and understandings would be raised, with a somewhat scientific tone noted. This could imply the concept of scientific ‘proof’. The notion of 'spatial fabulation' is introduced, drawing from Haraway's book "Staying with the Trouble," wherein she discusses the recurring theme of SF (in her case - Speculative Fabulation). I seek to convey alternate narratives through my work, creating life-size installations that immerse viewers, thereby evoking a sense of strangeness and fascination (Haraway, 2016).
To support the concept of spatial fabulation, I combine Haraway's idea with my experiments in electronics and robotics. I propose the construction of 'spatial fabulations' as a framework to encompass my work. These spatial fabulations would manifest as animated narratives existing within physical three-dimensional spaces. The term ‘spatial fabulation’ is acknowledged to have resonance in the field of architecture as well (Mayrhofer-Hufnagl, 2017). Mayrhofer-Hufnagl (2017) suggests that architectural spatial fabulations can exist in virtual reality as an alternative visualization method to traditional drawing. They are also present in film and stop-frame animation. However, I note that these existing examples predominantly represent two-dimensional virtual realities, prompting a deeper discussion on the nature of representation through photography, film, and virtual reality. Notably, when experienced with a headset, virtual exhibitions can potentially transform into immersive virtual realities, as is seen in my Master’s Exhibition.
I also recall Mary Sibande's recent exhibition at the Durban Art Gallery, where I conducted a walkabout on AfroFuturism. However, I could now reconsider Sibande's installations and photographs through the lens of 'spatial fabulation' rather than solely within the context of AfroFuturism.
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An example - a proposed sound installation - 'Requiem'
I have been closely observing the artistic work of an artist - Yuta Ikeya, particularly his project titled 'Metamorphonic.' This body of work resonates with my own conceptual framework, creative processes, and interconnected existence. In 'Metamorphonic,' the sounds are produced through the movement of silk moths on capacitive paint, specifically copper paint, which conducts electronic signals. Although the substrate appears to be generated through 3D printing, no explicit information is provided regarding its fabrication method (Ikeya, 2022). The project incorporates three distinct habitats designed to correspond to different stages of the life cycle of the Bombyx mori, commonly known as the domestic silk moth. These habitats are equipped with capacitive sensors powered by the Touch Board developed by Bare Conductive. By touching the 21 electrodes associated with various musical notes, the silk moths create an ambient soundscape. This soundscape has proven conducive for activities such as studying, working, and relaxation (Ikeya, 2022). |
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Research on other artists working in this field has been compiled, and the following links provide additional examples:
Mateusz Krol - Potato interactive installation on Vimeo
Ruth Kelly - Coral Reef on Vimeo
Tomek Gancarczyk - Something is growling under the hood on Vimeo
Taehee Kim's installation portfolio website
Chiharu Shiota installation: Who am I tomorrow?
The second movement of Max Bruch's Violin Concerto contains a collection of deeply poignant notes that personally resonate with me and were cherished by Trevor - my late partner. To incorporate these notes into the project, I propose transcribing them into MIDI format using an online converter. (MIDI format - Musical Instrument Digital Interface)
The resulting MIDI file can be used to program a random selection of tones from the collection. Considering the potential fragility of - for example - a graphite drawing when subjected to constant dripping, an alternative triggering approach involves stroking the drawing instead of directly dripping water onto it. Consequently, two different directions emerge: one involving a stroked graphite mycelium drawing and the other involving a twisted copper linear "drawing" in a spatial context, capable of withstanding water. In addition, a dried mycelium network could be touched. (See image from my Master’s Exhibition.) It is worth noting that copper inhibits mycelia as a fungicide, so shouldn’t be considered together.
In June 2023, I attended an exhibition hosted by the Dutch Embassy by the artist Stef Veldhuis which also used sound. This exhibition was based on his original Waddenorgel installation off the coast of the Netherlands.
“The Waddenorgel, or Organ of the Wadden Sea, is a sound installation consisting of sixteen organ pipes that react to the gap width and heartbeat of a single mussel lying in the Wadden Sea. Created in collaboration with the Waddenacademie and the Oerol festival, the Waddenorgel offers new practices of listening in order to get a deeper understanding of the mussel as a vital part of the oceans’ ecosystem." (Veldhuis, 2021/22)
His team installed the exhibition in a mussel bed off the uChaka Aquarium in Durban. Unfortunately the SA Customs refused to release the 16 organ pipes and Veldhuis had to borrow 4 from an organ tuner in Durban so the effect was much reduced, but still evocative. I was more interested in speaking to his electronic technician who is also an artist....Jelle Reith (contact@jelle.nl). I will be following up with him.
The Waddenorgel is created in close colaboration with Jelle Reith, Katja Phillippart, and the Waddenacademie.
Mateusz Krol - Potato interactive installation on Vimeo
Ruth Kelly - Coral Reef on Vimeo
Tomek Gancarczyk - Something is growling under the hood on Vimeo
Taehee Kim's installation portfolio website
Chiharu Shiota installation: Who am I tomorrow?
The second movement of Max Bruch's Violin Concerto contains a collection of deeply poignant notes that personally resonate with me and were cherished by Trevor - my late partner. To incorporate these notes into the project, I propose transcribing them into MIDI format using an online converter. (MIDI format - Musical Instrument Digital Interface)
The resulting MIDI file can be used to program a random selection of tones from the collection. Considering the potential fragility of - for example - a graphite drawing when subjected to constant dripping, an alternative triggering approach involves stroking the drawing instead of directly dripping water onto it. Consequently, two different directions emerge: one involving a stroked graphite mycelium drawing and the other involving a twisted copper linear "drawing" in a spatial context, capable of withstanding water. In addition, a dried mycelium network could be touched. (See image from my Master’s Exhibition.) It is worth noting that copper inhibits mycelia as a fungicide, so shouldn’t be considered together.
In June 2023, I attended an exhibition hosted by the Dutch Embassy by the artist Stef Veldhuis which also used sound. This exhibition was based on his original Waddenorgel installation off the coast of the Netherlands.
“The Waddenorgel, or Organ of the Wadden Sea, is a sound installation consisting of sixteen organ pipes that react to the gap width and heartbeat of a single mussel lying in the Wadden Sea. Created in collaboration with the Waddenacademie and the Oerol festival, the Waddenorgel offers new practices of listening in order to get a deeper understanding of the mussel as a vital part of the oceans’ ecosystem." (Veldhuis, 2021/22)
His team installed the exhibition in a mussel bed off the uChaka Aquarium in Durban. Unfortunately the SA Customs refused to release the 16 organ pipes and Veldhuis had to borrow 4 from an organ tuner in Durban so the effect was much reduced, but still evocative. I was more interested in speaking to his electronic technician who is also an artist....Jelle Reith (contact@jelle.nl). I will be following up with him.
The Waddenorgel is created in close colaboration with Jelle Reith, Katja Phillippart, and the Waddenacademie.
Keywords
Posthumanism; Post-anthropocene; Decentering the human; Abjection; Electronics; Microbiology; Fungi; Enactivism; Practice-led Research; Speculative fabulations; Spatial fabulations;
Posthumanism; Post-anthropocene; Decentering the human; Abjection; Electronics; Microbiology; Fungi; Enactivism; Practice-led Research; Speculative fabulations; Spatial fabulations;
Initial draft of a bibliography available as an interactive LINK.
