<div dir="ltr"><div style="font-size:16px"><div>In response to Murat's questions: a) "The music the leaves play, the sounds they make, are they programmed by you? Could you elaborate? Are these sounds generated are by the leaves or programmed by you and go through the leaves' mediation?"</div><div><br></div><div>> I have programmed the sounds. During my research process, I travelled to the Cordillera mountain region of the Philippines to meet with indigeneous elders, scholars and what Katrin Guia names as "Culture Bearers". My purpose was to inquire how artists can incorporate an ethical code of conduct when working with Indigeneous Knowledges Systems and Practices (IKSP). </div><div><br></div><div>I was able to listen and get permission to make sound recordings of the Hudhud, an epic chant sung by the Ifugao People to mark harvest season, deaths, and other historical events. I also recorded indigenous instruments made of brass and bamboo materials. Those are the sounds that play when people reach out to the plants. This action is a<span style="text-align:justify"> metaphor for a reconnection to our indigenous selves. </span><span style="text-align:justify">A</span><span style="text-align:justify">uthor and educator </span><span style="text-align:justify">Lee Maracle of the Sto:loh Nation, teaches that language and culture are never truly lost. We are simply disconnected. One strategy is to learn the socio-political reasons why we are disconnected then reach out with one word, one vowel, one sound.</span></div><div style="text-align:justify"><span style="color:rgb(51,51,51);font-family:'Open Sans';font-size:15px;line-height:18px"><br></span></div><div style="text-align:justify">In response to b) "The plants seem sensitive different people's energy. Some people need to actually touch the plant to make a connection; some can just hover above the plant; <u>some can just enter the room and the plants immediately start to sing.</u>"</div></div><span style="font-size:16px">In the case of people who when entering the room the plants immediately start to sing, do plants stop singing when the same people leave the room?"</span><br style="font-size:16px"><div style="font-size:16px"><br></div><div style="font-size:16px">> Yes, in one instance I was showing the exhibition in a closed space at OCADU. I was standing a few feet away from the plants talking to a group of students visiting for our annual graduate exhibition. The plants were not singing.</div><div style="font-size:16px"><br></div><div style="font-size:16px">A woman entered the doorway, which was about 10 feet away from the plants, and all the plants immediately started singing. We all turned to her in surprise. She stepped backwards because she thought she was interrupting a presentation, and the plants stopped singing.</div><div style="font-size:16px"><br></div><div style="font-size:16px">I invited her inside the room. She entered and the plants started singing in response to her presence. She seemed confused so I introduced myself and explained my project. She laughed and explained that she is a Reiki practitioner who has developed her energy field to radiate widely outside her body. That is how she moves in the world. </div><div style="font-size:16px"><br></div><div style="font-size:16px">This made me consider how plants may be able to radiate their field of communication in ways that are invisible and inaudible to most people.</div></div><div class="gmail_extra"><br><div class="gmail_quote">On Sat, Jun 6, 2015 at 1:58 PM, jsa <span dir="ltr"><<a href="mailto:jo.simalaya@gmail.com" target="_blank">jo.simalaya@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div dir="ltr"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">Happy June, everyone! Thanks for starting off the discussion. My apologies for joining later in the week. I started corresponding yesterday with Murat on another thread, I'm now sharing on this thread.</span><div><div><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">I am an interdisciplinary artist who works with community stories, interactive installations and soundscapes. My ongoing project, "Singing Plants Reconstruct Memory" involves three living banana leaf plants. I grew up in the Philippines and I remember these plants as towering over me in my Lola's garden. The ones I use in the installation are about 3" tall and housed in individual pots. </span></div><div><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">The three plants can represent the traditional Western narrative of a story: the beginning, middle, and ending. They are also holders of cultural and body memory. </span><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">Each plant has ruptures in the leaves created by a metal bottlecap to represent "soul wounds" or missing parts of the narrative. Much of Philippine history has been written by colonizers. I am interested in revisiting family and community stories as as step towards decolonization and reindigenization. </span></div><div><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">In my installation, I suture the leaves with conductive thread that is connected to an electronic grid with touch sensors. </span></div><div><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">When people reach out towards the plants, the electricity in our bodies trigger the sensors and the plants sing, tell a story, or project images. </span></div><div><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">The living plants act as in intermediary between the human being and the technology. This has generated some interesting results: </span></div><div><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">1. The plants seem sensitive different people's energy. Some people need to actually touch the plant to make a connection; some can just hover above the plant; some can just enter the room and the plants immediately start to sing. </span></div><div><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">2. There have been times when no people are present and the plants trigger each other to sing. This seems to indicate an ongoing "communication" between plants that the sensors make "audible" to people. </span></div><div><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">3. The code I've written for the electronic grid is simple: touch = ON, release = OFF. However, the plants sometimes reverse the code. They may spontaneously start singing without pause, and require touch to stop. Perhaps this is a way to draw people's attention? </span></div><div><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">4. When I water the plants with the sensors attached. They all sing. I sing back. It feels like a mutual exchange. </span></div><div><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">That is just a short introduction to my project and some observations. Thank you for posting questions for us. I will respond soon. </span></div><div><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">Thanks, </span><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><span style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px">Jo </span><br style="color:rgb(0,0,0);font-family:Helvetica,Arial,sans-serif;font-size:14px;line-height:18px"><br></div></div></div><div class="gmail_extra"><br><div class="gmail_quote">On Sat, Jun 6, 2015 at 11:30 AM, Patrick Keilty <span dir="ltr"><<a href="mailto:p.keilty@utoronto.ca" target="_blank">p.keilty@utoronto.ca</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr">Murat, We're all pushing for a point of view that challenges the hegemony of liberal humanism. I certainly think a turn to the nonhuman is an excellent approach. Methodologically it's a major intervention. It raises a series of important questions, and I am always happy to gleefully engage those important questions. But I wonder, too, if we can truly understand the other, in its own terms, as you suggest, and whether our desire to do so is not simply a symptom of our own humanity. As you say, we are bound by our own humanity, and the result will remain human. I wonder, then, what those boundaries mean for trying to understand the nonhuman. Can it ever mean we access the nonhuman on its own terms? Does the plant "care" (so to speak) that we want to understand it? Or is this turn to the nonhuman still ultimately about humans/ humanity? Doesn't it speak more to our own wants, desire, needs? Does it/ can it speak to/ for/ with the plant? It's an ontological question. Perhaps the plant is totally subaltern? </div><div class="gmail_extra"><span class=""><br clear="all"><div><div><div dir="ltr"><div><div dir="ltr"><span></span><span></span>Patrick Keilty<div>Assistant Professor<br>Faculty of Information<br></div><div>Bonham Centre for Sexual Diversity Studies</div><div>University of Toronto</div><div><a href="http://www.patrickkeilty.com/" target="_blank">http://www.patrickkeilty.com/</a><br></div></div></div></div></div></div>
<br></span><div class="gmail_quote"><span class="">On Sat, Jun 6, 2015 at 9:31 AM, Murat Nemet-Nejat <span dir="ltr"><<a href="mailto:muratnn@gmail.com" target="_blank">muratnn@gmail.com</a>></span> wrote:<br></span><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr"><div>Hi Yi, thank you for your post. I am glad I won't be the only person pushing that point of view. Exactly as you say, part of the purpose of exploration needs to be a way of understanding the "other," truly other, in its own terms. Such an approach would have conceptual, ethical, political, therefore, artistic ramifications. Both your project and "the singing of the plants" project seem to be along those lines.<br><br></div><div>Interestingly, in my long essay <i>The Peripheral Space of Photography </i>(which emerged from a critic of the Metropolitan Museum's exhibition of the Gillian collection on the first hundred years of photography <i>The Waking Dream)</i> I make a similar argument. The essay starts with an attack on the excessive "framing" of the photographs by the museum in the exhibition which sees the photographs as aesthetics objects. That is the way the majority of photographers and critics saw them (particularly in France and England, but not necessarily in the States) comparing photographs to painting. My assertion in the essay is that photography is a new medium very different from painting. Its heart is the dialogue between the viewer of the photograph and what is before the lens,what I call the pose (the pose can be human, animal, vegetal or mineral, it doesn't matter. They create a unified field). The photographer himself/herself is less important. The most potent spots in a photograph are often off the focus of the lens, in a small detail, a mistake, etc. It's a very interesting essay in my opinion and relevant to our present discussions (Green Integer Press, USA, 2004).<br><br>Hi Patrick,<br><br>"<span style="font-size:12.8px">...But isn't that goal ultimately a
humanist one? For ultimately, aren't we asking about our own
subjectivity? </span><span style="font-size:12.8px">Just trying to think this through...."</span><br><br></div><div>I am not sure I agree with you. As I said in my post to Yin, our purpose in this discussion should not be human but extra-terrrestial. It is true that finally we are bound by our own humanity, own language, etc. Ultimately, the result will remain human. But I don't think humanist (or humanism) is the same thing. It is a more ideological, therefore, already set, term.<br><br></div><div>Ciao,<br></div><div>Murat<br></div><div><br><br><br></div><div><br></div></div><div class="gmail_extra"><br><div class="gmail_quote">On Fri, Jun 5, 2015 at 10:10 PM, Selmin Kara <span dir="ltr"><<a href="mailto:selminkara@gmail.com" target="_blank">selminkara@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr">Thank you for the post, Yi; it's wonderful to hear more about your project! I didn't intend to insist on "the idea of human perception as a reference point for defining and categorizing nature" in my questioning. I was only trying to respond to Patrick's comment about communication (who is the receiver and what is being communicated, etc.) and the wording of your project with references to things like "the language" of plants made me think that perhaps you were trying to draw a parallelism between plant behaviour or processes and human communicative systems. Hence my allusion to anthropomorphizing but other than that, I am much more interested in the shift towards a more complex understanding of the nonhuman too.<div><div><br></div><div>Selmin<br><div> <br></div><div><div class="gmail_extra"><br><div class="gmail_quote">On Fri, Jun 5, 2015 at 7:12 AM, Yi Zhou <span dir="ltr"><<a href="mailto:yzhou.x@gmail.com" target="_blank">yzhou.x@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left-width:1px;border-left-color:rgb(204,204,204);border-left-style:solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr"><div><span style="font-size:12.8000001907349px">----------empyre- soft-skinned space----------------------</span></div>Thanks Patrick, Natasha, and Selmin for such thoughtful questions to introduce this fascinating new field!<div><br></div><div>Murat - you were reading my mind! I agree that it's curious that the discussion is revolving around the idea of human perception as a reference point for defining and categorizing nature and our recent project "The Language of Plants" (LoP) actually began as a critique to this very point! Jasmeen and I are both formally trained as landscape architects, though we very much disagree with the direction that the field of landscape (and design in general) has moved in the last 30~ years. "Sustainable design" exists as a small and highly specialized niche, but overall the focus has been on form, aesthetics, and the commoditization of "nature" as an idea of place and refuge and individual plant species as tools or props. Our objective was to shift this focus back onto the intrinsic ecological functions and relationships of an ecosystem as a whole and reconcile this reductionist view by engaging in a discussion that emphasized holism, complexity, and nuance.</div><div><br></div><div>Though imperceptible to the human ear, plants are constantly emitting sounds due to the processes of transpiration and growth (Patrick - you were right in your guess!) From an anthropogenic perspective these sounds exist at the "ultrasonic" range, too quiet and too high a frequency for the human ear. To the plant, these are just the sounds of their ongoing biological process, so it's natural that these sounds differ based on species type, habitat preference, time of day, environmental conditions, and even whether the plant is growing in isolation or within a healthy vegetative community. In truth, though it was our art direction, we became mere translators over the course of our explorations, as we were able to unlock an entirely new biological language that had never been accessible, relatable, or even considered within our narrow anthropogenic terms of understanding and seeing the world. Our objective was ultimately successful too, as visitors to our exhibit were shocked to learn of this new reality and, in large, left with a new reverence for these intrinsic though unseen qualities and processes of plants.</div><div><br></div><div>I think sound is an especially powerful medium to engage people with because it is so inherently tied to memory, identity, and agency. It's human instinct to anthropomorphize things when we are <span></span>first connecting to them, however these views are a necessary launching point for developing a more nuanced relationship to plants and to the world around us. </div><div><br></div><div>Yi</div></div></blockquote></div></div></div></div></div></div><span class="">
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