ex silico
Mads Bering Christiansen, Ahmad Rafsanjani & Jonas Jørgensen
Mads Bering Christiansen, Ahmad Rafsanjani & Jonas Jørgensen soft biomorphs Mads Bering Christiansen Ahmad Rafsanjani Jonas Jørgensen about this contribution Human existence is deeply enmeshed with the natural environment and humans possess an innate connection with living beings and natural elements Within art design and architecture this is reflected in the transhistorical concept of biomorphism which refers to a preference for or an interest in organic lifelike forms that are evocative of nature and natural organisms This zoomable disseminates research towards envisioning soft biomorphism as an alternative design paradigm for soft robotics robots made from pliable and elastic materials Earlier work on soft robotics has mainly been anchored in technical science and focused on improving the abilities of robots through mimicking the physiology and mechanical operations of soft natural organisms Soft biomorphism seeks to enact a different perspective to facilitate a reorientation of the field’s interests The notion of soft biomorphism is based on the simple premise of interrogating what happens when the inherently organic aesthetic of soft robots is emphasized and enhanced by incorporating inspiration from forms colors textures and patterns of a biological origin Soft biomorphism differs from other bioinspired design approaches used in robotics as it eschews exact replication of a particular organism’s morphological features instead favoring select idiosyncratic or general visual and haptic similarities with natural organisms Rather than seeking to deceive users into believing that a robot is alive biomorphic elements are incorporated to cultivate connection and empathy between humans and machines By appearing lifelike yet unfamiliar soft biomorphic robot designs could facilitate more openended negotiable human–robot relations that are not modeled on human–human interaction or interactions with specific animals or domesticated pets The artistic motivations underlying soft biomorphism also include critically reflecting on the boundaries between nature technology and their cultural uses and meanings This practicebased work unites approaches from our diverse disciplinary backgrounds within soft robotics mechanical engineering human–robot interaction artistic practice and design research We initially sought to unpack and enact soft biomorphism through the construction of a series of material prototypes and actuated behavioral objects The interaction potentials of these soft biomorphic prototypes were subsequently interrogated in a physical human–robot interaction study Christiansen et al 2024 This zoomable focuses on articulating soft materiality and the biomorphological character of the prototypes as grounds for sensory perception a potentiality of bodily sensations and distinct types of embodied knowledge While movement sensing and artificial cognition are integral to robotics technology and its aesthetics in general our work investigates how soft materials themselves hold the potential to generate their own forms and relations when embedded in robotics We further explore the aesthetics of soft biomorphic robots by employing photographs of our physical prototypes and text descriptions of their biomorphic inspirations as inputs for an AI image generation software The resulting outputs presented jointly on the final layer of the zoomable suggest that connections in the web of life selfreflexively query the reification and remediation of biomorphic qualities within the virtual latent space of global visual culture credits authors Mads Bering Christiansen Ahmad Rafsanjani Jonas Jørgensen SDU Soft Robotics research lab University of Southern Denmark photography Mads Bering Christiansen Cao Danh Do photo editing Oliver Heldmann Mads Bering Christiansen references and rights illustration copyrights Copyright 2024 by the authors Reproduced with permission bibliography and references books and book chapters Botar Oliver 2016 “Biomorphism” In Routledge Encyclopedia of Modernism 1st ed London Routledge httpsdoiorg1043249781135000356REM7701 Botar Oliver amp Isabel Wünsche eds 2017 Biocentrism and Modernism 1st ed London Routledge httpsdoiorg1043249781315096315 McDonnell Rachel and Bilge Mutlu 2021 “Appearance” In The Handbook on Socially Interactive Agents 20 years of Research on Embodied Conversational Agents Intelligent Virtual Agents and Social Robotics Volume 1 Methods Behavior Cognition 1st ed 105–146 New York Association for Computing Machinery httpsdoiorg10114534773223477327 Wilson Edward O 1984 Biophilia Cambridge MA Harvard University Press journal articles Budak Ece Polen Onur Zirhli Adam A Stokes and Ozge Akbulut 2016 “The Breathing Wall BRALL—Triggering Life inanimate Surfaces” Leonardo 49 2 162–163 httpsdoiorg101162LEONa01199 Christiansen Mads B Jonas Jørgensen AnneSophie E Belling and Laura Beloff 2020 “Soft Robotics and Posthuman Entities” Journal for Artistic Research 22 httpsdoiorg1022501jar549014 Christiansen Mads B Ahmad Rafsanjani and Jonas Jørgensen 2024 “‘It Brings the Good Vibes’ Exploring Biomorphic Aesthetics in the Design of Soft Personal Robots” International Journal of Social Robotics httpsdoiorg101007s12369023010376 Jørgensen Jonas 2023 “Towards a Soft Science of Soft Robots A Call for a Place for Aesthetics in Soft Robotics Research” ACM Transactions on HumanRobot Interaction 12 2 15 1–15 httpsdoiorg1011453533681 Kovač Mirko 2014 “The Bioinspiration Design Paradigm A Perspective for Soft Robotics” Soft Robotics 1 1 28–37 httpsdoiorg101089soro20130004 Sandry Eleanor 2015 “Reevaluating the Form and Communication of Social Robots” International Journal of Social Robotics 7 3 335–346 httpsdoiorg101007s1236901402783 conference papers Boer Laurens and Harvey Bewley 2018 “Reconfiguring the Appearance and Expression of Social Robots by Acknowledging their Otherness” Proceedings of the 2018 Designing Interactive Systems Conference 667–677 httpsdoiorg10114531967093196743 Sabinson Elena Isha Pradhan and Keith Evan Green 2021 “PlantHuman Embodied Biofeedback pheB A Soft Robotic Surface for Emotion Regulation in Confined Physical Space” Proceedings of the Fifteenth International Conference on Tangible Embedded and Embodied Interaction 1–14 httpsdoiorg10114534305243446065 doctoral dissertations Jørgensen Jonas 2019 “Constructing Soft Robot Aesthetics Art Sensation and Materiality in Practice” Doctoral dissertation IT University of Copenhagen httpspureitudkdapublicationsconstructingsoftrobotaestheticsartsensationandmateriality Wihart Michael 2015 “The Architecture of Soft Machines” Doctoral dissertation University College London httpsdiscoveryuclacukideprint1469447 exhibition catalogues Steiermärkisches Landesmuseum Joanneum Graz 2008 LebenLife Biomorphe Formen in der SkulpturBiomorphic Forms in Sculpture Verlag der Buchhandlung to cite this article This article is using Chicago format for its references Christiansen Mads Bering Ahmad Rafsanjani and Jonas Jørgensen 2024 “Ex Silico Soft Biomorphs” able journal httpsablejournalorgenexsilico MLA EN Christiansen Mads Bering Ahmad Rafsanjani and Jonas Jørgensen “Ex Silico Soft Biomorphs” able journal 2024 httpsablejournalorgenexsilico ISO 690 EN CHRISTIANSEN Mads Bering RAFSANJANI Ahmad and JØRGENSEN Jonas “Ex Silico Soft Biomorphs” able journal online 2024 Available from httpsablejournalorgenexsilico APA EN Christiansen M B Rafsanjani A amp Jørgensen J 2024 Ex Silico Soft Biomorphs able journal httpsablejournalorgenexsilico DOI EN httpsdoiorg1069564ableen24022exsilico aesthetics bio-inspired exploration soft-robotics
in the waiting line
Étienne Ollion & Dimitri Charrel
Étienne Ollion & Dimitri Charrel Étienne Ollion Dimitri Charrel about this contribution Our societies are built around waiting At the bus stop at the doctor’s in a store in government offices on the phone for help this exercise in patience structures our lives It is so prevalent that we forget that it affects us daily Waiting is also unequal The rich wait less than the poor they see their requests granted immediately while the latter defer their wants often for a long time sometimes indefinitely It is a way of demonstrating that one person’s time is more important than that of someone else who is being kept waiting it is to wield power And yet even among the elite it is sometimes necessary to wait Achieving political power takes time sometimes a lot of time A recent study by Étienne Ollion 2021 which serves as the basis for this visual essay showed that to become a Member of Parliament it takes years sometimes decades of prior involvement in politics Hence the idea of representing the path to the top of the power pyramid as a long queue The image is compelling It is also a useful means for grasping a series of phenomena at play in politics The existence of such a queue imposes a selection process that favors certain profiles and excludes others Because they skew representation in favor of the upper classes and because they also increase the discriminatory nature of the political field waiting lines act as a filter The essay describes the various stages at which the filter is imposed It also has a homogenizing effect because it socializes those who wait in it the queue makes individuals more alike—in their ways of thinking speaking and even dressing Toward the end of the essay we see that individuals increasingly come to resemble one another Finally the queue individualizes because it pits people against each other for the few available positions it encourages selfserving strategies and betrayal Thus it is no surprise that they are overrepresented at the summits of the Palais Bourbon home to France’s National Assembly Conversely members of the working classes who represent half of the active population are virtually absent at the top In the Waiting Line is a visual essay that seeks to describe contemporary politics through the device of a queue Through a stylized form it illustrates the various mechanisms that produce the homogeneous political class that governs us The essay makes use of the format provided by able to convey its processdriven nature while deliberately emphasizing its stylized aspect Based on politics this study aims to draw attention to the everyday mechanisms that discreetly guide our practices In the Waiting Line is produced using the scrollable format adapted to the highly interdisciplinary nature of the project Indeed visual art and design Dimitri Charrel Lorène Gaydon are necessary for creating the dynamic means of representing these social organizations which sociologist Étienne Ollion analyzed in his most recent book credits authors Étienne Ollion and Dimitri Charrel art direction and graphic design Arp is Arp Studio Dimitri Charrel illustration Lorène Gaydon editorial mediation Julie Sauret references and rights illustration copyrights Copyright 2024 by the authors Reproduced with permission bibliography and references Auyero Javier 2012 Patients of the State The Politics of Waiting in Argentina Durham NC Duke University Press Buzzati Dino 2005 The Tartar Steppe Boston MA Verba Mundi Ollion Étienne 2021 The Candidates Amateurs and Professionals in French Politics Oxford Oxford University Press Schwartz Barry 1975 Queuing and Waiting Studies in the Social Organization of Access and Delay Chicago IL University of Chicago Press to cite this article Ollion Étienne and Dimitri Charrel 2024 “In the Waiting Line” able journal httpsablejournalorgeninthewaitingline MLA EN Ollion Étienne and Dimitri Charrel “In the Waiting Line” able journal 2024 httpsablejournalorgeninthewaitingline ISO 690 EN OLLION Étienne and CHARREL Dimitri In the Waiting Line able journal online 2024 Available from httpsablejournalorgeninthewaitingline APA EN Ollion É amp Charrel D 2024 In the Waiting Line able journal httpsablejournalorgeninthewaitingline DOI EN httpsdoiorg1069564ableen24023waitingline conformism data data-visualization experience humanities political-cultures politics power sociology waiting-line
re-corporealising MRI data
Jennifer Crouch
Jennifer Crouch Jennifer Crouch about this contribution MRI is a noninvasive biomedical imaging technology that visualizes tissues within the body Corporeal matter as perceived by MRI straddles definitions of substance organism subject and object MRI interacts with the body through nuclear magnetic resonance and creates biomedical images using electrodynamics signal analysis and mathematics MRI brings us into contact with the body as a patient a person a biological environment pathology and as an assemblage of biochemical reactions charted by a medical geography It reminds us that we contain autonomic organs tissues cells molecules and that we are atomic and composed molecularly In other words the body acts beyond us Here I explore MRI through creative practice using panable to create an embedded and relational assemblage of my practice and how it interacts with MRI My point of departure is to identify interfaces in MRI as “places” sites or moments where separate entities become connected and where a change in force or informational transfer occurs During an MRI scan a powerful magnetic field moves across the bodymachine interface interacting with bodily matter on the subatomic level The interactions of the scanner result in the protons within the subject emitting radio frequency pulses which are detected and transformed into a digital biomedical image using computational processes Through a practice of “recorporealisation” the art practice described in this article explores corporeality and the philosophical concept of the abject as crucial to our subjectivity This art project examines the MRI process as partly composed of the bodymachine and analoguedigital interfaces resulting in artworks that interact with and emerge from MRI I created sculptures called phantoms using tissuemimicking materials TMMs named after scientific devices of the same name Phantoms are used in biomedical imaging as standins for human tissue and used to calibrate test and verify scanning protocols My sculptural phantoms are materialsled objects made to interact at the bodymachine interface and be sensed by MRI They are recognized and treated as semifigurative body proxies and came to inform my understanding of my personal experience of cancer and medical treatment I scanned my phantoms at the Francis Crick Institute London and the Future Technology Centre Portsmouth where I was able to explore the potential of an art object as a scientific device and create further parity between them and my medical subjectivity At the analoguedigital interface I use weaving also a bodymachine interface to explore how the signals from the body become biomedical images I analyze and visually represent the different mathematical properties needed to make an MRI image frequency amplitude phase sequence precession signaltonoise ratio real and imaginary numbers By translating these into images weave drafts and weaving them into textural patternings I create recorporealised handwoven deconstructed reconfigurations of the informational transfers that take place at the analoguedigital interface The shared lineage of the computer and loom helps me to understand and enact how weaving and computational technologies operate Part of the process or recoporealisation was to make MRI processes knowable through my own body and my woven work MRI makes us aware of different kinds of entanglements MRI emerges with the body which charts both self and health Electrons textiles signals TMMs and movements through the loom are entangled with the phenomenon of corporeal matter my experience of cancer and cancer treatment These entanglements are visualized in my panable article through interacting layers transparencies and opacities overlapping photographic records of my work photos of the lab phantommaking computer screens stages of weaving handwritten notes sketches and illustrations Linking and relinking multiple concepts through patches of transparency helped me to convey how multiscalar entities and systems in my research and practice are entangled embodied and embedded credits author Jennifer Crouch PhD artist and researcher designer Jennifer Crouch financial support University of Portsmouth CCI Faculty bursary acknowledgments Dr Bernard Siow MRI Department Biological Research Facility In Vivo Imaging Francis Crick Institute London Dr Heather Fitzke Department of Imaging Division of Medicine University College London UCL The Eldon Production Centre EPC 3D Studios Faculty of Creative and Cultural Industries University of Portsmouth The Future Technology Centre FTC University of Portsmouth Centre for Biomedical Imaging CABI University College London UCL Professor Mark Lythgoe CABI UCL University of Portsmouth CCI Faculty bursary references and rights illustration copyrights Jennifer Crouch ReCorporealising MRI Data 2023 Photos and graphic design credits Jennifer Crouch Reproduced with permission bibliography and references books Albers Anni 1979 On Weaving Middletown CT Wesleyan University Press Barad Karen 2007 Meeting the Universe Halfway Quantum Physics and the Entanglement of Matter and Meaning Durham NC Duke University Press Books Bennett Jane 2010 Vibrant Matter A Political Ecology of Things Durham NC Duke University Press Borgdorff Henk Peter Peters and Trevor Pinch eds 2019 Dialogues Between Artistic Research and Science and Technology Studies 1st ed New York Routledge httpsdoiorg1043249780429438875 Braidotti Rosi 2017 The Posthuman Cambridge Polity Press Casini Silvia 2021 Giving Bodies Back to Data Image Makers Bricolage and Reinvention in Magnetic Resonance Technology Cambridge MA MIT Press Chetwynd Hilary 1988 The Weaver8217s Workbook London Batsford Ltd Colebrook Claire 2006 Deleuze A Guide for the Perplexed London Continuum Engelmann Sasha 2021 Sensing Art in the Atmosphere Elemental Lures and Aerosolar Practices London Routledge Taylor amp Francis Group Deleuze Gilles and Félix Guattari 1996 2004 A Thousand Plateaus Capitalism and Schizophrenia Translated by Brian Massumi London Continuum Deleuze Gilles and Félix Guattari 1994 What is Philosophy Translated by Hugh Tomlinson and Graham Burchell New York Columbia University Press Essinger James 2007 Jacquard8217s Web How a HandLoom Led to the Birth of the Information Age Oxford Oxford University Press Haraway Donna 2016 Staying with the Trouble Making Kin in the Chthulucene Durham NC Duke University Press Hayles Katherine 2012 How We Think Digital Media and Contemporary Technogenesis Chicago IL University of Chicago Press Igoe Elaine ed 2021 Textile Design Theory in the Making London Bloomsbury Visual Arts Kac Eduardo ed 2007 Signs of Life Bio Art and Beyond Cambridge MA MIT Press Kristeva Julia 1982 Powers of Horror An Essay on Abjection Translated by Leon S Roudiez New York Columbia University Press Morland Ian and Dino Willox 2017 Queer Theory London Bloomsbury Publishing Olson Valerie 2018 Into the Extreme US Environmental Systems and Politics Beyond Earth Minneapolis University of Minnesota Press Rogers Hannah S Megan Halpern Dehlia Hannah and Kathryn de RidderVignone eds 2021 Routledge Handbook of Art Science and Technology Studies London Routledge Sneddon Ian N 2008 Fourier Transforms New York Dover Publications Solanki Setal 2018 Why Materials Matter Responsible Design for a Better World Munich Prestel Verlag journal articles Ahmed Sara 2006 “Orientations Toward a Queer Phenomenology” GLQ A Journal of Lesbian and Gay Studies 12 no 4 September 543574 httpswwwmusejhueduarticle202832 Alassia Fiorela 2023 “A process ontology approach in biochemistry the case of GPCRs and biosignaling” Foundations of Chemistry 24 January 405 httpsdoiorg101007s10698022094618 Baker Rebecca Christopher Payne Yichao Yu Matin Mohseni John Connell Fangyu Lin Ian Harrison Paul Southern Umesh Rudrapatna Daniel Stuckey Tammy Kalber Bernard Siow Lewis Thorne Shonit Punwani Derek Jones Mark Emberton Quentin Pankhurst and Mark Lythgoe 2022 “Image Guided Magnetic Thermoseed Navigation and Tumor Ablation Using a Magnetic Resonance Imaging System” Advanced Science 9 no 12 April 2105333 httpsdoiorg101002advs202105333 Britton Loren Goda Klumbyte and Claude Draude 2019 “Doing Thinking Revisiting Computing with Artistic Research and Technofeminism” Digital Creativity 30 no 4 Special Issue on Hybrid Pedagogies November 313 Crawford Kate 2021 “The hidden costs of AI” New Scientist 249 no 3327 4649 Dezeuze Anna 2008 “Assemblage Bricolage and the Practice of Everyday Life” Art Journal 67 no 1 3137 Dominguez Alejandro 2016 “Highlights in the History of the Fourier Transform Retrospectroscope” IEEE Pulse 7 no 1 JanuaryFebruary 5361 httpsdoiorg101109MPUL20152498500 Draude Claude Goda Klumbyte Phillip Lücking and Pat Treusch 2020 “Situated Algorithms A Sociotechnical Systemic Approach to Bias” Online Information Review 44 no 2 325342 httpsdoiorg101108OIR1020180332 Filippou Valeria and Charalampos Tsoumpas 2018 “Recent Advances on the Development of Phantoms Using 3D Printing for Imaging with CT MRI PET SPECT and Ultrasound” Medical Physics 45 no 9 e740e760 httpsdoiorg101002mp13058 Gear J I C Long D Rushforth S J Chittenden C Cummings and G D Flux 2014 “Development of Patient‐Specific Molecular Imaging Phantoms Using a 3D Printer” Medical Physics 41 no 8 part 1 082502 httpsdoiorg10111814887854 Kallinikos Jannis 2002 “Reopening the Black Box of Technology Artifacts and Human Agency” TwentyThird International Conference on Information Systems ICIS Kolakalur Anush 2021 “New Computationally Efficient Iterative Reconstruction IR Algorithms for Computed Tomography CT Images” PhD thesis University of Portsmouth British Library EThOS httpsethosblukOrderDetailsdouinukblethos851339 Lazzarato Maurizio 1996 “Immaterial Labor” In Radical Thought in Italy A Potential Politics editd by Michael hardt and Paolo Virno 133147 Minneapolis University of Minnesota Press Lim Joon Daryl Drew Smith Mark Tacey Michal Schneider Benjamin Harris Wee Loon Ong Farshad Foroudi et al 2021 “A Phantom Study to Contrast and Compare Polymer and Gold Fiducial Markers in Radiotherapy Simulation Imaging” Scientific Reports 11 no 1 8931 httpsdoiorg101038s4159802188300w Little Callum D Eleanor C Mackle Efthymios Maneas Debra Chong Daniil Nikitichev Jason Constantinou Janice Tsui et al 2022 “A PatientSpecific MultiModality Abdominal Aortic Aneurysm Imaging Phantom” International Journal of Computer Assisted Radiology and Surgery 17 no 9 16111617 httpsdoiorg101007s11548022026124 Monahon Catherine and Elizabeth Jameson 2020 “Intimate Visions Representations of the Imperfect Body in the Age of Digital Medicine” Leonardo 53 no 3 281287 httpsdoiorg101162leona01745 Moratal David A VallésLuch Luis MartíBonmatí and Marijn E Brummer 2008 “kSpace tutorial an MRI Educational Tool for a Better Understanding of kspace” Biomedical Imaging and Intervention Journal 4 no 1 httpsdoiorg102349biij41e15 ParkerStarbuck Jennifer 2020 “BecomingLeech Animal–Human–Technological Hybrid Exchanges” Performance Research 25 no 4 2635 Zhao Ruiyang Diego Hernando David T Harris Louis A Hinshaw Ke Li Lakshmi Ananthakrishnan Mustafa R Bashir et al 2021 “Multisite multivendor validation of a quantitative MRI and CT compatible fat phantom” Medical Physics 48 no 8 43754386 httpsdoiorg101002mp15038 to cite this article This article is using Chicago format for its references Crouch Jennifer 2024 “ReCorporealising MRI Data A PracticeBased Investigation Through Art and Science” able journal httpsablejournalorgenrecorporealisingmridata MLA EN Crouch Jennifer “ReCorporealising MRI Data A PracticeBased Investigation Through Art and Science” able journal 2024 httpsablejournalorgenrecorporealisingmridata ISO 690 EN CROUCH Jennifer “ReCorporealising MRI Data A PracticeBased Investigation Through Art and Science” able journal online 2024 Available from httpsablejournalorgenrecorporealisingmridata APA EN Crouch J 2024 ReCorporealising MRI Data A PracticeBased Investigation Through Art and Science able journal httpsablejournalorgenrecorporealisingmridata DOI EN httpsdoiorg1069564ableen24021mridata biology biomedical-imaging cancer-recovery corporeal-matter corporeality data-visualization digital-craft embodied-knowledge entangled fluids identity living-matter medical-subjectivity patient subjectivity textile
the strange blue incandescence of mites
Diego Espíritu Chávez, María Antonia González Valerio & Eduardo Ra…
Diego Espíritu Chávez, María Antonia González Valerio & Eduardo Ra… a genealogy of the living as issued from the small Diego Espíritu Chávez María Antonia González Valerio Eduardo Ramón Trejo about this contribution Just as the Cloud is not just a cloud but a cluster of wires buried underground the small harbors within itself its own vast cosmology all that is small is in fact all that lives Therefore questioning the small involves enquiring about life and nature themselves This poeticvisual essay takes up Mexican scientist Anita Hoffmann8217s research on mites and through it wonders what the small sounds like how many names can one creature be given and how lethal may something small enough to live in a water bear be 8212 On The Strange Blue Incandescence of Mites by Diego Espíritu All that lives lives somewhere It lives in its place Territory comes first The space where something happens where something or someone is Which is why mites are such peculiar creatures We are their territory Our room Our bed Our mattress Our pillow Our skin Our very own body I am the mite’s territory How many names can one creature be given Me with the mite The mite in me The singularity here is false It is dependent upon the microscope fig 362 There is no singular mite––there are mites in the plural An indivisible multiplicity A hodgepodge of grubby vermin on my mattress scurrying through my skin They are a bunch Even if drawings insist on the truth of their unicity Because what is is a thing that manifests itself in its being The being of each thing however must be addressed from within its territory Things only are in a given place at a given time things only are in as much as they are determined by a given place and by a given time transhistoricity deep inhuman temporality The mite’s instantaneity its minute evanescence Where are your mites Diego Nowadays critters ensue a certain fascination in philosophical stories –or explanations The question of animality comes up again and again throughout contemporary philosophical discourses preferably addressing cats and dogs Domestic habitats Although one may also find bears panthers birds Bugs are fundamentally different ––extraterrestrials whose form is anything but our own And this seems to make them less anthropocentric This seems to allow for a decentering of anthropocentric discourse This seems to veer away from the speciesism past knowledge ––or past stances–– is so often accused of nowadays No longer “Human” Not anymore It is all about the mite now Ticks Ants Bees Beehives The “social” ordering of insects The simulation and modelling of their behavior through mathematical environs Ants regarded as multiplying dots on a cartesian plane For we now know of complex systems Do your mites make a sound Diego Can you bring your ear close to the pillow –softly– and sense their rattle as they breathe as they scuttle Lend your ear too close and they will run crawl into your eardrums Ear mite Incandescent Clotted Mites only exist within miasma tales I am disgusted by them They reek of filth and staleness Their territory is the morbid mildewed humidity of an attic Modern hygiene ––which is not quite obsessive enough—wants smooth sealed chlorinescented pristine spaces I want to sleep on a stainless steel plate To take away the mites’ territory What about skin I painstakingly inspect my epidermis It seems very much my own ––at least it does to the naked eye emitting judgements in compliance with cultured sense data My territory presa en mi epidermis –– walled up in my skin To learn how to regard and inhabit my own skin as a multispecies territory To craft a world within a skin that is not mine that is not me A territory cannot be owned It is the very possibility of life I tuck myself in my skin ––along with them Acariasis They only take up the tiniest of spaces Except they don’t They take me up And that is too much I will not count them Indeterminate hubris Why mites Diego You have preserved them in the ether perfectly still waiting inside a drawer Eternal Mite taxidermy To hold one against the light and gaze at it with every variation of the shimmering sky As it spreads itself legsplayed against the glassy surface of the microscope slide All must be rid of the sickly Festering rot Of intoxicated skin Inside And out Malfunction Of the morbid body The body and its disease The body that smells All that lives smells Thick stench of scum Liquid dust of incandescent mite A flurry of the remains of the living Inside And out Mite of mite Primordial Death is always the matter ––our own death Corruption Destruction Decay The diseased always Festering Rank Or to die suddenly clean by a murmur on the left ventricle that stops the heart for good Death always All that lives lives somewhere It lives in its place The mite and me Even in death In its death Neither the Milky way nor Andromeda Not even the explosion of the sun that fades not away The mite dies here and now Incandescent María Antonia González Valerio Coyoacán Mexico City October 2020 Translated by Sofía Falomir credits author Diego Espíritu Chávez introduction text María Antonia González Valerio translation from Spanish to English Sofía Falomir copy editing Bronwyn Mahoney illustration and production Eduardo Ramón Trejo support part of this project was realized in the AC ArteCiencia seminar at the Faculty of Philosophy and Letters of the National Autonomous University of Mexico references and rights illustration copyrights Copyright 2022 by Eduardo Ramón Trejo Reproduced with permission bibliography and references Casa Tomada 8220Presentación 8216La extraña incandescencia azul de los ácaros8217 de Diego Espíritu8221 Facebook video 10841 Live streaming published June 12 2021 httpsfbwatchqNxZpPgglI El Entusiasmo Libros 8220Presentación de La extraña incandescencia azul de los ácaros8221 Youtube video 12535 Live streaming published October 20 2023 httpswwwyoutubecomwatchvrg7wkY0Ki5UampabchannelElEntusiasmoLibros Hoffmann Anita 2003 Animales desconocidos Relatos acarológicos Mexico FCE SEP CONACyT Collection LA CIENCIA PARA TODOS to cite this article This article is using Chicago format for its references Espíritu Chávez Diego María Antonia González Valerio and Eduardo Ramón Trejo 2024 “The strange blue incandescence of mites” able journal httpsablejournalorgenthestrangeblueincandescenceofmites APA EN Espíritu Chávez Diego María Antonia González Valerio and Eduardo Ramón Trejo “The strange blue incandescence of mites”able journal 2024 httpsablejournalorgenthestrangeblueincandescenceofmites ISO 690 EN ESPÍRITU CHÁVEZ Diego GONZÁLEZ VALERIO María Antonia and RAMÓN TREJO Eduardo “The strange blue incandescence of mites”able journal online 2024 Available from httpsablejournalorgenthestrangeblueincandescenceofmites MLA EN Espíritu Chávez D González Valerio MA amp Ramón Trejo E 2024 The strange blue incandescence of mites able journal httpsablejournalorgenthestrangeblueincandescenceofmites DOI EN httpsdoiorg1069564ableen24020acaros biology collage design illustration microscopic montage natural-philosophy natural-sciences philosophy poetry visual-poetry
the first breath
Jonathan Pêpe, Christian Duriez & Jean-Jacques Gay
Jonathan Pêpe, Christian Duriez & Jean-Jacques Gay relative control in soft robotics Jonathan Pêpe Christian Duriez JeanJacques Gay about this contribution Exobiote is a work by artist Jonathan Pêpe first created in 2014 at Le Fresnoy Studio National des Arts Contemporains in collaboration with the DEFROST DEFormable RObotic SofTware team at INRIA Institut National de Recherche en Sciences et Technologies du Numérique and Cristal Centre de Recherche en Informatique Signal et Automatique de Lille headed by Christian Duriez The result of the meeting between this artist and scientist the work has enabled them to question their respective disciplines and helped them evolve their practices and consequently contributed to the development of “Soft Robotics” also known as “deformable” robotics As the DEFROST team explored the field of medical assistance equipment the artist began to imagine a futuristic prosthetic life for his work a robot composed of flexible materials To achieve this casting practices well known in art but less so in science particularly in the field of digital technologies were necessary This project stimulated reflection by intersecting practices and perspectives between the arts and sciences JeanJacques Gay—curator and art critic with a longstanding commitment to multidisciplinary approaches—offered to chronicle this singular experience At the heart of this project and of this kind of robotics are strategies for controlling these deformable objects Traditional robots are mainly made of hard articulated parts that allow them to be controlled according to a rigorous precise calculable and predictable geometry How can the mechanical life of these “soft” robots be reconceptualized to challenge the various paradigms of robotic control and make way for “relative control” The prosthetic function envisaged by the artist stimulates this approach to thinking and doing offering a field of experimentation as concrete as it is original The sculptor and researcher are working together to design objects from the inside out to achieve the deformation of these objects whose activity would depend on the breath of a compressor Animated in this way by a “pneuma”—recalling the myth of vital breath that the Stoics borrowed from the language of biology Muller 2006 —these objects become organs or body parts that can be shaped or repaired as required This pneuma is akin to the cybernetic energy that Nicolas Schöffer described as “the awareness of the vital process that maintains the balance of all phenomena” in a biotope For both the scientist and sculptor deformable pneumatic robotics use breath that brings control and maintains vital equilibrium Vital for sculpture medicine art and design within an organogenesis defined as “the genesis of the artifact and the genesis of social and psychosomatic organs through the reconstitution of the technoaesthetic environment” Stiegler 2015 Eight years after their first collaboration on Exobiote the artist and researcher come back on the designing of these objects which they produce to implement this pneuma in their respective practices These practices which have become more common overlap and echo the reflections on hybridization by American theorist physicist and feminist Karen Barad In 2005 Barad questioned “the givenness of the differential categories of ‘human’ and ‘nonhuman’ examining the practices through which these differential boundaries are stabilized and destabilized” Since the flexible deformable robots of Exobiote the artist and researcher have been cultivating alternative forms of control even noncontrol that make manifest the destabilization of these subjectobject boundaries This questioning of the notion of control empowers their machines and nurtures forms of life that the artist and scientist seek to develop credits authors Jonathan Pêpe artist Christian Duriez research team director DEFROST INRIA JeanJacques Gay art critic journalist and researcher at the CituParagraphe laboratory production and editing JeanJacques Gay editorial mediation JeanJacques Gay translation Monique Gross copy editing Bronwyn Mahoney financial support This article was supported by Chaire Beauté·s PSL – L’Oréal Exobiote pneumatic and lighting installation Jonathan Pêpe Production Le Fresnoy 2014–2015 references and rights illustration rights and references Copyright 2023 by the authors bibliography and references Barad Karen 2007 Meeting the Universe Halfway Quantum Physics and the Entanglement of Matter and Meaning Durham NC Duke University Press Cassous Noguès Pierre 2014 Les Rêves cybernétiques de Norbert Wiener Paris Éditions du Seuil Coevoet Eulalie Thor MoralesBieze Frederick Largilliere Zhongkai Zhang Maxime Thieffry et al 2017 “Software toolkit for modeling simulation and control of soft robots” Advanced Robotics 31 22 12081224 Duriez Christian 2013 “Control of elastic soft robots based on realtime finite element method” In 2013 IEEE international conference on robotics and automation 39823987 Haraway Donna 2016 Staying with the Trouble Making Kin in the Chthulucene Durham Duke University Press Mori Masahiro 1970 “Bukimi no tani gensho 不気味の谷現象” “La vallée de l8217étrange” Energy 7 no 4 33–35 Muller Robert 2006 Les stoïciens l’ordre et le monde Paris Vrin Sers Philippe 1971 Entretiens avec Nicolas Schöffer Paris Éditions Pierre Belfond Shepherd Robert et al 2011 « Multigait soft robot” Proceedings of the national academy of sciences 10851 2040020403 Stiegler Bernard 2020 Qu’appelleton panser T2 La leçon de Greta Thunberg Paris Les Liens qui libèrent Soto Ana M and Carlos Sonnenschein 2006 La société des cellules Nouvelle approche du cancer Paris Éditions Syllepse Wiener Norbert 1948 Cybernetics or Control and Communication in the Animal and the Machine Cambridge MA The MIT Press New York NY Wiley httpsubertyorgwpcontentuploads201507NorbertWienerCyberneticspdf to cite this article This article is using Chicago format for its references Pêpe Jonathan Christian Duriez and JeanJacques Gay 2023 “The First Breath Relative Control in Soft Robotics” able journal httpsablejournalorgenthefirstbreath APA EN Pêpe Jonathan Christian Duriez and JeanJacques Gay “The First Breath Relative Control in Soft Robotics”able journal 2023 httpsablejournalorgenthefirstbreath ISO 690 EN PEPE Jonathan DURIEZ Christian and GAY JeanJacques “The First Breath Relative Control in Soft Robotics”able journal online 2023 Available from httpsablejournalorgenthefirstbreath MLA EN Pêpe J Duriez C amp Gay JJ 2023 The First Breath Relative Control in Soft Robotics able journal httpsablejournalorgenthefirstbreath DOI EN httpsdoiorg1069564ableen23019exobiote anima animated-sculpture animation animatronics anticipation bio-inspired organic pneuma pneumatics prosthetics robotics science-fiction sculpture simulacra soft-robotics
an opportunity to learn
Anaïs Bloch & Nicolas Nova
Anaïs Bloch & Nicolas Nova unmaking as a form of knowledge production Anaïs Bloch Nicolas Nova about this contribution The visuals represented here derive from a twoyear ethnographic project about smartphone repair practices in Switzerland focusing on repair stores hackerspaces fab labs and temporary venues such as repair cafés which mostly focus on the material elements of the hardware broken screens or buttons and software issues data recovery setting updates applications installation etc Spending time in these shops over several months allowed us to understand the positive social dimensions they have in local neighborhoods while customers sometimes come to drink a cup of coffee and seek help with hardware issues broken screens and damaged buttons the repairers also help with minor problems for free restoring settings changing language or notification configurations and sometimes fulfill roles way beyond their stated function for instance by helping with administrative services such as booking appointments online or filing tax forms Our investigation addressed the practices of the technicians who founded or operate these places We focused on how these individuals come to end up fixing customers’ devices and more specifically on how they learned to handle products that manufacturers did not design to be repaired This project hypothesized that a greater understanding of digital artifact maintenance is fundamental to meet the challenges of an era of environmental crisis and consumer waste The description of repairers’ practices and the way they build their own knowhow and expertise highlight users’ efforts to improve the sustainability of their technical objects regardless of manufacturers’ intentions Focusing on repair stores this comic strip visually describes the importance of “unmaking” as a learning tactic that repairers adopted to generate knowledge about the objects they plan to fix This series of ethnographic vignettes illustrates the information these practitioners uncover by disassembling new phone models documenting their manipulations and sharing them with local and regional peers through media such as WhatsApp groups This way of working against manufacturers can be seen as a form of “countermaking” contrefaire Allard 2015 164 mirroring the notion of “critical making” proposed by Matt Ratto in order to refer to knowledge generation emerging through material engagement with technology Ratto 2011 253 From a methodological perspective this contribution also illustrates the visual dimension of the notion of “ethnographic vignette” a situation observed and extracted from the field that interested us in this project both for pragmatic reasons observational drawing as a means of gaining acceptance in the field and as an epistemological choice in order to explore alternative formats of ethnographic accounts Interestingly this design choice was made because over the two years of the research project several participants expressed their reluctance to being filmed and photographed with some mentioning that they lacked the necessary work permits and risked being identified As a consequence the use of drawings became a solution to be respectful of these repairers a way to avoid being too intrusive in their work context However we used photography to document the context of these shops as well as their material culture with devices tools and ways of communicating The combination of field drawings with these pictures highlights what “countermaking” actually means from testing a dismantled device to solving a client’s problem credits authors Anaïs Bloch HEAD – Genève HESSO amp Nicolas Nova HEAD – Genève HESSO drawings Anaïs Bloch interaction designer Arp is Arp Studio Dimitri Charrel copy editing Bronwyn Mahoney supported by the Swiss National Fund references and rights illustration copyrights Anaïs Bloch amp Nicolas Nova 2021 Dr Smartphones An Ethnography of Mobile Phone Repair Shops Copyright 2021 by the authors Reproduced with permission bibliography and references Allard Laurence 2015 “L’engagement Du Chercheur à l’heure de La Fabrication Numérique Personnelle” Hermès 3 no 73 159–167 Ratto Matt 2011 “Critical Making Conceptual and Material Studies in Technology and Social Life” The Information Society 27 no 4 252–260 to cite this article This article is using Chicago format for its references Bloch Anaïs amp Nicolas Nova 2023 “An Opportunity to Learn Unmaking as a Form of Knowledge Production” able journal httpsablejournalorganopportunitytolearn MLA EN Bloch Anaïs and Nicolas Nova “An Opportunity to Learn Unmaking as a Form of Knowledge Production”able journal 2023 httpsablejournalorganopportunitytolearn ISO 690 EN BLOCH Anaïs and NOVA Nicolas An Opportunity to Learn Unmaking as a Form of Knowledge Production able journal online 2023 Available from httpsablejournalorganopportunitytolearn APA EN Bloch A amp Nova N 2023 An Opportunity to Learn Unmaking as a Form of Knowledge Production able journal httpsablejournalorganopportunitytolearn DOI EN httpsdoiorg1069564ableen23017opportunity anthropology comics ethnographic-writings ethnography technology visual-anthropology
flying ointment
aniara rodado
aniara rodado material memory of an epistemicide aniara rodado about this contribution The concept of epistemicide—Boaventura de Sousa Santos created the idea while Sueli Carneiro examined its links to white supremacy—describes the systematic eradication of “Third World” knowledge by Western science Epistemicide and genocide are two fundamental and inseparable elements of the colonial process Europe has not been spared such a disaster witchhunting also decimated complex knowledge systems Witches’ flying ointment—often cited in European witchcraft trials—was a preparation intended for application to the mucous membranes of the rectum or vagina to generate altered states of consciousness In the scientific debates around this ointment a number of authors discredit the presence of preChristian shamanic cultures in 15thcentury Europe Clifton 2019 Ostling 2016 Historians and botanists confirm that Datura—native to the Americas whose name comes from the Sanskrit dhattūra and whose flower is associated with Shiva—is listed in many ointment recipes and so could not have been used in Europe before the colonization of Abya Yala Geeta 2016 Hatsis 2015 However Indian Arabic Persian and Andalusian sources confirm the hypothesis that this plant arrived on other continents before colonization But the academic world seems to struggle when it comes to conducting transdisciplinary research that takes nonEurocentric sources into account in contrast to the welldocumented as we found through our research process–arrival of the sweet potato before the colonization of Abya Yala Brand 1971 Roulier 2013 The fact that there is no ritual continuity in the use of these plants in contemporary European culture does not prove the absence of such practices but opens up a field to be redefined one strewn with taboos silences and secrets producers of ignorance Datura is just one example of shamanic plants and practices that have been “discredited” A history of knowledge manipulation from ritual use it has been reduced to toxic or ornamental functions As part of my arts and sciences thesis we developed a “flying ointment” at the Genialis biotech company in Henrichemont France This company is committed to among other things a more ecological chemistry which retains the organoleptic properties sensory stimuli of active ingredients and improves the preparations’ bioavailability absorption type In making emulsions surfactants are replaced by movement and high and low sound frequencies The combined physical force of sound and movement transforms matter embracing dimensions that are both esoteric and scientific Developed in collaboration with chemists Nicolas Poupard and Aurélie Amilien our cream is a nonhallucinogenic update of witches’ ointment It is a preparation for vaginal dryness neglected mucous membranes the neovaginas of trans women those dried out by menopause chemotherapy drugs hormone treatments and so on These are all issues that the pharmaceutical industry addresses only by considering them as related to sexual intercourse proposing only lubricants A cream to break the silence that pathologizes our pleasure Taking into consideration microcirculation problems—similar to those that contribute to erectile dysfunction—our cream contains plants that improve the microcirculatory system such as yarrow and myrtle regenerating plants such as the Damask rose and socalled 8220female8221 aphrodisiacs which—coincidentally—are the most expensive spices on the planet saffron and vanilla Local plants thus enter into synergy those from all over the world Line by line the plants tell of their instrumentalization and oblivion In a forest on the brink of catastrophe ”flying ointment” rises from the ashes to bring past knowledge back to life Reminiscent of a psychedelic universe the contribution draws attention to buried feminized knowledge at the center of our bodies credits author aniara rodado media design Camille Olympie editorial mediation Julie Sauret scientific support Genialis Biotech Nicolas Poupard Aurélie Amilien financial support Chaire arts et sciences translation Monique Gross copy editing Bronwyn Mahoney acknowledgments Antrepeaux Eric Noulette Alexis Abfayer and Isabelle Carlier “Flying Ointment” was presented in an installation alongside a DIY alkaloid extractor made from datura seeds It was also part of a performative test carried out by 21 people suffering from vaginal dryness in accordance with cosmeticsindustry protocols and including a somatic dimension It was also offered to the public in the choreographic installation Against Witch Washing references and rights illustration rights and references aniara rodado Crème pour voler 2023 Media design Camille Olympie Reproduced with permission in 2023 bibliography and references Clifton Chas S 2019 “Witches Still Fly Or Do They Traditional Witches Wiccans and Flying Ointment” In Magic and Witchery in the Modern West Edited by Shai Feraro and Ethan Doyle White 223–243 London Palgrave Macmillan httpsdoiorg101007978303015549011 Penicka Sarah 2004 “Caveat Anoynter A Study of Flying Ointments and their Plants” In The Dark Side Proceedings of the Seventh Australian and International Religion Literature and the Arts Conference 2002 Edited by Christopher Hartney and Andrew McGarrity Sydney RLA Press httpsopenjournalslibrarysydneyeduauindexphpSSRarticleview210 Ostling Michael 2016 “Babyfat and Belladonna Witches’ Ointment and the Contestation of Reality” Magic Ritual and Witchcraft vol 11 no 1 30–72 httpsdoiorg101353mrw20160008 Hatsis Thomas 2015 The Witches’ Ointment The Secret History of Psychedelic Magic Rochester NY Park Street Press Geeta R and Waleed Gharaibeh 2007 “Historical evidence for a preColumbian presence of Datura in the Old World and implications for a first millennium transfer from the New World” Journal of Biosciences 32 no 3 32 httpsdoiorg101007s120380070132y Rhodes Tim Magdalena Harris Francisco Gutiérrez Sanín and Kari Lancaster 2021 “Ecologies of drug war and morethanhuman health The case of a chemical at war with a plant” International Journal of Drug Policy 89 Cencin Alessandra 2018 “Les différentes versions de la ‘découverte’ du clitoris par Helen O’Connell 19982005” Genre sexualité amp société Special issue no 3 httpsdoiorg104000gss4403 Waetjen Elaine Sybil Crawford PoYin Chang Barbara Reed Rachel Hess Nancy E Avis Sioban D Harlow Gail A Greendale Sheila A Dugan and Ellen B Gold 2018 “Study of Womenʼs Health Across the Nation SWAN Factors associated with developing vaginal dryness symptoms in women transitioning through menopause a longitudinal study” Menopause 25 10 1094–1104 httpsdoiorg101097GME0000000000001130 PMID29916947 PMCIDPMC6136974 Brand Donald 1971 “The Sweet Potato An Exercise in Methodology” In Man Across the Sea Problems of PreColumbian Contacts Edited by Carroll Riley Charles Kelley Campbell Pennington and Robert Rands 343–365 Austin TX University of Texas Press httpsdoiorg107560701175021 Vasconcelos Danilo de Almeida Melania M Amorim Lorena Carneiro de Macêdo Eujessika Katielly Rodrigues Silva José Roberto da Silva Jr João Guilherme Bezerra Alves 2016 “Effects of Strength Training on Microcirculation Muscle Performance and Functional Independence in Elderly Women 3A” Obstetrics amp Gynecology 127 12S httpsdoiorg10109701AOG000048329884198ad Roullier Caroline Laure Benoit Doyle McKey and Vincent Lebot 2013 “ Historical collections reveal patterns of diffusion of sweet potato in Oceania obscured by modern plant movements and recombination” Proceedings of the National Academy of Sciences 1 10 httpsdoiorg101073pnas1211049110 Simon James 2016 “NonHormonal Treatment of Perimenopausal and Menopausal Climacteric Symptoms 1A” Obstetrics amp Gynecology 127 12S DOI httpsdoiorg101097AOG0000000000001373 Federici Silvia 2004 Caliban and the Witch Women the Body and Primitive Accumulation New York Autonomedia Rodado Aniara 2022 “Conjurer les épistemicides Alliances plantes sorcières machines” PhD thesis École Polytechnique to cite this article This article is using Chicago format for its references Rodado Aniara 2023 “Flying ointment material memory of an epistemicide”able journal httpsablejournalorgenflyingointment MLA EN Rodado Aniara “Flying ointment material memory of an epistemicide” able journal 2023 httpsablejournalorgenflyingointment ISO 690 EN RODADO Aniara 2023 “Flying ointment material memory of an epistemicide” able journal online 2023 Available from httpsablejournalorgenflyingointment APA EN Rodado A 2023 Flying ointment material memory of an epistemicide able journal httpsablejournalorgenflyingointment DOI EN httpsdoiorg1069564ableen23016creme chemistry colonization drugs ecology epistemology feminism history humanities living-matter memory performance plants shamanism transfeminism visual-anthropology witchcraft
soft control
Ana Piñeyro & Joffrey Becker
Ana Piñeyro & Joffrey Becker behavioral matter the art of replicability Ana Piñeyro Joffrey Becker about this contribution Intertwining the work of designer Ana Piñeyro and anthropologist Joffrey Becker this videoable essay presents an archeology of the processes involved in the transformation of matter and the manifestation of its behavior Renewed attitudes toward matter as framed within the philosophical stances of the new materialisms eg De Landa 1997 Braidotti 2000 Barad 2003 have prompted researchers and designers to explore the performance and behavior of materials by tapping into their inherent morphogenetic and selforganizing capacities Leach 2017 Menges 2006 Designer Ana Piñeyro follows this path Building on the introduction of heatresponsive twisted and coiled polymeric actuators in the field of material science Haines et al 2014 her research explores the emergence of filament forms and their associated shapechange behavior in response to heat with the aim of broadening available opportunities to design with active flexible materials in the field of textiles Piñeyro 2020 Engaging in spontaneous handson dialogue with the material as a means to expand the creative space Piñeyro 2019 calls for a subsequent formalization of arising material transformations in order to enable their further application thus raising the epistemological issue of the replicability of results Popper 1959 As a condition of scientific knowledge replicability invites the consideration of the performative aspects of practice and thus addresses its contingency in a reflexive manner Pickering 1995 To this end we provide insights on the search for replicable outcomes by bringing together the fields of arts and design with that of the anthropology of techniques The reflexive work we present raises questions on least at two levels traditionally linked to two very distinct epistemic cultures KnorrCetina 1999 Arts and social anthropology have an ambiguous relationship with replication a notion that has raised issues in both arts Debord 1994 Benjamin 1969 and sciences Baker 2016 The scope of our contribution goes beyond this ambiguity It extends to the search for the very conditions of replicability by paying particular attention to the parameters that can make it operational in a given context by considering the various operations required in its achievement in a reflexive manner In doing so we reflect on the role of the formal diversity that arises from variations that permeate the making process identifying their influence on the material’s aesthetic and expressive qualities What steps are required to achieve replicable results What forms of tinkering and what means are used to learn about and document processes that reveal the aesthetic and expressive potentials of materials How does the milieu influence the outcomes of practice A multidisciplinary dialogue between textile and material design practice and the anthropology of techniques contextualizes prerecorded visuals to reflect on the influence of the flowing negotiation between material environment and practitioner on the outcomes of material transformation processes This is what we regard as a soft form of control Setting off from the notion of the recipe we consider the chains of operation and sequences of actions LeroiGourhan 1993 Lemonnier 1992 Sellet 1993 Coupaye 2009 involved in understanding material behavior focusing on the ways in which the former are shaped through the sensory experience of matter credits authors Ana Piñeyro and Joffrey Becker visual designer Ana Piñeyro sound designer Joffrey Becker editorial mediation Joffrey Becker dialogue recording Christian Phaure École des Arts Décoratifs copy editing Bronwyn Mahoney financial support La Chaire Beauté·s PSL – L’Oréal acknowledgments Gwenaëlle Lallemand Samuel Bianchini La Chaire arts et sciences of the École polytechnique de l’École des Arts Décoratifs – Université PSL and the Fondation Daniel et Nina Carasso references and rights illustrations references and rights Image Credits Ana Piñeyro Reproduced with authorization in 2023 bibliography and references Baker Monya 2016 “1500 scientists lift the lid on reproducibility” Nature 533 452–454 Barad Karen 2003 “Posthumanist Performativity Toward an Understanding of How Matter Comes to Matter” Signs Journal of Women in Culture and Society 28 no 3 801–831 httpsdoiorg101086345321 Benjamin Walter 1969 Illuminations Translated by Harry Zohn New York Schocken Books Braidotti Rosi 2000 “Teratologies” In Deleuze and Feminist Theory edited by Ian Buchanan and Claire Colebrook 156–172 Edinburgh Edinburgh University Press Coupaye Ludovic 2009 “Ways of Enchanting Chaînes Opératoires and Yam Cultivation in Nyamikum Village Maprik Papua New Guinea” Journal of Material Culture 14 no 4 433–458 Debord Guy 1994 The Society of the Spectacle Translated by Donald NicholsonSmith New York Zone Books De Landa Manuel 1997 A Thousand Years of Nonlinear History New York Zone Books Haines Carter S Márcio D Lima Na Li Geoffrey M Spinks Javad Foroughi John D W Madden Shi Hyeong Kim et al 2014 “Artificial Muscles from Fishing Line and Sewing Thread” Science 343 no 6173 868–872 httpsdoiorg101126science1246906 KnorrCetina Karin 1999 Epistemic Cultures How the Sciences Make Knowledge Cambridge MA Harvard University Press Leach Neil 2017 “Matter Matters A Philosophical Preface” In Active Matter edited by Skylar Tibbits 18–23 Cambridge MA MIT Press Lemonnier Pierre 1992 Elements for an Anthropology of Technology Ann Arbor University of Michigan Press LeroiGourhan André 1993 Gesture and Speech Translated by Anna Bostock Berger Cambridge MA MIT Press Menges Achim 2006 “Polymorphism” Architectural Design 76 no 2 78–87 httpsdoiorg101002ad243 Pickering Andrew 1995 The Mangle of Practice Time Agency and Science Chicago IL University of Chicago Press Piñeyro Ana 2019 “Kinetic Morphologies Revealing Opportunity from Mistake” Supplement The Design Journal no 22 no S1 1871–1882 httpsdoiorg1010801460692520191595027 Piñeyro Ana 2020 “Animating matter A materialled exploration into the kinetic potential of nylon monofilament” PhD thesis Royal College of Art London Popper Karl 1959 The Logic of Scientific Discovery London Routledge Sellet Frédéric 1993 “Chaine Operatoire The Concept and Its Applications” Lithic Technology 18 nos 1–2 106–112 to cite this article This article uses Chicago format for its references Piñeyro Ana and Joffrey Becker 2023 “Soft Control behavioral matter amp the art of replicability”able journal httpsablejournalorgensoftcontrol APA EN Piñeyro Ana and Joffrey Becker “Soft Control behavioral matter amp the art of replicability”able journal 2023 httpsablejournalorgensoftcontrol ISO 690 EN PIÑEYRO Ana and BECKER Joffrey “Soft Control behavioral matter amp the art of replicability”able journal online 2023 Available from httpsablejournalorgensoftcontrol MLA EN PIÑEYRO A amp BECKER J 2023 Soft Control behavioral matter amp the art of replicability able journal httpsablejournalorgensoftcontrol DOI EN httpsdoiorg1069564ableen23018softcontrol active-filament-morphologies actives-textiles anthropology-of-technique behavioral-matter operational-sequences replicability
petrification
Emile de Visscher & Ophélie Maurus
Emile de Visscher & Ophélie Maurus material transmutations and speculative archaeology Emile de Visscher Ophélie Maurus about this contribution Petrification is a process of transformation from cellulose to rock making it possible to imagine a ceramic artifact with a simple shape from paper rope cotton wood or cardboard It consists of two stages the infusion of a silica solution into the model followed by atmospheric pyrolysis During this firing carbon and silica fuse to form silicon carbide a rigid and abrasive ceramic technically comparable to that of a diamond This project—developed by Emile De Visscher in collaboration with scientists from ESPCI Jérôme Bibette UPMC Florence Babonneau Chimie ParisTech Philippe Barboux ENSAD SACRe l’Université PSL and Humboldt Universität Cluster Matters of Activity —combines experimental scientific development with research through design to imagine an innovative artisanal manufacturing process At the heart of the project lies the question of the durability of our forms of knowledge knowhow and heritage Petrifaction as a transmutation of organic matter toward the inorganic from the vegetal to the mineral perpetuates ephemeral forms destined to deterioration At a time when the ecological crisis and capitalism are generating major declines in biological forms disappearance of species and seed varieties but also in practices disappearance of traditional techniques the question arises of how to keep track of our knowledge and fragile material forms Beyond its formal technical principle the process of petrifaction is symbolic in that it invokes a series of cultural contents rooted in many civilizations and regions of the world in Greek mythology with Medusa among the Celts with the dolmens but also in Japanese Papuan and preColumbian traditions Ubiquitous in the 18th and 19th centuries both in connection with the practice of collecting fossils and the development of techniques for petrifying bodies this process is still very much present in many current cultural forms such as video games sciencefiction novels and Hollywood films This recurrence of petrifaction in the collective imagination refers to fundamental dualities shared between the fantasy of surviving death the curse of stability eternal life or fear of apocalypse The project thus unfolds as a speculative archaeological proposal which stabilizes endangered elements for a distant future The collaboration with Lucile Vareilles and Ophélie Maurus sought to account for this theoretical and historical dimension within the framework of the publication able The iconographic element of this project refers us directly to the question of the Anthropocene because it uses firing certainly energy consuming to sequester carbon in a land base instead of in the atmosphere Rather than helplessly endure the relentless accumulation of fossil wastes plastics and reinforced concrete the project explores the possibilities of a collective and therefore political decision to populate the Anthropocene credits authors Emile de Visscher PhD research associate Cluster of Excellence Matters of Activity Image Space Material Humboldt Universität Berlin EA SACRe École Nationale supérieure des Arts Décoratifs Université PSL Paris Ophélie Maurus art director and photographer scientific support Jérôme Bibette Laboratoire Colloïdes et Matériaux Divisés ESPCI ParisTech Université PSL Paris Florence Babonneau Laboratoire de Chimie des Matières Condensées Sorbonne Université CNRS Philippe Barboux Chimie ParisTech Université PSL as well as the students from the PIG program at Chimie ParisTech research and financial support PhD program Science Art Création Recherche SACRe Université Paris Sciences et Lettres thesis prepared at EnsadLab under the supervision of Samuel Bianchini and Roger Malina Matters of Activity Image Space Material Cluster of Excellence Humboldt Universität Berlin artistic direction photography and graphic design Ophélie Maurus production support Lucile Vareilles translation Monique Gross copy editing Bronwyn Mahoney acknowledgments Project developed with the help of Morgane Liger The author acknowledges the support of the Matters of Activity Image Space Material Cluster of Excellence funded by the Deutsche Forschungsgemeinschaft DFG German Research Foundation under Germany’s Excellence Strategy – EXC 2025 – 390648296 references and rights illustration rights and references Emblematic of the presence of petrification in mainstream culture the White Witch of C S Lewis’s Chronicles of Narnia possesses a power that turns the living into stone The Chronicles of Narnia The Lion the Witch and the Wardrobe 2005 dir Andrew Adamson screenshot VOD 000220 Walt Disney PicturesWalden Media All rights reserved 8211 Since their earliest days sciencefiction films have been exploring petrification The 1957 movie Monolith Monsters recounts the strange events following the crash of a meteorite into masses of black fragments with odd properties in the Californian desert Brought back by a geologist in the small town of San Angelo these fragments quickly reveal to have the particularity of growing when encountering water and seem to cause the petrification of the inhabitants of the village A story of human survival while facing an unnatural disaster encroaching into an ecological nightmare Reynold Brown The Monolith Monsters 1957 film poster httpscommonswikimediaorgwindexphptitleFileTheMonolithMonstersjpgampoldid530274906 Public domain 8211 Naturally occurring petrification can be witnessed in Arizonian deserts and gave birth to a vibrant and surprising local craft in the forms of vessels sinks and bathtubs Stefan Pauli Petrified tree in Petrified Forest National Park 2001 photograph httpscommonswikimediaorgwindexphptitleFilePetrifiedtreeinPetrifiedForestjpgampoldid459806609 Creative Commons License CCBYSA 30 8211 Medusa is probably the most iconic figure in mythology involving petrification in Latin cultures Capable of petrifying through her gaze Medusa had her head cut off by Perseus who gave it to Athena as a gift By placing Medusa’s head on her shield the goddess inherited the power Sir Edward Coley BurneJones The Death of Medusa I 1882 mixed media on paper 1245 × 1169 cm Southampton City Art httpswwwsouthamptoncityartgallerycomobjectsotag109 Photo © 2018 Southampton City Art Reproduced with permission 8211 The portrait of Medusa as her head is just cut off by Italian painter Caravaggio is renowned for the realism and dramatic facial expression of horror Caravaggio Medusa 1595–1598 oil on linen canvas mounted on a poplar shield 60 × 55 cm Galeria degli Uffizi httpswwwibiblioorgwmpaintauthcaravaggiomedusajpg Photo © WebMuseum Creative Commons License CCBYSA 30 8211 The rock formation of Hvítserkur is tied to a Nordic legend where a troll would have crossed the sea to destroy a Christian church and been caught by the daylight and petrified into rock Alexandre Buisse The freestanding seastack of Hvitserkur Iceland 2011 photograph httpscommonswikimediaorgwindexphptitleFileHvitserkurseastackIcelandjpgampoldid499363410 Creative Commons License CCBYSA 30 8211 Carlo Vannini Untitled 2018 Published in Ivan Cenzi The Petrifier The Paolo Gorini Anatomical Collection Modena Logos Edizioni All rights reserved 8211 The Poisson de Grandmont from the area of Beaune in Bourgogne First specimen of petrified fish found in France in 1747 the “Beaune salmon” has been the source of many analyses fictions and appropriations Despite appearances it is not a salmon but a bony fish of the type “Pachycormus macropterus” dating from the Jurassic period The scientific interest in this fish led Buffon to acquire it for the king’s collections in 1767 Engraving of specimen MHNHFJRE50 published in Faujas de SaintFond’s Essai de géologie 1803 pl 8 based on a drawing by Nicolas Maréchal 1753–1802 painter at the Muséum National d’Histoire naturelle Published in Geodiversitas 3 no 4 2017 695 https doiorg105252g2017n4a2 8211 Scanning electron microscopic images of SiC materials a crosssection b radial and c pits and SiC whiskers prepared from pinesilica and d crosssection e radial and f an open cell image prepared from poplarsilica composites after gasification at 700°C Shin et al 2005 fig 3 8211 Edward Goodrich Acheson in the lab with his omnipresent cigar testing Aquadag a colloidal suspension of his artificial graphite httpswwwsciencehistoryorghistoricalprofileedwardgoodrichacheson All rights reserved Acheson Industries bibliography and references De Visscher Emile Forthcoming “Matière and Matériau Thoughts on two ways of considering materials and their design” In Environment 21 Let’s Get Sustainable Edited by Annika Frye Christiane Kruse Antje Majewski and Sandra Schramke np De Visscher Emile 2021 “The Persistence of Fragile Assemblages” Matters of Activity EXC Berlin Annual Conference November 17 2021 httpswwwvirtualspacemattersofactivityde Eom JungHye Kim YoungWook Santosh Raju 2013 “Processing and properties of macroporous silicon carbide ceramics A review” Journal of Asian Ceramic Societies 1 220–242 httpsdoiorg101016jjascer201307003 Shin Yongsoon and Gregory J Exarhos 2007 “Conversion of cellulose materials into nanostructured ceramics by biomineralization” Cellulose 14 269–279 101007s1057000691010 Shin Yongsoon Chongming Wang and G J Exarhos 2005 “Synthesis of SiC Ceramics by the Carbothermal Reduction of Mineralized Wood with Silica” Advanced Materials 17 no 1 January 13 httpsdoiorg101002adma200400371 Shin Yongsoon Chong M Wang William D Samuels and Gregory J Exarhos 2007 “Synthesis of SiC nanorods from bleached wood pulp” Material Letters 61 httpsdoiorg101016jmatlet200610035 Shin Yongsoon Jun Liu Jeong Ho Chang Zimin Nie and Gregory J Exarhos 2001 “Hierarchically Ordered Ceramics Through SurfactantTemplated SolGel Mineralization of Biological Cellular Structures” Advanced Materials 13 no 10 May 17 httpsdoiorg101002152140952001051310lt728AIDADMA728gt30CO2J Vidor Gian Marco 2010 “Androlithe et pétrification des cadavres humains au XIXème siècle” Frontières 23 no 1 httpsdoiorg1072021004025ar exhibition Emile De Visscher Petrification in the exhibition Au Charbon Pour un Design PostCarbone curated by Amandine David and Giovanna Massoni CID Grand Hornu 2022–2023 to cite this article This article is using Chicago format for its references De Visscher Emile and Ophélie Maurus 2023 “Petrification Material Transmutations and Speculative Archaeology” able journal httpsablejournalorgpetrification MLA EN De Visscher Emile and Ophélie Maurus “Petrification Material Transmutations and Speculative Archaeology” able journal 2023 httpsablejournalorgpetrification ISO 690 EN DE VISSCHER Emile and MAURUS Ophélie Petrification Material Transmutations and Speculative Archaeology able journal online 2023 Available from httpsablejournalorgpetrification APA EN De Visscher E amp Maurus O 2023 Petrification Material Transmutations and Speculative Archaeology able journal httpsablejournalorgpetrification DOI EN httpsdoiorg1069564ableen23001petrification anthropocene archaeology biodesign carbon cellulose ceramics chemistry cycle design ecology engineering firing fossilization matter object-design paper pyrolysis speculative transmutation
Ozu in 2.5D
Ho Tzu Nyen & Clélia Zernik
Ho Tzu Nyen & Clélia Zernik Ho Tzu Nyen Clélia Zernik about this contribution “Ozu8217s films are comparable to deep clear water perfectly still” Maurice Pinguet The simplicity of Ozu8217s images is perfectly apparent It is in the transparency of these lines that the true depth of his films is played out Everything happens as if we were dealing with the most natural most common world and yet from the outset we notice a lapse—the characters move in an artificial way their expression is always missing they seem to float between presence and absence This panable is an invitation to meditate at the borders between visual arts and the psychology of perception To think this inbetween between the 2D of the image and the 3D of reality the 25D can be understood both as a new approach to perspective construction and as a specific relationship to the world In the sense of perspective the Ozuian image does not seem to be constructed linearly according to the rules of the vanishing point that unify a homogeneous and structured space Rather it is constructed according to a principle of superimposed layers like cartoons The panable shows the passage from an image as a section of the real to an image as a recomposition of the real from a conception of unified space to a conception of stratified space Metaphorically this inbetween time of 25D reveals that behind the purity and serenity of Ozu’s images a form of drama is at play the character haunts the world more than he inhabits it He is in the lining He is no longer a singular character in a fiction but a prototype an idea There Was a Father in reference to the title of another Ozu film The procedure of the panable enables us to appreciate this disconnect of the real space and its substitution by an artificial and stratified image It gives the impression of both looking at a fun flip book and facing a ghost escaped from its body lost in its own reverie Between an amused tenderness and a sensory reflexivity this is precisely where Ozu’s films take place between the surface and the depth between presence and absence between the singular and the typical—in this inbetween space of the 25D credits authors Ho Tzu Nyen artist and independent film maker amp Clélia Zernik Beauxarts de Paris PSL University editorial mediation Clélia Zernik graphic designer Arp is Arp studio Dimitri Charrel with Lorène Gaydon and Joséphine Mas photo credits see “illustration rights and references” below supported by SACRePSL laboratory translation Monique Gross copy editing Bronwyn Mahoney references and rights illustration rights and references Ozu Yasujiro Director Tokyo Story Tokyo Monogatari Shōchiku 1953 136 min In the public domain Digitally modified images bibliography and references Bordwell David 1988 Ozu and the Poetics of Cinema Princeton Princeton University Press Burch Noël 1982 Pour un observateur lointain Forme et signification dans le cinéma japonais To the Distant Observer French translation by Jean Queval Paris Gallimard Doganis Basile 2005 Le silence dans le cinéma d’Ozu polyphonie du sens et des sens Paris L’Harmattan Lamarre Thomas 2009 The Anime Machine A Media Theory of Animation Minneapolis University of Minnesota Press Pinguet Maurice 1986 “Transparence et profondeur d8217Ozu” in Pour un temps Ecritures japonaises Paris Editions du Centre Pompidou Pinguet Maurice 2009 “Voyage à Tokyo d’Ozu” In Le texte Japon Introuvables et inédits compiled and presented by Michaël Ferrier Paris Editions du Seuil Zernik Clélia 2012 L’œil et l’objectif La psychologie de la perception à l’épreuve du style cinématographique Paris Vrin to cite this article This article is using Chicago format for its references Ho Tzu Nyen and Clélia Zernik 2023 “Ozu in 25d” able journal httpsablejournalorgozuin25d MLA EN Ho Tzu Nyen and Clélia Zernik “Ozu in 25d” able journal 2023 httpsablejournalorgozuin25d ISO 690 EN HO Tzu Nyen and ZERNIK Clélia Ozu in 25d able journal online 2023 Available from httpsablejournalorgozuin25d APA EN Ho T N amp Zernik C 2023 Ozu in 25d able journal httpsablejournalorgozuin25d DOI EN httpsdoiorg1069564ableen23002ozu animation borders cinema iconography japan perception philosophy presence psychology-of-perception space spatial theater visual-art
imprimer la lumière
Mette Ramsgaard Thomsen, Guro Tyse, Martin Tamke & Aurélie Mosse
Mette Ramsgaard Thomsen, Guro Tyse, Martin Tamke & Aurélie Mosse bacterial luminescence as a 3Dprinted spiral microarchitecture Mette Ramsgaard Thomsen Guro Tyse Martin Tamke Aurélie Mosse about this contribution Modern biology is in the process of reinterpreting our body Where the body was once considered an autonomous controlled and essentially closed organism we are now understood as participating in an ecology of commensal symbiotic and pathogenic microorganisms It is believed that we are inhabited by 10–100 trillion microbial cells Ursell et al 2012 Yang 2012 This radical rethinking of our body has existential consequences Helmreich 2016 What is it to be human how is the body functioning and what does health and will mean in such an open interacting system Imprimer la lumière asks if architecture is based on a humanism—that is an understanding of being human—how will such a new selfunderstanding create profound differences in how architecture is conceived shaped and materialized Sitting at the intersection of architecture and textile design practices and underpinned by a design probes approach the project examines—from a practicebased perspective—the digital crafting of 3Dprinted bioluminescent microarchitectures While bioluminescence is commonly used as a marker in biology and medicine in the fields of design and architectural it has mainly been investigated as an alternative to public and domestic lighting Estevez 2007 Chassard 2015 van Dongen 2014 Thomsen 2017 Here we use bacterial luminescence as the means to explore the appropriation of living microorganisms as an architectural materiality both from a critical and practical perspective In terms of fabrication the project investigates new means by which to design with the lightemitting Vibrio fischeri bacteria through advanced robotcontrolled 3Dprinting technologies based on the extrusion of an agarbased bespoke nutritive medium The technological setup relying on a collaborative robot and methods supporting the experiments are discussed in more depth in earlier publications Tyse et al 2022 Ramsgaard et al 2022 Ramsgaard et al 2021 Here we share a series of material probes on selfilluminating living microarchitectures exploring the printability of a nurturing medium for bioluminescent bacteria and how its formal resolution—its height thickness and geometry—affect and control their light performance In particular we propose a visual comparison of 3D printedspiral towerbased variations in time a typological structure chosen for its ability to channel the water in which the bioluminescent bacteria thrive in These microarchitectures are part of a larger study exploring the relationship between the architecture of the 3Dprinted nutritive medium and the bacterial propagation throughout this milieu in other words how the design of the ecosystem’s topology affects the lightemitting metabolism and the perception of their luminescence through time Thomsen et al 2021 They also constitute a practicebased ground from which to question and reflect on how architecture can become host for an ecology of species in symbiotic coexistence credits authors Mette Ramsgaard Thomsen Martin Tamke Guro Tyse Aurélie Mosse Centre for Information Technology and Architecture Royal Danish Academy Copenhagen Denmark Soft Matters research group EnsadLab École des Arts Décoratifs Université PSL Paris France graphic designer Arp is Arp Studio Dimitri Charrel editorial mediator Aurélie Mosse references and rights illustration rights and references A 3Dprinted spiral microarchitecture inhabited by the bioluminescent Vibrio fischeri bacteria in darkness Imprimer la lumière project 2021 CITASoft Matters Photo credit Guro Tyse Reproduced with permission bibliography and references Chassard Maëlle 2015 “Bioentreprise Glowee bioéclaire les villes de demain” Biofutur 367 64–64 Van Dongen Teresa 2014 Ambio httpwwwteresavandongencomAmbio Estévez Alberto 2007 “Genetic Barcelona Project The genetic creation of bioluminescent plants for urban and domestic use” Leonardo no 4 Helmreich Stefan 2016 “Homo Microbis” In Sounding the Limits of Life Essays in the Anthropology of Biology and Beyond 62–72 Princeton NJ Princeton University Mosse Aurélie 2021 ImpressioVivo httpssoftmattersensadlabfrimpressiovivo Thomsen Mette Ramsgaard Martin Tamke Aurélie Mosse and Guro Tyse 2021 “Designed Substrates for Living Architecture Performance—Imprimer La Lumière” Conference paper CEES 2021 – Construction Energy Environment amp Sustainability Itecons University of Coimbra Portugal Thomsen Mette Ramsgaard Martin Tamke Aurélie Mosse Jakob SiederSemlitsch Hanae Bradshaw Buchwald Emil Fabritius and Maria Mosshammer 2022 “Imprimer la lumière 3D printing bioluminescence for architectural materiality” In Proceedings of the 2021 DigitalFUTURES CDRF 2021 Singapore Springer httpsdoiorg101007978981165983628 Roosegaarde Daan 2017 Glowing Nature httpswwwstudioroosegaardenet Ursell Luke Jessica Metcalf Laura Parfey and Rob Knight 2012 “Defining the human microbiome” Nutrition Reviews 70 suppl 1 S38–44 httpsdoiorg101111j17534887201200493x Yang Joy 2012 “The human microbiome project extending the definition of what constitutes a human” National Human Genome Research Institute httpswwwgenomegov27549400thehumanmicrobiomeprojectextendingthedefinitionofwhatconstitutesahuman to cite this article This article is using Chicago format for its references Mosse Aurélie Guro Tyse Martin Tamke and Mette Ramsgaard Thomsen 2023 “Imprimer la Lumière Bacterial Luminescence as a 3DPrinted Spiral MicroArchitecture” able journal httpsablejournalorgimprimerlalumiere MLA EN Mosse Aurélie Guro Tyse Martin Tamke and Mette Ramsgaard Thomsen “Imprimer la Lumière Bacterial Luminescence as a 3DPrinted Spiral MicroArchitecture” able journal 2023 httpsablejournalorgimprimerlalumiere ISO 690 EN MOSSE Aurélie TYSE Guro TAMKE Martin and RAMSGAARD THOMSEN Mette Imprimer la Lumière Bacterial Luminescence as a 3DPrinted Spiral MicroArchitecture able journal online 2023 Available from httpsablejournalorgimprimerlalumiere APA EN Mosse A Tyse G Tamke M amp Ramsgaard Thomsen M 2023 Imprimer la Lumière Bacterial Luminescence as a 3DPrinted Spiral MicroArchitecture able journal httpsablejournalorgimprimerlalumiere DOI EN httpsdoiorg1069564ableen23010imprimer 3d-printing archaeology architectural-materiality bacteria biodesign bioluminescence bioprinting design digital-craft living-matter micro-architecture
rêve quantique
Virgile Novarina, Walid Breidi & LABOFACTORY (Jean-Marc Chomaz, Laurent Karst)
Virgile Novarina, Walid Breidi & LABOFACTORY (Jean-Marc Chomaz, Laurent Karst) the day I imagined the ocean Virgile Novarina Walid Breidi LABOFACTORY JeanMarc Chomaz Laurent Karst about this contribution While a sleeper may seem inert their brain is going through subconscious creative states Nonrapid eye movement sleep in particular is associated with a lesser perception of their self and their environment During this stage intense exchanges occur between brain regions The brain is a fathomless entity involving billions of interconnected neurons exchanging electrical chemical and physical signals The electronic activity is described by the Schrodinger equation of quantum mechanics for the wave function associated with the electrons shared between all the cells The waveparticle duality applies and depending on the measurement apparatus electrons may be observed as a coherent wave pattern covering large regions of the brain or as particles localized on individual neurons Thus thoughts and dreams belong to the wave functions space neither undulatory nor corpuscular and any measurement corresponds to an arbitrary projection Alpha beta … delta waves are such observables traditionally used to project quantic states of mind onto a predetermined representation But what is lost or gained in such a simple abecedary To explore the richness of brain activity during sleep sleep artist Virgile Novarina in collaboration with digital artist Walid Breid has teamed up with physicistartist JeanMarc Chomaz and architectdesigner Laurent Karst of LABOFACTORY who produce art installations to question our relationships with wind waves clouds and oceans “Full fathom five thy father lies”1William Shakespeare The Tempest Act I Scene 2 the ocean origin and close limbo and shroud The ocean transmits electromagnetic signals only a few meters down Deeper data may only be collected through sound scattering or waterborn measurements from ships buoys or gliders The ocean is animated by streams vortices and waves at all scales Water masses retain the elusive memory of the Earth’s climate at the time they left the surface and sunk deep The associated vertical circulation is slow one thousand years to close the loop It is called Thermohaline Circulation driven by heat and salt density variations Presently it is tempering global warming returning the heat of the past But its fate in the changing world is unknown Could the oceanic circulation stops leading to the next anoxic event as in previous geological periods Rêve quantique the Day I Imagined the Ocean is conceived as an immersive installation that creates connections between the brain and the ocean both unfathomable An installation that keeps the quantum idea of projection onto observables that define a system of states similar in their semantics for ocean and brain waves vortexes streams and pulsations What would happen if the semantics of one universe is translated into the other in a kind of inside out automatic writing Would the visitor entering the transcoded world feel themselves diving into the dream or falling into the ocean or would reality itself be subdued the visitor drowned in their own unconscious The documentary film traces the project’s genesis and the research involved The film brings together the two unfathomable worlds sleep and the ocean It constitutes a visual exploration of the space opened up by the imbalance between the poetic dimensions of the project the scientific facts and knowledge and the human experience of shared research The documentary also interrogates the experience of a visitor entering the intimate space with the sleeper in his bed close to a sort of a lighthouse that contains a miniature ocean Getting closer she notices the headband the cellphone monitoring the brain waves On the floor she observes the shadowgraphic projection of the internal oceanic movements making a bright changing circle 4 meters in diameter What is the connection The artists have patiently built an abecedary of delta wave states from measurements The time series of different states forms a neverending phrase transcoded live into a second abecedary to control a motorized device at the surface of the ocean mimicking the winddriven entrainment Could the visitor perceive that Or be lost in the translation dreaming with the ocean flowing with the sleeper credits authors Virgile Novarina sleep artist Walid Breidi digital artist LABOFACTORY JeanMarc Chomaz physicistartist CNRS École Polytechnique and Laurent Karst architectdesigner in collaboration with Didier Bouchon computer engineer Chaire Arts amp Sciences Antoine Garcia engineer LadHyX École Polytechnique Giancarlo Rizza physicist LSI École Polytechnique “Entre deux insondables À la recherche de Rêve quantique” film direction and editing Hélène Bozzi sound composition Walid Breidi interviews and editorial mediation Julie Sauret Chaire Arts amp Sciences assisted by Anna Acevedo and Lior Toledano captions integration Christophe Pornay sound mixing Frank Williams guitar Martin Machieu piano Stéphane Cochet stock footage Frédéric Picazo Lasse Ronne 3D images Vladimir Kolosov ship images Océane Richet acknowledgements The installationperformance “Rêve quantique The Day I imagined the Ocean” was collectively conceived from 2018 to 2022 at the Hydrodynamics laboratory of École Polytechnique LadHyx CNRS – École Polytechnique with the support of La Chaire Arts amp Sciences of École Polytechnique École des Arts Décoratifs and La Fondation Daniel et Nina Carasso We would like to thank the places and structures that have supported and exhibited the successive prototypes of “Rêve quantique” during the research period musée des Arts et Métiers Paris – Night of Ideas 2020 CC91 La Science de l’Art Biennial – la Piscine d’en Face SainteGenevièvedesBois Festival accesss – Le Bel Ordinaire Pau Nemo Biennial – La Scène de recherche ENS ParisSaclay Festival ZÉRØ1 – La Coursive La Rochelle Festival Les Nuits d’Orient – Un singe en hiver Dijon Institut Français and La Chaire Arts amp Sciences copy editing Bronwyn Mahoney references and rights illustration rights and references Copyrights 2023 by the authors Reproduced with permission bibliography and references Artiushin Gregory and Amita Sehgal 2020 8220The glial perspective on sleep and circadian rhythms8221 Annual Review of Neuroscience vol 43 Barreiro Marcelo Alexey Fedorov Ronald Pacanowski and George Philander 2008 8220Abrupt climate changes how freshening of the northern Atlantic affects the thermohaline and winddriven oceanic circulations8221 Annual Review of Earth and Planetary Sciences vol 36 Boly Mélanie Vincent Perlbarg Guillaume Marrelec Manuel Schabus Steven Laureys Julien Doyon Mélanie PélégriniIssac Pierre Maquet and Habib Benali 2012 8220Hierarchical clustering of brain activity during human nonrapid eye movement sleep8221 Proceedings of the National Academy of Sciences 109 15 58565861 Crary Jonathan and Grégoire Chamayou 2016 247 Le capitalisme à l8217assaut du sommeil Paris La Découverte Davis Hallowell 1939 8220Electrical phenomena of the brain and spinal cord8221 Annual Review of Physiology vol 11 Dement William and Nathaniel Kleitman 1957 8220Cyclic variations in EEG during sleep and their relation to eye movements body motility and dreaming8221 Electroencephalography and Clinical Neurophysiology vol 94 673690 Fogli Alessandro Luca Maria Aiello and Daniele Quercia 2020 “Our dreams our selves automatic analysis of dream reports” Royal Society Open Science vol 7 no 8 httpsroyalsocietypublishingorgdoi101098rsos192080 Garrett Chris and Eric Kunze 2007 8220Internal tide generation in the deep ocean8221 Annual Review of Fluid Mechanics vol 39 Goldstein Andrea and Matthew Walker 2014 8220The role of sleep in emotional brain function8221 Annual Review of Clinical Psychology vol 10 Gottesmann Claude 1971 8220Psychophysiologie du sommeil8221 L8217Année Psychologique vol 71 no 2 pp 451488 He Bin Abbas Sohrabpour Emery Brown and Zhongming Liu 2018 8220Electrophysiological source imaging a noninvasive window to brain dynamics8221 Annual Review of Biomedical Engineering vol 20 Holman Bruce Glen Elliott and Jack Barchas 1975 8220Neuroregulators and sleep mechanisms8221 Annual Review of Medicine vol 261 Legg Sonya 2021 8220Mixing by oceanic lee waves8221 Annual Review of Fluid Mechanics vol 53 Maxworthy Tony and Fred K Browand 1975 8220Experiments in rotating and stratified flows oceanographic application8221 Annual Review of Fluid Mechanics vol 71 More Rishabh and Arezoo Ardekani 2022 8220Motion in stratified fluids8221 Annual Review of Fluid Mechanics vol 55 O8217Hara Casey and Benjamin Halpern 2022 8220Anticipating the future of the world8217s ocean8221 Annual Review of Environment and Resources vol 47 Paller Ken Jessica Creery and Eitan Schechtman 2021 8220Memory and sleep how sleep cognition can change the waking mind for the better8221 Annual Review of Psychology vol 721 Roberts James Leonardo Gollo Romesh Abeysuriya Gloria Roberts Philip Mitchell Mark Woolrich and Michael Breakspear 2019 8220Metastable brain waves8221 Nature Communications 10 1 1056 httpsdoiorg101038s41467019089990 Rogers Alex David 2015 8220Environmental change in the deep ocean8221 Annual Review of Environment and Resources vol 401 RoyantParola Sylvie 2017 8220Le manque de sommeil nous tue8221 Interview by Pascale Kremer Le Monde httpswwwlemondefrmpersoarticle20171117lemanquedesommeilnoustue52164804497916html RoyantParola Sylvie 2022 Comment retrouver le sommeil par soimême Paris Editions Odile Jacob Samson David R 2021 8220The Human sleep paradox the unexpected sleeping habits of Homo sapiens8221 Annual Review of Anthropology vol 50 Shipton Harold 1975 8220EEG analysis A history and a prospectus8221 Annual Review of Biophysics and Bioengineering vol 4 Solms Mark and Olivier Turnbull 2015 Le cerveau et le monde interne Paris Presses Universitaires de France Translated by Fabian Guenolé and Geoffrey Marcaggi Strassberg Richard 2022 Wandering Spirits Chen Shiyuan8217s Encyclopedia of Dreams Berkeley University of California Press Thakor Nitish and Shanbao Tong 2004 8220Advances in quantitative electroencephalogram analysis methods8221 Annual Review of Biomedical Engineering vol 6 Thorpe Stephen 2004 8220Recent developments in the study of ocean turbulence8221 Annual Review of Earth and Planetary Sciences vol 32 Walker Matthew “You’re Not Getting Enough Sleep—and It’s Killing You” Wired httpswwwwiredcomstoryyourenotgettingenoughsleepanditskillingyouclientserviceid31209ampserviceuserid178e16ampclientservicenamewiredampsupportedservicenameinstagrampublishing Wunsch Carl and Raffaele Ferrari 2004 8220Vertical mixing energy and the general circulation of the oceans8221 Annual Review of Fluid Mechanics vol 36 no 1 to cite this article This article is using Chicago format for its references Novarina Virgile Walid Breidi JeanMarc Chomaz and Laurent Karst 2023 “Rêve Quantique The Day I Imagined the Ocean” able journal httpsablejournalrevequantique MLA EN Novarina Virgile Walid Breidi JeanMarc Chomaz and Laurent Karst “Rêve Quantique The Day I Imagined the Ocean” able journal 2023 httpsablejournalrevequantique ISO 690 EN NOVARINA Virgile Walid BREIDI JeanMarc CHOMAZ and Laurent KARST Rêve Quantique The Day I Imagined the Ocean able journal online 2023 Available from httpsablejournalrevequantique APA EN Novarina V Breidi W Chomaz JM amp Karst L 2023 Rêve Quantique The Day I Imagined the Ocean able journal httpsablejournalrevequantique DOI EN httpsdoiorg1069564ableen23012reve architecture brain nanophysics ocean performance physics sleep
Chaitén: land of volcanoes
Karen Holmberg, Andrés Burbano, Constanza Gomez,Pierre Puentes, Javiera Letelier, Amy Donovan, Juli…
Karen Holmberg, Andrés Burbano, Constanza Gomez,Pierre Puentes, Javiera Letelier, Amy Donovan, Juli… Karen Holmberg Andrés Burbano Constanza GomezPierre Puentes Javiera Letelier Amy Donovan Julie Morin Rory Walsh Thierry Dupradou about this contribution This panable visual essay traces both a coastline and timeline of northwestern Patagonia which is part of a highly dynamic environmental region Indigenous peoples who traversed its coast for millennia were witnesses to glacial retreat dramatic sea level rise and repeated volcanic eruptions amongst other landscape and climate changes Permanent settlement of the area near the Chaitén volcano in Chilean Patagonia began only a century ago when settlers from other areas including Osorno the Chiloe islands and Argentina built homes and developed a local culture based on industries that included fishing boat making basket making textiles livestock and bee keeping in a remote but thriving town In May 2008 the Chaitén volcano erupted prompting one of the largest evacuations in modern Chilean history Within two days the human populations of Chaitén and nearby Futaleufú were relocated and dispersed in distant cities with little time to plan and no clear knowledge of the length of time they would be displaced Farm animals pets family mementos and the familiar landscapes of home were lost over the three years of exile that elapsed before resettlement was permitted Even if it did not cause largescale loss of human life the eruption was still a deeply disruptive and traumatic event for residents In the process of surveying a new site for the town of Chaitén a cave complex filled with prehistoric rock art and shell middens was encountered in a distinctive landscape monument called the Vilcún While the proposed new location for the town was rejected by townspeople who fought to rebuild on the site of the old town the cultural heritage represented by the Vilcún rock art caves and the geological heritage represented by the volcanic landscape are now contributing to the ongoing rebirth of the town A new interpretive center in Chaitén was built in the midst of houses ruined by the eruption Together they are designed to serve as a nexus for community memory tourism information science communication and education and art as part of a development strategy based on local heritage and educational outreach This offers opportunities for academic and technical programs for local youth that did not exist prior and also conveys future risks and community resilience This is part of a vibrant creative explosion inadvertently prompted by the volcanic eruption Once the site of disaster Chaitén is now a site of regeneration credits graphic design Pierre Puentes editorial mediator Karen Holmberg authors Karen Holmberg New York University Andrés Burbano Universitat Oberta de Catalunya in Barcelona Constanza Gomez Fundación ProCultura Pierre Puentes independent designer Javiera Letelier Universidad Austral de Chile amp Centro de Investigación en Ecosistemas de la PatagoniaCIEP Amy Donovan University of Cambridge Julie Morin University of Cambridge Rory Walshe University of Cambridge Thierry Dupradou independent photographer acknowledgment This project was made possible by the unflagging efforts of Constanza Gomez with ProCultura to assist the recovery of Chaitén and is dedicated to the Chaitén townspeople and their resilience financial support The graphic design work for this submission was funded by the This is Not a Drill program directed by Mona Sloane through the Future Imagination Fund at NYU Tisch copy editing Bronwyn Mahoney references and rights illustration rights and references Copyrights 2023 by the authors Reproduced with permission bibliography and references Borrero Luis A Amalia Nuevo Delaunay and César Méndez 2019 8220Ethnographical and historical accounts for understanding the exploration of new lands The case of Central Western Patagonia Southernmost South America8221 Journal of Anthropological Archaeology 541821116 doi httpsdoiorg101016jjaa201902001 Carn S J Pallister L Lara J Ewart S Watt A Prata R Thomas and G Villarosa 2009 8220The unexpected awakening of Chaitén volcano Chile8221 Eos Transactions American Geophysical Union 90 24 2056 doi 1010292009EO240001 Fuentes Pino Anita and Ana Maria Ugarte Caviedes 2015 ReCreando Chaitén en Comunidad Santiago Mavel SA Morabito García Ezequiel Alejandro BeltránTriviño Carla M Terrizzano Florencia Bechis Jeremías Likerman Albrecht Von Quadt and Víctor A Ramos 2021 8220The Influence of Climate on the Dynamics of Mountain Building Within the Northern Patagonian Andes8221 Tectonics 40 2e2020TC006374 doi httpsdoiorg1010292020TC006374 Holmberg Karen 2020 8220Landing on the terrestrial volcano8221 In Critical Zones The Science and Politics of Landing on Earth edited by Bruno Latour and Peter Weibel 5657 Cambridge MA MIT Press Jara Ignacio A Patricio I Moreno Brent V Alloway and Rewi M Newnham 2019 8220A 15400year long record of vegetation fireregime and climate changes from the northern Patagonian Andes8221 Quaternary Science Reviews 226 106005 doi httpsdoiorg101016jquascirev2019106005 Museo de Sitio de Chaitén Chaíten Chile httpswwwinstagramcommuseodesitiochaitenigshidNTdlMDg3MTY3D ProCultura 2018 Chaiten Inventario de Inmuebles Patrimoniales Edited by Constanza Gómez Santiago Andros Impresores ProCultura 2018 Patagonia Verde Edited by Constanza Gómez Santiago Andros Impresores Reyes Omar Carolina Belmar Manuel San Román Flavia Morello and Ximena Urbina 2020 8220Avances en la secuencia cronologica del mar interior de Chiloe Patagonia Occidental Sitios arqueologicos San Juan 1 Tauco 1 y 28221 Magallania Chile 48 no 1 173184 to cite this article This article is using Chicago format for its references Holmberg Karen Andrés Burbano Constanza Gomez Javiera Letelier Amy Donovan Julie Morin Rory Walshe Pierre Puentes and Thierry Dupradou 2023 “Chaitén Land of Volcanoes” able journal httpsablejournalorgchaitenlandofvolcanoes MLA EN Holmberg Karen et al “Chaitén Land of Volcanoes” able journal 2023 httpsablejournalorgchaitenlandofvolcanoes ISO 690 EN HOLMBERG Karen et al “Chaitén Land of Volcanoes” able journal online 2023 Available from httpsablejournalorgchaitenlandofvolcanoes APA EN Holmberg K Burbano A Gómez C Letelier J Donovan A Morin J Walshe R Puentes P y Dupradou T 2023 Chaitén Land of Volcanoes able journal httpsablejournalorgchaitenlandofvolcanoes DOI EN httpsdoiorg1069564ableen23011chaiten archaeology archive climate coastline communitymemory crisis culturalheritage disaster ecology environment environmental-change environmentalsciences excavation exploration geography geoheritage geosciences identity landscape memory migration natural-sciences regeneration resilience rockart territory
1,001 handshakes
François-Joseph Lapointe
François-Joseph Lapointe FrançoisJoseph Lapointe about this contribution I inhabit the microbial world Microbes live on my body and inside my body Every opening in my body envelope is populated by millions and millions of different microbes I eat microbes swallow microbes digest microbes and defecate microbes When I kiss my wife I share microbes with her When I shake hands with my neighbor we swap our microbes We are both part of a complex network of microbes commonly referred to as the microbiome which is an essential part of our individual and collective bodies The composition of my microbiome fluctuates on a daily basis according to my all my actions and encounters Although my genome is fixed my microbiome is changeable and adaptable I can transform my microbiome as I wish to change my identity As part of my artistic practice I expose my own body to various types of experiments aimed at changing the makeup of my microbiome I then use the tools of science to quantify the effects produced On February 3 2016 I shook hands with 1001 people at the Berlin Transmediale gradually transforming the invisible community of microbes living in the palm of my right hand At regular intervals assistants took samples of this skin microbiome to study how contact with others transforms who we are Since then I have repeated this hybrid project at the interface of art and science in Copenhagen Montreal Perth San Francisco Baltimore and Paris The performance of 1001 handshakes raises awareness through physical engagement through acts of participation and exchange at the social individual and microbial levels As a scientist the objective of this experiment was to collect scientific data on the human microbiome the dynamics of contamination of my microbiome in contact with the microbiome of others As a bioartist it was more the notion of individuality that appealed to me a philosophical concept that I formalize through microbiome selfportraits or microbiome selfies generated from the DNA of bacteria harvested from the palm of my hand Hidden beyond the visible in the palm of a hand as the most curious visitors zoom in these microbiome selfies reveal themselves on a micro scale Am I still the same after a thousand handshakes with strangers These multicolored bacterial networks attest to my metamorphosis This mundane action of the handshake comes to us today in a new light amidst a global pandemic exacerbated by social distancing The limits of my body are not those of my skin I touch therefore I am I carry traces of your microscopic identity with me I am a network of microbial cells that dance with my own cells to construct the person that I am in real time credits authorFrançoisJoseph Lapointe biologist and bioartist Professor amp Researcher at Université de Montréal editorial mediationGwenaëlle Lallemand graphic designerBertrand Sandrez copy editing Bronwyn Mahoney photo creditssee below acknowledgmentsCopenhagen Adam Bencard Louise Whiteley curators Linda Fønss Anna Simone KofoedKristiansen Lea Korsholm Louise Kristensen Maria Loroño Leturiondo Anne Sofie Pinstrup Jørgensen Elin Rosenbek Severinsen Mika Rosenberg Emma Strip Lisa Sutherland assistants Berlin Christian de Lutz Regine Rapp curators Alanna Lynch assistant Montréal Geneviève Dubois Virginie LemieuxLabonté assistants Cindy Bouchard Etienne Lord photovideo Baltimore Margaret MacDonald curator Anne Estes assistant San Francisco Alexandra Carmichael assistant Paris Gwenaelle Lallemand assistant Olivier Kruzer video Perth Carley Ternes assistant supported by Fonds de recherche du Québec – Société et culture references and rights illustration rights and references Copyright 2022 by the author Reproduced with permission FrançoisJoseph Lapointe Microbiome Selfie 2014–2020 Photo and data visualization credits FrançoisJoseph Lapointe bibliography and references Gimbert Carine and FrançoisJoseph Lapointe 2015 “Selftracking the microbiome where do we go from here” Microbiome 3 70 httpsdoiorg101186s401680150138x Hutter Thiago Carine Gimbert Frédéric Bouchard and FrançoisJoseph Lapointe 2015 “Being human is a gut feeling” Microbiome 3 9 httpsdoiorg101186s4016801500767 Lapointe FrançoisJoseph 2017 “De la transformation expérimentale du microbiote cutané” Images en Dermatologie 10 202–205 Lapointe FrançoisJoseph 2017 “Je touche donc je suis” Inter Art Actuel 125 56–57 httpsideruditorgiderudit84838ac Lapointe FrançoisJoseph 2019 “La performance artistique comme dispositif d’expérimentation scientifique” In Art performance manœuvre coefficients de visibilité edited by M Collet and A E Létourneau 195–202 Dijon Les Presses du Réel Lapointe FrançoisJoseph 2020 “Autoportraits au microbiome” Pour la science horssérie 109 28–31 Lapointe FrançoisJoseph 2021 “Die experimentelle Veränderung des menschlichen Mikrobioms als künstlerische Praxis” In Naturkultur 8211 Alles ist Interaktion edited by M Schneider 61–68 Berlin SteidlVerlag Parke Emily C Brett Calcott and Maureen A O’Malley 2018 “A cautionary note for claims about the microbiome8217s impact on the ‘self’” PLoS Biology 1 no 9 e2006654 httpsdoiorg101371journalpbio2006654 Rees Tobias Thomas Bosch and Angela E Douglas 2018 “How the microbiome challenges our concept of self” PLoS Biology 16 no 2 e2005358 httpsdoiorg101371journalpbio2005358 to cite this article This article is using Chicago format for its references Lapointe FrançoisJoseph 2023 “1001 handshakes” able journal httpsablejournalorg1001handshakes MLA EN Lapointe FrançoisJoseph “1001 handshakes”able journal 2023 httpsablejournalorg1001handshakes ISO 690 EN LAPOINTE FrançoisJoseph 1001 handshakes able journal online 2023 Available from httpsablejournalorg1001handshakes APA EN Lapointe FJ 2023 1001 handshakes able journal httpsablejournalorg1001handshakes DOI EN httpsdoiorg1069564ableen23009handshakes bacteria biology borders cartography colonization contagion data data-visualization geography identity living-matter microbiome networks performance relationship selfie spatial
clinique vestimentaire
Jeanne Vicerial with the mechatronics department of MINES ParisTech - PSL
Jeanne Vicerial with the mechatronics department of MINES ParisTech - PSL for a new paradigm of creation custommade clothing design Jeanne Vicerial with the mechatronics department of MINES ParisTech PSL about this contribution Today the two techniques for designing and making clothes are generally opposed to each other madetomeasure and readytowear While the latter imposes a size category and requires the individual to adapt the former is adapted to the person The research involved in Jeanne Vicerial’s Clinique vestimentaire merges the two approaches converging to form new systems for the design and making of clothes creating a new paradigm “readytomeasure” This model combines the speed of readytowear with the unique specific nature of madetomeasure in which the clothingobject is connected to the body of the person who wears it This system of designing and making clothes is based on a new approach to composing thread partly “bioinspired” tricotissage or “knittingweaving” between knitting—a single thread—and weaving which enables the creation of a textile assembled in a similar way to human muscular tissue In collaboration with the mechatronics department at MINES ParisTech – PSL led by Yvon Gaignebet the Clinique vestimentaire research project has developed a prototype knittingweaving machine A tool for creation and production the unit is a computerdriven mechanical system for knittingweaving madeto measure clothing at a semiindustrial scale with no waste Dialogue begins with the first encounter with the customer for taking measurements through verbal communication consciously expressed desires and sensations but also nonverbal communication postures and behavior Measures that take into account not only anatomical considerations but also anthropological physiological and psychosociological elements The production of the garment by the knittingweaving table is then done according to the body’s dimensions translated and interpreted digitally and electronically During the production process manual interactions remain possible for adjustments the machine is also a tool and leaves room for interventions reviving the classic interactions of the craft A digital craft with the ultimate goal of designing a custom garment without remnants with a knowhow focused on the precision of the 8220cut8221 and assembly and delivering personalized clothing with and for the customer More recently Sculptures vestimentaires continues this research aiming to give women their place and voice with regards to fashion norms and sizing More recently Quarantaine is a formal and visual response to the health crisis at a time when closing and distancing are the order of the day A work is being created every day for 40 days using the only body available—the confined body of its author credits author Jeanne Vicerial designer and SACRe Design PhD École des Arts Décoratifs Paris – PSL Research amp Creation project carried out at EnsadLab thesis supervision by Prof JeanFrançois Bassereau and Dr Aurélie Mosse in collaboration with the mechatronics department of MINES ParisTech – PSL directed by Yvon Gaignebet editorial mediation Gwenaëlle Lallemand graphic designer Arp is Arp Studio Dimitri Charrel photo credits see below sponsors this contribution is supported by the Chaire Beautés PSL translation Monique Gross copy editing Bronwyn Mahoney rights and references illustrations rights and references Copyright Photos reproduced with permission from the author in 2022 Jeanne Vicerial Clinique vestimentaire 2015 © Béryl Libault de la Chevasnerie École des Arts Décoratifs Jeanne Vicerial Clinique Vestimentaire 2017 © Vivien Bertin Jeanne Vicerial Details of the tricotissage Clinique Vestimentaire 2016 © Clara Giaminardi for Bullet Magazine András Szunyoghy Le Grand Cours d8217anatomie artistique 2000 Drawings © Adagp Paris 2022 © Ullmann Medien GmbH Rolandsecker Weg 30 53619 Rheinbreitbach Germany All rights reserved Jeanne Vicerial Pattern of the dorsal muscle tissue reproduced in thread by means of tricotissage and affixed to the image above © Adagp Paris 2022 © Ullmann Medien GmbH Rolandsecker Weg 30 53619 Rheinbreitbach Germany Jeanne Vicerial collection Lignes Noires in collaboration with Jennifer Chambaret Clinique Vestimentaire 2017 © Vivien Bertin Jeanne Vicerial Clinique Vestimentaire 2015 © MarieElodie Fallourd École des Arts Décoratifs Jeanne Vicerial 155km long thread dress Clinique Vestimentaire 2015 © Thibaut Della Gaspera Jeanne Vicerial Clinique Vestimentaire 2015 © Maxime Imbert École des Arts Décoratifs Jeanne Vicerial Clinique Vestimentaire 2015 © Maxime Imbert Graphic design Arp is Arp Studio Dimitri Charrel Jeanne Vicerial Clinique Vestimentaire 2019 © Mathieu Faluomi Graphic design Arp is Arp Studio Dimitri Charrel Jeanne Vicerial Clinique Vestimentaire 2019 © Joseph Schiano di Lombo Jeanne Vicerial Clinique Vestimentaire 2019 © Aleksandr Kontini bibliography and references Acuna Diego 2004 Méthodes scientifiques de conception de produit approche francoaméricaine Paris PhD Thesis ENSAM Alberti LeonBattista Pierre Caye and Françoise Choay 2010 L’art d’édifier Paris Seuil Anzieu Didier 1985 Le MoiPeau Paris Dunod Archer Bruce Ken Baynes and Phil Roberts 1992 The nature of research into Design and Technology education Loughborough Loughborough University Arnold Janet 1966 Patterns of Fashion 2 2e ed 1997 London Macmillan London limited Article of the Danish Fashion institute 2017 Pulse of the Fashion industry Barde FA 1834 Traité encyclopédique de l’art du tailleur pp 7374 Section Deuxième Des instruments nécessaires pour bien prendre les mesures pp 73 Barthes Roland 1967 Système de la mode Chap11 Ed 2014 Paris Seuil Barthes Roland Encore le corps Œuvres Complètes V pp 56162 Paris Seuil Bassereau JeanFrançois forthcoming L’essence des matériaux Paris Edition des Mines Bassereau JeanFrançois 2013 Design sensoriel une recherche interdisciplinaire en actionrecherche p141 Tours HdR UFR de Tours Belfanti Carlo Marco 2008 Civilta della mode Bologne Il Mulino Belfanti Carlo Marco 2008 Histoire culturelle de la mode French edition 2017 pp249 Paris IFMregard Birglen Lionel 2016 Mécatronique Cours et exercices corrigés p416 Malakoff Dunod Black Sandy 2012 The Sustainable fashion handbook London Thames and Hudson Black Sandy 2008 Ecochic the fashion paradox London BlackDog Publishing Boucher François and Yvonne Deslandres 2008 Histoire du costume en Occident Des origines à nos jours p 40 Paris Flammarion Bourdieu Pierre and Yvette Delsaut 1975 “Le couturier et sa griffe contribution à une théorie de la magie” Actes de la Recherche en sciences Sociales 1 no1 pp 736 Brossard Michel 1998 “Assis ou debout Réflexions sur l’implantation de l’organisation modulaire de travail dans le vêtement” Relations industrielles Industrial Relations vol 53 no 3 summer 1998 p 403429 Bruna Denis 2013 La Mécanique des Dessous Une Histoire indiscrète de la silhouette pp 2122 Paris Les Arts Décoratifs Caves Richard 2000 Creative industries Contracts between Art and Commerce CambridgeLondon Harvard University Press Chapman Jonathan 2005 Emotionally durable design objects experiences and empathy pp 4042 London Earthscan Charter Martin 2019 Designing for the Circular Economy London Routledge Collet Carole 2012 “Biolace An exploration of the potential of synthetic biology and liing technology for future textiles” Studies in material Thinking vol 7 Deleuze Gilles and Félix Guattari 1980 Capitalisme et schizophrénie 2 Mille plateaux p 549 Paris Éditions de Minuit Ibid pp 594595 Deforge Yves 1989 L’œuvre et le produit Paris Champ Villon Detrez Christine 2002 La construction sociale du corps pp 7677 Paris Seuil Eberle Hannelore Hermann Hermeling Marianne Hornberger and Dieter Menzer 2012 La Technologie du vêtement Paris Éditions Guérin Findeli Alain 2008 As an introduction during Ateliers de la Recherche en Design Nîmes Fletcher Kate and Lynda Grose 2012 Fashion amp Sustainability Design for change London Laurence King Fletcher Kate 2008 Sustainable Fashion and Textiles design journeys pp 9899 London Earthscan Franklin Kate 2018 Radical Matters rethinking materials for sustainable future London Thames amp Hudson Frayling Christopher 19934 “Research in art and design” Royal College of Art Research Papers vol 1 no 1 pp 15 Gautrand Pascal 2012 L’artisanat la main et l’industrialisation Paris IFM Mode de recherche n° 18 Godart Frédéric 2010 Sociologie de la mode Paris La Découverte Grau FrançoisMarie 1998 Histoire du costume Paris Puf Gray Carole and Julian Malins 2004 Visualizing research A guide to the Research Process in Art and Design Abingdon Oxon Asgate eBook Grumbach Didier 2008 Histoires de la mode Paris Éditions du Regard Hagene Bernard and Pierre Saliot 1995 Mesures amp Démesure Paris Les éditions de la Cité des sciences et de l’industrie Hegel Georg Wilhelm Friedrich 1944 Esthétique p147 Paris Aubier III 1ère partie Ingold Tim 2018 Faire anthropologie art et archéologie p 108 Bellevaux Dehors Ibid p 263 Ingold Tim 2013 “The Materials of life” Making Anthroplogy Archeology Art and Architecture London Routledge Kandinsky Vassily 1926 Point et ligne sur plan Ed1991 Paris Gallimard Laski Gary 2011 Le design Théorie esthétique de l’histoire industrielle Philosophy thesis Paris Université ParisEst Le Corbusier 1924 Urbanisme Ed1994 p 10 Paris Flammarion LeroiGourhan André 1945 Milieu et technique Ed1975 Paris Albin Michel Levy Strauss Claude 1955 Tristes tropiques Ed 2001 pp 347360 Paris Pocket Morin Edgar 2004 “Éthique” La méthode 6 p 65 Paris Seuil Mosse Aurélie 2014 Gossamer Timescapes Designing selfactuated textiles for the home Danemark The Royal Danish Academy of Fine Arts Schools of Architecture Design and Conservation pp 7479 Ibid pp 219220 Mosse Aurélie and JeanFrançois Bassereau 2019 “Soft Matters en quête d’une pratique du design textile et matière plus résiliente” Sciences du design no 9 p 53 Naylor Maxine and Ralph Ball R 2005 Form Follows Idea An Introduction to Design Poetics pp 2627 London Black Dog Ormen Catherine 2009 Histoires du prêtàporter Paris IFM Prost Robert 1995 Concevoir inventer créer Paris Autrement Quinn Bradley 2010 Textiles futures fashion design and technology pp 5355 Oxford Berg Sèze Claudette 1990 Confort moderne une nouvelle culture du bienêtre Paris Autrement Sherwood James 2010 Savile Row Les maître tailleurs du surmesure Britannique Paris L’Edit Simmel Guido1904 Philosophie de la mode Ed 2015 Paris Allia First publication 2015 Source Bibliothèque nationale de France departement Sciences et techniques 4 V 1180 Vergani Guido 1992 La renaissance de la Mode Italienne Florence la Sala Bianca 19521973 French edition 1993 Milan Electa Waugh Norah 1968 The Cut of Women8217s Clothes 16001930 London Faber and faber limited Waugh Norah 1968 Corset and Crinolines London Faber and faber limited Waugh Norah 1968 The Cut of Men8217s Clothes 16001900 London Faber and faber limited Zacklad Manuel 2017 Design conception création Vers une théorie interdisciplinaire du Design Paris Conservatoire national des Arts et Métiers – Équipe Innovation Published November 07 2017 to cite this article This article is using Chicago format for its references Vicerial Jeanne 2023 “Clinique Vestimentaire for a New Paradigm of Creation amp CustomMade Clothing Design” able journal httpsablejournalorgcliniquevestimentaire MLA EN Vicerial Jeanne “Clinique Vestimentaire for a New Paradigm of Creation amp CustomMade Clothing Design” able journal 2023 httpsablejournalorgcliniquevestimentaire ISO 690 EN VICERIAL Jeanne Clinique Vestimentaire for a New Paradigm of Creation amp CustomMade Clothing Design able journal online 2023 Available from httpsablejournalorgcliniquevestimentaire APA EN Vicerial J 2023 Clinique Vestimentaire for a New Paradigm of Creation amp CustomMade Clothing Design able journal httpsablejournalorgcliniquevestimentaire DOI EN httpsdoiorg1069564ableen23003clinique bio-inspired biodesign digital-craft ecology fashion fashion-design haute-couture ready-to-wear ready-to-measure sustainability tailoring textile
a world that contains many worlds
Francesca Cozzolino & Kristina Solomoukha
Francesca Cozzolino & Kristina Solomoukha from ethnography to interactive visual narration an imagebased investigation of Zapatista iconography Francesca Cozzolino Kristina Solomoukha about this contribution This article presents imagebased research on the iconographic production of the Zapatistas Chiapas southeastern Mexico and the visual universes that are invoked here Cozzolino amp Solomoukha 2021 Product of the collaboration between an anthropologist and an artist this research project is composed of an interactive visual atlas made up of images from different sources temporalities and systems of historicity We question how these images reflect transnational and transhistorical political cultures and how the Zapatistas repurpose different iconographic traditions Drawing inspiration from Aby Warburg8217s Mnemosyne Atlas and his method we have created a constellation of images based on the repetition of a motif the caracol which evokes for the Zapatistas the imagery of a political process that is 8220slow8221 in opposition to the idea of capitalist progress and also the marine snail or concha which is found in the symbolic system of the ancient Maya This motif ranging from the representation of the snail to the spiral and the seashell embodies both the Mayan past and the Zapatista ideals of the present Gossen 1996 Benjamin 2000 To determine the links between the images that make up our corpus we have organized them into two shapes–the snail and the spiral–used in Zapatista embroideries Then we associate other images with these representations from Mayan archaeological sites codices and preHispanic museum collections where these visual motifs are found by taking into account the actors who produced them by variegating them with a color code Ancient Maya in green Zapatistas in blue Zapatista supporters in purple At the iconographic level the ambition of this research is to reveal “significant associations” between different visual cultures by bringing these images together through the effects of proximity and formal or symbolic resemblance The caracol would constitute then the “core” of this cultural continuity LopézAustin 2001 59 that we show through the image On the anthropological level one of the aims is to question the way in which a culture produces the images that constitute its visual and political identity Another of our objectives through our approach is to visually translate the processes specific to anthropological reasoning such as ethnological analogy Kubler 1972 Dehouve 2020 which enables us to postulate the existence of a cultural continuity between the past and the present in a given cultural area Thus this imagebased research aims to test both the semiotic and formal legacy of an iconographic motif and the disjunctions that occur when a visual form acquires different meanings over time Playing with scales unit comparison image combinations we want to deploy a knowledge that displaces the relationship of the visual to the objectivity of scientific analysis and seek the emergence of heuristic pathways through the image Our aim is to shape an interpretative space of the image that is formed through the perspective of the readerspectator and opens to a form of knowledge that is as much structured as aware Laplantine 2005 Learn more about this article here credits authors Francesca Cozzolino Anthropologist Professor and researcher École des Arts Décoratifs Paris Université PSL Lesc CNRS Université Paris Nanterre Kristina Solomoukha Artist lecturer at École des Arts Décoratifs and at EESAB Rennes graphic designer Silvia Dore photo credits see 8220Illustration copyrights and references8221 below translation Monique Gross copy editing Bronwyn Mahoney acknowledgments with the help of Joséphine Mas Hissane Temmar Coraline Arena Malou Messien and Gwenaëlle Lallemand supported by EUR ArTeC 8211 Université Paris 8 references and rights illustration copyrights and references A A1 Polychrome vase depicting one of many scenes of the destruction of the Lords of Xibalba Chama 750–850 CE Published in M D Coe The Lords of the Underworld Princeton NJ Princeton University Press 1978 K578 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber578ampdateaddedampmsnumberampsite Photo © Justin Kerr 2000 Public domain image A2 Polychrome vase representing Chama God N in a shell and a smaller version of the same vegetation ChamaNebaj 800–850 CE K3124 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber3124ampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image A3 Polychrome vessel showing God N being pulled from his shell to be cut up by one of the Hero Twins who is holding a knife ChamaNebaj 600–800 CE Princeton Art Museum Princeton197418 K2847 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber2847ampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image A4 Polychrome vase showing an unusual scene with God N out of his conch shell Chama 750–850 CE K8334 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber8334ampdateaddedampmsnumberampsite Photo © Justin Kerr 2000 Public domain image A5 PreColumbian shallow ceramic bowl dating from before 1492 Mexico Memorial Art Gallery of Rochester 199614 httpmagartrochestereduobjects1infoqueryPortfolios3D22168522amppage506 Photo © Memorial Art Gallery of Rochester Reproduced with permission A6 Polychrome vase showing a conch shell God N inscription Primary Standard Sequence Dumbarton Oaks Washington DC PCB206 Published in Coe 1975 Polychrome vase 600–800 CE Published in Ancient Maya Art at Dumbarton Oaks Harvard University Press 2012p 311 K2787 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber2787ampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image A7 Polychrome vessel showing God N in his shell with a text also mentioning God N 600–800 CE Mint Museum of Art Charlotte NC 79232 K5380 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber5380ampdateaddedampmsnumberampsite Photo © Justin Kerr 2001 Public domain image A8 Polychrome vase showing one of the Hero twins pulling the old God N from his shell while holding a stone knife in his other hand 600–800 CE Published in The Maya Vase Book Vol 6 p 966 K6434 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber6434ampdateaddedampmsnumberampsite Photo © Justin Kerr 2001 Public domain image B B1 Maya figural rattle of God N Jaina Late Classic period c 550–950 CE African Oceanic and PreColumbian Art auction May 13 2011 Sotheby’s New York Sale Number N08749 Lot 137 httpwwwsothebyscomenauctionsecatalogue2011africanoceanicandprecolumbianartn08749lot137html Photo © Sotheby’s Reproduced with permission B2 Large vase representing Itzamnaaj Early PostClassical period Museo Maya de Cancún Mexico Photo © Paolo Codeluppi 2019 Reproduced with permission B3 Incense Burner Pacific Coast Guatemala Middle Classic period AD 350500 The Walters Art Museum Baltimore MD httpsartthewaltersorgdetail80347incenseburner7fbclidIwAR0njy9eVHzliOFCXYKpEOQRO6iRT20zQkBYXscbXp23qWSOFq7LcJy71VE Photo © The Walters Art Museum Public domain image B4 Threedimensional vessel in the form of snail shell with God N emerging and Chak or an impersonator holding a Kawil axe with flint in mouth with incised text Early Classic period Chrysler Museum Norfolk VA 86427 K1285 Astill httpwwwmayavasecom1285stillspdf Photo © Justin Kerr 1980 Public domain image B5 Vessel in the form of a conch shell from which the bust of an elderly man emerges Late Classical period Museo Nacional de Antropología de México httpsmnainahgobmxcoleccionesdetallephpid68401ampsala9amppg6 Photo © Mediateca INAH Reproduced with permission C C1 Drawing studio CompArte 2018 Caracol Morelia Chiapas Mexico Photo © Francisco Lion 2018 Reproduced with permission C2 Mural painting Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2021 Reproduced with permission C3 Cover of Rufián magazine titled “Estética de la autonomía autonomía estética” no 17 January 2014 Photo © Rufián magazine C4 Mural painting Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2021 Reproduced with permission C5 Caracol Jacinto CaneK formerly CEDECI Earth University San Cristobal de Las Casas Chiapas Mexico Photo © Kristina Solomoukha 2021 Reproduced with permission C6 Embroidery made by Zapatistas Chiapas Mexico Photo © Kristina Solomoukha 2021 Reproduced with permission C7 Painting on fabric made by Zapatistas httpsdorsetchiapassolidaritywordpresscom20170101zapatistanewssummaryfornovember2016 Photo © All Rights Reserved C8 Autonomous University for Social Movements logo image website screenshot httpsausmcommunity D D1 Mural painting Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2021 Reproduced with permission D2 Mural painting Resistance and rebellion for humanity Caracol Oventic Chiapas Mexico Photo © ProtoplasmaKid 2018 CC BYSA 40 D3 Mural painting Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2019 Reproduced with permission D4 Mural painting Caracol Oventic Chiapas Mexico httpsdorsetchiapassolidarityfileswordpresscom201308oventic6jpg Photo © All Rights Reserved D5 Paliacate “Aqui estamos Resistimos” Here we stand we resist Schools for Chiapas httpsschoolsforchiapasorgstoreclothingandbootsbandanaclothingandbootspaliacateaquiestamosresistimos2 Photo © Schools for Chiapas All rights reserved E E1 Conch shell trumpet Nayarit Mexico 200 BCE–500 CE LACMA M8629650 httpscollectionslacmaorgnode253539 Photo © LACMA Public domain image E2 Polychrome vase showing birds conch shell deer insects and an inscription Rio Hondo 600–800 CE Published in The Face of Ancient America p106 K2993 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber2993ampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image E3 Maya musical conch Early Classic period c 250–450 CE Christie’s auction no 18648 PreColumbian Art Lot 46 httpswwwchristiescomlotlotconquemusicalemayaclassiqueancienenv250450ap6256769lid3ampsclangzh Photo © Christie’s Reproduced with permission E4 Conch shell 2nd century BCE–4th century CE Monte Alban The Metropolitan Museum New York httpswwwmetmuseumorgartcollectionsearch313132 Public domain image E5 Polychrome vase with a red background waterbirds with conches text on the rim and base 600–800 CE K665 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber6665ampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image E6 Polychrome vase depicting waterbirds with fish in their beak standing on an abstract section of conch shell marking the entrance to the watery realm Published in The Maya Vase Book vol 4 p 590 K4687 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber4687ampdateaddedampmsnumberampsite Photo © Justin Kerr 1999 Public domain image E7 Conch shell trumpet Museo de las Culturas de Oaxaca Mexico Photo © Kristina Solomoukha 2018 Reproduced with permission E8 Mural painting Comandanta Ramona auditorium Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2018 Reproduced with permission F F1 Conch trumpet player Early PreClassical–Late Classical period INAH Mexico City Photo © Paolo Codeluppi 2019 Reproduced with permission F2 Detail of a painting on cardboard httpeskalequilombofreefrEskaleQuilomborevueschroniqueszapatisteshtm Photo © All rights reserved F3 Mural painted during CompArte 2018 Caracol Morelia Chiapas Mexico Photo © Francisco Lion 2018 Reproduced with permission F4 Mural painting Caracol Oventic Chiapas Mexico httpsprofessionmlaorgdancingwiththezapatistas Photo © Diana Taylor 2013 Reproduced with permission F5 Polychrome vase depicting a hunting scene with a deer in a mesh backpack and a rabbit being cut up 750–850 CE K1373 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber1373ampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image F6 Reproduction of an image from the Codex Magliabecchi XIII 11 3 mid15th century held in the Biblioteca Nazionale Centrale di Firenze and available online via the University of Utah httpscollectionslibutaheduark87278s6qn9gd5 Photo © J Willard Marriott Library 2020 Public domain image F7 Polychrome vase showing a dance scene with a person making a fire offering and a deity with a jaguar headdress holding two dance scepters 600–800 CE Published in The Maya Vase Book vol 3 p397 K3247 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber3247ampdateaddedampmsnumberampsite Photo © Justin Kerr 1999 Public domain image F8 War scene Decapitated head dismembered bodies conch player with HASAL on penis Painting the Maya Universe Royal Ceramics of the Classic Period Durham NC Duke University Press1994 K4625 httpresearchmayavasecomkerrmayalistphpallSearchK4625ampholdsearchampx13ampy13ampvasenumberampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image G G1 Embroidery made by Zapatistas Chiapas Mexico Photo © Kristina Solomoukha 2017 Reproduced with permission G2 Balumilna mural painting Caracol Oventic Chiapas Mexico Photo © Francesca Cozzolino 2018 Reproduced with permission G3 Painting murals CompArte 2018 Caracol Morelia Chiapas Mexico Photo © Francisco Lion 2018 Reproduced with permission G4 Painting made by Josué 2018 Chiapas Mexico Photo © Kristina Solomoukha 2018 Reproduced with permission G5 Painting made by David 2017 Chiapas Mexico Photo © Francisco Lion 2018 Reproduced with permission G6 Drawing workshop CompArte 2018 Caracol Morelia Chiapas Mexico Photo © Francisco Lion 2018 Reproduced with permission G7 Painting made by Omar in January 2014 Schools for Chiapas httpsschoolsforchiapasorgstoreartesaniapaintingscaracolivstretchedpainting Photo © Schools for Chiapas All rights reserved G8 Mural painting 2014 Caracol Realidad Chiapas Mexico Photo © Kristina Solomoukha 2019 Reproduced with permission G9 Feliz navidad painting by Lucio 2005 Chiapas Mexico httpssextaazcapotzalcoblogspotcom201705comoseriaunacasadondequepanmuchoshtmlm1 Photo © All Rights Reserved G10 Mural painted by Promotores de la Educación and youth in the Horizonte region 2018 Zona altos Chiapas Mexico httpsradiozapatistaorgp27931 Photo © Unknown CC BYSA 4 0 H H1 Embroidery made by Zapatistas Chiapas Mexico Photo © Kristina Solomoukha 2017 Reproduced with permission H2 Postcard with the image of the painting made by Beatriz Aurora 2003 San Cristobal de Las Casas Chiapas Mexico Photo © Kristina Solomoukha 2019 Reproduced with permission H3 Mural painting Resistance and rebellion for humanity Caracol Oventic Chiapas Mexico Photo © ProtoplasmaKid 2018 CC BYSA 40 H4 American students from CELMRAZ The Zapatista Autonomous Rebel Center of Mayan Languages Tzotzil and Spanish painting a mural 2018 Caracol Oventic Chiapas Mexico Photo © Francesca Cozzolino 2018 Reproduced with permission H5 Mural painted by CELMRAZ international students 2018 Caracol Oventic Chiapas Mexico Photo © Francesca Cozzolino 2018 Reproduced with permission H6 Mural painting Caracol Oventic Chiapas Mexico httpwwwkombiruteracomar201401yaseraanonuevohtml Photo © Kombi Rutera 2014 Reproduced with permission H7 Poster CEDECI Earth University San Cristobal de Las Casas Chiapas Mexico Photo © Kristina Solomoukha 2019 Reproduced with permission H8 Mural painting laj jak’betutik li jme’tik balumile Caracol Oventic Chiapas Mexico Photo © Francesca Cozzolino 2019 Reproduced with permission H9 Sketch of the mural painted by the international students of CELMRAZ Caracol Oventic Chiapas Mexico Photo © Francesca Cozzolino 2018 Reproduced with permission H10 DVD cover of the CompArte festival documentary produced by Los Tercios Compas 2018 Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2018 Reproduced with permission H11 Painting on canvas by Gersam 2018 Photo © Francisco Lion Reproduced with permission H12 Mural painting Caracol Torbellino de Nuestras Palabras Chiapas Mexico httpssipazenwordpresscom20131207chiapasdenunciationofharassmentandattacks fromthewhirlwindofourwordscaracol Photo © SIPAZ 2013 Reproduced with permission H13 Women forming a spiral shape known as “Caracol Semillero de la Comandanta Ramona” at the Second International Meeting of Women Who Fight 2019 Caracol Morelia Chiapas Mexico httpswwwcitynews1130com20191230mexicoszapatistashostwomenwhofightgathering Photo © Photo SIPA PressIsabel Mateos 2019 Reproduced with permission I I1 Mural painting Chiapas Mexico Chiapas Mexico httpswwwindymediaorguken200712388584html Photo © All rights reserved I2 Mural painting detail Chiapas Mexico httpeskalequilombofreefrEskaleQuilomborevueschroniqueszapatistesintrohtm Photo © All rights reserved I3 Mural painting Chiapas Mexico httpeskalequilombofreefrEskaleQuilomborevueschroniqueszapatistesintrohtm Photo © All rights reserved I4 Mural painting Chiapas Mexico httpeskalequilombofreefrEskaleQuilomborevueschroniqueszapatisteshtm Photo © All rights reserved J J1 Screen capture Zapatista musical group “Los Originales de San Andrés del Caracol II de Oventic Corridos Revolucionarios” 2017 httpskomanilelorg20170413pueblomiolosoriginalesdesanandresvideoclipoficial Photo © All rights reserved J2 Mural painting Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2019 Reproduced with permission J3 Mural painting 2014 Caracol Realidad Chiapas Mexico httpswwwlabellerevueorgfrdossiersthematiqueseducationalcomplexentretiengiap Photo © Alessandro Zagato 2014 Reproduced with permission J4 Zapatista snail drawing colored pencils on paper 2005 httpssitesgooglecomsiteedithlopezovallelanegraobrazapatistas Photo © Edith Lopez Ovalle 2005 Reproduced with permission K K1 Embroidery made by Zapatistas httpsschoolsforchiapasorggiftsofchange Photo © Schools for Chiapas All rights reserved K2 Puy ta Cuxlejaltic film festival banner 2018 Caracol Oventic Chiapas Mexico httpswwwresumenlatinoamericanoorg20181201mexicomilesdebaseszapatistasparticiparoncomopublicodeunparticularfestivaldecine Photo © Noé Pineda 2018 All Rights Reserved K3 Mural painting yai jk’opojel Caracol Oventic Chiapas Mexico Photo © Francesca Cozzolino 2017 Reproduced with permission K4 Painting on a basketball backboard 2013 Caracol Oventic Chiapas Mexico httpscronkiteasueduprojectsbuffettchiapasforzapatistasrevolutionmovesatasnailspacewhileglobalappealendures Photo © Rachel Leingang Cronkite Borderlands Project 2014 CCBYSA K5 Mural painting by Adrian Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2019 Reproduced with permission K6 Mural painting Caracol La Garrucha Chiapas Mexico httpswwwsipazorgdossierlecheminducaracollescargotverslautonomielangfr Photo © SIPAZ 2005 Reproduced with permission K7 Mural painted by La RED students 2017 Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2018 Reproduced with permission bibliography and references Benjamin Thomas 2000 “A Time of Reconquest History the Maya Revival and the Zapatista Rebellion in Chiapas” The American Historical Review 105 no 2 417–450 httpsdoiorg1023071571458 Cozzolino Francesca and Kristina Solomoukha 2021 “De l’ethnographie à la narration visuelle interactive une enquête par l’image sur l’iconographie zapatiste” In Ethonographiquesorg Numéro 42 “Rencontre ethnoartistiques” Leïla Baracchini Véronique Dassié Cécile Guillaume Pey and Guy Kayser coordinators httpswwwethnographiquesorg2021CozzolinoSolomoukha Dehouve Danièle 2020 “Anthropologie et histoire Le rapport ethnographique comme source pour les historiens aire mésoaméricaine” In Encyclopédie des historiographies Afriques Amériques Asies Volume 1 Sources et genres historiques edited by Nathalie Kouamé Eric P Meyer and Anne Viguier 53–63 Paris Presses de l’Inalco Gossen Gary H 1996 “Maya Zapatista Move to the Ancient Future” American Anthropologist 98 no 3 528–538 Kubler George 1972 “La evidencia intrínseca y la analogía etnológica en el estudio de las religiones mesoamericanas” In Sociedad Mexicana de Antropología Religión en Mesoamérica XII Mesa Redonda p 124 Lopez Austin Alfredo 2001 “El núcleo duro la cosmovisión y la tradición mesoamericana” In Cosmovisión ritual e identidad de los pueblos indígenas de México edited by Johanna Broda and Jorge Félix Báez 46–65 Mexico City Fondo de Cultura Económica Laplantine François 2005 Le social et le sensible introduction à une anthropologie modale Paris Téraèdre to cite this article This article is using Chicago format for its references Cozzolino Francesca and Kristina Solomoukha 2023 “A World that Contains Many Worlds From Ethnography to Interactive Visual Narration an ImageBased Investigation of Zapatista Iconography” able journal httpsablejournalorgaworldthatcontainsmanyworlds MLA EN Cozzolino Francesca and Kristina Solomoukha “A World that Contains Many Worlds From Ethnography to Interactive Visual Narration an ImageBased Investigation of Zapatista Iconography” able journal 2023 httpsablejournalorgaworldthatcontainsmanyworlds ISO 690 EN COZZOLINO Francesca and SOLOMOUKHA Kristina A World that Contains Many Worlds From Ethnography to Interactive Visual Narration an ImageBased Investigation of Zapatista Iconography able journal online 2023 Available from httpsablejournalorgaworldthatcontainsmanyworlds APA EN Cozzolino F amp Solomoukha K 2023 A World that Contains Many Worlds From Ethnography to Interactive Visual Narration an ImageBased Investigation of Zapatista Iconography able journal httpsablejournalorgaworldthatcontainsmanyworlds DOI EN httpsdoiorg1069564ableen23008caracol anthropology atlas caracole chiapas ethnography iconography mayan mayan-culture political-cultures visual-anthropology visual-atlas zapatista zapatista-movement
Illustration copyrights and references
This article is using APA format for its references. How to cite images: https://www.scribbr.com/apa-examples/image/ Artist Name, N. (1992). Name of the picture under a Creative Commons licence [Painting]. URL or DOI. CC BY-NC Artist Name, N. (1684). Name of the picture [Photograph]. URL or DOI. In the public domain. Copyright Holder Name, N. (2015). Name of the picture [Photograph]. URL or DOI. Copyright 2021 by Copyright Holder Name. Reproduced [or adapted] with permission van Gogh, V. (1889). The starry night [Painting]. Museum of Modern Art, New York City, NY, United States. https://www.moma.org/collection/works/79802. Reproduced with permission. Goya, F. (1819–1823). Saturn devouring his son [Painting]. Museo del Prado, Madrid, Spain. In the public domain. Thompson, M. (2020). Canyon wren [Photograph]. Flickr. https://flic.kr/p/2icfzq4. Copyright 2021 by Thompson, M. Reproduced with permission. [Photograph of a violent confrontation during the Hong Kong protests]. (2019). https://twitter.com/xyz11111112. Rights reserved.Bibliography and references
This article is using APA format for its references. American Psychological Association. (2015). Mood induction. In APA dictionary of psychology (2nd ed., p. 667). Dillard, J. P. (2020). Currents in the study of persuasion. In M. B. Oliver, A. A. Raney, & J. Bryant (Eds.), Media effects: Advances in theory and research (4th ed., pp. 115–129). Routledge. Fagan, J. (2019, March 25). Nursing clinical brain. OER Commons. Retrieved January 7, 2020, from https://www.oercommons.org/authoring/53029-nursing-clinical-brain/view Fleming, V. (Director). (1939). Gone with the wind [Film]. Selznick International Pictures; Metro-Goldwyn-Mayer. Goodwin, J. (2019, September). The best part of attending the American Psychological Association's 2019 Convention in Chicago this year was having the opportunity to [Image attached] [Post]. LinkedIn. https://www.linkedin.com/posts/jongoodwin3_apa2019-activity-6569581103441682432-CN98 Grady, J. S., Her, M., Moreno, G., Perez, C., & Yelinek, J. (2019). Emotions in storybooks: A comparison of storybooks that represent ethnic and racial groups in the United States. Psychology of Popular Media Culture, 8(3), 207–217. https://doi.org/10.1037/ppm0000185 Harvard University. (2019, August 28). Soft robotic gripper for jellyfish [Video]. YouTube. https://www.youtube.com/watch?v=guRoWTYfxMs Martinez, J.-L., & Douar, F. (2018–2019). Archaeology goes graphic [Exhibition]. The Louvre, Paris, France. https://www.louvre.fr/en/expositions/archaeology-goes-graphic Merriam-Webster. (n.d.). Semantics. In Merriam-Webster.com dictionary. Retrieved January 4, 2020, from https://www.merriam-webster.com/dictionary/semantics O’Donohue, W. (2017). Content analysis of undergraduate psychology textbooks (ICPSR 21600; Version V1) [Data set]. ICPSR. https://doi.org/10.3886/ICPSR36966.v1 Sapolsky, R. M. (2017). Behave: The biology of humans at our best and worst. Penguin Books. Schaefer, N. K., & Shapiro, B. (2019, September 6). New middle chapter in the story of human evolution. Science, 365(6457), 981–982. https://doi.org/10.1126/science.aay3550 Torino, G. C., Rivera, D. P., Capodilupo, C. M., Nadal, K. L., & Sue, D. W. (Eds.). (2019). Microaggression theory: Influence and implications. John Wiley & Sons. https://doi.org/10.1002/9781119466642 van Gogh, V. (1889). The starry night [Painting]. The Museum of Modern Art, New York, NY, United States. https://www.moma.org/learn/moma_learning/vincent-van-gogh-the-starry-night-1889/ World Health Organization. (2018, May 24). The top 10 causes of death. https://www.who.int/news-room/fact-sheets/detail/the-top-10-causes-of-death
seeing beyond the frame(s)
Francesco Sebregondi & Emile Costard
Francesco Sebregondi & Emile Costard a case study of imagetospace analysis for citizen investigation Francesco Sebregondi Emile Costard about this contribution On December 1 2018 on the margins of a gilets jaunes protest in Marseille 80yearold Zineb Redouane was struck in the face by a tear gas grenade as she was standing at the window of her fourthfloor apartment The following day she died in hospital In partnership with the French investigative media organization Disclose the Londonbased research agency Forensic Architecture produced a counterinvestigation into the circumstances of her death The resulting report published in video format in December 2020 provided evidence of the responsibility of the French police for her killing In the proposed publication the lead researcher on the case for Forensic Architecture and the independent journalist filmmaker who together authored the report use it as a casestudy to discuss the methodology of imagetospace analysis for citizen investigations By revisiting the case the publication brings questions of methods and techniques of visual analysis to the foreground in an effort to discuss the benefits as well as the limitations of using such tools in the particular research framework of a citizen investigation namely one in which access to data is limited by underlying structures of power and where the question of seeing beyond the established frames—of images of discourses—forms the primary research challenge By unpacking the argument presented in the counterinvestigation of Zineb Redouane’s killing the publication uses the videoable format to deploy an multilayered visual explanation of the techniques pioneered by Forensic Architecture to produce its investigative reports In so doing the aim of the publication is to foster the development and widespread adoption of opensource visual techniques for citizen investigations credits “The Killing of Zineb Redouane” Forensic Architecture investigation team project coordinator Francesco Sebregondi researcher Martyna Marciniak video editing Emile Costard Disclose team Mathias Destal Magali Serre copy editing Bronwyn Mahoney acknowledgements Collectif 8220DésarmonsLes8221 Milfet Redouane references and rights illustration rights and references Video shot by anonymous neighbor of Zineb Redouane December 1 2018 18h04 Rights reserved Portrait of Zineb Redouane date unknown Courtesy of Milfet Redouane Google Maps Google Street View Views of Noailles district in Marseilles France Map data Photos © 2020 Google Maps Google Street View Reproduced with permission All other images by Forensic Architecture © Forensic Architecture Reproduced with permission bibliography and references Weizman Eyal Shela Sheikh Susan Schuppli Francesco Sebregondi and Anselm Franke eds 2014 Forensis The Architecture of Public Truth Berlin Sternberg Press Weizman Eyal 2019 Forensic Architecture Violence at the Threshold of Detectability New York Zone Books to cite this article This article is using Chicago format for its references Sebregondi Francesco and Emile Costard 2023 “Seeing Beyond the Frames a Case Study of ImagetoSpace Analysis for Citizen Investigation” able journal httpsablejournalorgseeingbeyondtheframes MLA EN Sebregondi Francesco and Emile Costard “Seeing Beyond the Frames a Case Study of ImagetoSpace Analysis for Citizen Investigation” able journal 2023 httpsablejournalorgseeingbeyondtheframes ISO 690 EN SEBREGONDI Francesco and COSTARD Emile Seeing Beyond the Frames a Case Study of ImagetoSpace Analysis for Citizen Investigation able journal online 2023 Available from httpsablejournalorgseeingbeyondtheframes APA EN Sebregondi F amp Costard E 2023 Seeing Beyond the Frames a Case Study of ImagetoSpace Analysis for Citizen Investigation able journal httpsablejournalorgseeingbeyondtheframes DOI EN httpsdoiorg1069564ableen23013seeing architecture counter-investigation expertise geolocation open-source spatial spatial-analysis state-violence visual-evidence
yōkobo
Dominique Deuff, Gentiane Venture, Isabelle Milleville-Pennel & Ioana Ocnarescu
Dominique Deuff, Gentiane Venture, Isabelle Milleville-Pennel & Ioana Ocnarescu an object of sensitive presence Dominique Deuff Gentiane Venture Isabelle MillevillePennel Ioana Ocnarescu about this contribution As part of a multidisciplinary research and a PhD project to strengthen the connection between retired couples living at home we imagined and designed Yōkobo It is a robot at the crossroads of a sensitive approach and a robotic trend that bridges the gap between humans HumanRobotHuman Interactions field As a theoretical contribution Yōkobo is at the intersection of various concepts behavioral objects robjects weak robotics and slow technology Yōkobo is a trinket bowl placed in the entrance of homes Its discreet presence expresses hospitality and celebrates small moments of everyday life welcoming visitors and inhabitants of the house The name comes from the contraction of “yōkoso” welcome in Japanese and “robot” with French pronunciation In addition to these functions Yōkobo expresses the state of the home using data from connected IoT devices combining various house parameters such as temperature air quality etc to express the home’s “mood” through its motions Finally Yōkobo used in tandem with house keys can convey a trace a message based on motion And a trace is a memory of the partner’s passage Yōkobo is resolutely innovative and disruptive It does not sit within the lineage of the general vision of what robots are and what they can do it is an object intended to be unobtrusive stemming from ambient computing while having an ongoing subtle presence It does not make sounds unlike voice assistants and the trend for using voice modality interaction It expresses its environment only through motion and light to move away from home8217s companion robots and the biases they can generate through facial representation Yōkobo has neither an anthropomorphic shape nor can talk Yōkobo is intended to be made of natural materials such as ceramic wood or wool to break with the idea of plastic disposable and toy robots and to improve its integration in everyday home life as a slow technology product understanding and integrating Yōkobo into one’s life takes time and requires accepting not having a clear repetitive and instantaneous response to an action Its contribution is not measured in terms of efficiency and utility it is the sum of different experiences with the product over time that creates the object’s meaning and value Getting to know Yōkobo’s expressive motions is continuous and progressive Yōkobo is an object that is understood through perception and touches the poetic sensibility of its users Yōkobo is a concept that puts people’s relationships at the center It does not impose itself to propose an exclusive HumanObject relationship It reveals the presence of the other by expressing the last impermanent trace of the other8217s passage It is an object of sensitive presence This work is the result of interdisciplinary research between roboticists designers and ergonomists The navigation directions and overlay of this panable demonstrates the design and engineering processes as well as the interaction modalities credits authors Dominique Deuff ergonomist and designer Orange Gentiane Venture roboticist Tokyo University of Agriculture and Technology Isabelle MillevillePennel cognitive ergonomist LS2N UMR CNRS 6004 Ioana Ocnarescu designer Strate Research Strate School of Design with Enrique Coronado roboticist Tokyo University of Agriculture and Technology Liz Rincon roboticist Tokyo University of Agriculture and Technology Dora Garcin experience designer Strate School of Design amp Tokyo University of Agriculture and Technology Corentin Aznar product designer Strate School of Design amp Tokyo University of Agriculture and Technology Shohei Hagane roboticist Tokyo University of Agriculture and Technology Simeon Capy roboticist Tokyo University of Agriculture and Technology Pablo Osario roboticist Tokyo University of Agriculture and Technology Remi Dupuis product designer Strate School of Design Dino Beschi product designer Strate School of Design amp Tokyo University of Agriculture and Technology Nicolas Pellen designer Orange supportOrange GV lab LS2N UMR CNRS 6004 Strate School of Design Strate Research acknowledgementsNantes Université Tokyo University of Agriculture and Technology Strate8217s workshop team Valentina Ramirez Millan translation Monique Gross copy editing Bronwyn Mahoney references and rights illustration rights and references Layer 1 Original drawings Dora Garcin 2020 Image credit and graphic transformation Dominique Deuff 2021 Layer 2 images from left to right Images 1 to 8 3Dgenerated images Dino Beschi 2021 Image credit and graphic transformation Dino Beschi 2021 Image 9 photograph Dominique Deuff 2021 Photo credit and graphic transformation Dominique Deuff 2021 Images 10 3D Model Nicolas Pellen 2021 3Dgenerated images Clément Laurenziani 2021 Image credit and graphic transformation Dominique Deuff 2021 Images 11 3D model Nicolas Pellen 2021 3Dgenerated images Nicolas Pellen 2021 Image credit and graphic transformation Dominique Deuff 2021 Images 12 and 13 drawings Dominique Deuff 2021 Image credit and graphic transformation Dominique Deuff 2021 Images 14 and 15 3Dgenerated images Corentin Aznar 2020 Image credit and graphic transformation Dominique Deuff 2021 Images 16 and 17 drawings Corentin Aznar 2021 Image credit and graphic transformation Dominique Deuff 2021 Layer 3 Drawings Dominique Deuff 2021 Image credit and graphic transformation Dominique Deuff 2021 bibliography and references Ashmore Sondra and Kristin Runyan 2014 Introduction to Agile Methods Upper Saddle River NJ AddisonWesley Bevins Alisha and Brittany A Duncan 2021 “Aerial Flight Paths for Communication How Participants Perceive and Intend to Respond to Drone Movements” In HRI ’21 Proceedings of the 2021 ACMIEEE International Conference on HumanRobot Interaction New York Association for Computing Machinery 16–23 httpsdoiorg10114534340733444645 Birmingham Chris Zijian Hu Kartik Mahajan Eli Reber and Maja J Matari´c 2020 “Can I Trust You A User Study of Robot Mediation of a Support Group” In 2020 IEEE International Conference on Robotics and Automation ICRA New York IEEE 8019–8026 httpsdoiorg101109ICRA4094520209196875 Brock Heike Selma ˇSabanovi´c and Randy Gomez 2021 “Remote You Haru and Me Exploring Social Interaction in Telepresence Gaming with a Robotic Agent” In HRI ’21 Companion Companion of the 2021 ACMIEEE International Conference on HumanRobot Interaction New York United States Association for Computing Machinery httpsdoiorg10114534340743447177 Broers H A T J Ham R Broeders R De Silva and M Okada 2013 “Goal inferences about robot behavior Goal inferences and human response behaviors” In 2013 8th ACMIEEE International Conference on HumanRobot Interaction HRI Piscataway NJ IEEE 91–92 httpsdoiorg101109HRI20136483516 Brooke John 2013 “SUS A Retrospective” Journal of Usability Studies 8 2 29–40 Campa Riccardo 2016 “The Rise of Social Robots A Review of the Recent Literature” Journal of Evolution amp Technology 26 1 106–113 Cannon Christopher Kelly Goldsmith and Caroline Roux 2019 “A SelfRegulatory Model of Resource Scarcity” Journal of Consumer Psychology 29 1 104–127 Cao Zhe Gines Hidalgo Tomas Simon ShihEn Wei and Yaser Sheikh 2018 “OpenPose Realtime MultiPerson 2D Pose Estimation using Part Affinity Fields” IEEE Transactions on Pattern Analysis amp Machine Intelligence 43 1 172–186 arXiv 181208008 Capy Siméon Pablo Osorio Shohei Hagane Corentin Aznar Dora Garcin Enrique Coronado Dominique Deuff Ioana Ocnarescu Isabelle Milleville Gentiane Venture 2022 Yōkobo A Robot to Strengthen Links Amongst Users With NonVerbal Behaviours Machines in process of publication Coronado Enrique and Gentiane Venture 2020 “Towards IoTAided Human– Robot Interaction Using NEP and ROS A PlatformIndependent Accessible and Distributed Approach” Sensors 20 5 1500 Coronado Enrique Gentiane Venture and Natsuki Yamanobe 2020 “Applying KanseiAffective Engineering Methodologies in the Design of Social and Service Robots A Systematic Review” International Journal of Social Robotics October 1–11 httpsdoiorg101007s1236902000709x Deuff Dominique Ioana Ocnarescu Luis Enrique Coronado Liz RinconArdila Isabelle Milleville and Gentiane Venture 2020 “Designerly way of thinking in a robotics research project” Journal of Robotics Society of Japan 38 8 692–702 Deuff Dominique Isabelle MillevillePennel Ioana Ocnarescu Dora Garcin Corentin Aznar Simeon Capy Shohei Hagane Pablo Osario Luis Enrique Coronado Liz RinconArdila and Gentiane Venture 2022 “Together alone Yōkobo a sensible presence robject for the home of newly retired couples” DIS 2022 Duarte Nuno Ferreira Mirko Raković Jovica Tasevski Moreno Ignazio Coco Aude Billard and José SantosVictor 2018 “Action anticipation Reading the intentions of humans and robots” IEEE Robotics and Automation Letters 3 4 October 4132–4139 httpsdoiorg101109LRA20182861569 Erel Hadas Yoav Cohen Klil Shafrir Sara Daniela Levy Idan Dov Vidra Tzachi Shem Tov and Oren Zuckerman 2021 “Excluded by Robots Can RobotRobotHuman Interaction Lead to Ostracism” In HRI ’21 Proceedings of the 2021 ACMIEEE International Conference on HumanRobot Interaction New York Association for Computing Machinery 312–321 httpsdoiorg10114534340733444648 FeilSeifer David and Maja J Matarić 2011 “Socially Assistive Robotics” IEEE Robotics amp Automation Magazine 18 1 March 24–31 httpsdoiorg101109MRA2010940150 Georgiev Aleksandar and Stephan Schlögl 2018 “Smart Home Technology An Exploration of End User Perceptions” Innovative Lösungen für eine alternde Gesellschaft Konferenzbeiträge der SMARTER LIVES 18 no 2002 Gomez Randy Deborah Szapiro Kerl Galindo and Keisuke Nakamura 2018 “Haru Hardware Design of an Experimental Tabletop Robot Assistant” In 2018 13th ACMIEEE International Conference on HumanRobot Interaction HRI New York Association for Computing Machinery 233–240 GROOVE X httpslovotlifeen Haring K S K Watanabe and C Mougenot 2013 “The influence of robot appearance on assessment” In 2013 8th ACMIEEE International Conference on HumanRobot Interaction HRI New York Association for Computing Machinery 131–132 httpsdoiorg101109HRI20136483536 Heenan Brandon Saul Greenberg Setareh AghelManesh and Ehud Sharlin 2014 “Designing social greetings in human robot interaction” In DIS ’14 Proceedings of the 2014 conference on Designing interactive systems New York Association for Computing Machinery 855–864 Hoffman Guy 2012 “Dumb Robots Smart Phones A Case Study of Music Listening Companionship” IEEE International Symposium on Robot and Human Interactive Communication September 358–363 httpsdoiorg101109ROMAN20126343779 Hoffman Guy and Wendy Ju 2014 “Designing Robots with Movement in Mind” Journal of HumanRobot Interaction 3 1 91–122 Intuition Robotics httpselliqcom Knight Heather 2011 “Eight Lessons Learned about NonVerbal Interactions through Robot Theater” In Social Robotics Third International Conference ICSR 2011 Amsterdam The Netherlands November 24–25 2011 Berlin Springer 42–51 Latikka Rita Tuuli Turja and Atte Oksanen 2019 “SelfEfficacy and Acceptance of Robots” Computers in Human Behavior 93157–163 Lehmann Hagen Joan SaezPons Dag Sverre Syrdal and Kerstin Dautenhahn 2015 “In Good Company Perception of Movement Synchrony of a NonAnthropomorphic Robot” PloS One 10 5 e0127747 Levillain Florent and Elisabetta Zibetti 2017 “Behavioral Objects The Rise of the Evocative Machines” Journal of HumanRobot Interaction 6 1 4–24 Li Dingjun PL Patrick Rau and Ye Li 2010 “A CrossCultural Study Effect of Robot Appearance and Task” International Journal of Social Robotics 2 2 175–186 Liang Jun Deqiang Xian Xingyu Liu Jing Fu Xingting Zhang Buzhou Tang Jianbo Lei et al 2018 “Usability Study of Mainstream Wearable Fitness Devices Feature Analysis and System Usability Scale Evaluation” JMIR mHealth and uHealth 6 11 e11066 Luria Michal Guy Hoffman and Oren Zuckerman 2017 “Comparing Social Robot Screen and Voice Interfaces for SmartHome Control” In CHI ’17 Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems New York The Association for Computing Machinery 580–628 Martin Bella and Bruce Hanington 2012 Universal Methods of Design 100 Ways to Research Complex Problems Develop Innovative Ideas and Design Effective Solutions Beverly MA Rockport Publishers Miseikis Justinas Pietro Caroni Patricia Duchamp Alina Gasser Rastislav Marko Nelija MIseikien˙e Frederik Zwilling Charles de Castelbajac Lucas Eicher Michael Fruh et al 2020 “LioA Personal Robot Assistant for HumanRobot Interaction and Care Applications” IEEE Robotics and Automation Letters 5 4 5339–5346 httpsdoiorg101109LRA20203007462 Mondada Francesco Julia Fink Séverin Lemaignan David Mansolino Florian Wille and Karmen Franinovi´c 2016 “Ranger an example of integration of robotics into the home ecosystem” In New Trends in Medical and Service Robots 38 181–189 httpsdoiorg101007978331923832615 Mori M K F MacDorman and N Kageki 2012 “The Uncanny Valley From the Field” IEEE Robotics amp Automation Magazine 19 2 98–100 httpsdoiorg101109MRA20122192811 Nielsen Jakob and Thomas K Landauer 1993 “A Mathematical Model of the Finding of Usability Problems” In CHI 821793 Proceedings of the INTERACT ’93 New York Association for Computing Machinery 206–213 httpsdoiorg101145169059169166 Odom William T Abigail J Sellen Richard Banks David S Kirk Tim Regan Mark Selby Jodi L Forlizzi and John Zimmerman 2014 “Designing for Slowness Anticipation and ReVisitation A Long Term Field Study of the Photobox” In CHI 821714 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems New York Association for Computing Machinery 1961–1970 httpsdoiorg10114525562882557178 Ostrowski Anastasia K Vasiliki Zygouras HaeWon Park and Cynthia Breazeal 2021 “Small Group Interactions with VoiceUser 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Interaction 8 4 1–17 Verhagen Tibert Bart Van Den Hooff and Selmar Meents 2015 “Toward a better use of the semantic differential in IS research An integrative framework of suggested action” Journal of the Association for Information Systems 16 21 to cite this article This article is using Chicago format for its references Deuff Dominique Gentiane Venture Isabelle MillevillePennel and Ioana Ocnarescu 2023 “Yōkobo an object of sensitive presence” able journal httpsablejournalorgyokobo MLA EN Deuff Dominique Gentiane Venture Isabelle MillevillePennel and Ioana Ocnarescu “Yōkobo an object of sensitive presence” able journal 2023 httpsablejournalorgyokobo ISO 690 EN DEUFF Dominique VENTURE Gentiane MILLEVILLEPENNEL Isabelle and OCNARESCU Ioana Yōkobo an object of sensitive presence able journal online 2023 Available from httpsablejournalorgyokobo APA EN Deuff D Venture G MillevillePennel I amp Ocnarescu I 2023 Yōkobo an object of sensitive presence able journal httpsablejournalorgyokobo DOI EN httpsdoiorg1069564ableen23006yokobo data design engineering ergonomy exploration human-robot-interaction human-robot-human illustration light object-design presence relationship robot robotics slow-technology sociology soft-robotics speculative technology
alchemy of color
Jean-Marc Chomaz & Olga Flór
Jean-Marc Chomaz & Olga Flór enlightening nanoworlds JeanMarc Chomaz Olga Flór about this contribution Alchemy of Color Enlightening Nanoworlds is a researchcreation project designed to challenge the certitudes of our perception by presenting gold and silver objects sculpted at a nanoscale invisible to all optical processes The result is two complementary installations A Thousand Shades of Green an Attempt – nanolithographies a nanoengraving on a glass disk and Alchimie de la lumière – nanosculptures Coloring is an artistic gesture a sensitive use of light associated with human visual perception But coloring is also a physicochemical process associated with the interaction between photons and the molecular matter of pigments and inks The colors of nanoparticles are a consequence of another light and matter interaction Smaller than the photons that strike them the metal nanosculptures are electrified and deflect the rainbow’s path Here color is no longer a molecular property of light absorption by pigments or dyes but a resonance that makes form tangible This photonic resonance of light with nanoscale textures belongs to the family of structural coloration It differs from the latter through interferences that occurs when the object is larger a fraction of a micron in size about half the photon’s wavelength Classical pigments absorb light as do plants they appear green since the chlorophyl absorbs the blue and the red of the visible spectrum One of alchemy’s ancient goals was to transmute matter lead into gold copper into silver In the present project the nanoscale sculptures that interfere with light are made of gold and silver and the alchemy refers here to the transmutation of the photons into plasmon In an inversion of roles invisible gold and silver objects are performing in front of the spectator the alchemical transformation of light producing new colors as if light and colors were matter A Thousand Shades of Green an Attempt is a nano engraving test using electronic lithography employing millions of gold cylinders whose diameters increase from 50 to 100 nanometers on a 2squarecentimeter glass disk During the process some parts of the metal layer deposited through the lithographic mask—too large for current technologies limited to 1 square millimeter—are torn away when the mask is peeled off The damaged areas then reveal a world of iridescence in green orange and blue The two installations Alchimie de la lumière – nanosculptures resemble cabinets of curiosity cabinet they were created for the exhibition OUERT in Bourges 2019 and Bourges contemporain in 2021 The glass forms isolated or creating a landscape change color according to the transformations of the light scene The blown forms contain metallic nanoparticles produced by chemical assembly which emit a thousand new shades of green depending on the angle that we look at it from The aqueous nanoparticle solution thus appears green when seen in direct light and orange or blue in transparency Thus the two installations constitute a modern form of vanities In classical painting earthly goods money scientific instruments or symbols of knowledge were represented scattered or broken on the ground alluding to their all being in vain with respect to a higher inaccessible reality a transcendence Here the nano engraving on the disk is broken and the perfect silver and gold nano spheres are invisible and only reveal their presence in the transformation of light into the multiple shades produced the sensible dimension taking over the sensitive control credits authors Olga Flór artist designer and JeanMarc Chomaz physicist artist Hydrodynamics Laboratory CNRSÉcole Polytechnique Palaiseau France in collaboration with Giancarlo Rizza physicist and researcher at the French Alternative Energies and Atomic Energy Commission CEA Vincenzo Giannini researcher at the Institute for the Structure of Matter Madrid Spain and the researchers at the Department of Applied Science and Technology Politecnico di Torino Italy Sébastien Joulie and Caroline Bonafos Centre for Materials Elaboration and Structural Studies Toulouse France JeanMichel Wierniezky glassblower École Polytechnique Palaiseau France Hynd Remita Mireille Benoit and Anaïs Lehoux researchers in physical chemistry at the Physical Chemistry Laboratory CNRSUniversity ParisSud Orsay France editorial mediation Julie Sauret graphic designer Olga Flór copy editing Bronwyn Mahoney rights and references illustration rights and references JeanMarc Chomaz and Olga Flór 2020 Alchemy of Color – Enlightening Nanoworlds Copyright 2021 by the authors Reproduced with permission Photo Olga Flór bibliography and references Chen Yifang 2015 “Nanofabrication by electron beam lithography and its applications A review” Microelectronic Engineering 135 57–72 Colomban Philippe 2015 “Nanoparticules et couleur une tradition millénaire” Photoniques 37–41 Encyclopédie ou Dictionnaire raisonné des sciences des arts et des métiers 1765 Edited by Denis Diderot and Jean d’Alembert Volume 12 Paris first edition “Perroquet rouge et vert” 398 “Perroquet vert commun” 399 “Petit perroquet vert” 399 de Jaucourt Louis “Perroquet vert varié” 399 de Jaucourt Louis “Perroquet tapissé” 400 de Jaucourt Louis “Plumes des oiseaux” 800 Gangnaik Anushka Yordan Georgiev and Justin Holmes 2017 “New Generation Electron Beam Resists A Review” Chemistry of Materials 29 no 5 1898–1917 Hooke Robert 1665 Micrographia or Some physiological descriptions of minute bodies made by magnifying glasses London J Martyn and J Allestry Kolle Mathias 2014 Photonic Structures Inspired by Nature Doctoral thesis httpsdoiorg1017863CAM16723 Kinoshita Shåuichi 2008 Structural Colors in the Realm of Nature Singapore World Scientific Publishing Co Mouchet Sebastien and Olivier Deparis 2021 Natural Photonics and Bioinspiration Boston MA Artech House Pluchery Olivier Hynd Remita and Delphine Schaming 2013 “Demonstrative experiments about gold nanoparticles and nanofilms an introduction to nanoscience” Gold Bulletin 46 319–327 Ruste Jacky 2013 “Microscopie électronique à balayage 8211 Principe et équipement” Techniques de l8217ingénieur March 10 httpsdoiorg1051257av3p865 Schaming Delphine Olivier Pluchery and Hynd Remita 2014 “La ruée vers le nanoor” Pour la Science no 444 32–38 Schaming Delphine and Hynd Remita 2015 “Nanotechnology from the ancient time to nowadays” Foundations of Chemistry 17 187–205 Sun Cheng Erich Müller Matthias Meffert and Dagmar Gerthsen 2018 “On the Progress of Scanning Transmission Electron Microscopy STEM Imaging in a Scanning Electron Microscope” Microscopy and Microanalysis 24 no 2 99–106 Venel Gabriel François and Louis de Jaucourt 1765 “Paon 8211 Paon du Tibet” In Encyclopédie ou Dictionnaire raisonné des sciences des arts et des métiers Edited by Denis Diderot and Jean d’Alembert Volume 11 830–833 Paris first edition Bergström Ingvar 2014 “Les trois catégories de vanités en peinture” vanitesamsterdam httpsvanitesamsterdamwordpresscom20140408lestroiscategoriesdevanitesenpeinture to cite this article This article is using Chicago format for its references Chomaz JeanMarc and Olga Flór 2023 “Alchemy of Color Enlightening Nanoworlds” able journal httpsablejournalorgalchemyofcolor MLA EN Chomaz JeanMarc and Olga Flór “Alchemy of Color Enlightening Nanoworlds” able journal 2023 httpsablejournalorgalchemyofcolor ISO 690 EN CHOMAZ JeanMarc and FLÓR Olga Alchemy of Color Enlightening Nanoworlds able journal online 2023 Available from httpsablejournalorgalchemyofcolor APA EN Chomaz JM amp Flór O 2023 Alchemy of Color Enlightening Nanoworlds able journal httpsablejournalorgalchemyofcolor DOI EN httpsdoiorg1069564ableen23005alchemy alchemy behavioral-matter color fluids landscape light lithography nanoparticles nanoscience oscillation sculpture
holding on
Jean-Robert Dantou, Florence Weber & Ninon Bonzom
Jean-Robert Dantou, Florence Weber & Ninon Bonzom photography and reflexive ethnography JeanRobert Dantou Florence Weber Ninon Bonzom about this contribution What resources do people facing great difficulties linked to the increase in social inequalities between territories use daily Why do some people in precarious situations move from one region to another and not others How do these relocations endured or chosen contribute to locking them in or giving them back control over their lives A loss of income or the hope of an easier life may lead to residential relocation to areas where the cost of living is lower rent food where relatives are available to share domestic tasks in the broadest sense Staying put when neighbors leave having to leave a neighborhood where the cost of living has risen sharply seeing one’s neighborhood become impoverished empty collapsed seeing adjacent neighborhoods get richer all these factors obfuscate attitudes towards the future and lead to emotions such as anger shame or sadness These questions are raised by a collaborative social science study that examines the role of economic dynamics and public authorities in the selective collapse of portions of the French territory The photographic investigation conducted in Tonnerre between 2017 and 2022 is the first unit implemented by this collective research It focuses on the conditions necessary for photography to be an effective heuristic tool in the service of scientific knowledge Formally the work is part of a lineage partially interrupted during the second half of the twentieth century that of alliances between photography and social sciences forged a century earlier in Europe Thomson and Smith in Australia Gillen and Spencer and in the United States Boas and Hastings The project advocates the notion of photographic and ethnographic practice closer to a craft rather than an art form a profession rather than an artistic gesture for production of knowledge at the service of accretion of understanding and interdisciplinary cooperation rather than the competitive search for innovation On the zoomable platform the visual essay unfolds on three levels The first layer presents a map of the city of Tonnerre that highlights the important structures for the survey pictograms indicate the entry points to the territory the caring institutions that allow people to survive the vacant places that play a key role in the arrival of precarious populations and the shelters that provide protection from the cold and rain The second layer shows a selection of portraits with captions providing information on the different ways in which people have settled in Tonnerre over the past ten years The framework engages the people photographed at several stages of the production They have chosen the places where the pictures were taken They have also chosen the places to which their portraits are linked on the map either because they spend time there or because they have in those locations an emotional connection related to their hopes and doubts And they have also coauthored the captions accompanying the photographs to explain their singular relationship to the area The third layer follows two rationales the places identified on the map refer to photographic documentation of the territory while each portrait refers to the resources mobilized to deal with daily life as well as photographic situations From an epistemological perspective this is about restoring the gap between the observed world and its photographic representation a reminder that photographic materials in order to be usable must be related to the singular context of their production the distance between photographer and subject monochromatic effects and things that are outofframe such as the photographer’s body language during the shoot More information about the images can be found in the 8220illustration rights and references8221 section credits authors Jean Robert Dantou Florence Weber and Ninon Bonzom photographs and artistic direction JeanRobert Dantou photographer PhD candidate SACRe ENS Université PSL Agence VU’ scientific director Florence Weber sociologist and anthropologist ENS Université PSL graphic design Ninon Bonzom coordination and project management Léa SaintRaymond ENS Université PSL translation Monique Gross copy editing Bronwyn Mahoney supported by Published with the support of Ministère de la Culture 8211 Bibliothèque Nationale de France Grande commande nationale 8220Radioscopie de la France regards sur un pays traversé par la crise sanitaire8221 École universitaire de recherche Translitteræ Investissements d’avenir program ANR10IDEX000102 PSL and ANR17EURE0025 and the EA SACRePSL See references and rights below for image captions references and rights illustration rights and references Dantou JeanRobert Florence Weber and Ninon Bonzom 2021 First layer Map of the city of Tonnerre Credits © 2021 Ninon Bonzom Reproduced with permission Dantou JeanRobert 20192021 Portraits from the photography series 8220Arriver8221 Photos © 20192021 JeanRobert DantouSACRe ENS PSLAgence VU8217 Reproduced with permission Dantou JeanRobert 20192021 Portraits from the photography series 8220Tenir8221 Photos © 20192022 JeanRobert DantouBNFSACRe ENS PSLAgence VU8217 Reproduced with permission Dantou JeanRobert 2021 Portraits from the photography series 8220Photographier8221 Photos © 2021 JeanRobert DantouSACRe ENS PSLAgence VU8217 Reproduced with permission 8211 W152 Bouchra Prés Hauts district January 2021 W101 Olivia Prés Hauts district December 2020 W114 Ludovic Prés Hauts district December 2020 W132 Éric Felder Prés Hauts district January 2021 W135 Sébastien Prés Hauts district January 2021 W141 Gérald Prés Hauts district January 2021 W086 Luca Canal de Bourgogne November 2020 W206 Isabel Quartier de l’Europe February 2021 DAJ8140 Patrick Les Lices district June 2019 W100 Bachir Tonnerre Heights December 2020 DAJ8276 Giuseppe Trotti Rue du Général Campenon March 2019 W169 Lugrid Valdi “La Cascade” February 2021 8211 W152 Bouchra arrived in Tonnerre in February 2020 at the age of 43 after spending several months in a night shelter in Migennes Her portrait appears on the map at the level of the limestone cliff that overlooks the city which corresponds to the horizon she sees from her bedroom window from the PrésHauts district She describes this hill as a 8220horizon to overcome8221 a metaphor for the daily difficulties of leaving her room and apartment Behind her portrait appears a series of screenshots that put into perspective the long time it took to take the picture W101 Olivia arrived in Tonnerre in September 2020 at the age of 30 after a long hospitalization in Auxerre Her portrait presents an ordinary everyday scene during which she listens to Ethiopian music on her cell phone Olivia wanted her photograph to appear on the map at the Pavillon Bleu a brasserie where she goes almost every day to buy her tobacco and meet a friend W114 Ludovic arrived in Tonnerre in 2010 at the age of 40 after several years on the street His portrait was taken at his home at the end of the day in December in the winter light at the table where he explains he used to sit to think His portrait is attached to some photographs from the series Photographier taken at a place called 8220La Cascade8221 which question the issue of distance in the photographic relationship W132 Eric Felder arrived in Tonnerre in 2010 at the age of 42 after having lived in a hostel in Auxerre for two years His portrait appears on the map at the Bar des Sports where he likes to stop for a coffee on the terrace 8220This morning I had eight or ten coffees I drink one smoke a cigarette and order another8221 Eric doesn8217t like his portrait very much he thinks he leans his head too much that it8217s unbalanced His portrait is linked to photographs from the series Photographier a reflective documentation of the operation of cutting up the world which the photographic act does W135 Sébastien arrived at the Résidence Accueil in the PrésHauts district in 2020 at the age of 43 He wanted his portrait to appear on the map at the Cascade 8220I don8217t like it Tonnerre there is no work it8217s dead The only quiet place is the Cascade8221 His portrait is attached to photographs questioning one of the paradigms of the photographic relationship the choice of background W141 Gérald is originally from Tonnerre he arrived at the Résidence Accueil in the PrésHauts district five years ago at the age of 47 Here he poses on the bed in his room which he describes as the place where he spends most of his time Gérald wanted his portrait to appear on the map at 8220La Glacière8221 a cave near the house where he arrived in Tonnerre at the age of three His portrait is linked to photographs from the series Photographier in a reflexive documentation of the photographic gesture W086 Luca arrived in Tonnerre at the end of October 2020 at the age of 20 after a month spent on the streets of Auxerre His portrait is linked to three forms of resistance that are part of his daily life regular weight training a knife to defend himself and drawing Luca left town a few days after we met and we have since lost contact with him His portrait appears on the map at the location where the photograph was taken W206 Isabel arrived in Tonnerre from Portugal in August 2013 at the age of 41 to join her husband who had found a job in the vineyards in Chablis a few months earlier She describes her exile and arrival in Tonnerre as a difficult ordeal Her portrait is attached to a sequence of photographs taken moments later for which she brought together her children and husband Her portrait appears on the map at Notre Dame de Tonnerre Church 8220Every Sunday or so I come to light a candle and say a prayer so that one day I can go back to my country8221 DAJ8140 Patrick arrived in Tonnerre with his partner Céline in May 2015 He was 60 years old at the time and she was almost 40 Originally from the inner suburbs of Paris they arrived in Tonnerre after staying with a cousin in SaintOuen for several years They got married in Tonnerre on May 14 2016 Patrick8217s portrait appears on the map at La Cascade where they like to go for a walk meet friends or have a picnic The last layer shows a series of photographs presenting both the circulation of photographs in the investigation and Patrick8217s close family his wife brother and nephews W100 Bachir arrived in Tonnerre at the end of November 2020 at the age of 54 after staying for a few months with friends in a nearby town He was only in Tonnerre for a few days before finding social housing about 50 kilometers away in the town of Joigny Two photographs appear behind his portrait a scene of rest on the cell phone in the emergency housing of the Centre Communal d8217Action Sociale and a portrait dressed for boxing a sport he practices daily to keep fit and stay in shape His portrait appears on the map at the location where the photograph was taken DAJ8276 Giuseppe Trotti has lived on Rue Campenon for about sixty years Regarded as one of the best dancers in the city he poses here in March 2019 in ballroom attire in the street in front of his home Almost every morning Giuseppe rides his bike to buy bread and run a few errands before returning to make lunch for his wife He wanted his portrait to appear on the map at the level of Rue Campenon which he describes as the place where he founded his family His portrait is linked to a series of photographs from the Tenir series which on the one hand depicts a morning routine structuring his days and on the other hand refers to the rhythm of the fieldwork relationship JeanRobert Dantou spent approximately one week every six weeks in Tonnerre and each of his field days begins with a photograph of Giuseppe on his bicycle at the same street corner usually between 830 and 900 am W169 Lugrid Valdi arrived in Tonnerre in March 2020 at the age of 40 after several months in a parenting center in Auxerre Her portrait is linked to a series of photographs taken a few minutes later on the banks of the Armançon River where she likes to come for a walk Lugrid wanted her portrait to appear on the map at the train station 8220I wasn8217t used to seeing an abandoned train station It affected me not to find an agent to ask what time the train was passing I was used to Paris I was completely lost here8221 bibliography and references SOCIAL SCIENCES Gramain Agnès and Florence Weber 2003 “Modéliser l’économie domestique” In Charges de famille Dépendance et parenté dans la France contemporaine edited by Séverine Gojard et al 9–42 Paris La Découverte Gramain Agnès and Samuel Neuberg 2009 “Réagencements territoriaux récents et conduite des politiques sociales à l’échelle locale” Travail et Emploi 119 77–87 Piketty Thomas 2014 Capital in the TwentyFirst Century Translated by Arthur Goldhammer Cambridge MA Harvard University Press httpstravailemploigouvfrIMGpdfAGramainSNeuberg2pdf Schwartz Olivier 2011 “La pénétration de la ‘culture psychologique de masse’ dans un groupe populaire paroles de conducteurs de bus” Sociologie 2 4 345–361 Weber Florence 2017 “Le souci du territoire Un espoir pour le XXIe siècle” Presented at Ethnographies et engagements conference Rouen November 9 httpswwwacademiaedu43931280LesouciduterritoireUnespoirpourleXXIesiC3A8cle PHOTOGRAPHY Berlière JeanMarc and Pierre Fournié 2011 Fichés Photographie et identification 18501960 Paris Perrin Bourgois Philippe and Jeff Schonberg 2009 Righteous Dopefiend Berkeley University of California Press Dantou JeanRobert Florence Weber Solène Billaud and Christian Caujolle 2015 The Walls Don’t Speak Three Photographic SetUps for a Fieldwork within Psychiatry TwentySeven Documents NinetySix Photographs Heidelberg Kehrer Evans Walker and James Agee 1941 Let Us Now Praise Famous Men Boston MA Houghton Mifflin Gillen Walter Baldwin and Francis James Spencer 1899 The Native Tribes of Central Australia London Macmillan and Co Joseph Camille 2018 “Des images typiques L’anthropologie physique et la photographie aux ÉtatsUnis dans les années 19201930” Gradhiva 27 no 1 118–143 Lange Dorothea and Paul Taylor 1939 An American Exodus A Record of Human Erosion New York Reynal amp Hitchcock httpsdoiorg104000gradhiva3532 Muratet Myr 2020 Paris Nord Paris Building Books Pataut Marc 2012 Humaine Texts by JeanFrançois Chevrier Véronique NahoumGrappe and Philippe Roussin CherbourgenCotentin Le Point du Jour centre d’art éditeur Robert Denis and René Taesch 1997 Portrait de groupe avant démolition Paris Stock Sander August 1929 Antlitz der Zeit Sechzig Aufnahmen deutscher Menschen des 20 Jahrhunderts preface by Alfred Döblin Munich Kurt Wolff Verlag Thomson John and Adolphe Smith 1878 Street Life in London London Sampson Low Marston Searle and Rivington Le Collectif d’enquêtes politiques and MariePierre Brêtas Pierre Cabanes Daniel Colson Didier Demorcy Ursula Gastfall Marc Monaco Isabelle Stengers 2016 Vivre expérimenter raconter VaulxenVelin Des Mondes à Faire to cite this article This article is using Chicago format for its references Dantou JeanRobert Florence Weber and Ninon Bonzom 2023 “Holding on Photography and Reflexive Ethnography” able journal httpsablejournalorgholdingon MLA EN Dantou JeanRobert Florence Weber and Ninon Bonzom “Holding on Photography and Reflexive Ethnography” able journal 2023 httpsablejournalorgholdingon ISO 690 EN DANTOU JeanRobert WEBER Florence and BONZOM Ninon Holding on Photography and Reflexive Ethnography able journal online 2023 Available from httpsablejournalorgholdingon APA EN Dantou JR Weber F amp Bonzom N 2023 Holding on Photography and Reflexive Ethnography able journal httpsablejournalorgholdingon DOI EN httpsdoiorg1069564ableen23004tenir displacement documentary documentary-photography ethnography geography identity image inequalities memory mental-strength migration photography polarization poverty relationship relegation rural social-inequalities sociology territory
all-embracing view
Arno Gisinger & Anne Bationo-Tillon
Arno Gisinger & Anne Bationo-Tillon genèse des regards Arno Gisinger Anne BationoTillon about this contribution This panable initially anchors the user’s attention in a portrait of a viewer to reveal progressively and successively image display devices with contrasting purposes Using the conceptual framework of the instrumental approach Rabardel 1995 seems to us to be heuristic in order to bring out the instrumented activity of the gaze which is situated in different times and places Shaping the problematic of our research through a visual approach is not to close the analysis but to accompany the genesis of the views in the process of being made Indeed if the user first discovers a portrait of a viewer the questions on either side of the portrait invites them to navigate either towards the object of this viewer’s activity “What is she contemplating” or toward the instrumentation of her gaze “How does she look at what she is looking at” Questions guide the user in the different aspects of the conceptual model which constitutes the core of the instrumental approach the instrument the image display device the subject the Viewer and the object of the activity Faux Terrain The successive questions allow the user to browse within two photographic series by Arno Gisinger Betrachterbilder and Faux Terrain to address the question of the gaze’s formatting through the intermediary of a panoramic device of the end of the 19th century that of the battle of Bergisel in Innsbruck As a counterpoint to the panorama that conditions the gaze the user is then invited to discover this double series Betrachterbilder and Faux Terrain exhibited opposite each other in Frankfurt’s Schirn Kunsthalle in a scenography that encourages the emancipation of the gaze Indeed according to their own path and their own singular logic each visitor can rearrange the images shown in the rotunda Through this gesture within this panable combining photographic and conceptual prisms reiterated in a variety of contexts we invite able users to become progressively aware of the framework of their gaze by making visible image display devices through graphic representations When there is a genesis of the gaze the gaze initially stumbles and is prevented from seeing as usual Then if and only if the experience is opened up the world being viewed and the viewer are both transformed in the interweaving of the gaze It is by wandering through the staging of successive recreations of Arno Gisinger’s photographic and scenographic work that viewers of the able journal come into contact with the experiential depth of their own gaze It is thus the successive reworkings that give shape to the experience of the gaze which settles in a superimposition an accumulation of worlds like nesting dolls This mise en abyme is extended in the reflexive gesture of inviting able’s viewers to look back on their own gaze within the panable The aim of this visual publication is to open a researchcreation program titled “genesis of gazes” at the crossroads of ergonomics photography and education credits authors Anne BationoTillon HEPL Lausanne amp Arno Gisinger Université Paris 8 textsAnne BationoTillon photographsArno Gisinger designersArp is Arp Studio Dimitri Charrel with Odilon Coutarel supported byMSH Paris Nord translation Monique Gross copy editing Bronwyn Mahoney references and rights illustration rights and references Two photographic series by Arno Gisinger Copyright 2022 by the author Reproduced with permission Betrachterbilder 1998 series of twelve color photographs Lambda prints 151 × 124 cm Faux Terrain 1997 series of seven black and white photographs printed on barytine paper laminated on aluminum wooden frames 129 × 156 cm bibliography and references BationoTillon Anne 2013 “Ergonomie et domaine muséal” Activités 10 no 2 82–108 BationoTillon Anne and Françoise Decortis 2016 “Understanding museum activity to contribute to the design of tools for cultural mediation new dimensions of activity” Le Travail Humain 79 no 1 53–70 BationoTillon Anne and Pierre Rabardel 2015 “L’approche instrumentale conceptualiser et concevoir pour le développement” In Concevoir pour les enfants Edited by Françoise Decortis Paris Presses universitaires de France Georges DidiHuberman 1992 Ce que nous voyons ce qui nous regarde Paris Les éditions de Minuit Gisinger Arno 2014 “Faux terrain et Betrachterbilder Voir l’histoire dans un panorama” In Théorème 19 Paysages et Mémoire Cinéma photographie dispositifs audiovisuels Edited by Michèle Lagny Christa Blümlinger Sylvie Lindeperg and Sylvie Rollet Paris Presses de la Sorbonne Nouvelle Lugon Olivier 2020 “‘L’espace est resté voyou’ entretien avec Arno Gisinger” Focales 4 Photographies mises en espaces httpsdoiorg104000focales990 8211 Arno Gisinger 2013 Topoï Paris Trans Photographic Press Rabardel Pierre 1995 Les Hommes et les technologies Approche cognitive des instruments contemporains Paris Armand Colin to cite this article This article is using Chicago format for its references Gisinger Arno and Anne BationoTillon 2023 “AllEmbracing View Genèse des Regards” able journal httpsablejournalorgallembracingview MLA EN Gisinger Arno and Anne BationoTillon “AllEmbracing View Genèse des Regards” able journal 2023 From httpsablejournalorgallembracingview ISO 690 EN GISINGER Arno and BATIONOTILLON Anne AllEmbracing View Genèse des Regards able journal online 2023 Available from httpsablejournalorgallembracingview APA EN Gisinger A amp BationoTillon A 2023 AllEmbracing View Genèse des Regards able journal From httpsablejournalorgallembracingview DOI EN httpsdoiorg1069564ableen23007allembracing architecture dispositif ergonomy ethnographic-writings genesis genesis-of-gazes history illustration immersive memory panorama pedagogy perception photography psychology scenography space theater visual-anthropology
solve for (x)futurisms
Peter Lunenfeld, Denise Gonzales Crisp, and the students of UCLA’s Design Futures 2021
Peter Lunenfeld, Denise Gonzales Crisp, and the students of UCLA’s Design Futures 2021 a design brief Peter Lunenfeld Denise Gonzales Crisp and the students of UCLA’s Design Futures 2021 about this contribution The United States of America went through a radical selfexamination in 2020 The shock of the Covid pandemic combined with economic and social dislocations followed by the police murder of George Floyd forced a reckoning on race racism and state violence That same year Opal Tometi a cofounder of Black Lives Matter wrote that she believes “that what we are witnessing now is the opening up of imaginations where people are beginning to think more expansively about what the solutions could be”1Isaac Chotiner “A Black Lives Matter CoFounder Explains Why This Time Is Different” The New Yorker June 3 2020 See article In the Design Media Arts department at UCLA I teach a course titled Design Futures that has historically been an incubator for hybrid research and production In response to the issues of the moment we look to investigate how design theory and praxis could open up a series of new more inclusive futures The question before us was what can design do to help us through this moment How could we conceive or design futures that we actually want to live in rather than as briefs from commercial interests We determined one answer to a series of design research provocations that we termed Solve for xFuturisms These ran the gamut from Afro Futurisms to Latinx Futurisms Indigenous Futurisms to Queer Futurisms The group researched extant practices modeled design ethnographies and then mocked up their own bespoke future scenarios What follows is a visual primer of the x Futurisms of a small group of young makers on the edge of the Pacific Ocean in a year that was definitively in and of the 21st century Peter Lunenfeld credits course conceptualization and organization Peter Lunenfeld Professor of Design Media Arts UCLA design and reconceptualization Denise Gonzales Crisp North Carolina State Professor and designer and Maya Lu design intern at UCLA students groups Lichen House Omar Ababneh Jessica Till Arin Fazio Jennifer Hotes Haley Penn Kathleen Yang Fewturism Sihan Li Chuyu Liu Lala Luo Qiao Li Guo Chen ecoFuturist Dormitory Henry Barbera Kaize Xie Sejun Park Amie Xu Min Li Kat Sung Greedy Sheep Sabrina Chang Emily Kim Rachel Kim Fabian Rios Serena Tie amp Charles Tran AquaFuturism Albert Acosta Zara Aiken Helena Alcala Nel Alpysbayeva Sascha Barnes Natalia Beltran Symbiotica Nickolas Brogdon Paige Brunson Joanna Chen Charlie Chica Peyton Gee Sustainability Center Eli Henriksen Eun Seo Kang Max Gruber Christine Kao Chloe Kim United Terra Adam Lomeli Collette Lee Sophie Lin Jane Lee Justin Lee Ruth Lee Wavation Max Loy Anika Murthy Anton Nguyen Aileen Oh Hannah Oh Ashley Ong copy editing Bronwyn Mahoney references and rights illustration rights and references xFuturisms 2022 Denise Gonzales Crisp Lichen House 2021 Omar Ababneh Jessica Till Arin Fazio Jennifer Hotes Haley Penn Kathleen Yang Fewturism 2021 Sihan Li Chuyu Liu Lala Luo Qiao Li Guo Chen ecoFuturist Dormitory 2021 Henry Barbera Kaize Xie Sejun Park Amie Xu Min Li Kat Sung Greedy Sheep 2021 Sabrina Chang Emily Kim Rachel Kim Fabian Rios Serena Tie amp Charles Tran AquaFuturism 2021 Albert Acosta Zara Aiken Helena Alcala Nel Alpysbayeva Sascha Barnes Natalia Beltran Symbiotica 2021 Nickolas Brogdon Paige Brunson Joanna Chen Charlie Chica Peyton Gee Sustainability Center 2021 Eli Henriksen Eun Seo Kang Max Gruber Christine Kao Chloe Kim United Terra 2021 Adam Lomeli Collette Lee Sophie Lin Jane Lee Justin Lee Ruth Lee Wavation 2021 Max Loy Anika Murthy Anton Nguyen Aileen Oh Hannah Oh Ashley Ong Graphic design and graphic transformation of images by Denise Gonzales Crisp bibliography and references Burdick Anne 2019 “Designing Futures from the Inside” Special Issue Design and Futures Vol I Journal of Futures Studies 23 no 3 Crisp Denise Gonzales 2003 “Towards a Definition of the Decorational” Design Research Methods and Perspectives ed Brenda Laurel Cambridge MA MIT Press Candy Stuart and Kelly Kornet 2019 “Turning Foresight Inside Out An Introduction to Ethnographic Experiential Futures” Special Issue Design and Futures Vol I Journal of Futures Studies 23 no 3 Donohue Micah 2020 “SciFi Ain’t Nothing but Mojo Misspelled Latinx Futurism in Smoking Mirror Blues” Chiricú Journal Latinao Literatures Arts and Cultures 5 no 1 Heinrich Ari Howard Chiang and Tawei Chi 2020 “Toward a Queer Sinofuturism” Screen Bodies 5 issue 2 Hogan Ernest 2001 8220Stuck outside Tenochtitlán with the Tezcatlipoca Blues” Excerpt from Smoking Mirror Blues La Grande OR Wordcraft of Oregon Kilgore De Witt Douglas 2014 “Afrofuturism” The Oxford Handbook of Science Fiction ed Rob Latham Oxford Oxford University Press Lunenfeld Peter 2011 “Bespoke Futures” In The Secret War Between Downloading and Uploading Cambridge MA MIT Press Lunenfeld Peter 2019 “The California Design Dominion” Los Angeles Review of Books Quarterly no 24 httpslareviewofbooksorgarticlecaliforniadesigndominionthirteenpropositions Lunenfeld Peter 2021 “Colloidal Suspension Immersion and the Pedagogies of Making” Design Denise Gonzales Crisp Sensate Journal 2021 httpssensatejournalcomcolloidalsuspensionimmersionandthepedagogiesofmaking Wallis Keziah and Miriam Ross 2020 “Fourth VR Indigenous Virtual Reality Practice” Convergence 27 no 2 to cite this article This article is using Chicago format for its references Lunenfeld Peter Denise Gonzales Crisp and the Students of UCLA DESMA 104 2023 “Solve for xFuturisms A Design Brief”able journal httpsablejournalorgsolveforxfuturisms MLA EN Lunenfeld Peter Denise Gonzales Crisp and the Students of UCLA DESMA 104 “Solve for xFuturisms A Design Brief” able journal 2023 httpsablejournalorgsolveforxfuturisms ISO 690 EN LUNENFELD Peter GONZALES CRISP Denise and the Students of UCLA DESMA 104 Solve for xFuturisms A Design Brief able journal online 2023 Available from httpsablejournalorgsolveforxfuturisms APA EN Lunenfeld P Gonzales Crisp D amp the Students of UCLA DESMA 104 2023 Solve for xFuturisms A Design Brief able journal httpsablejournalorgsolveforxfuturisms DOI EN httpsdoiorg1069564ableen23014solve afrofuturism bespoke-futures critical-design critical-race-theory design design-pedagogy design-research identity indigenousfuturism inequalities latinxfuturism pedagogy sinofuturism speculative
going with the flow
Acer saccharum, Cameras, Christoforos Pappas, Computers, Daniel Kneeshaw, Data loggers, Dendrometers…
Acer saccharum, Cameras, Christoforos Pappas, Computers, Daniel Kneeshaw, Data loggers, Dendrometers… exploring ecotechnologies in practice Acer saccharum Cameras Christoforos Pappas Computers Daniel Kneeshaw Data loggers Dendrometers Electricity Heat Humidity Gisèle Trudel Manon Huberland Maple Grove MarieEve Morissette Médiane Microphones Québec Rain SainteÉméliedelÉnergie Sap flow sensors SmartForests Canada Softwares Soil Sugar Bush Sun Time Touch Designer Water Wind 60 frames per second about this contribution Trees scientists artists and their instruments sense how water flows Trees take risks during the growing season by boosting transpiration sap flow or they hold back Veins expanding contracting Water is pulled upwards from the soil to the air passing by tree stems But if drought occurs trees could die Scientists and trees are both sensing in tandem with environmental conditions Because of its regular fluctuations the process can be compared to the pulse of a heart During daytime trees transpire resulting in stem water movement This decreases from the outer to the inner sapwood and because of dehydration stem shrinkage ensues During the night the stem swells due to rehydration and water recharge Pulling funneling decreasing expanding The pulsing relays these functions in relation with light and atmospheric humidity Scientists monitor the tree stem with heated needles and encircle the tree trunks with straps and machines A dendrometer quantifies the changes in the stem’s size due to swelling shrinkage and growth rendering it in microns On July 3 2020 for a mature sugar maple tree its diameter was 35500013 μm at 300 pm and 35506247 μm at midnight On the same day and for the same tree a sap flow sensor combined with a data logger and algorithms reported the transpiration in centimeters per hour 105 cmh at 500 am and 1489 cmh at 200 pm The sampling concurs the tree is constantly changing The tree’s experience is shared with humans Building together from experience the knowledge about and in changing climates opening up to multiplicities embracing ecotechnologies in practice the tree’s own the instrumentation and the milieu of cooccurrence Visualizations weave relations of this meeting between quantitative and qualitative sensing an interoperability with computers Is this data fidelity Here sap flow becomes a series of dots densifying the tree water deficit is inferred by the changing dimensions of the intervals between lines pointing to local changes and changes in the tree Still Flowing On credits website medianeuqamca instagram medianeforestsensing authors Christoforos Pappas civil engineer researcher and professor in geosciences Daniel Kneeshaw forest ecologist and professor Gisèle Trudel artist and professor MarieEve Morissette designer and master8217s student in digital design designers Gisèle Trudel MarieEve Morissette project manager Manon Huberland editorial mediation Jean Dubois financial support The Social Sciences and Humanities Research Council of Canada the Canadian Foundation for Innovation the Fonds de recherche du Québec – Société et culture acknowledgements Université du Québec à Montréal UQAM in TiohtiákeMontreal is situated on the traditional territory of the Kanien’kehàka a place which has long served as a site of meeting and exchange amongst many First Nations including the Kanien’keháka of the Haudenosaunee Confederacy HuronWendat Abenaki and Anishinaabeg copy editing Bronwyn Mahoney references and rights illustration copyrights Copyright 2022 All photos by Gisèle Trudel on location at Smartforests Canada research site at SainteÉméliedeL’Énergie Québec Reproduced with permission bibliography and references Ælab 2021 “Ælab bois eau métal 2021 Installation artistique au Jardin botanique de Montréal Documentation of the art installation entitled bois eau métal by Ælab produced by MÉDIANE Canada Research Chair in Arts Ecotechnologies of Practice and Climate Change and in collaboration with SmartForests Canada” Vimeo video httpsvimeocom597377505 Boisclair Louise and Enrico Pitozi 2019 Art immersif affect et émotion L’expérientiel 1 Paris L’Harmattan Boisclair Louise 2020 “ART IMMERSIF AFFECT ET ÉMOTION L’expérientiel 1 – expériencier cartographier événementier” YouTube video httpswwwyoutubecowatchv53HPmnm2uW0 Boisclair Louise 2021 Art écosphérique de l’anthropocène… au symbiocène L’expérientiel 3 Paris L’Harmattan Gabrys Jennifer 2020 “Smart forests and data practices From the Internet of Trees to planetary governance” Big data amp society 7 no 1 httpsdoiorg1011772053951720904871 Pappas Christoforos Nicolas Bélanger Yves Bergeron Olivier Blarquez Han Y H Chen Philip G Comeau Louis De Grandpré Sylvain Delagrange Annie DesRochers Amanda Diochon Loïc D’Orangeville Pierre Drapeau Louis Duchesne Elise Filotas Fabio Gennaretti Daniel Houle Benoit Lafleur David Langor Simon Lebel Desrosiers Francois Lorenzetti Rongzhou Man Christian Messier Miguel Montoro Girona Charles Nock Barb R Thomas Timothy Work and Daniel Kneeshaw 2022 “Smartforests Canada A Network of Monitoring Plots for Forest Management Under Environmental Change” In ClimateSmart Forestry in Mountain Regions Managing Forest Ecosystems Edited by Roberto Tognetti Melanie Smith and Pietro Panzacchi Cham Springer httpsdoiorg101007978303080767216 to cite this article This article is using Chicago format for its references Acer Saccharum Kneeshaw D Morissette ME Pappas C Trudel G et al 2023 “Going with the Flow Exploring Ecotechnologies in Practice” able journal httpsablejournalorggoingwiththeflow MLA EN Saccharum Acer et al “Going with the Flow Exploring Ecotechnologies in Practice” able journal 2023 httpsablejournalorggoingwiththeflow ISO 690 EN SACCHARUM Acer et al Going with the Flow Exploring Ecotechnologies in Practice able journal online 2023 Available from httpsablejournalorggoingwiththeflow APA EN Saccharum A et al 2023 Going with the Flow Exploring Ecotechnologies in Practice able journal httpsablejournalorggoingwiththeflow DOI EN httpsdoiorg1069564ableen23015goingwith biology borders cellulose climate data data-visualization dispositif ecology engineering environment environmental-change environmentalsciences exploration fluids geosciences immersive landscape living-matter matter natural-sciences oscillation perception scenography sensors space trees
