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“HABITAT� by Marta Molina Gomez A thesis submitted to the faculty of Parsons The New School for Design, in partial fulfillment of the requirements for the degree of Master of Fine Arts in Design and Technology
Faculty: Anthony Deen and Andrew Zornoza, Thesis Studio, Spring 2014, Katherine Moriwaki and Andrew Zornoza, Thesis Studio, Fall 2015 Advisor: Paul Nicholson
Thesis production website: https://martamfadtthesis.wordpress.com
Copyright 2015 Marta Molina Gomez All Rights Reserved
Index Abstract
8-9
Concept Statement
10 - 13
Impetus
14 - 17
Initial Research
18 - 23
Prototypes & Workshop
24 - 31
Further Research
32 - 37
Prototyping HABITAT
38 - 45
Final Research
46 - 47
HABITAT
48 - 57
Bibliography
58 - 61
habitat is a series of landscapes, composed of 3D printed skeletons covered with the biomaterial agar. The landscapes create a collaboration between simple living organisms and their synthetic environments. The result of this manifests itself in different types of interactions as the organisms react to the challenges that the landscapes present. Slime mold or Physarum polycephalum is the main habitant of these landscapes. It’s a single cell organism that behaves as a community. Slime mould is extremely smart and is great at solving mazes, one of the many interactions that can be seen in HABITAT. It’s amazing how nature always finds a way to show its beauty and power.
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Jonas Edvard - MYX, Mycelium Textile Project
Concept Statement As if by magic the form sprouts up, following the light. The form begins to unfold and I find myself mesmerized by its movement, by its dynamic, organic and, in a way, feminine curves. After a few more seconds the form freezes, is the form still alive? After all, like the historian Henri Focillon said “… forms are alive in that they are never immobile…”. Nevertheless I wanted to find that out for myself. In my discoveries I encountered BioArt, an area that holds questions that I’ve asked myself in the past. In particular, I have a big interest in biomaterials and how technology has been influencing biology for so long, giving us new and almost unbelievable possibilities that we don’t ever consider in our every day life. I happened to share these thoughts with others. Artists are taking advantage of biotechnology and synthetic biology to create. Jonas Edvard created MYX (Mycelium textile project) using plant fiber and mushroom-mycelium, to build amazing lamp structures. An other example is Suzanne Lee that made
biocouture pieces using scoby, a cellulose
Currently, we don’t a have a method that
material produced by bacteria in Kombucha. I
allow us to shape this material in the way we
couldn’t help but wonder, how can I use tech-
desire, I found the material and needed to
nology in a better way to incorporate bioma-
give it the perfect form.
terials in my work as a designer? I started working with a simple syringe, adding What material could be better than any of the
drop after drop to create the tallest form I
ones mentioned before? When I discovered
could. This experimentation formed beautiful,
agar I knew that no other material could share
organic castles, but I needed more control of
such amazing properties. A vegetal gelatin,
the material. The goal of this exploration was
much stronger than the one we are familiar
not only to find a better way of using agar, but
with, melting at 84 celsius degrees, solidifying
as well, create a method for myself that will
at room temperature, giving us a good frame-
allow me to give this material the purpose I
work to manipulate it, and being the main
believe it should have.
medium to grow any living organism in, which I believe is the most powerful quality any
What moved me to create this project in the
material could have.
beginning was the living quality of forms. A living form moves, changes over time and
Recently many industries have tried to shape
never stops. We love playing with life, some-
agar. It has had a big impact in molecular
thing in the human condition makes this idea
gastronomy where it’s used to turn liquids into
irresistible and I’m not different. What other
solids. Also in design projects like “Noisy Jel-
way of keeping a form alive than bonding the
ly” by Marianne Cauvard and Raphaël Pluvin-
form to a living organism?
age, where they created a toy for children to explore new materials, color and sound. The
l built artificial landscapes for living organisms,
most influential project for me has been the
in order to create a collaboration between
Agartecture workshop for designers that took
these living creatures and their artificial envi-
place at Cynetart Festival, Dresden, Germa-
ronments. This is the ultimate purpose of my
ny last year, where designers were invited to
experimentation, a collaboration that will man-
create structures for bacteria. Analyzing these
ifest through different interactions produced
projects I realized that they used molds to
by the organisms activities as they react to the
give form to the material.
challenges that HABITAT presents.
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Impetus All my life, I’ve been surrounded by art in multiple forms. It wasn’t until my last year of high school when I decided to apply to art school instead of biology, which I had spent four years pursuing. In my individual exploration of art, I got lost in the abstract forms that provided me a great space for creativity, as well as constraints. I felt an urge to explore new possibilities, I traveled and learnt about other cultures. Through exchange programs to the US, I found the power of design. I enjoyed the feeling of controlling what I wanted to make, following a plan, looking for a solution, it drove me away from spontaneity and at the same time, helped me decide my future. I found myself divided into two worlds that interlace. I was running away from art to pursue perfection and control, only to discover that it is the free way of thinking of my other half, what makes my design so personal. After graduating from college I had a very important decision to make. I wanted to learn something new, something different. That is
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how I got myself into the Design and Technol-
After forcing myself to run away from the
ogy program at Parsons, The New School of
things I loved, I found out that I wanted to
Design, an opportunity that taught me what I
combine them together to create bio art
really wanted to do. I am not happy just con-
and bio-designer pieces, but why this topic?
templating the things happening around me,
Biology was going to be my future, and now
I feel the need to participate in what I see.
I have the possibility to combine both worlds
Some people feel comfortable stating their
into one.
opinions, I feel comfortable expressing myself through my art and design.
Art and science have always interacted with each other in an indirect and subtle way.
All my work follows the same structure. My
A clear example of this connection are the
pieces grow from a process of exploration, a
pioneering investigations of the microscopic
process that concentrates on finding new uses
structure of the brain by Santiago Ramon y
for very interesting and unique materials. The
Cajal, considered the father of neuroscience.
physical things around us it’s what calls my
His very detailed and beautiful drawings of
attention, their textures, their finishes, their
brain cells are crucial in understanding the
different properties, how the world around
interaction of art and science.
them can modify their behavior. Since then, technology has evolved at an In my process, I always try to be organized,
incredible speed, making unimaginable things
thinking on the next step by designing pro-
possible, things that will change the world as
tocols. Somewhere along that line my project
we know it today. I believe biotechnology and
shifts from a design problem, to an art piece.
biomaterials are the future and I want to be
Which is the right term to define my work?
part of this future.
Does it has to be only one thing? I think that two is better than one. Learning about art and design has helped me to be more versatile, to combine more than one discipline in my work, as well as other ways of thinking and applying different processes and methods.
Before HABITAT, slime mold spores
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Ernst Haeckel - Art froms in Nature, 1974
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Ramon y Cajal - Neuron illustration, 1911
Initial Research Santiago knew what he wanted to be, he wanted to be an artist. He couldn’t resist scribbling on paper, or drawing ornaments in books; but his father didn’t approve this behavior, he considered art a frivolous entertainment and a sin. His father’s view drove Santiago Ramon y Cajal towards medicine. Considered the father of neuroscience, Ramon y Cajal (1852 - 1934) also mastered gymnastics, chess, philosophy, hypnotism and became one of the first Spanish photographers to use color photography. His artistic leanings even extended to fiction writing. He found his own artistic conventions and ways of representing the world, claiming that all scientist needed to understand art to be able to talk about their work. His representation of neurons are incredibly beautiful and meticulous, his distinct style is represented by very thin lines, combining soft and long curves with very short and wiggly ones to create different textures. He plays with thickness and overlapping techniques to achieve different patterns, and it seams
impossible that an image so simple can rep-
game simply by taking sides“3, said Bronows-
resent a very complex element with perfect
ki worried about the importance of science
accuracy. What is so fascinating about Ramon
in society, he thought that someday science
y Cajal is that his discoveries became contribu-
could carry the responsibility of making
tions for both worlds, he showed us how multi
decisions of our future, since the world now
disciplines provide a better understating of
and then, is powered by science. Throughout
any subject.
history, science and art were connected in
“Art interacts with science more indirectly and subtly”1
many different forms, often this relationship took the form of a visual support to scientific investigations.
Like Ramon y Cajal studies, numerous sci-
Following the line of Ramon y Cajal, Robert
entific discoveries were possible because of
Hooke (1635 - 1703) included detailed images
art. As David Edwards addresses in his book
of his first microscope as well as the first ever
“Artscience”, aesthetic and scientific methods
visual representation of microscopic images
need from one another more than we realize.
with minute detail. What is most striking to me
“Aesthetic proposes require understanding
is how his illustrations pop out of the paper
of science methods likewise scientific aims
tricking your eye into thinking that are real.
require application or understanding of aesthetic ones. Being able to simplify nature to
It is essential to mention Anna Atkins
its essence, that is what we call artscience” 2.
(1799 - 1871) and her publication “Photo-
Like Edwards implies in this quote, I always
graphs of British Algae” produced between
find myself divided between two worlds, rea-
1843 and 1853, since it is the very first book
son and emotion. It is fundamental for me to
to include photographic images. Considered
understand both worlds on their own, as well
a botany book to serve as an inventory of
as where their relationship started and how it
algae species, it is in fact a piece of art. Every
evolved to be so interconnected today, which
single page is a beautifully composed cyano-
is the main purpose of this research.
type that captures the subtle transparencies in each algae leaf. This is a very important step
“We live in a world which is penetrated
in which new technologies changed the way
through and through by science and which is
art and science related, providing more room
both whole and real. We cannot turn it into a
for creativity.
1. David Edwards, Artscience (Harvard University Press 2009), 1-8 2. David Edwards, Artscience (Harvard University Press 2009), 6 3. J.Bronowski, Science and Human Values (Julian Messner, INC New York,1956), 12
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“What is the insight which the scientist tried to see into nature? Can it indeed be called either imaginative or creative?” 4
everywhere, in it’s most pure and vibrant form,
Today we find integration of science and tech-
where it serves an specific purpose, very often
nology in our world and we don’t realize how
related to survival.
it’s changing cultural expression as fast as it’s changing our lives. We don’t think about how
When it comes to artists referencing science in
the musician and the computer scientist, or
their work Kepler is a good example. He want-
the visual artist and the biologist come to use
ed to relate the speed of the planets to the
the same language.
When I came across Ernst Haeckel’s work I
musical intervals.”The Lady with the Ermine”
realized how the urge for self expression was
by Leonardo Da Vinci researches man and
What happens when an artist doesn’t need
reaching scientist as well. Haeckel (1834 -
animal as much as Darwin’s Origin of Spe-
to study biology to create a biology centered
1919) was a biologist, naturalist, philosopher,
cies. There is a rich story of art and science
piece? The open exposure of art to science
physician, professor, and artist who discov-
innovation from Brunelleschi and Leonardo to
has caused a division of beliefs.
ered, described and named thousands of
George Seurat, addressed by Martin Kemp in
new species.
1970 in his book “The Science of Art”.
Society often fears technological advances. These are more tangible now thanks to artists
These images are no longer a simple repre-
Using acoustic sounds mixed with amplified
that bring ethical and moral questions to the
sentation of a subject but an interpretation in
small sounds and recordings of sine waves,
table. Frequently the reaction to this prac-
color and form. He moved away from reality
John Cage began his Imaginary Landscapes
tice is very negative. We all remember Hirst’s
and closer to imagination, inspired by organic
and from there a long exploration of electron-
Freeze exhibit where he placed a shark corpse
patterns and focused on composition. These
ic music, percussion and silence. He once said
inside a formaldehyde tank. The scandal and
illustrations relate to architectural structures
“the function of Art is to imitate Nature in her
questions that this piece brought up were re-
and forms of life at the same time, inspiration
manner of operation. Our understanding of
lated to the ethics of mortality, who is an artist
that I take into account when commenting on
“her manner” changes according to advances
to play with life?
artificial environments, differentiating natural
in the sciences” 5. I’m trying to put into prac-
and organic forms from artificial, “machine
tice Cage’s words.
made” structures. I see them as cities, micro worlds where life develops in a complete different way, almost magical, but very true to the original cycle of life. Color is the other main characteristic that I always pursue in my work. In nature color is
Scientists as well fear artists playing with
“We might need new materials, new technologies. We have them. We are in the world of X, chaos, the new science.” 6
things they don’t understand. Steven Kurtz found himself involved in a federal investigation when his wife suddenly suffered a fatal heart attack. The police framed Kurtz as responsible of the incident because of his bacteria experiments for his “Bio art” work. There is lack of knowledge that artists are trying to
4. J.Bronowski, Science and Human Values (Julian Messner, INC New York,1956), 19
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5. John Cage, Autobiographical Statement (johncage.org) 6. J.Bronowski, Science and Human Values (Julian Messner, INC New York,1956), 92 7. John Dewey, Art as Experience(New York: Putnam, 1934), 218
Anna atkins - Photographs of British Algae, 1843
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fulfill but is not an easy task, it will take a long
procedures which taught me knew methods to
I worry about the world around us. About how
time to realize that “the exploration of the
implement in my work.
are we shaping our environments. What is go-
artist is no less truthful and strenuous than that
ing to happen if the world as a whole doesn’t The risks: Moving away from my comfort zone
start to ask these questions? If this doesn’t
and diving into a field that I knew nothing
present a big challenge by itself, I worry about
Nonetheless, there is a process that the
about was a big risk. I encountered many chal-
the language that artists can use to build a
“art-scientist” goes through to create art from
lenges and all of them made me more resolu-
bridge between these very controversial is-
their experience as a scientist and not as a
tive in my design.
sues without presenting a threat to the public,
of the scientist.” 7
metaphor of an outside observation. David
how can these concepts be approachable so
Edwards divides the process of an “artscien-
The rewards: I merged my previous knowledge
tist” as the expression of their idea, later a
with the new one to reach a different under-
deep study of new experiences, followed by
standing of both, bringing my art and design
I talked about scientist that used visual arts
disregard of their audience and after a long
to a new level, combining disciplines to make
to represent their work, I talked about artist
test and determination they come to their
my voice stronger.
that used science advances to create pieces
original expression. He also clarifies that this is
people sympathize with them?
that were ahead of their time, I never mention
not only a personal translation but that the ac-
Perception versus reality: Until this experi-
writing as an artistic contribution to science.
tual process is a mix of passion, curiosity and
ment I didn’t think of the risks and rewards of
Above all, fictional writing has a lot of exam-
freedom. I applied this structure to my own
my decision. I always followed my passion,
ples to offer. One of my favorites is Jorge Luis
process to see if my work correlates to what
what felt right independently of external opin-
Borges and his “Book of Imaginary Beings”.
Edwards calls an “artscientist”.
ions, and I never stopped fighting for what I
He compiled a manual of all the extraordinary
thought was important.
creatures that along time and space men’s
The idea: with my training as an artist and a
fantasy brought to life and like this he tells the
designer I started to think that joining disci-
The artscience work: I hope to achieve inno-
tales of each imaginary creature of the history
plines together could build a stronger profile
vation on how we think about our environ-
of man kind.
for myself.
ment, how new materials can help build a new
The artscience process: I’ve always tried to incorporate pieces of the different worlds I knew into my work: art, design, music, dance. The possibility of adding biology to the list became a main attraction so I dove into it. I started studying biology and laboratory
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world and how studying basic forms of life can
Mister Finch brings flora and fauna to life with
help us learn how to adapt to the future.
an element of fantasy; fabric spiders having
“For while the roots of every experience are found in the interaction of a live creature with its environment.” 8
a tea party, bees the size of a human head, or over-sized fungi. All his pieces are based on british folklore which gives his pieces a beautiful narrative. This becomes relevant to my work considering that a fictional narrative
8. Eduardo Kac, Signs of Life, Bio Art and Beyond (Eduardo Kac 2007),18
about each of my artificial environment could create a personal connection between the public and the piece. This is not an hypothetical situation of the future but a story of the present, with a living community like us trying to connect to their world. The relationship between art and science in my work grows in a biological direction. What is the relationship between art and biology? “Bio art is a new direction in contemporary art that manipulates the processes of life…” employs: “the coaching of bio-materials into specific shapes or behaviors; the use of biotech tools and processes; the invention or transformation of living organisms with or without social or environmental integration.” 9 I’m passionate about bio art for it uses the properties of life and its materials to re-invent life itself. “Life” can be interpreted in different ways, from a carbon-based organism to a social environmental context in which we take in account subjectivity, cognition and communication.
“Science is nothing else than the search to discover unity in the wild variety of nature, the arts are the same search. Each looks for likenesses under the variety of human experience” 10 9. Eduardo Kac, Signs of Life, Bio Art and Beyond (Eduardo Kac 2007),19 10. J.Bronowski, Science and Human Values (Julian Messner, INC New York,1956), 27
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Molecular gastronomy - turning vinegar into a solid form
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Additive exploration - using a syringe taddin drops of agar
Prototypes &workshop For my first prototype I looked into a molecular gastronomy technique called spherification. The culinary process of shaping a liquid into spheres using agar. Inspired by this technique I built little castles using a syringe filled with agar by letting a drop down every 4 seconds. The shapes that resulted from this experiment where interesting but very small and unpredictable. For my next iteration I tried to subtract material by carving out of a big piece, like in most common sculpture techniques. After that, I added color and pasted the small castle shapes on to my carved piece. I wanted to see how others worked with this material so I organized a workshop where I provided different tools to allow more creativity. The results were really impressive, using the tools in a different way they created incredible sculptures.
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Substrative exploration - carving a block of agar to create hollow parts
Substration and Addition - Combining both techniques
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Workshopping - Sculpture that one of the participants made
Workshopping - How do others interact with agar
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Bio-Logic - Potato dextrose agar print
further Research
“Over the past few decades, biology has
after lunch we headed over to BUGSS.Things
entered the collective debate more than
took a 360° turn when the workshop leaders
any other science. We’ve been learning that
told me that we were building a regular 3D
organisms, being organized informations,
printer, not a bio printer…But they had a bio
can be manipulated, and their features can be combined to perform specific functions… This, by defining a new balance between the autonomy of the process itself and the will of
When talking about communication, 3D space
the designer.”
becomes essential to accomplish my thesis. For this reason I’ve been doing an investiga-
One of the important parts of 3D printing for
tion, not only about the medium, but focus-
my project resides in the power of multipli-
ing mainly on how to build a 3D printer for
cation, l agree with Suzanne Anker when she
soft media. My main reference is Bio-Logic, a workshop where different organizations and artists were able to 3D print a very specific type of agar called “Potato Agar Dextrose” adding oat meal to feed slime mold. The company Co-De-It create the software that they use to send information to the 3D printer, and the artist Maurizio Montali provided the bio art aspect of the project. How do biological entities and digital algorithms relate to each other? How could the study of such interaction be visualized? These are just some of the questions that brought Maurizio to the project. He talks about the importance that biology has reached today, the combination between biology and computation, the manipulation of organisms and information and, ultimately, the role that designers can take in this debate.
printer and they were willing to show me the mechanics and even give me some pieces to make my own. I was still very upset about the fact that they didn’t clarify what the workshop was about but I didn’t want to give up so I continued with the build. The first day of building was pretty intense but by the end of the day we had the X axis ready to go with the
says that “Reproduction is becoming a revolu-
extruder installed. The second day we were
tionary enterprise in the age of technoscience:
expecting a snow storm and we felt behind
from digital ink-jets to computational neural
with the build.
nets, from remote imaging to cybernetic communication systems, from tissue engineering
First thing Saturday morning I talked to the
of human cells to reproductive technologies.
guys at BUGSS about what my real interest
With the bio-printing of replacement organs to
was and the reason why I came all the way
invisible data bases, our technoscientific age
to Baltimore in the first place, I wanted to 3D
seems without limits.”
print agar and I wanted all the pieces that they could give me to hack the Jimmi~re-
To learn hands down the process of 3D print-
search 3D printer. Ryan Hoover, who is cur-
ing I organized a trip to Baltimore, where the
rently working on the bio printer, walked me
BUGSS biolab (Baltimore Under Ground Sci-
through the process of 3D printing agar. He
ence Space) offered a workshop on bio-print-
removed the extruder of the Jimmi~research
ing.My friend Juno and I jumped on a 5 hours
to add a 3D printed piece that he designed to
bus to Baltimore, full of excitement since I was
contain a syringe with the agar acting as a hot
finally going to see a real 3D printer print-
water jacket.
ing agar. After the long ride we settled in a beautiful, cozy townhouse with Susanne. She
The 3D syringe holder connected to a hot
gave us some tips to get around the city and
water tank that maintains the water at a certain
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temperature and pumps the water into the
use the methods that I had developed during
syringe holder to keep the agar always liquid.
the year to create 3D agar pieces and bring my 3D agar landscapes to life. It was a very tough
The syringe itself is connected to a com-
decision
plex pneumatic system where the pressure
to make.
is controlled with a high-precision regulator (0-15 psi) connected to a digital readout. Two solenoid valves toggle between print pressure, purge pressure, and retraction vacuum. These solenoids are connected to mosfets on the RAMBo circuit board and controlled with gcode. The system is supplied with compressed air (typically 60-40 psi) from a standard air compressor which is passed through a filter and a desiccant. Vacuum pressure is provided from a 2.5 CFM, 75 micron vacuum pump, which is regulated and monitored with a dial gauge. Summarizing, it was a very complicated system that I didn’t have time to build. They were also having problems with sterilization, their pieces lasted less than 24 hours without contamination. This was a lot of information to process that definitely affected the course of my thesis. I realized that I had two options, I could hack the Jimmi~research 3D printer into a bio printer using the resources that Ryan was willing to give me and maybe create a simplified version of what he had at BUGSS, or I could
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Jimmi~research 3D printer - X axis and extruder
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Prototyping HABITAT I cleared all the obstacles out of my mind and I made the decision to build my 3D landscapes, designing my own method to shape agar. I started by 3D modeling the structure, a field that was completly new to me. I used Cinema 4D for my modeling and later I 3D printed them using PLA plastic in a makerbot replicator 2. These structures became the skeleton of HABITAT. I dipped them into agar creating a thick layer for the organism to grow. There is something really interesting in mixing artificial and bio-materials. I see a symbiosis between artificial and natural when both connect, not like two different entities, but as a one. There are concrete examples of this fusion in HABITAT. The slime mold changes its pigmentation from yellow to the predominant color of the ecosystem, a fusion between the slime mold and food coloring.
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Prototyping HABITAT - 3D prints, skeleton
Prototyping HABITAT - Colored agar and nutrients
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Prototyping HABITAT - Slime mold and fungi survival instincts
Prototyping HABITAT - Adding living organisms, fungi spores
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Final Research If we go back to my concept statement I talked about how the living qualities of forms was what moved me to start this project. For a very long time I’ve been inspired by the historian Henri Focillion who said that “forms are always alive in that they are never immobile” what made time and movement a very important part of HABITAT. Another of my big inspirations was Paul Klee and his “communication with nature”. He produced a philosophy that rested on empathy with the created world.
“For the artist communication with nature remains the most essential condition. The artist is human, himself nature: part of nature within natural space” 11
ism, a slime mold called Physarum polyceph-
the Physarum also reacts to other challeng-
alum. Physarum polycephalum literally means
es in the environment. When it runs out of
the “many-headed slime”, is a slime mold
resources it starts producing toxins created by
that inhabits shady, cool, moist areas, such as
its activities and begins to poison its envi-
decaying leaves and logs. Like slime moulds
ronment. At some point, the slime mold, will
in general, it is sensitive to light; in particular,
recognize what is happening, it will take steps
light can repel the slime mold and be a factor
to reduce its activity, and it will take a dormant
in triggering spore growth.
form to be able to survive.
It has been shown to exhibit intelligent char-
In HABITAT we can see the slime mold
acteristics like being able solve the shortest
solving mazes and blurring the lines between
path problem. When grown in a maze with
natural and artificial by merging with these
oatmeal at two spots, it retracts from every-
artificial landscapes. We see how different
where in the maze, except the shortest route
organisms behave around each other, for ex-
connecting the two food sources. When
ample building creative pathways to get faster
presented with more than two food sources, it
to the resources or even changing their forms
apparently solves a more complicated trans-
to spores. It’s fascinating to watch the land-
portation problem.
scapes growing over time. Each landscape becomes something unique, unlike the others,
Physarum can not only solve these computa-
even if they started at the same place. These
tional problems, but also exhibits some form
artificial environments induce nature to reveal
of memory. By repeatedly making the test
its beauty and power. HABITAT represents a
environment of a specimen of P. polycephalum
part of us, of the world we live in. It comments
cold and dry for 60-minute intervals, Hokkaido
on our behavior towards the environment and
University biophysicists discovered that the
our daily activities. This projects aims to:
slime mold appears to anticipate the pattern He created a Microcosm of his own visual
by reacting to the conditions when they didn’t
world, while he worshipped the Macrocosm of
repeat the conditions for the next interval.
the universe, as I create Microhabitats that re-
Researchers have successfully used the or-
flects on the behavior of our own Macroworld.
ganism’s reaction to its environment in a USB
To add the living quality to my 3D landscapes
sensor to control a robot.
I decide to work with a very interesting organ-
If all these discoveries aren’t mind blowing
11. Paul Klee, Paths of the Study of Nature. Yearbook of the Staatliche Bauhaus, Weimar, 1923 12. Georg Philipp Friedrich von Hardenberg, Novalis
“…give mysteriousness to the common, give the dignity of the unknown to the obvious, and a trace of infinity to the temporal.” 12 47
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HABITAT 1 - Day1, building the landscape
HABITAT 1- Day 3, introducing slime mold
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HABITAT 1 - Day 5, slime mold looking for nutrients
HABITAT 1 - Day 7, Slime mold spores
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HABITAT 1 - Day 9, slime mold spores and different fungi
HABITAT 1- Day 11, spores spread through the landscape
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HABITAT 2 - Day 3, new type of fungi changes the color of the landscape
HABITAT 2 - Day 5, close up of fungi spores
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HABITAT 3 - Day 2, slime mold looking for nutrients
HABITAT 4 - Day 1, landscape close up
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Bibliography Books & Articles Anker, Suzanne. “Cut, Paste, Print: Transforming Reproductive Limits.” 28 September 2013 <http://www.suzanneanker.com/2013/events/cut-paste-print-transforming-reproductive-limits/> Bronowski, Jacob. “Science and Human Values.” Julian Messner, INC New York,1956. Cage, John. “Autobiographical Statement” 1990. <johncage.org> David Edwards, Artscience: Creativity in the post-Google Generation (Harvard University Press 2009) Dewey, John. “Art as Experience.” New York: Putnam, 1934. Kac, Eduardo. “Signs of Life, Bio Art and Beyond.” Eduardo Kac 2007. 3D Printing 3D Printshow. “Pancakebot: 3D Printing Food.” 30.05.2014. <http://3dprintshow.com/pancakebot-3d-printing-food/> 3D Printshow. “Alan Faulkner Jones” <http://3dprintshow.com/global-awards/inspirational-individual/alan-faulkner-jones/> BioCurious. “BioPrinter Community Project” <http://biocurious.org/projects/bioprinter/> Co-de-It. “Nexto Bio-Logic Workshop Report”. 04.15.2014. <http://www.co-de-it.com/wordpress/nexto-biologic-workshop-report.html> Flickr. “Bio-Logic Workshop” 01.14.2014. <https://www.flickr.com/photos/co-de-it/sets/72157640140974623/> Flickr. “Bio-Logic Workshop: Procedures.” <https://www.flickr.com/photos/corpuscoli/ sets/72157640635188595/> Instructables. “DIY bioprinter by Patrik” <http://www.instructables.com/id/DIY-BioPrinter/step2/Problem-current-inkjet-printers-are-too-high-resol/> Montali, Maurizio. “Bio-Logic Workshop” <http://www.mauriziomontalti.com> Napier, Hannah. “3D Printed Chocolate Advent Calendar.” 12.01.2011. <http://hannahnapier.
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co.uk/2011/12/3d-printed-chocolate-advent-calendar/> Tang, Jimmy. “MetMediaLab: 3D Food Printers.” October 2014 <https://metmedialab.hackpad. com/3D-Food-Printers-Rqd5tMvCI0x> O’Brien, Terrence. “Five questions for the woman who is 3D printing edible fruit” <http://www.engadget. com/2014/10/31/five-questions-for-the-woman-whos-3d-printing-edible-fruit/> RichRap. “Universal Paste Extruder” 04.15.2012. <http://richrap.blogspot.com/2012/04/universal-paste-extruder-ceramic-food.html> Molecular Gastronomy Heinech, Lauren. “You’ve never had fish like this.” 09.18.2012. <http://www.sobremesainspain.com/2012/09/ aponiente-cadiz-chef-angel-leon-michelin-restaurant.html> Jeremijenko, Natalie. “Cross(x)Species Adventures.” 08.21.2010. <http://www.environmentalhealthclinic.net/ ooz/projects/xspecies/> ArtScience Flickr. Atkins, Anna. “Cyanotypes of British algae.” 1799.1871. <https://www.flickr.com/photos/nypl/ sets/72157610898556889/> Heackel, Ernst. “Art forms in Nature.” 1899. <http://www.rarebooksberlin.de/fileadmin/haeckel_artforms.pdf> Hooke, Robert. “Micrographia.” 01.31.1864. <http://archive.nlm.nih.gov/proj/ttp/flash/hooke/hooke.html> Organisms Siddique, Rezina. “Amoebas get social when they hit hard times.” January 2013. <http://inbt.jhu. edu/2013/07/18/amoebas-get-social-when-they-hit-hard-times/> Wild, Alex. “Starving to be Social.” 11.26.2012. <http://blogs.scientificamerican.com/compound-eye/2012/11/26/starving-to-be-social-the-odd-life-of-dictyostelium-slime-molds/> BioMaterials Lee, Suzanne. “The Biocouture Shoe.” 2013. <http://thisisalive.com/biocouture/> Kim, Minsu . “Living food.” March 2012, June 2013. <http://www.minsukim.net/Living-Food-1> Kim, Raphael. “Agartecture Workshop: Designing Structures for Bacteria. 06.09.2013. <http://biohackanddesign.com/2013/09/06/agartecture-workshop/> Mycelium: Biomaterials - <http://www.ericklarenbeek.com> Wyss Institute. “Chitosan BioPlastic.” March 2014. <http://wyss.harvard.edu/viewpage/531
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