<div dir="ltr"><div>Hi everyone,</div><div><br></div><div>Thank you Shu Lea for inviting me to participate, and thank you to -empyre for hosting this discussion. I look forward to helping to flesh out MNS and exploring where this mycelial network takes us! </div><div><br></div><div>My point of entry into MNS is as a maker here in Buffalo – I want to continue to research, make and show work using mushrooms/spores/mycelium as material and metaphor, and enjoy working collaboratively and exchanging ideas with curious, thoughtful people. I also focus on ecological systems, structures and exchanges in much of my work. I’ve had a keen interest in mushrooms since childhood – first came repulsion, then love… </div><div><br></div><div>In 2010 I began making and exhibiting my Spore Print Film Series . Each of the 16mm films in the series features different audiovisual movements provided by different mushroom species, including but not limited to: portabellos (Agaricus bisporus), shaggy manes (Coprinus comatus), micas (Coprinellus micaceus), chanterelles (Cantharellus cibarius, etc), various oyster mushrooms (Pleurotus ostreatus, etc) – producing prints ranging from intense Rorschachs made of melted black ink, to delicate white, brown, grey, pink and yellow arrangements that shadow the shapes of the gills that they rain down from. Like fingerprints, no two spore prints are exactly alike. Along with color, smell and other physical markers, they are used as a testing mechanism for field identification. Hundreds of individual mushroom spore prints make up each film (and millions of spores comprise each print) – each with their own unique shape and coloring (which can only be viewed en mass with the naked eye). As they are played, a maelstrom of slowly-shifting-shapes is produced where form is in constant flux. These films present media and matter as vibrant and spontaneous. They are not only meant to be seen and heard, but inhaled as well. The films are anti-archival and are looped until they are nearly erased. They are often displayed as prints before they are projected/erased. Similar to Taro's work, the intention here is to spread the spore (in my work, while creating/destroying the vehicle of distribution).</div><div><br></div><div>These species are grown and foraged for because they are edible and harmless to ingest, many with cosmopolitan or trans-continental commercial distribution, with ranges extending across all or most of the world in appropriate habitats. Conditions must be just right for most of the species to grow and after many conversations with mycologists about the work, there is no real fear that the spores of the species that I work with will invade the habitats of the host exhibition spaces and choke out native species or cause negative impacts to the environment. Should they be introduced (as one of my favorites, the nematode consuming Coprinus comatus which is native to N. America and Europe has been unintentionally in Australia, New Zealand, Iceland, and intentionally in China as food) these species are often a welcome addition to the ecosystem. </div><div><br></div><div>Alan raises an interesting question here (thank you Alan!)… there are innumerable species of animals, plants, fungi, etc that are introduced to new habitats through human intervention (intentional and otherwise). Here in the Eastern Great Lakes and throughout NYS plants like Phragmites and Japanese Knotweed are a major problem. They grow like wildfire in monocultures that choke out native plant species that would otherwise provide habitat, food and shelter to the other native species (pollinators and other birds, mammals, insects...) that live here. When they become problematically prolific and threaten existing ecosystems, keystone species, humans and/or human economies, they are labeled as invasive species and government agencies, ecological organizations and the industries whose operations they interfere with spend A LOT of money every year in an attempt to remove them from the ecosystems that they have colonized and to restore native species. I work with aquatic species as well, and zebra and quagga mussels, brown gobies, alewife etc are also subject to similar management programs, though it seems that the most effective/least Sisyphean efforts (though this is difficult to measure and I think control efforts are still necessary in many cases) may come via adaptation of native species to consume and regulate these invasive species… </div><div><br></div><div>Additionally, I think that there are always possible risks and rewards when we work with living materials and ecosystems… the devil is in the details, and much research is required prior to engaging with these beings (or their parts) through our art practices and/or by introducing them to seemingly new environments. Research in controlled environments and fieldwork can only tell us so much, there is of course always chance...</div><div><br></div><div>The only mushroom species that I am aware of being labeled as an invasive species is the Death Cap (Amanita phalloides - does anyone know of any others?). Unlike many other invasives they are not a hyper-prolific species that chokes out native species or causes great expense to governments or industries, but they are a problem for amateur mycologists foraging for mushrooms who may misidentify them as edible puffballs when they are young, or as other edible Amanita, Russulas, meadow mushrooms or paddy straw mushrooms when they are mature and consume them (they are colloquially referred to as Death Caps because if you eat them, they can kill you – many who survive poisoning require a liver transplant to do so). It is believed that they have been introduced to new habitats through the cultivation of non-native species of oak, chestnut, and pine. Which begs the question, when we are curating our gardens, making bioart or engaging in ecological studies, remediation and/or restoration work, are we actually doing more harm than good? (I think all responsible practicioners here try to way all known options before proceeding, though mistakes are made and nature does 'find a way') And with global travel in its myriad forms, is it even possible to prevent the spread of spores, seeds, organisms….or are adaptations that accommodate colonization of new lands and waters through hitchhiking on larger animals like us (and/or our transportation toys) unavoidable?</div><div><br></div><div><br></div><div>To touch further upon broader questions relating to the anthropomorphic projections and issues, as well as the hierarchy of life we have constructed and police (thanks Stephanie!), I think that we always project ourselves into our understandings of other beings … and I believe we are still very much in the nascent stages of understanding this fascinating kingdom (and our taxonomic kingdom's closest relatives)... I am also very curious to hear what others think, </div><div><br></div><div>I'm also wondering, is anyone here interested in astromycology? There are some interesting case studies in this field that demonstrate how fungi offer both opportunities as well as threats to human space travel. Mushroom spores are very hardy, electron dense materials that reflect ultraviolet light, and can travel through space (McKenna had some interesting theories here that have since been in part adopted and explored by studies at reputable academic and government agencies across the globe). They adapt to accommodate for gravitational changes and radiation (famously, mushrooms were found growing inside the reactor in Chernobyl)… this is something that I know little about, but would love to know more. (maybe you know something Taro!? I know you've aimed for the stratosphere anyway…)</div><div><br></div><div>The procedural poets of the natural world, mushrooms are magical because they are about chance (the conditions have to be just right for one to pop up, for you to perceive it, for you two to meet…)… I am still not certain how this mycelial network will define its form, grow (eat outward), fruit etc, but I'm very excited to find out and here to help in anyway I can. </div><div><br></div><div>More thoughts and questions asap, in the mean time, I leave you with the parting words of some thinkers (in addition to Haraway, Tsing, McKenna who I also very much dig) who have inspired me to dive into the subject of mycology (required watching as a point of entry here):</div><div><br></div><div><a href="https://www.youtube.com/watch?v=XI5frPV58tY" target="_blank">https://www.youtube.com/watch?<wbr>v=XI5frPV58tY</a> (Paul Stamets)</div><div><a href="https://www.youtube.com/watch?v=vpnTzyQzAjc" target="_blank">https://www.youtube.com/watch?<wbr>v=vpnTzyQzAjc</a> (Gary Lincoff – another recent RIP <3 (my condolences to friends and loved ones of Marilouise Kroker too) – and a mushroom that will forever remind me of him bc of the lesson I learned the first time we met)</div><div><a href="https://www.youtube.com/watch?v=XNzVQ8wRCB0" target="_blank">https://www.youtube.com/watch?<wbr>v=XNzVQ8wRCB0</a> (John Cage)</div><div><br></div><div>and a final parting word taught to me by a brilliant ecologist (Robin W. Kimmerer) – there is a Potawatomi word for the exact moment that a mushroom emerges from the soil and becomes perceivable to the eye – – – does anyone know another word for this?</div><div><br></div><div>puhpohwee,</div><div><br></div><div>Anna</div><div class="gmail_extra"><br clear="all"><div><div class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div style="text-align:left"><font size="1"><br></font></div><font size="1"><div style="text-align:left">Media Production: <a href="http://www.lumiflux.org" target="_blank">www.lumiflux.org</a></div><div style="text-align:left">Media Art: <a href="http://www.a--a.org" target="_blank">www.a--a.org</a> </div><div style="text-align:left">Community Media: <a href="http://www.buffalofilm.org" target="_blank">www.buffalofilm.org</a></div><div style="text-align:left">M. +1 716-316-8510; Skype: Anna Scime</div></font></div></div></div></div></div></div></div></div></div>
<br><div class="gmail_quote">On Mon, Jun 4, 2018 at 10:00 PM, <span dir="ltr"><<a href="mailto:empyre-request@lists.artdesign.unsw.edu.au" target="_blank">empyre-request@lists.artdesign.unsw.edu.au</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">Send empyre mailing list submissions to<br>
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<br>
----------empyre- soft-skinned space----------------------<br>
<br>
Today's Topics:<br>
<br>
1. Intro to Furtherfield (marc garrett)<br>
2. Hello everyone!-) (marc garrett)<br>
3. Re: rehearsal of a network - [week 1] (Shu Lea Cheang)<br>
4. Re: rehearsal of a network - [week 1] (Marysia Lewandowska)<br>
5. Re: rehearsal of a network - [week 1] (Alan Sondheim)<br>
<br>
<br>
------------------------------<wbr>------------------------------<wbr>----------<br>
<br>
Message: 1<br>
Date: Mon, 4 Jun 2018 11:35:58 +0100<br>
From: marc garrett <<a href="mailto:marc.garrett2@gmail.com">marc.garrett2@gmail.com</a>><br>
To: <a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a><br>
Subject: [-empyre-] Intro to Furtherfield<br>
Message-ID:<br>
<<a href="mailto:CAOocshcDpycNedCDZYeFMjST_qzXBNPimjyO6HWe6psaYp7UWw@mail.gmail.com">CAOocshcDpycNedCDZYeFMjST_<wbr>qzXBNPimjyO6HWe6psaYp7UWw@<wbr>mail.gmail.com</a>><br>
Content-Type: text/plain; charset="utf-8"<br>
<br>
Hi Shu Lea & all,<br>
<br>
Thanks for inviting Myself and Ruth Catlow to the Empyre list. As asked,<br>
I'm posting a short bio about Furtherfield.<br>
<br>
Since 1996 we have explored network technologies to organise, create and<br>
take control of art contexts with others. Seeking a less dominated and more<br>
hackable artworld (and way of life), we came together with artists, techies<br>
and activists, across many disciplines to develop an ethos and set of<br>
approaches that we termed DIWO (Do It With Others) in 2006. This was an<br>
update on the DIY spirit of punk, the political interventionism of<br>
Situationism, and Free and Open Source Software culture, and characterised<br>
by remix, appropriation, post-tactical media antics.<br>
<br>
As an arts led group and community, we mutually build contexts that evolve<br>
in modes of: production, curation, activism, generosity, grassroot values,<br>
in-tune with collaboration and a sharp institutional critique. Furtherfield<br>
is constantly changing as an assemblage of: machines, people, platforms,<br>
networks and infrastructures, whilst reflecting everyday culture to<br>
everyday people in the park, Finsbury Park, London.<br>
<a href="https://www.furtherfield.org/" rel="noreferrer" target="_blank">https://www.furtherfield.org/</a><br>
<br>
Wishing you well.<br>
<br>
marc<br>
<br>
<br>
<br>
-- <br>
Marc Garrett<br>
<br>
Co-Founder, Co-Director and main editor of Furtherfield.<br>
Art, technology and social change, since 1996<br>
<a href="http://www.furtherfield.org" rel="noreferrer" target="_blank">http://www.furtherfield.org</a><br>
<br>
Furtherfield Gallery & Commons in the park<br>
Finsbury Park, London N4 2NQ<br>
<a href="http://www.furtherfield.org/gallery" rel="noreferrer" target="_blank">http://www.furtherfield.org/<wbr>gallery</a><br>
<br>
Currently writing a PhD at Birkbeck University, London<br>
<a href="https://birkbeck.academia.edu/MarcGarrett" rel="noreferrer" target="_blank">https://birkbeck.academia.edu/<wbr>MarcGarrett</a><br>
<br>
Just published: Artists Re:thinking the Blockchain<br>
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner<br>
Liverpool Press - <a href="http://bit.ly/2x8XlMK" rel="noreferrer" target="_blank">http://bit.ly/2x8XlMK</a><br>
<br>
Latest post: Unlocking Proprietorial Art Systems interview:<br>
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams<br>
<a href="https://bit.ly/2HQM1bs" rel="noreferrer" target="_blank">https://bit.ly/2HQM1bs</a><br>
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Message: 2<br>
Date: Mon, 4 Jun 2018 13:38:29 +0100<br>
From: marc garrett <<a href="mailto:marc.garrett2@gmail.com">marc.garrett2@gmail.com</a>><br>
To: <a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a><br>
Subject: [-empyre-] Hello everyone!-)<br>
Message-ID:<br>
<<a href="mailto:CAOocshfaBBmZrkTavWmV3xGgPew49Fh3GRndh3zf_nvVSgUuew@mail.gmail.com">CAOocshfaBBmZrkTavWmV3xGgPew4<wbr>9Fh3GRndh3zf_nvVSgUuew@mail.<wbr>gmail.com</a>><br>
Content-Type: text/plain; charset="utf-8"<br>
<br>
Hi Shu Lea & all,<br>
<br>
Thanks for inviting Myself and Ruth Catlow to the Empyre list. As asked,<br>
I'm posting a short bio about Furtherfield.<br>
<br>
Since 1996 we have explored network technologies to organise, create and<br>
take control of art contexts with others. Seeking a less dominated and more<br>
hackable artworld (and way of life), we came together with artists, techies<br>
and activists, across many disciplines to develop an ethos and set of<br>
approaches that we termed DIWO (Do It With Others) in 2006. This was an<br>
update on the DIY spirit of punk, the political interventionism of<br>
Situationism, and Free and Open Source Software culture, and characterised<br>
by remix, appropriation, post-tactical media antics.<br>
<br>
As an arts led group and community, we mutually build contexts that evolve<br>
in modes of: production, curation, activism, generosity, grassroot values,<br>
in-tune with collaboration and a sharp institutional critique. Furtherfield<br>
is constantly changing as an assemblage of: machines, people, platforms,<br>
networks and infrastructures, whilst reflecting everyday culture to<br>
everyday people in the park, Finsbury Park, London.<br>
<a href="https://www.furtherfield.org/" rel="noreferrer" target="_blank">https://www.furtherfield.org/</a><br>
<br>
Wishing you well.<br>
<br>
marc<br>
<br>
-- <br>
<br>
<br>
<br>
<br>
<br>
<br>
Marc Garrett<br>
<br>
Co-Founder, Co-Director and main editor of Furtherfield.<br>
Art, technology and social change, since 1996<br>
<a href="http://www.furtherfield.org" rel="noreferrer" target="_blank">http://www.furtherfield.org</a><br>
<br>
Furtherfield Gallery & Commons in the park<br>
Finsbury Park, London N4 2NQ<br>
<a href="http://www.furtherfield.org/gallery" rel="noreferrer" target="_blank">http://www.furtherfield.org/<wbr>gallery</a><br>
<br>
Currently writing a PhD at Birkbeck University, London<br>
<a href="https://birkbeck.academia.edu/MarcGarrett" rel="noreferrer" target="_blank">https://birkbeck.academia.edu/<wbr>MarcGarrett</a><br>
<br>
Just published: Artists Re:thinking the Blockchain<br>
Eds, Ruth Catlow, Marc Garrett, Nathan Jones, & Sam Skinner<br>
Liverpool Press - <a href="http://bit.ly/2x8XlMK" rel="noreferrer" target="_blank">http://bit.ly/2x8XlMK</a><br>
<br>
Latest post: Unlocking Proprietorial Art Systems interview:<br>
with Artists, Gretta Louw, Antonio Roberts & Annie Abrahams<br>
<a href="https://bit.ly/2HQM1bs" rel="noreferrer" target="_blank">https://bit.ly/2HQM1bs</a><br>
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Message: 3<br>
Date: Mon, 4 Jun 2018 13:42:10 +0200<br>
From: Shu Lea Cheang <<a href="mailto:shulea@earthlink.net">shulea@earthlink.net</a>><br>
To: <a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a><br>
Subject: Re: [-empyre-] rehearsal of a network - [week 1]<br>
Message-ID: <<a href="mailto:98c9a19c-6d46-04bf-beaf-533e90c588e2@earthlink.net">98c9a19c-6d46-04bf-beaf-<wbr>533e90c588e2@earthlink.net</a>><br>
Content-Type: text/plain; charset="utf-8"; Format="flowed"<br>
<br>
dear -empyre-<br>
<br>
if i may, allow me to get back to june, 2018.<br>
<br>
question (1): why mycelium network?<br>
<br>
question (2): why a society?<br>
<br>
question (3): how to start a network?<br>
<br>
mycelium as an after nature's network, to quote-<br>
<br>
/***I believe that mycelium is the neurological network of nature. <br>
Interlacing mosaics of mycelium infuse habitats with information-sharing <br>
membranes. ?..The mycelium stays in constant molecular communication <br>
with its environment, devising diverse enzymatic and chemical responses <br>
to complex challenges./ - Paul Stamets, Mycelium Running: How Mushrooms <br>
Can Help Save the World<br>
<br>
/***We are stuck with the problem of living despite economic and <br>
ecological ruination?.. Neither tales of progress nor of ruin tell us <br>
how to think about collaborative survival. It is time to pay attention <br>
to mushroom picking. Not that this will save us? but it might open our <br>
imaginations./ - Anna Lowenhaupt Tsing, The mushroom at the end of the <br>
world : on the possibility of life in capitalist ruins<br>
<br>
______<br>
<br>
The project Mycelium Network Society was inspired by artist Taro's <br>
myco-logick project at infolab Stadtwerkstatt during STWST48 (a 48 <br>
hours festival hosted by Stadtwerkstatt and in association with Ars <br>
Electronica) in 2015. Taro grows fabulous mushrooms sculpted by his own <br>
will. That year, Taro launched 2 weather balloons filled with fungal <br>
spores to the stratosphere, anticipating these balloons to expand <br>
while rising and finally burst at a height of approximately 30km, <br>
releasing the spores to continue direction outer space and/or to fall <br>
back on earth, where they possibly find suitable conditions to spread <br>
their information.<br>
<br>
The project is a powerful poetic gesture. It prompted us to consider a <br>
free will network possibility, post-NET, (after) the nature. When we <br>
(Shu Lea Cheang of cycleX and Franz Xaver of Stadtwerkstatt ) first <br>
started Mycelium Network Society (MNS), we were excited to 'discover' <br>
many artists who work with mycilium, mushroom, spores, culture+++ as <br>
(art) medium. When MNS was first presented at transmediale2017, we <br>
showcased some artists works - myco-logick (since 2015) by Taro, <br>
Mycophone_unison (since 2013) by Sa?a Spa?al, Mirjan ?vagelj, Radio <br>
Mycelium (since 2011) by Martin Howse, The T-shroom (since 2002) by <br>
Kartina Neiburga and Art bureau OPEN. In this same year, we hosted a <br>
residency at Eleonore/STWST in Linz, Austria. We held an open call for <br>
artists and got some great responses, finally selected three artists, <br>
Azucena Sanchez, Servando Barreiro and Callum Caplan, their residency <br>
works would consequently be presented at STWST48x3 in September. After <br>
this year's presentation/exhibition, we were referred to, introduced to <br>
many more artists who work with mycelium culture matter and came to <br>
realize that it was not quite possible for us to keep hosting residency, <br>
holding exhibitions. There is also carbon matters that concern us for <br>
transporting artists.<br>
<br>
Thus, the consideration - asking local art agencies to host <br>
residency/expositions and we connect via agencies (NODES) to build the <br>
network. The question arise, do we go through EU funding route? Getting <br>
a few organizations and launch a network, s shared platform? The recent <br>
network initiative example being the NEW NETWORK NORMAL, NNN (a <br>
partnership project by /Abandon Normal Devices <br>
<<a href="http://www.andfestival.org.uk/" rel="noreferrer" target="_blank">http://www.andfestival.org.<wbr>uk/</a>> (uk), Centre de Cultura Contempor?nia <br>
de Barcelona <<a href="http://www.cccb.org/en" rel="noreferrer" target="_blank">http://www.cccb.org/en</a>> (CCCB) (es), The Influencers <br>
<<a href="http://theinfluencers.org/en" rel="noreferrer" target="_blank">http://theinfluencers.org/en</a>><wbr>**(es), transmediale (de) and STRP <br>
<<a href="https://strp.nl/en/" rel="noreferrer" target="_blank">https://strp.nl/en/</a>> (nl). /We didnt take this route, (well! <br>
administration alone would drive us a bit insane!) , instead, we thought <br>
to start with writing to art spaces we know, Furtherfield in London, <br>
Apo33//in Nantes, FACT in Liverpool...../Then, ///In March, i had a <br>
chance to go back to New York for some lectures, travelling through <br>
Buffalo, Troy and New York city, signing on node/s /to 'adopt a <br>
network".I shook hands with Paul Vanouse at his Coalesce Center for <br>
Biological Art at the University at Buffalo, took an agreement photo <br>
with Ekrem, Anne, Stephanie at Squeaky, and at the Santuary for <br>
Independent Media , we had a public voting to sign on its Nature lab <br>
(directed by Kathy High) as part of MNS.<br>
<<a href="https://www.mediasanctuary.org/" rel="noreferrer" target="_blank">https://www.mediasanctuary.<wbr>org/</a>><br>
<br>
<<a href="https://www.mediasanctuary.org/" rel="noreferrer" target="_blank">https://www.mediasanctuary.<wbr>org/</a>>The simple guidelines apply-<br>
<br>
//CYCLE 1 - ADOPT A NETWORK<br>
(1)To adopt the network concept as art spaces/collectives/labs that host <br>
artist projects.<br>
(2)To focus on artists who work with mycelium, fungus, spores as art and <br>
network medium.<br>
(3)To organize workshops/residencies/<wbr>exhibitions.<br>
(4)To cultivate your own local mycelium network, independent and autonomous.<br>
(5)To share information, resources and be part of larger global network.<br>
(6)To harvest spores from your local mushrooms and make spore prints for <br>
node to node spores exchange.<br>
(7)To collect spores towards a global spores release party.<br>
(8)To be part of a book to be published along with the spores? release.<br>
<br>
And now we ask ourselves, how to get this network started? how can such <br>
autonomous, self managed network grow/branch out under/above ground?<br>
<br>
Is it at all possible???<br>
<br>
OVER<br>
Sl<br>
<br>
On 01/06/18 08:53, Shu Lea Cheang wrote:<br>
> ----------empyre- soft-skinned space----------------------<br>
><br>
><br>
> On this sunny june 1 morning -<br>
><br>
> Thanks, renate, for inviting to me on -empyre- editorial board and for <br>
> the introduction to this month's launch.<br>
><br>
> I have titled this month's topic ?rehearsal of a network? with a <br>
> focus on network activation, network construct, networked activism, <br>
> performance, leading towards some (un)imaginable scenarios for nets <br>
> and nets. Taking Mycelium Network Society as a starting point, we hope <br>
> to unfold this discussion on networks in four weeks -<br>
><br>
> June 1-8(week 1) ? mycelium network society with network nodes' <br>
> participants<br>
><br>
> June 9-15 (week 2) ? networked activism and performance<br>
><br>
> June 16-22 (week 3) ? post-Net network imagination<br>
><br>
> June 23-30 (week 4) ? proposals for speculative, tangible networks<br>
><br>
> [flashback]<br>
><br>
> In the 80s in New York City, I was part of Paper Tiger TV collective. <br>
> By 1986, PPTV gave rise to Deep Dish TV network that takes on <br>
> "creating and distributing politically radical independent videos that <br>
> challenge the narratives of corporate media." For DDTV, I have <br>
> collaborated and co-produced 'Racism on the Mainstreet" for its <br>
> premiere launch, followed by 'Will be Televised' (1990), a 5 part <br>
> series of video documents from Asia. In my art works, I have worked <br>
> with networked installation and performances, including Bowling alley <br>
> (1995, Walker art center) which connects a bowling lane in Minneapolis <br>
> to the gallery at Walker and WWW, then a fresh outpost; Brandon <br>
> (1998-1999), one year web narrative that networks actual and virtual <br>
> - spaces, beings, genders and crimes. Working in collective modes, I <br>
> co-founded several network initiative, including TAKE2030 (since 2003) <br>
> which "operates in parallel net media scheme and shifts the social <br>
> media mission into hypermedia playing fields", LaptopsRus.me (since <br>
> 2009) which hosts "MEETING | REUNI?N" inside an electronically updated <br>
> boxing ring for networking woman live performers.<br>
><br>
> In the early 90s, i hitchhiked onto the superhighway, claiming my <br>
> homesteading and squating the cyberspace. By the early 2000, we <br>
> (co-curation with Armin Medosch and Yukiko Shikata) launched Kingdom <br>
> of Piracy, an online, open work space to explore the free sharing of <br>
> digital content - often condemned as piracy - as the net's ultimate <br>
> art form. By then, i have located much of my work in the post-netcrash <br>
> scenarios, i.e. Garlic=RichAir (2002-2003), in this public performance <br>
> project, organic garlic was ordained as new social currency, serving <br>
> as "credito" for a global shared network.<br>
><br>
> [flash forward]<br>
><br>
> In 2017, in association withStadtwerkstatt (Linz, Austria) and CycleX <br>
> (Andes, New York), we launched ?Mycelium Network Society? (MNS) <br>
> (<a href="http://myceliumNS.net" rel="noreferrer" target="_blank">http://myceliumNS.net</a>) at Ecologies excursion at transmediale 2017. <br>
> Mycelium Network Societyimagines an underground network situated in a <br>
> post-internet mudland. Powered by fungus, spores, culture, kitchen, <br>
> radio, transmission, installations, workshops and performances, MNS <br>
> departs from the pursuits of magic mushroom to charta state of <br>
> hyper-hallucination and collective fungal consciousness. As an after <br>
> nature?s network, MNS investigates the fungi culture,its network <br>
> capacity to communicate and process information. MNS commands its own <br>
> domain in human-disturbed forests - sprouting across the moisture of <br>
> rich soils, expanding its colonies, sharing informations, networking <br>
> co-habitants across borders. In our withered ecosphere, we seek out <br>
> mycelium to lead us out of the ruins, to construct political tactics, <br>
> to salvage economic meltdown, to persist in constant molecular <br>
> communication a la mycelium mode. For years 2018-2020, we propose to <br>
> branch out Mycelium Network Society a la franchise mode. Observing the <br>
> concept of distributed network, we seek out art <br>
> spaces/collectives/labs to participate as nodes, a node that grows and <br>
> connects nodes globally. We set cycle1 of network cultivating for <br>
> three years, from 2018 to 2020. On a giving day in 2020, we call for a <br>
> global action with connected nodes, to release the collected spores <br>
> into the stratosphere, letting them drift in blowing wind till they <br>
> ground themselves in the new land where cycle ll begins. so far, we <br>
> have these nodes signed on as part of Mycelium Network Society<br>
><br>
> APO-33 Nantes, France<br>
> furtherfield London, UK<br>
> Coalesce: Center for Bilogical Art, Buffalo, USA<br>
> Squeaky Wheel film and media art center, Buffalo, USA<br>
> The Santuary for Independent Media | Nature Lab Troy, USA<br>
> GENSPACE, New York City, USA<br>
> DIMENSION PLUS, Taipei, Taiwan<br>
> ?????|Bamboo curtain studio Taipei, Taiwan<br>
><br>
> With this week's discussion, we hope that more nodes will ADOPT 'MNS'.<br>
><br>
> I am grateful that most of these nodes' directors are joining us for <br>
> [week 1] and also like to welcome a very special guest from Mexico, <br>
> Adrian Guzman.<br>
><br>
> We begin.<br>
><br>
> Adrian Guzman (Mexico), Biohacker concentrated in Genomics and <br>
> Epidemiology of Communication. Has been advisor of the Director <br>
> General of Inecol, one of the 27 nationalpublic research centers in <br>
> Mexico focused in Ecology and Agro-nanobiotechnology. Has been a <br>
> visiting fellow at Wyss Institute in Harvard, Centre for Bio Inspired <br>
> Engineering. With a BSc background in physics and artificial <br>
> intelligence, a BSc in Telecommunications Engineering, a Master degree <br>
> in Environmental Intelligence and Digital Architecture and a PhD in <br>
> Social Representations and Communication (office of the future, <br>
> anthropology of learning and cognition and food representations) his <br>
> interests are broad and collective. As Gaston Guzman (+) deceased, <br>
> collaborator. Helped to classify and update the most extensive <br>
> collection database of fungi in Mexico. <br>
> <a href="http://mushroomjohn.org/guzman1.htm" rel="noreferrer" target="_blank">http://mushroomjohn.org/<wbr>guzman1.htm</a><br>
><br>
> Franz Xaver(stadtwerkstatt, Linz, Aystria) has studied at the Academy <br>
> of Applied Art, department of"Visual Communication" founded by Peter <br>
> Weibel. Subsequently he wasteaching computer languages, audio-visual <br>
> productions, electronics andelectrical technics at the same Academy <br>
> until 1992.At the Technical University of Graz he was lecturing at the <br>
> departure"Institut f?r Baukunst" "CommunicationTheory".He was <br>
> participating in numerous exhibitions in Austria and abroad,including <br>
> Ars Electronica, Aperto Biennale di Venezia, Triennale Milano,Bonn <br>
> Kunst und Ausstellungshalle from Germany. He directs the two <br>
> workspaces - Medienkunstlabor Kunsthaus Graz and STWST(Stadtwerkstatt) <br>
> Linz.<br>
> <a href="http://stwst.at" rel="noreferrer" target="_blank">http://stwst.at</a><br>
><br>
> Jenny Pickett (apo33, Nantes, France) is a British artist based in <br>
> Nantes and member of the artists' collective APO33. Pickett?s <br>
> workcrosses experimental music, visual and sound arts, regularly <br>
> working in collaboration with Julien Ottavi and performing regularly <br>
> with their duo Solar Return. She creates installations, sound <br>
> sculptures and compositions, often ontological, philosophical or <br>
> scientific, her subject is articulated around complex notions related <br>
> to the slipping of times, cycles, identities and their memory.Pickett <br>
> and Ottavi were artists in residence at EMS (Electronic Music <br>
> Stockholm) in 2017 and she was awarded Laur?at prize for visual arts, <br>
> Ville de Nantes 2016.Pickett teaches drawing and sound creation at <br>
> ?cole Nationale Sup?rieure d'Architecture de Nantes.<a href="http://apo33.org" rel="noreferrer" target="_blank">http://apo33.org</a><br>
><br>
> Julien Ottavi (apo33, Nantes, France)- A mediactivist, <br>
> artist-researcher, composer / musician, poet and tongues destroyer, <br>
> experimental film maker and anarchitect, founder and member of Apo33, <br>
> Julien Ottavi is involved in research and creative work, combining <br>
> sound art, real-time video, new technologies and body performances. <br>
> Since 1997, he develops a composition work using voice and its <br>
> transformation through computer. Active developer of audio/visual <br>
> programs with Puredata, he has also developed since many years DIY <br>
> electronics (radio transmitters, oscillators, mixers, amplifiers, <br>
> video transmitters?etc) in the perspective of knowledge sharing on <br>
> technological development. Main developer for the Gnu/Linux operating <br>
> system APODIO for digital art and A/V & streaming diffusion. His <br>
> practices is not limited to the art spheres but crosses different <br>
> fields from technological development to philosophy / theoretical <br>
> research, biomimetic analysis & experimentation. Since many years he <br>
> reflects on the relations between experimental practices and <br>
> collective practices within the creation of autonomous collective <br>
> groups, putting in question the authorship strategy of the ?art <br>
> ideology?.<br>
><br>
> Ruth Catlow (furtherfield, London, UK) is an artist who works with <br>
> emancipatory network cultures, practices and poetics. She is <br>
> co-founder and artistic director, with Marc Garrett, of Furtherfield <br>
> for arts, technology and social change. Furtherfield?s public <br>
> exhibition and lab venues in the heart of Finsbury Park, London, <br>
> provide a unique physical interface for free exhibitions, events and <br>
> workshops and an online hub provides a forum for exchange and critical <br>
> review. These spaces bring together diverse local cultures with <br>
> thriving networks of international artists, technologists and <br>
> activists. Recently published ?Artists Re:thinking the Blockchain? <br>
> with Marc Garrett, Nathan Jones, and Sam Skinner 2017.<br>
><br>
> Marc Garrett (furtherfield, London, UK) is co-director and co-founder, <br>
> with artist Ruth Catlow of the arts collective Furtherfield, in <br>
> Finsbury Park, London. Has curated over 50 contemporary Media Arts <br>
> exhibitions, projects nationally and internationally. Curated the <br>
> renowned major exhibition Monsters of the Machine: Frankenstein in the <br>
> 21st Century, at Laboral, Spain. Main editor of the Furtherfield web <br>
> site. Written for various books and articles about art, technology and <br>
> social change. Recently published ?Artists Re:thinking the Blockchain? <br>
> with Ruth Catlow, Nathan Jones, and Sam Skinner 2017. Currently in the <br>
> last year of Phd at the University of London, Birkbeck College.<br>
> <a href="http://furtherfield.org" rel="noreferrer" target="_blank">http://furtherfield.org</a><br>
><br>
> Paul Vanouse (Coalesce: Center for Bilogical Art, Buffalo, USA) is a <br>
> Professor of Art and Director of the Coalesce Center for Biological <br>
> Art at the University at Buffalo. Interdisciplinarity and impassioned <br>
> amateurism guide his art practice. His biological and interactive <br>
> media projects have been exhibited in over 25 countries and widely <br>
> across the US. His recent projects, ?Latent Figure Protocol?, ?Ocular <br>
> Revision?, ?Suspect Inversion Center? and ?America Project? use <br>
> molecular biology techniques to challenge ?genome-hype? and to engage <br>
> issues surrounding DNA fingerprinting, particularly the idea the most <br>
> authoritative image of our time, the DNA fingerprint, is somehow <br>
> natural.He has a BFA from the University at Buffalo and an MFA from <br>
> Carnegie Mellon University. <a href="http://www.buffalo.edu/gem/coalesce" rel="noreferrer" target="_blank">http://www.buffalo.edu/gem/<wbr>coalesce</a><br>
><br>
> Anna Scime (in association with Coalesce)is an internationally <br>
> exhibited media artist, whose recent solo and group screenings and <br>
> exhibitions include: Burchfield Penney Art Center (Buffalo), Berlin <br>
> International Directors Lounge (Berlin), Centro Cultural Borges <br>
> (Buenos Aires), Detroit Independent Film Festival (Detroit), FLORA <br>
> ars+natura (Bogot?), Kuala Lumpur Experimental Film,and PS1 MoMA <br>
> (NYC). Her documentary work has been broadcast nationally and <br>
> published throughout the web on Free Speech TV, PhillyCAM and <br>
> ArtGrease. She has received awards for her work including fellowships <br>
> from ARTS Council of the Southern Finger Lakes and The New York State <br>
> Council of the Arts (NYSCA) among others. She was very much part of <br>
> the cultural ecosystem in Buffalo, serving as interim Executive <br>
> Director at Squeaky Wheel (2015-2016), working with community arts <br>
> nonprofits, like the Buffalo International Film Festival. She is also <br>
> Lumiflux Media?s Executive Director, and since 2013 has worked to <br>
> ensure that the organization sustainably stewards a dynamic roster of <br>
> media productions.<a href="http://www.a--a.org/" rel="noreferrer" target="_blank">http://www.a--a.<wbr>org/</a><br>
><br>
> Stephanie Rothenberg?s ((in association with Coalesce) <br>
> interdisciplinary artworks make visible the physical and imaginary <br>
> networks that create technological utopias. Moving between real and <br>
> virtual spaces, she explores how new technologies mediate our everyday <br>
> experiences and connect us to larger global systems. Her artworks that <br>
> engage digital media, plant life and networks have been exhibited in <br>
> venues including House of Electronic Arts (HeK), MASS MoCA, LABoral, <br>
> Sundance Film Festival, Transmediale and ZKM. She is a recipient of <br>
> numerous grants and awards including a Creative Capital. Residencies <br>
> include the LMCC Workspace program, Eyebeam and the Santa Fe Art <br>
> Institute. Her work is in the collection of the Whitney Museum and has <br>
> been widely reviewed including Artforum, The Brooklyn Rail and <br>
> Hyperallergic. Rothenberg received her MFA from The School of the Art <br>
> Institute of Chicago. She is Associate Professor and Director of <br>
> Graduate Studies in the Department of Art at SUNY Buffalo. <br>
> <a href="http://www.stephanierothenberg.com" rel="noreferrer" target="_blank">http://www.<wbr>stephanierothenberg.com</a><br>
><br>
> Ekrem Serdar (Squeaky Wheel film and media art center, Buffalo, USA) <br>
> is the curator for Squeaky Wheel, responsible for the organization?s <br>
> exhibitions, public programming, and artist residencies. Previously, <br>
> he was a programmer with Experimental Response Cinema (Austin, TX) <br>
> which he co-founded. He is the recipient of a Curatorial Fellowship <br>
> from the Andy Warhol Foundation for the Visual Arts (2017), a SAHA <br>
> Scholarship for the ICI Curatorial Intensive New Orleans (2017), and a <br>
> Professional Development Fellowship from the Robert Flaherty Film <br>
> Seminar (2015). He is an advisory member of Experimental Response <br>
> Cinema, and the FOL Cinema Society (Istanbul). His writing has <br>
> appeared in /The Brooklyn Rail/, /Millennium Film Journal/, <br>
> /5harfliler/, among others. He completed his B.A. in Critical Studies, <br>
> and his M.F.A in Media Arts Production at the Department of Media <br>
> Study at SUNY Buffalo. He is from Ankara, Turkey. <a href="http://squeaky.org" rel="noreferrer" target="_blank">http://squeaky.org</a><br>
><br>
> Kathy High (nature lab, Troy, USA) is an artist / educator who <br>
> collaborates with scientists and others, and considers living <br>
> systems, eco-empathy and animal sentience, and the social, political <br>
> and ethical dilemmas of biotechnology and medical industries. She has <br>
> received awards including Guggenheim Memorial Foundation and National <br>
> Endowment for the Arts. High is Professor in Arts, and oversees a lab <br>
> in Center for Biotechnology and Interdisciplinary Studies at <br>
> Rensselaer Polytechnic Institute, Troy, NY. She is NATURE Lab <br>
> coordinator with community media organization, The Sanctuary for <br>
> Independent Media. She is Vivo Art resident at Center for Microbiome <br>
> Sciences & Therapeutic, DePaolo Lab, UofW, Seattle. <br>
> <a href="https://www.mediasanctuary.org/" rel="noreferrer" target="_blank">https://www.mediasanctuary.<wbr>org/</a><br>
><br>
><br>
> ______________________________<wbr>_________________<br>
> empyre forum<br>
> <a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a><br>
> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.<wbr>edu</a><br>
<br>
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<br>
Message: 4<br>
Date: Mon, 04 Jun 2018 17:03:46 +0100<br>
From: Marysia Lewandowska <<a href="mailto:marysia@marysialewandowska.com">marysia@marysialewandowska.<wbr>com</a>><br>
To: shu lea cheang <<a href="mailto:shulea@earthlink.net">shulea@earthlink.net</a>>, soft_skinned_space<br>
<<a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a>><br>
Subject: Re: [-empyre-] rehearsal of a network - [week 1]<br>
Message-ID: <<a href="mailto:D73B1F89.9ADE6%25marysia@marysialewandowska.com">D73B1F89.9ADE6%marysia@<wbr>marysialewandowska.com</a>><br>
Content-Type: text/plain; charset="utf-8"<br>
<br>
Hello Shu Lea and all,<br>
<br>
I appreciate the introduction sent by Marc from Furtherfield as it would be<br>
good<br>
to identify how the participants to this online network are distributed<br>
geographically.<br>
So when it comes to growing the mycelium network we can feel its impact<br>
locally.<br>
<br>
As with all rehearsals, we need to go over the material several times until<br>
we arrive<br>
at a version that feels useful. While proposals accumulate, we might<br>
experience repetition.<br>
<br>
best,<br>
marysia<br>
<br>
<br>
Marysia Lewandowska<br>
<a href="http://www.marysialewandowska.com" rel="noreferrer" target="_blank">www.marysialewandowska.com</a> <<a href="http://www.marysialewandowska.com/" rel="noreferrer" target="_blank">http://www.<wbr>marysialewandowska.com/</a>><br>
Instagram: share_what_you_know . . . . . . . . . . . . . . . . . . . . . . .<br>
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br>
<br>
Undoing Property? <br>
<<a href="http://www.thing.net/~rdom/ucsd/3somesPlus/UndoingProperty.pdf" rel="noreferrer" target="_blank">http://www.thing.net/~rdom/<wbr>ucsd/3somesPlus/<wbr>UndoingProperty.pdf</a>><br>
Sternberg Press 2013<br>
<br>
<br>
From: shu lea cheang <<a href="mailto:shulea@earthlink.net">shulea@earthlink.net</a>><br>
Reply-To: shu lea cheang <<a href="mailto:shulea@earthlink.net">shulea@earthlink.net</a>>, soft_skinned_space<br>
<<a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a>><br>
Date: Monday, 4 June 2018 12:42<br>
To: <<a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a>><br>
Subject: Re: [-empyre-] rehearsal of a network - [week 1]<br>
<br>
----------empyre- soft-skinned space----------------------<br>
<br>
<br>
<br>
dear -empyre-<br>
<br>
<br>
if i may, allow me to get back to june, 2018.<br>
<br>
<br>
question (1): why mycelium network?<br>
<br>
<br>
question (2): why a society?<br>
<br>
<br>
question (3): how to start a network?<br>
<br>
<br>
mycelium as an after nature's network, to quote-<br>
<br>
<br>
***I believe that mycelium is the neurological network of nature.<br>
Interlacing mosaics of mycelium infuse habitats with information-sharing<br>
membranes. ?..The mycelium stays in constant molecular communication with<br>
its environment, devising diverse enzymatic and chemical responses to<br>
complex challenges. - Paul Stamets, Mycelium Running: How Mushrooms Can Help<br>
Save the World<br>
<br>
***We are stuck with the problem of living despite economic and ecological<br>
ruination?.. Neither tales of progress nor of ruin tell us how to think<br>
about collaborative survival. It is time to pay attention to mushroom<br>
picking. Not that this will save us? but it might open our imaginations. -<br>
Anna Lowenhaupt Tsing, The mushroom at the end of the world : on the<br>
possibility of life in capitalist ruins<br>
<br>
<br>
<br>
______<br>
<br>
<br>
The project Mycelium Network Society was inspired by artist Taro's<br>
myco-logick project at infolab Stadtwerkstatt during STWST48 (a 48 hours<br>
festival hosted by Stadtwerkstatt and in association with Ars Electronica)<br>
in 2015. Taro grows fabulous mushrooms sculpted by his own will. That year,<br>
Taro launched 2 weather balloons filled with fungal spores to the<br>
stratosphere, anticipating these balloons to expand while rising and<br>
finally burst at a height of approximately 30km, releasing the spores to<br>
continue direction outer space and/or to fall back on earth, where they<br>
possibly find suitable conditions to spread their information.<br>
<br>
<br>
<br>
The project is a powerful poetic gesture. It prompted us to consider a free<br>
will network possibility, post-NET, (after) the nature. When we (Shu Lea<br>
Cheang of cycleX and Franz Xaver of Stadtwerkstatt ) first started Mycelium<br>
Network Society (MNS), we were excited to 'discover' many artists who work<br>
with mycilium, mushroom, spores, culture+++ as (art) medium. When MNS was<br>
first presented at transmediale2017, we showcased some artists works -<br>
myco-logick (since 2015) by Taro, Mycophone_unison (since 2013) by Sa?a<br>
Spa?al, Mirjan ?vagelj , Radio Mycelium (since 2011) by Martin Howse, The<br>
T-shroom (since 2002) by Kartina Neiburga and Art bureau OPEN. In this same<br>
year, we hosted a residency at Eleonore/STWST in Linz, Austria. We held an<br>
open call for artists and got some great responses, finally selected three<br>
artists, Azucena Sanchez, Servando Barreiro and Callum Caplan, their<br>
residency works would consequently be presented at STWST48x3 in September.<br>
After this year's presentation/exhibition, we were referred to, introduced<br>
to many more artists who work with mycelium culture matter and came to<br>
realize that it was not quite possible for us to keep hosting residency,<br>
holding exhibitions. There is also carbon matters that concern us for<br>
transporting artists.<br>
<br>
<br>
<br>
Thus, the consideration - asking local art agencies to host<br>
residency/expositions and we connect via agencies (NODES) to build the<br>
network. The question arise, do we go through EU funding route? Getting a<br>
few organizations and launch a network, s shared platform? The recent<br>
network initiative example being the NEW NETWORK NORMAL, NNN (a partnership<br>
project by Abandon Normal Devices <<a href="http://www.andfestival.org.uk/" rel="noreferrer" target="_blank">http://www.andfestival.org.<wbr>uk/</a>> (uk),<br>
Centre de Cultura Contempor?nia de Barcelona <<a href="http://www.cccb.org/en" rel="noreferrer" target="_blank">http://www.cccb.org/en</a>><br>
(CCCB) (es), The Influencers <<a href="http://theinfluencers.org/en" rel="noreferrer" target="_blank">http://theinfluencers.org/en</a>> (es),<br>
transmediale (de) and STRP <<a href="https://strp.nl/en/" rel="noreferrer" target="_blank">https://strp.nl/en/</a>> (nl). We didnt take this<br>
route, (well! administration alone would drive us a bit insane!) , instead,<br>
we thought to start with writing to art spaces we know, Furtherfield in<br>
London, Apo33 in Nantes, FACT in Liverpool.....Then, In March, i had a<br>
chance to go back to New York for some lectures, travelling through Buffalo,<br>
Troy and New York city, signing on nodes to 'adopt a network". I shook hands<br>
with Paul Vanouse at his Coalesce Center for Biological Art at the<br>
University at Buffalo, took an agreement photo with Ekrem, Anne, Stephanie<br>
at Squeaky, and at the Santuary for Independent Media , we had a public<br>
voting to sign on its Nature lab (directed by Kathy High) as part of MNS.<br>
<<a href="https://www.mediasanctuary.org/" rel="noreferrer" target="_blank">https://www.mediasanctuary.<wbr>org/</a>><br>
<br>
<br>
<<a href="https://www.mediasanctuary.org/" rel="noreferrer" target="_blank">https://www.mediasanctuary.<wbr>org/</a>> The simple guidelines apply-<br>
<br>
<br>
CYCLE 1 - ADOPT A NETWORK<br>
(1)To adopt the network concept as art spaces/collectives/labs that host<br>
artist projects.<br>
(2)To focus on artists who work with mycelium, fungus, spores as art and<br>
network medium.<br>
(3)To organize workshops/residencies/<wbr>exhibitions.<br>
(4)To cultivate your own local mycelium network, independent and<br>
autonomous.<br>
(5)To share information, resources and be part of larger global network.<br>
(6)To harvest spores from your local mushrooms and make spore prints for<br>
node to node spores exchange.<br>
(7)To collect spores towards a global spores release party.<br>
(8)To be part of a book to be published along with the spores? release.<br>
And now we ask ourselves, how to get this network started? how can such<br>
autonomous, self managed network grow/branch out under/above ground?<br>
<br>
Is it at all possible???<br>
<br>
<br>
OVER<br>
Sl<br>
<br>
<br>
<br>
<br>
On 01/06/18 08:53, Shu Lea Cheang wrote:<br>
<br>
> <br>
> ----------empyre- soft-skinned space----------------------<br>
> <br>
> <br>
> <br>
> <br>
> On this sunny june 1 morning -<br>
> <br>
> <br>
> Thanks, renate, for inviting to me on -empyre- editorial board and for the<br>
> introduction to this month's launch.<br>
> <br>
> I have titled this month's topic ?rehearsal of a network? with a focus on<br>
> network activation, network construct, networked activism, performance,<br>
> leading towards some (un)imaginable scenarios for nets and nets. Taking<br>
> Mycelium Network Society as a starting point, we hope to unfold this<br>
> discussion on networks in four weeks -<br>
> <br>
> June 1-8 (week 1) ? mycelium network society with network nodes' participants<br>
> <br>
> June 9-15 (week 2) ? networked activism and performance<br>
> <br>
> June 16-22 (week 3) ? post-Net network imagination<br>
> <br>
> June 23-30 (week 4) ? proposals for speculative, tangible networks<br>
> <br>
> [flashback]<br>
> <br>
> <br>
> <br>
> In the 80s in New York City, I was part of Paper Tiger TV collective. By<br>
> 1986, PPTV gave rise to Deep Dish TV network that takes on "creating and<br>
> distributing politically radical independent videos that challenge the<br>
> narratives of corporate media." For DDTV, I have collaborated and co-produced<br>
> 'Racism on the Mainstreet" for its premiere launch, followed by 'Will be<br>
> Televised' (1990), a 5 part series of video documents from Asia. In my art<br>
> works, I have worked with networked installation and performances, including<br>
> Bowling alley (1995, Walker art center) which connects a bowling lane in<br>
> Minneapolis to the gallery at Walker and WWW, then a fresh outpost; Brandon<br>
> (1998-1999), one year web narrative that networks actual and virtual -<br>
> spaces, beings, genders and crimes. Working in collective modes, I co-founded<br>
> several network initiative, including TAKE2030 (since 2003) which "operates in<br>
> parallel net media scheme and shifts the social media mission into hypermedia<br>
> playing fields", LaptopsRus.me (since 2009) which hosts "MEETING | REUNI?N"<br>
> inside an electronically updated boxing ring for networking woman live<br>
> performers. <br>
> In the early 90s, i hitchhiked onto the superhighway, claiming my homesteading<br>
> and squating the cyberspace. By the early 2000, we (co-curation with Armin<br>
> Medosch and Yukiko Shikata) launched Kingdom of Piracy, an online, open work<br>
> space to explore the free sharing of digital content - often condemned as<br>
> piracy - as the net's ultimate art form. By then, i have located much of my<br>
> work in the post-netcrash scenarios, i.e. Garlic=RichAir (2002-2003), in this<br>
> public performance project, organic garlic was ordained as new social<br>
> currency, serving as "credito" for a global shared network.<br>
> <br>
> [flash forward]<br>
> <br>
> <br>
> <br>
> <br>
> In 2017, in association with Stadtwerkstatt (Linz, Austria) and CycleX<br>
> (Andes, New York), we launched ?Mycelium Network Society? (MNS)<br>
> (<a href="http://myceliumNS.net" rel="noreferrer" target="_blank">http://myceliumNS.net</a> <<a href="http://myceliumNS.net" rel="noreferrer" target="_blank">http://myceliumNS.net</a>> ) at Ecologies excursion at<br>
> transmediale 2017. Mycelium Network Society imagines an underground network<br>
> situated in a post-internet mudland. Powered by fungus, spores, culture,<br>
> kitchen, radio, transmission, installations, workshops and performances, MNS<br>
> departs from the pursuits of magic mushroom to chart a state of<br>
> hyper-hallucination and collective fungal consciousness. As an after nature?s<br>
> network, MNS investigates the fungi culture, its network capacity to<br>
> communicate and process information. MNS commands its own domain in<br>
> human-disturbed forests - sprouting across the moisture of rich soils,<br>
> expanding its colonies, sharing informations, networking co-habitants across<br>
> borders. In our withered ecosphere, we seek out mycelium to lead us out of the<br>
> ruins, to construct political tactics, to salvage economic meltdown, to<br>
> persist in constant molecular communication a la mycelium mode. For years<br>
> 2018-2020, we propose to branch out Mycelium Network Society a la franchise<br>
> mode. Observing the concept of distributed network, we seek out art<br>
> spaces/collectives/labs to participate as nodes, a node that grows and<br>
> connects nodes globally. We set cycle1 of network cultivating for three years,<br>
> from 2018 to 2020. On a giving day in 2020, we call for a global action with<br>
> connected nodes, to release the collected spores into the stratosphere,<br>
> letting them drift in blowing wind till they ground themselves in the new land<br>
> where cycle ll begins. so far, we have these nodes signed on as part of<br>
> Mycelium Network Society<br>
> <br>
> <br>
> <br>
> <br>
> <br>
> APO-33 Nantes, France<br>
> furtherfield London, UK<br>
> Coalesce: Center for Bilogical Art, Buffalo, USA<br>
> Squeaky Wheel film and media art center, Buffalo, USA<br>
> The Santuary for Independent Media | Nature Lab Troy, USA<br>
> GENSPACE, New York City, USA<br>
> DIMENSION PLUS, Taipei, Taiwan<br>
> ?????|Bamboo curtain studio Taipei, Taiwan<br>
> <br>
> With this week's discussion, we hope that more nodes will ADOPT 'MNS'.<br>
> <br>
> <br>
> I am grateful that most of these nodes' directors are joining us for [week 1]<br>
> and also like to welcome a very special guest from Mexico, Adrian Guzman.<br>
> <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> We begin.<br>
> <br>
> Adrian Guzman (Mexico), Biohacker concentrated in Genomics and Epidemiology of<br>
> Communication. Has been advisor of the Director General of Inecol, one of the<br>
> 27 national public research centers in Mexico focused in Ecology and<br>
> Agro-nanobiotechnology. Has been a visiting fellow at Wyss Institute in<br>
> Harvard, Centre for Bio Inspired Engineering. With a BSc background in physics<br>
> and artificial intelligence, a BSc in Telecommunications Engineering, a Master<br>
> degree in Environmental Intelligence and Digital Architecture and a PhD in<br>
> Social Representations and Communication (office of the future, anthropology<br>
> of learning and cognition and food representations) his interests are broad<br>
> and collective. As Gaston Guzman (+) deceased, collaborator. Helped to<br>
> classify and update the most extensive collection database of fungi in Mexico.<br>
> <a href="http://mushroomjohn.org/guzman1.htm" rel="noreferrer" target="_blank">http://mushroomjohn.org/<wbr>guzman1.htm</a> <<a href="http://mushroomjohn.org/guzman1.htm" rel="noreferrer" target="_blank">http://mushroomjohn.org/<wbr>guzman1.htm</a>><br>
> <br>
> <br>
> Franz Xaver (stadtwerkstatt, Linz, Aystria) has studied at the Academy of<br>
> Applied Art, department of "Visual Communication" founded by Peter Weibel.<br>
> Subsequently he wasteaching computer languages, audio-visual productions,<br>
> electronics and electrical technics at the same Academy until 1992.At the<br>
> Technical University of Graz he was lecturing at the departure "Institut f?r<br>
> Baukunst" "CommunicationTheory". He was participating in numerous exhibitions<br>
> in Austria and abroad, including Ars Electronica, Aperto Biennale di Venezia,<br>
> Triennale Milano, Bonn Kunst und Ausstellungshalle from Germany. He directs<br>
> the two workspaces - Medienkunstlabor Kunsthaus Graz and STWST(Stadtwerkstatt)<br>
> Linz. <br>
> <a href="http://stwst.at" rel="noreferrer" target="_blank">http://stwst.at</a><br>
> <br>
> <br>
> <br>
> Jenny Pickett (apo33, Nantes, France) is a British artist based in Nantes and<br>
> member of the artists' collective APO33. Pickett?s workcrosses experimental<br>
> music, visual and sound arts, regularly working in collaboration with Julien<br>
> Ottavi and performing regularly with their duo Solar Return. She creates<br>
> installations, sound sculptures and compositions, often ontological,<br>
> philosophical or scientific, her subject is articulated around complex notions<br>
> related to the slipping of times, cycles, identities and their memory. Pickett<br>
> and Ottavi were artists in residence at EMS (Electronic Music Stockholm) in<br>
> 2017 and she was awarded Laur?at prize for visual arts, Ville de Nantes 2016.<br>
> Pickett teaches drawing and sound creation at ?cole Nationale Sup?rieure<br>
> d'Architecture de Nantes. <a href="http://apo33.org" rel="noreferrer" target="_blank">http://apo33.org</a><br>
> <br>
> <br>
> <br>
> Julien Ottavi (apo33, Nantes, France)- A mediactivist, artist-researcher,<br>
> composer / musician, poet and tongues destroyer, experimental film maker and<br>
> anarchitect, founder and member of Apo33, Julien Ottavi is involved in<br>
> research and creative work, combining sound art, real-time video, new<br>
> technologies and body performances. Since 1997, he develops a composition work<br>
> using voice and its transformation through computer. Active developer of<br>
> audio/visual programs with Puredata, he has also developed since many years<br>
> DIY electronics (radio transmitters, oscillators, mixers, amplifiers, video<br>
> transmitters?etc) in the perspective of knowledge sharing on technological<br>
> development. Main developer for the Gnu/Linux operating system APODIO for<br>
> digital art and A/V & streaming diffusion. His practices is not limited to the<br>
> art spheres but crosses different fields from technological development to<br>
> philosophy / theoretical research, biomimetic analysis & experimentation.<br>
> Since many years he reflects on the relations between experimental practices<br>
> and collective practices within the creation of autonomous collective groups,<br>
> putting in question the authorship strategy of the ?art ideology?.<br>
> <br>
> <br>
> Ruth Catlow (furtherfield, London, UK) is an artist who works with<br>
> emancipatory network cultures, practices and poetics. She is co-founder and<br>
> artistic director, with Marc Garrett, of Furtherfield for arts, technology and<br>
> social change. Furtherfield?s public exhibition and lab venues in the heart of<br>
> Finsbury Park, London, provide a unique physical interface for free<br>
> exhibitions, events and workshops and an online hub provides a forum for<br>
> exchange and critical review. These spaces bring together diverse local<br>
> cultures with thriving networks of international artists, technologists and<br>
> activists. Recently published ?Artists Re:thinking the Blockchain? with Marc<br>
> Garrett, Nathan Jones, and Sam Skinner 2017.<br>
> <br>
> <br>
> <br>
> Marc Garrett (furtherfield, London, UK) is co-director and co-founder, with<br>
> artist Ruth Catlow of the arts collective Furtherfield, in Finsbury Park,<br>
> London. Has curated over 50 contemporary Media Arts exhibitions, projects<br>
> nationally and internationally. Curated the renowned major exhibition Monsters<br>
> of the Machine: Frankenstein in the 21st Century, at Laboral, Spain. Main<br>
> editor of the Furtherfield web site. Written for various books and articles<br>
> about art, technology and social change. Recently published ?Artists<br>
> Re:thinking the Blockchain? with Ruth Catlow, Nathan Jones, and Sam Skinner<br>
> 2017. Currently in the last year of Phd at the University of London, Birkbeck<br>
> College. <br>
> <a href="http://furtherfield.org" rel="noreferrer" target="_blank">http://furtherfield.org</a><br>
> <br>
> Paul Vanouse (Coalesce: Center for Bilogical Art, Buffalo, USA) is a Professor<br>
> of Art and Director of the Coalesce Center for Biological Art at the<br>
> University at Buffalo. Interdisciplinarity and impassioned amateurism guide<br>
> his art practice. His biological and interactive media projects have been<br>
> exhibited in over 25 countries and widely across the US. His recent projects,<br>
> ?Latent Figure Protocol?, ?Ocular Revision?, ?Suspect Inversion Center? and<br>
> ?America Project? use molecular biology techniques to challenge ?genome-hype?<br>
> and to engage issues surrounding DNA fingerprinting, particularly the idea the<br>
> most authoritative image of our time, the DNA fingerprint, is somehow natural.<br>
> He has a BFA from the University at Buffalo and an MFA from Carnegie Mellon<br>
> University. <a href="http://www.buffalo.edu/gem/coalesce" rel="noreferrer" target="_blank">http://www.buffalo.edu/gem/<wbr>coalesce</a><br>
> <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> Anna Scime (in association with Coalesce) is an internationally exhibited<br>
> media artist, whose recent solo and group screenings and exhibitions include:<br>
> Burchfield Penney Art Center (Buffalo), Berlin International Directors Lounge<br>
> (Berlin), Centro Cultural Borges (Buenos Aires), Detroit Independent Film<br>
> Festival (Detroit), FLORA ars+natura (Bogot?), Kuala Lumpur Experimental<br>
> Film,and PS1 MoMA (NYC). Her documentary work has been broadcast nationally<br>
> and published throughout the web on Free Speech TV, PhillyCAM and ArtGrease.<br>
> She has received awards for her work including fellowships from ARTS Council<br>
> of the Southern Finger Lakes and The New York State Council of the Arts<br>
> (NYSCA) among others. She was very much part of the cultural ecosystem in<br>
> Buffalo, serving as interim Executive Director at Squeaky Wheel (2015-2016),<br>
> working with community arts nonprofits, like the Buffalo International Film<br>
> Festival. She is also Lumiflux Media?s Executive Director, and since 2013 has<br>
> worked to ensure that the organization sustainably stewards a dynamic roster<br>
> of media productions. <a href="http://www.a--a.org/" rel="noreferrer" target="_blank">http://www.a--a.org/</a> <<a href="http://www.a--a.org/" rel="noreferrer" target="_blank">http://www.a--a.org/</a>><br>
> <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> Stephanie Rothenberg?s ((in association with Coalesce) interdisciplinary<br>
> artworks make visible the physical and imaginary networks that create<br>
> technological utopias. Moving between real and virtual spaces, she explores<br>
> how new technologies mediate our everyday experiences and connect us to larger<br>
> global systems. Her artworks that engage digital media, plant life and<br>
> networks have been exhibited in venues including House of Electronic Arts<br>
> (HeK), MASS MoCA, LABoral, Sundance Film Festival, Transmediale and ZKM. She<br>
> is a recipient of numerous grants and awards including a Creative Capital.<br>
> Residencies include the LMCC Workspace program, Eyebeam and the Santa Fe Art<br>
> Institute. Her work is in the collection of the Whitney Museum and has been<br>
> widely reviewed including Artforum, The Brooklyn Rail and Hyperallergic.<br>
> Rothenberg received her MFA from The School of the Art Institute of Chicago.<br>
> She is Associate Professor and Director of Graduate Studies in the Department<br>
> of Art at SUNY Buffalo. <a href="http://www.stephanierothenberg.com" rel="noreferrer" target="_blank">http://www.<wbr>stephanierothenberg.com</a><br>
> <br>
> Ekrem Serdar (Squeaky Wheel film and media art center, Buffalo, USA) is the<br>
> curator for Squeaky Wheel, responsible for the organization?s exhibitions,<br>
> public programming, and artist residencies. Previously, he was a programmer<br>
> with Experimental Response Cinema (Austin, TX) which he co-founded. He is the<br>
> recipient of a Curatorial Fellowship from the Andy Warhol Foundation for the<br>
> Visual Arts (2017), a SAHA Scholarship for the ICI Curatorial Intensive New<br>
> Orleans (2017), and a Professional Development Fellowship from the Robert<br>
> Flaherty Film Seminar (2015). He is an advisory member of Experimental<br>
> Response Cinema, and the FOL Cinema Society (Istanbul). His writing has<br>
> appeared in The Brooklyn Rail, Millennium Film Journal, 5harfliler, among<br>
> others. He completed his B.A. in Critical Studies, and his M.F.A in Media Arts<br>
> Production at the Department of Media Study at SUNY Buffalo. He is from<br>
> Ankara, Turkey. <a href="http://squeaky.org" rel="noreferrer" target="_blank">http://squeaky.org</a><br>
> <br>
> <br>
> <br>
> <br>
> Kathy High (nature lab, Troy, USA) is an artist / educator who collaborates<br>
> with scientists and others, and considers living systems, eco-empathy and<br>
> animal sentience, and the social, political and ethical dilemmas of<br>
> biotechnology and medical industries. She has received awards including<br>
> Guggenheim Memorial Foundation and National Endowment for the Arts. High is<br>
> Professor in Arts, and oversees a lab in Center for Biotechnology and<br>
> Interdisciplinary Studies at Rensselaer Polytechnic Institute, Troy, NY. She<br>
> is NATURE Lab coordinator with community media organization, The Sanctuary for<br>
> Independent Media. She is Vivo Art resident at Center for Microbiome Sciences<br>
> & Therapeutic, DePaolo Lab, UofW, Seattle. <a href="https://www.mediasanctuary.org/" rel="noreferrer" target="_blank">https://www.mediasanctuary.<wbr>org/</a><br>
> <br>
> <br>
> ______________________________<wbr>_________________<br>
> empyre forum<br>
> empyre@lists.artdesign.unsw.<wbr>edu.auhttp://<a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">empyre.library.<wbr>cornell.edu</a><br>
> <br>
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Message: 5<br>
Date: Mon, 4 Jun 2018 17:17:23 -0400 (EDT)<br>
From: Alan Sondheim <<a href="mailto:sondheim@panix.com">sondheim@panix.com</a>><br>
To: soft_skinned_space <<a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a>><br>
Subject: Re: [-empyre-] rehearsal of a network - [week 1]<br>
Message-ID: <<a href="mailto:alpine.NEB.2.21.1806041710350.25910@panix3.panix.com">alpine.NEB.2.21.<wbr>1806041710350.25910@panix3.<wbr>panix.com</a>><br>
Content-Type: text/plain; format=flowed; charset=US-ASCII<br>
<br>
<br>
<br>
I have a question re: the release of spores from weather balloons and <br>
other means of distribution. Are you concerned about the issue of invasive <br>
species? We're fascinated by mycological environments, and at least in <br>
some areas, this seems to be an issue. Mycelium spread of their own <br>
accord; there's competition among species. At the moment, with some more <br>
visible forms of life such as phragmites (which can also be considered <br>
networked), there are serious issues of native or local species going<br>
extinct. Do you worry that articial spore releases can contribute to <br>
this? Is this addressed?<br>
<br>
Thanks greatly, Alan<br>
<br>
<br>
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End of empyre Digest, Vol 162, Issue 4<br>
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