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42

42cursus

biofiliaurbana

Bioprinting workshop

camera-obscura

camera_obscura

A work master about the abstract poetry of invisible data hidden in nature and brought visible through the use of cybernetics, DIY machines and bioengineered organisms. By merging electronic media and citizen science, this research and interactive installation uses bio reporters as a tool to gain understanding of a microbe’s perception of the Anthropocene.

diy_spirulina_simple_bioreactor

Compact simplified version of a Spirulina bioreactor to have at home

electrodipitihaiku

Algorithms for making random poems like Haikus

hackuarium

lada_biohacking

Guias LADA sobre la ciencia garaje y el biohacking

marimutare

musgofono

soprano_face_recognition

An algorithm that tracks your face and make you sing like a soprano

xeno-geo-bio-medialogics

Xeno-geo-bio-medialogics by Raphaëlle Mueller & Vanessa Lorenzo Within the framework of activities related to the exhibition Sèmiosphère du commun - Biotope I proposed by Utopiana Geneva at the BAC, our intervention consists in a mediatic approach to polluted sites with a common factor in dialogue between two cases studies: the alienation of ecosystems with heavy metals and potential increase of radioactivity due to the production of Aluminum, a catalyst of chemical reactions, warfare and ecocidal economic development. On one hand the invisible pollution led by mercury infiltrating since decades the soil and waters one of the most important rivers in Europe, the Rhône. On the other hand a spectacular (but still hidden) red lake of dumped bauxite waste situated in Romania. Besides, our mini-laboratory is part of our ongoing transdisciplinary research approach towards a better understanding of the materiality of the Anthropocene. Our explorations/excavations aim at the apprehension and understanding of the toxic materiality of the Anthropocene and the attempt to forge new interspecies and inter-media links. With the acceptance of the term Anthropocene, we imply that the anthropogenic action on nature is shaping a new form of aesthetic, an aesthetic of pollution and toxicity. If we consider industrial production as a violence done to Earth, we have to challenge the notion of harm and the feedback mechanisms that triggers off. In a forensic jargon, data is meant to be a trace of evidence. However, data is provided by the technospheric apparatus that governs us humans on a semiotic level. It filters out a wider range of interpretations triggering the question of what is being left out. We urge new tools and protocols to trace new evidences of harm. Moreover, the ensemble of human and nonhuman species of the alienated ecosystem can be considered at each level as a witness. By knitting cybernetic arrays with scientific processes, we extract, plot and render information from the resisting ecosystem and the set of bodies that inhabits it. Following protocols such as water and soil sampling, microbe culturing, chromatography, etc., we reach to allow biological and geological matter to interfere us and question the grounds of our notion of materiality considering media beyond the play of semiotic interpretations and modes of representation. Samples to analyse: Red mud, soil, water, moss. Performed protocols: Data gathering with Jacques Falquet, radioactivity exploration with Oliver Keller (to be confirmed), bioreporters with Sachiko Hirosue. Expected results: Set of chromatographies, local microbe cultures on petri dishes, mercury detection on water samples that will be translated into drops of black ink in the glass tank, sonification of red mud, discussions about the results.