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<!--StartFragment--><p class="MsoNormal"><span style="font-size: 11pt; font-family: 'Times New Roman', serif;" class="">Hello Tyler and everyone</span></p><p class="p1"><span style="font-size: 11pt; font-family: 'Times New Roman', serif;" class="">What
a great post, Tyler, and wonderful to hear about your work. Perhaps you know about the algae
opera by Michael Burton and Michiko Nitta? </span><span style="font-size:12.0pt;
font-family:"Times New Roman",serif;mso-ascii-theme-font:major-bidi;mso-hansi-theme-font:
major-bidi;mso-bidi-theme-font:major-bidi" class="">(<a href="http://www.burtonnitta.co.uk/algaeopera.html)" class="">http://www.burtonnitta.co.uk/algaeopera.html)</a>.
</span><span style="font-size: 11pt; font-family: 'Times New Roman', serif;" class="">I
haven’t seen it myself but read about it and accessed it online and was enchanted. Again, apologies
for being lazy (if this is really bad net etiquette, let me know!) as I just put in an excerpt about the work from my <i class="">Voicetracks</i>
book:</span><span style="font-size:12.0pt;font-family:"Times New Roman",serif;
mso-ascii-theme-font:major-bidi;mso-hansi-theme-font:major-bidi;mso-bidi-theme-font:
major-bidi" class=""><o:p class=""></o:p></span></p><p class="MsoNormal"><span style="font-size: 11pt; font-family: 'Times New Roman', serif;" class=""> <span class="Apple-tab-span" style="white-space:pre">                </span></span><span style="text-indent: 36pt; font-size: 11pt; font-family: 'Times New Roman', serif;" class="">Breath also connects us to the place
through which it resonates and the </span><span style="text-indent: 36pt; font-family: 'Times New Roman', serif; font-size: 11pt;" class="">others in that place and in the
shared medium of air. It not only connects </span><span style="text-indent: 36pt; font-family: 'Times New Roman', serif; font-size: 11pt;" class="">people, <span class="Apple-tab-span" style="white-space:pre">                                        </span>intersubjectively, it also
connects people to animals and things, </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class=""> voicing the connections between
breath and the natural environment. I </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">listen to this in </span><i style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">The Algae <span class="Apple-tab-span" style="white-space:pre">                        </span>Opera</i><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">
of artists BurtonNitta (Michael Burton and </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">Michiko Nitta), for example, which
literally breathes life into the natural </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">environment, giving voice to the
<span class="Apple-tab-span" style="white-space:pre">                                </span>relationship between human breath and </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">plant life on our planet. In this
work, it is an opera singer’s copious voiced </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">breath that literally breathes life
into algae. <span class="Apple-tab-span" style="white-space:pre">                                </span>Masked in a specially designed </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">piece of biotechnology, an algae
headdress, the opera singer, the algae, the</span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class=""> audience and I (watching
documentation) form a strange <span class="Apple-tab-span" style="white-space:pre">                        </span>relationship, a </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">curious assemblage. The carbon
dioxide in her breath feeds the algae, which </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">later will be fed to the audience,
so that they can literally “taste her <span class="Apple-tab-span" style="white-space:pre">                                </span>song.” </span><span style="font-family: 'Times New Roman', serif; text-indent: 36pt;" class=""><font size="3" class=""> </font></span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; text-indent: 36pt;" class="">In </span><i style="font-family: 'Times New Roman', serif; font-size: 12pt; text-indent: 36pt;" class="">The Algae Opera</i><span style="font-family: 'Times New Roman', serif; font-size: 12pt; text-indent: 36pt;" class="">, the head
mask, attached to tubing which channels the</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; text-indent: 36pt;" class=""> breath to an algae tank, is a
strange mixture of a Greek mask, a persona, <span class="Apple-tab-span" style="white-space:pre">                </span></span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">and a beautiful lunglike filigree
that looks like a seahorse. The singer feels </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">part sea creature herself as she
intones her algae opera. I listen to the voice </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">as medium <span class="Apple-tab-span" style="white-space:pre">                        </span>here, life-giving medium,
medium for life. Meanwhile the other </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">sense of medium merges into the
undertones as, medium-like, the singer </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">crosses an ether and <span class="Apple-tab-span" style="white-space:pre">                                </span>connects me to
another life form. And when the audience </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">eats the algae, I sense that that
they are actually ingesting the singer’s </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">voice. In an odd way, the work <span class="Apple-tab-span" style="white-space:pre">                                </span>makes
me think about John Baldessari’s </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">1972 video of teaching a plant the
alphabet. As far as I know (I wonder if </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">anyone ever followed up with those
plants?), that <span class="Apple-tab-span" style="white-space:pre">                        </span>work was more humorous</span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class=""> </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">and conceptual than literal, in
contrast to the literal relationships </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">between plant life and voice that
animate works made after the new <span class="Apple-tab-span" style="white-space:pre">                        </span>materialist </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">turn. And it is with new materialist
ears that I encounter </span><i style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">The Algae </i><i style="text-indent: 36pt;" class=""><span style="font-size:11.0pt;
font-family:"Times New Roman",serif;mso-ascii-theme-font:major-bidi;mso-hansi-theme-font:
major-bidi;mso-bidi-theme-font:major-bidi" class="">Opera </span></i><span style="text-indent: 36pt; font-size: 11pt; font-family: 'Times New Roman', serif;" class="">as
it provokes a listening to breath between the human and </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt; text-indent: 36pt;" class="">nonhuman—<span class="Apple-tab-span" style="white-space:pre">                                </span>opening an awareness of the
vibrancy of breath and the productiveness </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt;" class="">of its connections. It voices and
breathes life into a sense of intersubjectivity beyond the <span class="Apple-tab-span" style="white-space:pre">                        </span>human.</span></p><p class="MsoNormal"><span style="font-size: 11pt; font-family: 'Times New Roman', serif;" class=""> </span><span style="font-family: 'Times New Roman', serif; font-size: 11pt;" class="">Speaking of Whitehead and fermentation and guts,
your post set thinking about my amazing acupuncturist, Mattie Sempert, who is a
Whitehead scholar (part of the Sense Lab in Montreal) and essayist as well as
acupuncturist — she is writing a book of essays about the entanglement of all
of these. Anyway, her “twirling fingers” as she feels my gut to sense where to
needle are in-touch with the life that my gut tspeak to her – attuning her to what’s
happening throughout my whole body(/mind). It’s an amazing collaboration and as
the needles start to work, my stomach gurgles appreciation and joy.</span></p><p class="MsoNormal"><span style="font-family: 'Times New Roman', serif; font-size: 11pt;" class="">best</span></p><p class="MsoNormal"><span style="font-family: 'Times New Roman', serif; font-size: 11pt;" class="">Norie</span></p><p class="MsoNormal"><a href="https://protect-au.mimecast.com/s/oDLrBgc315WNF8?domain=out-of-sync.com" style="font-family: 'Times New Roman', serif; font-size: 11pt;" class="">www.out-of-sync.com</a></p><p class="MsoNormal"><span style="font-size: 11pt; font-family: 'Times New Roman', serif;" class="">
<a href="https://protect-au.mimecast.com/s/AG1dBvT0YaEbiE?domain=workingworms.net" class="">workingworms.net</a><br class="">
<a href="https://protect-au.mimecast.com/s/38LEBkSqmERMtY?domain=unlikely.net.au" class="">unlikely.net.au</a> <o:p class=""></o:p></span></p>
<!--EndFragment--><div><blockquote type="cite" class=""><div class="">On 13 Oct 2017, at 5:19 AM, Tyler Fox <<a href="mailto:tylersfox@gmail.com" class="">tylersfox@gmail.com</a>> wrote:</div><br class="Apple-interchange-newline"><div class=""><div class="">----------empyre- soft-skinned space----------------------<br class="">Hello everyone,<br class=""><br class="">First, I also want to send my best wishes to April and Matt. I have<br class="">friends and family in the same area, some who had to flee in the<br class="">middle of the night with nothing more than pajamas and their cat<br class="">(which, at least, is a thin silver lining). I am saddened for all,<br class="">humans and nonhumans, dealing with such devastation.<br class=""><br class="">I would like to thank Margaretha for inviting me as a guest to this<br class="">week. Also thanks to everyone for the wonderful posts with much to<br class="">consider (terroirism, affection, enlivenment, grieving and resistance<br class="">thereof, turtles and other turtles, listening, learning, and<br class="">communicating with nonhuman collaborators…the list goes on). Just.<br class="">Wow.<br class=""><br class="">As Margaretha’s introduction suggests, I am interested in feeling<br class="">alongside nonhumans, and in the two projects described below I attempt<br class="">to create experiences that can be shared, in ephemeral and limited<br class="">ways to be sure, but shared nonetheless between humans and nonhumans.<br class="">I believe that feeling alongside nonhumans is a powerful counterpoint<br class="">to thinking alongside of nonhumans and can help situate perspective in<br class="">important ways.<br class=""><br class="">Biolesce is a series of interactive sculptures made with<br class="">bioluminescent algae, or dinoflagellates. When physically moved the<br class="">algae emits a bright flash of light. I incorporate biosensors for<br class="">human audience that trigger motors that move the algae causing a<br class="">bioluminescent response. For instance, one iteration used three<br class="">‘stations’ comprised of a bottle of seawater and algae embedded with<br class="">motors connected to a heartbeat sensor in each. The human audience<br class="">members placed their finger on the sensor, and then the algae lit up<br class="">in in time to their pulse. I tried to make an intimate experience<br class="">between human and algae, featuring different embodied processes.<br class=""><br class="">After vowing to never again work with something that requires complete<br class="">darkness (more on this in a moment) I turned my attention to another<br class="">embodied process: fermentation. Fermentum, a project that always seems<br class="">to be in progress, uses sensors to track the fermentation process of<br class="">kimchi and sauerkraut and then sonify the data. I like to say that<br class="">it’s allowing the kimchi to sing, but more accurately it’s a<br class="">soundtrack of bacterial individuation and environmental change. My<br class="">goal is to create a sonic experience that allows a human audience to<br class="">hear an ongoing, embodied process (bacteria changing their<br class="">environment) and to recognize it as a rich individuation between<br class="">bacteria and milieu. It is far from complete, and I’m currently<br class="">working on collaborating with a lab to identify probiotic strains in<br class="">my ferments as a basis for a more complex soundtrack.<br class=""><br class="">Both projects are predicated on the philosophies of Alfred North<br class="">Whitehead and Gilbert Simondon. Thinkers who have helped me understand<br class="">experience as a non-cognitive aspect of the world, open to all<br class="">entities (bacteria, single-celled algae, and Arduino<br class="">microcontrollers). They have also helped me understand experience as a<br class="">unfolding process, tied to a nexus of sensations, or prehensions,<br class="">(Whitehead) between individual and milieu (Simondon). Simondon claims<br class="">that individuals and milieus are co-emergent, he writes of them as<br class="">dyads, and that the world must be understood not from the point of<br class="">view of individuals, but through the processes of individuation, from<br class="">which individuals and milieus emerge. Thus, interactive works based on<br class="">biological processes, such as fermentation, are moments to experience<br class="">an ongoing individuation, perhaps this is an enlivenment of a<br class="">biological process through technical means. That’s a gross<br class="">oversimplification of the contributions of both of these thinkers, but<br class="">hopefully enough to stress an emphasis on experience and feeling.<br class="">Feeling is key.<br class=""><br class="">I have returned to the dark, so to speak, as I and another faculty<br class="">member are leading a research-through-design project with a small<br class="">number of undergraduates. We will collectively build a bioluminescent<br class="">‘display’ and the students will work in small teams to create<br class="">visualizations for the bespoke display. I’m now teaching in an<br class="">engineering students, and my practice is both intriguing and<br class="">bewildering to many of the students, but just last night we had a deep<br class="">conversation about the limits of quantification (important when making<br class="">a display that will be inexact!), and the concepts of abstraction and<br class="">representation in the context of ambient displays. It was deeply<br class="">gratifying when a student commented at the end of our hour-long<br class="">conversation that it felt like we were in a philosophy class. We then<br class="">went on to make seawater and propagate algae for our display. When<br class="">finished with our prototype, the students will come up with design<br class="">proposals for bioluminescent interactions and technologies, to use<br class="">their experience to dream of a different future. It’s my first step at<br class="">pushing them toward a speculative design practice. I hope they too<br class="">will come to understand feeling alongside nonhumans as key to their<br class="">futures.<br class=""><br class="">Thanks for having me-<br class=""><br class="">tyler<br class=""><br class="">Documentation of both projects can be found at my website: <a href="http://www.tylersfox.com" class="">www.tylersfox.com</a><br class="">_______________________________________________<br class="">empyre forum<br class=""><a href="mailto:empyre@lists.artdesign.unsw.edu.au" class="">empyre@lists.artdesign.unsw.edu.au</a><br class="">http://empyre.library.cornell.edu</div></div></blockquote></div><br class=""></body></html>