.able

an image-based journal at the intersection of art, design, and sciences responding to the complexities of today’s society

different ways to discover .able explore full interactive .able articles www.able-journal.org design and print your own .able issue with the print.able tool www.able-journal.org/print follow us on social media: @ablejournal • instagram • facebook • twitter • linkedin

• vimeo

• youtube

this is a print.able issue printed from www.able-journal.org/print

You are currently viewing a bespoke and printed-ondemand issue from the .able journal online platform.

In this print.able edition, you will find print variations of interactive image-based web articles. You can visit the online articles at any time and free of charge on .able, as well as design and print your own issue.

.able visual essays take the form of one of the five original formats that have been developed for the journal. Each format offers a different user experience.

scroll.able Content moves up and down as the user scrolls. .desktop view

.mobile view

pan.able Content moves from left to right as the user scrolls. .desktop view

.mobile view

zoom.able Content appears as the user zooms in or out. .desktop view

.mobile view

story.able Content appears as a storyboard with optional captions. .desktop view

.mobile view

video.able Multi-format video content. .desktop view

.mobile view

visit www.able-journal.org to watch online articles or design your own print.able issue

publishing process .able offers a new publishing space for interdisciplinary research to both the academic community and the wider public. With its radical approach to publishing, the journal reinterprets the traditional publishing process.

A distributed platform designed to publish image-based academic articles resulting from practice-based research at the intersection of art, design, and science that deals with contemporary issues (environmental, socioeconomic, and anthropotechnical issues to name a few).

A peer-reviewed journal, .able produces academic articles in the form of visual essays that can reach a wide audience.

To submit a contribution, visit: www.able-journal.org/contribute

1. pre-contribution submission

5. production

Online submission form:

Establishment of a non-exclusive contract for the transfer of rights to enable-open access publishing. Production supported by the .able editorial team (editorial mediator, technical support, etc.).

www.able-journal.org/contribute

6. compliance

2. pre-review Pre-review by .able‘s editorial team. if negative: the board provides feedback to the main contact, clarifying its choice and/or giving advice for a new submission

Preparation and delivery of the content according to the specifications of the chosen .able layout.

if positive: a more detailed proposal is requested by e-mail

7. integration The contribution is integrated on the .able platform by the .able team with the help of the editorial mediator and/or in dialogue with the main contact for the contribution.

3. detailed proposal submission Additional elements on the contribution as well as information on the production process and the support required from able to produce the contribution.

8. validation Scientific and artistic verification.

If an issue is reported, corrections are made in dialogue with the main contact for the contribution.

4. review Dual-anonymous review. if a double negative: feedback from the reviewers is provided to the main contact

if one yes and one no: another review by an external expert is undertaken if no

if double yes: the project enters the productionprocess phase

9. publishing Range of formats: mobile / web / pdf / print-on-demand / social networks.

if yes

10. communication Each contribution will benefi t from a dedicated media release and communication.

editor-in-chief Samuel Bianchini EnsadLab – la Chaire arts & sciences École des Arts Décoratifs – Université PSL (FR)

board María Andueza Olmedo “Investigación, Arte, Universidad” Research Group Facultad de Bellas Artes, Universidad Complutense de Madrid (ES) Ulysse Baratin La Scène de recherche École normale supérieure Paris-Saclay (FR) Maurice Benayoun School of Creative Media City University of Hong Kong (HK)

Claudia Mareis Cluster of Excellence “Matters of Activity” Humboldt-Universität zu Berlin (DE)

web platform development Pauline Augé Web project manager

Angela Mengoni Iuav University of Venice (IT)

Alexandre Dechosal Interaction designer and web developer

Manuela Naveau Department of Interface Cultures University of Art and Design Linz (AT)

Bertrand Sandrez Graphic designer

Nicolas Nova Haute École d’Art et de Design – Genève (CH) Étienne Ollion CNRS – École polytechnique (FR) Kei Osawa Intermediatheque (the University Museum) University of Tokyo (JP)

Marie-Pier Boucher University of Toronto Mississauga (CA-ON)

Hercules Papaioannou MOMus – Thessaloniki Museum of Photography (GR)

Manuel Cirauqui EINA Idea EINA University School of Design and Art of Barcelona (ES-CT)

Homero Pellicer Facultad de Arquitectura, Diseño y Urbanismo Universidad de Buenos Aires (AR)

Ricardo Devesa Actar Publishers (ES-CT)

Emanuele Quinz Université Paris 8 – Vincennes-Saint Denis (FR) EnsadLab – École des Arts Décoratifs – Université PSL (FR)

Jean Dubois École des arts visuels et médiatiques Hexagram Network Université du Québec à Montréal (CA-QC) Delfina Fantini van Ditmar Royal College of Art (UK) Charles Frimpong Kwame Nkrumah University of Science and Technology (GH) Klaus Fruchtnis Fondation Daniel et Nina Carasso (FR)

Mette Ramsgaard Thomsen The Royal Danish Academy – Architecture, Design, Conservation (DK) Léa Saint Raymond Observatoire des humanités numériques École normale supérieure – Université PSL (FR) Patricia Ribault weißensee academy of art, Berlin (DE) Cluster of Excellence “Matters of Activity” Humboldt-Universität zu Berlin (DE)

Beatrice de Gelder Fundamental Research (BE) Maastricht University (NL)

Barbara Turquier La Fémis, École nationale supérieure des métiers de l’image et du son – Université PSL (FR)

María Antonia González Valerio Arte+Ciencia, School of Philosophy and Letters National Autonomous University of Mexico (MX)

Jinsang Yoo Kaywon School of Art and Design (KR)

Maria Hellström Reimer Malmö University, School of Arts and Communication (SE) Karen Holmberg Gallatin School of Individualized Study New York University (US-NY) Alice Jarry Milieux Institute Speculative Life Biolab Hexagram Network Concordia University (CA-QC) Philippe Lacour Universidade de Brasília (BR) Harlan Levey Fundamental Research (BE) Peter Lunenfeld UCLA Design Media Arts University of California, Los Angeles (US-CA) Luisa Maria Lopes Ribas Communication Design Department Faculty of Fine Arts of the University of Lisbon (PT)

Clélia Zernik Chaire Beauté(s) PSL – L’Oréal Beaux-Arts de Paris (FR) Ionat Zurr SymbioticA University of Western Australia (AU)

editorial and communications coordinator Gwenaëlle Lallemand

editorial consultant Pauline Personeni Actar Publishers (ES-CT)

multi-platform publishing advisor Lucile Haute Université de Nîmes (FR) EnsadLab – École des Arts Décoratifs – Université PSL (FR)

Maxime Foisseau Web developer Pierre Mourier Web developer

translation Monique Gross

copy editing Bronwyn Mahoney

journal conception Samuel Bianchini, Julie Blanc, Alexandre Dechosal, Lucile Haute, Quentin Juhel, Gwenaëlle Lallemand.

With the complicity of: Ewen Chardronnet, Francesca Cozzolino, Pierre-Olivier Dittmar, Karine Duperret, Manuelle Freire, Frédéric Joulian, Sophie Krier, Anthony Masure, Robin de Mourat, Oussama Mubarak, Vincent Piccolo, Annick Rivoire, Jian-Xing Too, and Nolwenn Trehondart.

acknowledgments Carlos Almena, Olaf Avenati, David Bihanic, Jean-Louis Boissier, Edith Buser, JeanMarc Chomaz, Marion Desmares, Klaus Fruchtnis, Paul Girard, Camille Herody, Nadeije Laneyrie-Dagen, Emmanuel Mahé, Anastassia Makridou-Bretonneau, MarieStéphane Maradeix, Emanuele Quinz, Julie Sauret, Emmanuel Tibloux, Sylvie Tissot, Frédéric Worms.

with the help of Anna Acevedo, Elisa Adamon, Coraline Arena, Léa Gastaldi, Marie Macquet, Joséphine Mas, Hao Ni, Hissane Temmar, Lior Toledano, Daniel Uribe.

.able is published by Actar Publishers (New York, Barcelona, www.actar.com).

Actar was founded in 1993 in Barcelona with the objective of publishing titles that are representative demonstration of the most influential practice and theory of established and emerging architects, designers and thinkers of contemporary culture.

table of contents petrification 6 Emile de Visscher & Ophélie Maurus

all embracing view

16

Arno Gisinger & Anne Bationo-Tillon

going with the flow

26

Christoforos Pappas, Daniel Kneeshaw, Gisèle Trudel, Marie-Eve Morissette, Acer saccharum, Cameras, Computers…

seeing beyond the frame(s)

34

Francesco Sebregondi & Émile Costard

1,001 handshakes

44

François-Joseph Lapointe

ozu in 2.5d

54

Ho Tzu Nyen & Clélia Zernik

a world that contains many worlds

62

Francesca Cozzolino & Kristina Solomoukha

chaitén: land of volcanoes

72

Karen Holmberg, Andres Burbano, Constanza Gomez, Pierre Puentes, Javiera Letelier, Amy Donovan, Julie Morin, Rory Walshe & Thierry Dupradou

clinique vestimentaire

80

Jeanne Vicerial & the mechatronics department of MINES ParisTech - PSL

yōkobo 88 Dominique Deuff, Gentiane Venture, Isabelle Milleville-Pennel & Ioana Ocnarescu

alchemy of color

100

Jean-Marc Chomaz & Olga Flór

holding on

108

Jean-Robert Dantou, Florence Weber & Ninon Bonzom

imprimer la lumière

120

Mette Ramsgaard Thomsen, Martin Tamke, Guro Tyse & Aurélie Mossé

solve for (x)futurisms

128

Peter Lunenfeld, Denise Gonzales Crisp & the students of UCLA DESMA 104, Spring 2021

entre deux insondables Virgine Novarina, Walid Breidi & LABOFACTORY (Jean-Marc Chomaz, Laurent Karst)

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petrification

material transmutations and speculative archaeology Emile de Visscher & Ophélie Maurus - March 23, 2023 • matter • cycle • carbon • fi ring • chemistry • pyrolysis • know-how • transmutation • ceramic • anthropocene

Petrification is a process of transformation from cellulose to rock, making it possible to imagine a ceramic artifact with a simple shape, from paper, rope, cotton, wood, or cardboard. It consists of two stages: the infusion of a silica solution into the model, followed by atmospheric pyrolysis. During this firing, carbon, and silica fuse to form silicon carbide, a rigid and abrasive ceramic, technically comparable to that of a diamond. This project — developed by Emile De Visscher in collaboration with scientists from ESPCI (Jérôme Bibette), UPMC (Florence Babonneau), Chimie ParisTech (Philippe Barboux), École des Arts Décoratifs (SACRe, Université PSL), and Humboldt Universität (Cluster Matters of Activity) — combines experimental scientific development with research through design to imagine an innovative artisanal manufacturing process.

At the heart of the project lies the question of the durability of our forms of knowledge, know-how, and heritage. Petrifaction, as a transmutation of organic matter toward the inorganic, from the vegetal to the mineral, perpetuates ephemeral forms destined to deterioration. At a time when the ecological crisis and capitalism are generating major declines in biological forms (disappearance of species and seed varieties), but also in practices (disappearance of traditional techniques), the question arises of how to keep track of our knowledge and fragile material forms. Beyond its formal technical principle, the process of petrifaction

petrification - zoom.able

is symbolic in that it invokes a series of cultural contents rooted in many civilizations and regions of the world: in Greek mythology with Medusa, among the Celts with the dolmens, but also in Japanese, Papuan, and pre-Columbian traditions. Ubiquitous in the 18th and 19th centuries, both in connection with the practice of collecting fossils and the development of techniques for petrifying bodies, this process is still very much present in many current cultural forms, such as video games, science-fiction novels, and Hollywood films. This recurrence of petrifaction in the collective imagination refers to fundamental dualities shared between the fantasy of surviving death, the curse of stability, eternal life, or fear of apocalypse. The project thus unfolds as a speculative archaeological proposal, which stabilizes endangered elements for a distant future. The collaboration with Lucile Vareilles and Ophélie Maurus sought to account for this theoretical and historical dimension within the framework of the publication .able. The iconographic element of this project refers us directly to the question of the Anthropocene because it uses firing, certainly energy consuming, to sequester carbon in a land base instead of in the atmosphere. Rather than helplessly endure the relentless accumulation of fossil wastes, plastics, and reinforced concrete, the project explores the possibilities of a collective, and therefore political decision to populate the Anthropocene layer.

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a world that contains many worlds from ethnography to interactive visual narration: an image-based investigation of Zapatista iconography Francesca Cozzolino & Kristina Solomoukha - March 23, 2023 • caracol • chiapas • ethnography • iconography • mayan culture • tangible knowledge • visual atlas • zapatista movement

This article presents image-based research on the iconographic production of the Zapatistas (Chiapas, southeastern Mexico) and the visual universes that are invoked there. Product of the collaboration between an anthropologist and an artist, this research project is composed of an interactive visual atlas made up of images from different sources, temporalities, and systems of historicity. We question how these images reflect transnational and transhistorical political cultures, and how the Zapatistas repurpose different iconographic traditions. Drawing inspiration from Aby Warburg’s Mnemosyne Atlas and his method, we have created a constellation of images based on the repetition of a motif, the caracol, which evokes for the Zapatistas the imagery of a political process that is «slow» (in opposition to the idea of capitalist progress), and also the marine snail or concha, which is found in the symbolic system of the ancient Maya. This motif, ranging from the representation of the snail to the spiral and the seashell, embodies both the Mayan past and the Zapatista ideals of the present (Gossen, 1996; Benjamin, 2000).

To determine the links between the images that make up our corpus, we have organized them into two shapes—the snail and the spiral—used in Zapatista embroideries. Then we associate other images with these representations (from Mayan archaeological sites, codices and pre-Hispanic museum collections) where these visual motifs are found, by taking into account the actors who produced them by variegating them with a color code (Ancient Maya in green; Zapatistas in blue; Zapatista supporters in purple).

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At the iconographic level, the ambition of this research is to reveal “significant associations” between different visual cultures by bringing these images together through the effects of proximity and formal or symbolic resemblance. The caracol would constitute then the “core” of this cultural continuity (Lopéz-Austin 2001: 59) that we show through the image.

On the anthropological level, one of the aims is to question the way in which a culture produces the images that constitute its visual and political identity. Another of our objectives through our approach is to visually translate the processes specific to anthropological reasoning, such as ethnological analogy (Kubler 1972, Dehouve 2020), which enables us to postulate the existence of a cultural continuity between the past and the present in a given cultural area. Thus, this image-based research aims to challenge both the semiotic and formal survival of an iconographic motif and the disjunctions that occur when a visual form acquires different meanings over time.

Playing with scales, unit comparison, and image combinations, we want to deploy knowledge that displaces the relationship of the visual to the objectivity of scientific analysis and seek the emergence of heuristic pathways through the image. Our aim is to shape an interpretative space of the image that is formed through the perspective of the reader-spectator and opens to a form of knowledge that is as much structured as aware (Laplantine 2005).

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imprimer la lumière

bacterial luminescence as a 3D-printed spiral micro-architecture Mette Ramsgaard Thomsen, Martin Tamke, Guro Tyse & Aurélie Mosse - March 23, 2023 • 3D printing • architectural materiality • architecture • bacteria • biodesign • bio-digital crafting • bioluminescence • bioprinting • design • living matter • micro-architecture • vibrio fischeri

Modern biology is in the process of reinterpreting our body. Where the body was once considered an autonomous, controlled and essentially closed organism, we are now understood as participating in an ecology of commensal, symbiotic and pathogenic microorganisms.

It is believed that we are inhabited by 10–100 trillion microbial cells (Ursell et al. 2012; Yang 2012). This radical rethinking of our body has existential consequences (Helmreich 2016). What is it to be human, how is the body functioning, and what does health and will mean in such an open interacting system? Imprimer la lumière asks: if architecture is based on a humanism—that is, an understanding of being human—how will such a new self-understanding create profound differences in how architecture is conceived, shaped, and materialized?

Sitting at the intersection of architecture and textile design practices and underpinned by a design probes approach, the project examines—from a practice-based perspective—the digital crafting of 3D-printed bioluminescent micro-architectures.

While bioluminescence is commonly used as a marker in biology and medicine, in the fields of design and architectural it has mainly been investigated as an alternative to public and domestic lighting (Estevez 2007; Chassard 2015; van Dongen 2014, Thomsen 2017).

Here we use bacterial luminescence as the means to explore the appropriation of living microorganisms as an architectural materiality, both from a critical and practical perspective.

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In terms of fabrication, the project investigates new means by which to design with the light-emitting Vibrio fischeri bacteria through advanced robot-controlled 3D-printing technologies based on the extrusion of an agar-based bespoke nutritive medium. The technological set-up, relying on a collaborative robot and methods supporting the experiments, are discussed in more depth in earlier publications (Tyse et al. 2022; Ramsgaard et al. 2022; Ramsgaard et al. 2021).

Here we share a series of material probes on selfilluminating living micro-architectures, exploring the printability of a nurturing medium for bioluminescent bacteria, and how its formal resolution—its height, thickness, and geometry—affect and control their light performance. In particular, we propose a visual comparison of 3D printed-spiral tower-based variations in time, a typological structure chosen for its ability to channel the water in which the bioluminescent bacteria thrive in.

These micro-architectures are part of a larger study exploring the relationship between the architecture of the 3D-printed nutritive medium and the bacterial propagation throughout this milieu, in other words, how the design of the ecosystem’s topology affects the light-emitting metabolism and the perception of their luminescence through time (Thomsen et al. 2021).

They also constitute a practice-based ground from which to question and reflect on how architecture can become host for an ecology of species in symbiotic coexistence.

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This contribution was published on www.able-journal.org in a pan.able format:

level-1 slowest

www.able-journal.org/imprimer-la-lumiere When the user scrolls, each image layer moves from left to right at different speeds giving an impression of depth in the page. The speed of each layer is defined by its width compared to the width of other layers: the wider the image, the faster it will move.

level-2

level-3 fastest

credits authors: Mette Ramsgaard Thomsen*, Martin Tamke*, Guro Tyse*/**, Aurélie Mosse** * Centre for Information Technology and Architecture, Royal Danish Academy, Copenhagen, Denmark ** Soft Matters research group, EnsadLab, École des Arts Décoratifs, Université PSL, Paris, France graphic designer: Arp is Arp Studio (Dimitri Charrel) editorial mediator: Aurélie Mosse supported by: Chaire Beauté.s – PSL

about the authors Aurélie Mosse (PhD) is a design-led researcher working at the intersection of textile design, architecture, and new technologies. Co-leader of the Soft Matters research group of EnsadLab at École Nationale Supérieure des Arts Décoratifs - PSL, her current research investigates how microbially induced materials can inform more resilient and poetic perspectives on inhabitation. https://softmatters.ensadlab.fr/ https://www.ensad.fr/ Mette Ramsgaard Thomsen (PhD) examines the intersections between architecture and new computational design processes, focusing on the profound changes that digital technologies instigate in the way architecture is thought, designed, and built. Founder of CITA (Centre for Information Technology and Architecture) at the Royal Danish Academy, her recent work examines new design principles for bio-design and sustainable design practice.

Martin Tamke is Associate Professor at the Centre for Information Technology and Architecture (CITA) in Copenhagen. He is a design-led researcher in the interface and implications of computational design and its materialization. Projects on new design and fabrication for wood and fiber-based materials led to projects that explore an architectural practice engaged with bespoke materials and behavior. https://adk.elsevierpure.com/en/persons/martin-tamke Guro Tyse is an architect and researcher working at the intersection of architecture, digital fabrication, and microbiology. She is currently a SACRe PhD student at the École Nationale Supérieure des Arts Décoratifs - PSL Université as part of the project ImpressioVivo funded by the French National Agency for Research (ANR).

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rights and references illustration rights and references A 3D-printed spiral micro-architecture inhabited by the bioluminescent Vibrio fischeri bacteria, in darkness. Imprimer la lumière project, 2021, CITA/Soft Matters. Photo credit: Guro Tyse. Reproduced with permission.

bibliography and references Chassard, Maëlle. 2015. “Bioentreprise Glowee bio-éclaire les villes de demain.”

Biofutur 367: 64–64.

Van Dongen, Teresa. 2014. Ambio. http://www.teresavandongen.com/Ambio Estévez, Alberto. 2007. “Genetic Barcelona Project: The genetic creation of bioluminescent plants for urban and domestic use.”

Leonardo, no. 4.

Helmreich, Stefan. 2016. “Homo Microbis.”

In Sounding the Limits of Life: Essays in the Anthropology of Biology and Beyond, 62–72.

Princeton, NJ: Princeton University.

Mosse, Aurélie. 2021. ImpressioVivo. https://softmatters.ensadlab.fr/impressiovivo/ Thomsen, Mette Ramsgaard, Martin Tamke, Aurélie Mosse, and Guro Tyse. 2021, “Designed Substrates for Living Architecture Performance—Imprimer La Lumière.”

Conference paper, CEES 2021—Construction, Energy Environment & Sustainability. Itecons, University of Coimbra, Portugal.

Thomsen, Mette Ramsgaard, Martin Tamke, Aurélie Mosse, Jakob Sieder-Semlitsch, Hanae Bradshaw, Buchwald, Emil Fabritius, and Maria Mosshammer. 2022. “Imprimer la lumière: 3D printing bioluminescence for architectural materiality.” In Proceedings of the 2021 DigitalFUTURES. CDRF 2021.

Singapore: Springer. https://doi. org/10.1007/978-981-16-5983-6_28

Roosegaarde, Daan. 2017. Glowing Nature. https://www.studioroosegaarde.net/ Ursell, Luke, Jessica Metcalf, Laura Parfey, and Rob Knight. 2012. “Defining the human microbiome.” Nutrition Reviews 70, suppl. 1: S38–44. https://doi.org/10.1111/j.17534887.2012.00493.x Yang, Joy. 2012. “The human microbiome project: extending the definition of what constitutes a human.” National Human Genome Research Institute. https://www.genome.gov/27549400/thehuman-microbiome-project-extending-thedefinition-of-what-constitutes-a-human

to cite this article Mossé, Aurélie, Guro Tyse, Martin Tamke, and Mette Ramsgaard Thomsen. 2023. “Imprimer la Lumière: Bacterial Luminescence as a 3D-Printed Spiral Micro-Architecture.” .able journal: https://able-journal.org/imprimer-la-lumiere MLA

EN

Mossé, Aurélie, Guro Tyse, Martin Tamke, and Mette Ramsgaard Thomsen. “Imprimer la Lumière: Bacterial Luminescence as a 3D-Printed Spiral Micro-Architecture.” .able journal, 2023. https://able-journal.org/imprimer-la-lumiere

ISO 690

EN

MOSSÉ, Aurélie, TYSE, Guro, TAMKE, Martin, and THOMSEN, Mette Ramsgaard. Imprimer la Lumière: Bacterial Luminescence as a 3D-Printed Spiral Micro-Architecture. .able journal [online]. 2023. Available from: https://able-journal.org/imprimer-la-lumiere

APA

EN

Mossé, A., Tyse, G., Tamke, M., & Thomsen, M. R. (2023). Imprimer la Lumière: Bacterial Luminescence as a 3D-Printed Spiral Micro-Architecture. .able journal. https://able-journal.org/imprimer-la-lumiere

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partners .able is a project initiated by the Chaire arts & sciences of the École Polytechnique, École des Arts Décoratifs – Université Paris Sciences & Lettres (PSL) and the Fondation Daniel et Nina Carasso. It has been developed by the Reflective Interaction Research Group of EnsadLab (the research laboratory of École des Arts Décoratifs), within the framework of the Chaire arts & sciences. Published by Actar Publishers, .able has been developed in partnership with the École Polytechnique (FR); École normale supérieure – PSL (FR); La Fémis – PSL (FR); Université du Québec à Montréal (UQÀM) and Concordia University within the framework of Hexagram Network (CA); the Humboldt-Universität zu Berlin within the framework of the Cluster of Excellence Matters of Activity (DE); the School of Creative Media – City University of

initiated by

academic partners

artistic and cultural partners

Hong Kong (HK); École normale supérieure Paris-Saclay – La Scène de recherche (FR); HEAD – Genève, Haute École d’art et de design (CH); the University of Toronto Mississauga (CA); IUAV University of Venice (IT); the Royal College of Art (UK); the University of Western Australia (AU); the Intermediatheque (the University Museum, the University of Tokyo) (JP); National Autonomous University of Mexico – Research and creation Group Arte+Ciencia (MX); Facultad de Arquitectura, Diseño y Urbanismo – Universidad de Buenos Aires (AR); the Royal Danish Academy – Architecture, Design, Conservation (DK); the University of California, Los Angeles, within the framework of UCLA Design Media Arts (US-CA); Facultad de Bellas Artes, Universidad Complutense de Madrid within the framework

supported by

of the Investigación, Arte, Universidad Research Group (ES); EINA University School of Design and Art of Barcelona within the framework of EINA Idea (ES-CT); Kwame Nkrumah University of Science and Technology (GH); the University of Art and Design Linz, within the framework of Interface Cultures (AT); Kaywon School of Art and Design (KR); the Faculty of Fine Arts of the University of Lisbon (PT); weißensee academy of art, Berlin (DE); New York University (US-NY); Beaux-Arts de Paris – PSL (FR); Fundamental Research (BE) & Maastricht University (NL); School of Arts and Communication, Malmö University (SE); and the Universidade de Brasília (BR).

published by