Speculative
Biology Workshop:
The Design of Biological Systems and Neo-organs
with Pinar
Yoldas
28 September, 2013 from 1 - 6PM
“...from so simple a beginning endless forms most
beautiful and most wonderful have been, and are being, evolved.”
(Charles Darwin)
Unlike man, nature expresses efficiency through complexity, where each
organism seeks new ways to exploit resources, and to defend against being
'exploited' in turn. And now man, a creature who would become the supreme
exploiter, has in the last few centuries radically changed the equation.
Pumping hydrocarbons out of the earth to run manifold industries, and
produce energy for profit and leisure, we are not only changing the face
of the earth, but also the atmosphere, and with it the climate - which
in turn has set off an almost endless set of reactions throughout the
biological systems of the planet.
As artist Pinar Yoldas writes: "Our capitalistic biomass manufactures
mountains of e-waste, beaches of tar, rivers of zinc, oceans of plastic.
We are an army of plastic surgeons giving the planet a new face. A face
that opens its eyes to new life forms, new beginnings, new extremities.
What kind of fish will swim in the plastic ocean? Who will be sunbathing
on the beaches of tar? What plants will thrive in a forest of concrete
and steel? Which insects will lay eggs on the valleys of asphalt? What
birds will fly in the hazy mornings of a smog stained sky?"
In her workshop the artist will give a quick overview into general biological
systems such as the circulatory system, the respiratory system, the nervous
system, the reproductive system etc., and how these systems (or more specifically
organs) might evolve under the influence of global environmental transformations.
Somewhere between bio-mimicry and critical design, the workshop will give
you the time and assets to design your own lungs, grow that extra organ
you always wished for or think about that ultimate meat supplier with
zero methane impact you have been craving for.
Participants will then discuss and design speculative models for life
forms for a post-human era.
Registration
required! Register under: presse@artlaboratory-berlin.org
Artist
Talk with Pinar Yoldas
3 October, 2013 at 7 PM
Pinar Yoldas is a cross-disciplinary artist and researcher with a background
in architecture, interface design, computing and neuroscience. Her work
investigates social and cultural systems in regards to biological and
ecological systems. She is the 2013/14 resident at the Vilém Flusser
Residency Programme for Artistic Research, run by transmediale and the
Berlin University of the Arts (UdK).
Pinar has a Master of Fine Arts degree from University of California Los
Angeles. Currently she is a PhD candidate in Visual and Media Studies
program at Duke University, where she's pursuing a certificate in the
Center for Cognitive Neuroscience. She has been awarded fellowships in
art and science venues including the MacDowell Colony, UCross Foundation,
VCCA and National Evolutionary Synthesis Center.
Her current project An Ecosystem of Excess is an attempt to create
a post-human eco-system, a living community of speculative organisms and
their environment. The project takes the idea that we are surrounded by
"man-made extreme environments" as its starting point. A man-made
extreme environment is a site of excess, where leftovers of our capitalistic
desires and consumerist actions are accumulated. Hence junkyards, landfills,
wastelands are all examples of "man-made extreme environments'. An
Ecosystem of Excess starts in the Pacific Trash Vortex. Discovered in
1985 by Captain Roger Marshall, this site is a floating nexus of plastic
waste covering roughly 5000 km² area of the Pacific. Pacific Trash
Vortex is a monument of plastic waste at a global scale.
http://www.transmediale.de/content/project-description-an-ecosystem-of-excess
http://pinaryoldas.info/speculativeBiologies/
in cooperation with transmediale
Friday, September 20, 2013
Wednesday, August 28, 2013
Photos of artist talk with C-LAB and Rüdiger Trojok - 24 August, 2012
C-LAB is
a London based artist collective, founded by the two artists and scientists
Laura Cinti and Howard Boland, that is dealing critically
with contemporary intersections and cross-fertilisation of art, science,
and technology. The work of Cinti and Boland focuses on the examination
and exploration of the implications, properties and peculiarities of all
which is or regards organic and synthetic life. This being their incentive,
they want to create a platform that is open for both artistic and scientific
reflection and discourse. In their most recent experimental art projects,
C-LAB developed a variety of genetic constructs that led to new kinds
of behavior of e.coli bacteria; the scientists thereby explored the possibilities
of synthetic biology and techniques of genetic engineering in an art context
(e.g. in artworks such as kate, katEred, Stressostat or Banana
Bacteria).
Also the DIY scene has started to experiment with biology on a molecular level in private homes. The technologies and chemicals that they use are usually being acquired through the internet, just like the theoretical background knowledge and the working instructions. This growing community meets in online forums or festivals, and is connected worldwide. The movement is creating both fascination and discomfort, the potential misuse of modern biotechnologies is creating fears in times of repeated warnings of pandemics through viruses such as SARS or H5N1. At the same time this democratization of technologies and knowledge can lead to new impulses for the sciences as well as enhance public debate and consciousness.
Rüdiger Trojok gave a presentation of the do-it-yourself biohacking scene and the possibilities and limits of bringing biotechnologies into private spaces.
The talk was organized and presented by presented by Desiree Förster and Daniela Silvestrin in collaboration with Art Laboratory Berlin
C-LAB: http://c-lab.co.uk/home.html
Rüdiger Trojok: http://www.openbioprojects.net/1801.html
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| Laura Cinti from C-LAB (front left) |
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| Howard Boland from C-LAB presenting |
Also the DIY scene has started to experiment with biology on a molecular level in private homes. The technologies and chemicals that they use are usually being acquired through the internet, just like the theoretical background knowledge and the working instructions. This growing community meets in online forums or festivals, and is connected worldwide. The movement is creating both fascination and discomfort, the potential misuse of modern biotechnologies is creating fears in times of repeated warnings of pandemics through viruses such as SARS or H5N1. At the same time this democratization of technologies and knowledge can lead to new impulses for the sciences as well as enhance public debate and consciousness.
Rüdiger Trojok gave a presentation of the do-it-yourself biohacking scene and the possibilities and limits of bringing biotechnologies into private spaces.
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| various DIY bio-labs |
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| Rüdiger Trojok presenting |
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| Discussion after the presentations |
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| 'shimmering' bacteria, effected by a magnetic field |
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| 'shimmering' bacteria, effected by a magnetic field |
Rüdiger Trojok: http://www.openbioprojects.net/1801.html
Saturday, August 24, 2013
Art and Biotechnology: Artist Talk with C-LAB and Rüdiger Trojok
Art and Science talk with C-LAB and Rüdiger Trojok
24 August,3 PM

CLAB, The Living Mirror, 2013
Art Laboratory Berlin would like to invite you to an artist talk with the artist collective C-LAB (UK) and the biohacker Rüdiger Trojok (Berlin) presented by Desiree Förster and Daniela Silvestrin on 24 August from 3 PM.
C-LAB is a London based artist collective, founded by the two artists and scientists Laura Cinti and Howard Boland, that is dealing critically with contemporary intersections and cross-fertilisation of art, science, and technology. The work of Cinti and Boland focuses on the examination and exploration of the implications, properties and peculiarities of all which is or regards organic and synthetic life. This being their incentive, they want to create a platform that is open for both artistic and scientific reflection and discourse. In their most recent experimental art projects, C-LAB developed a variety of genetic constructs that led to new kinds of behavior of e.coli bacteria; the scientists thereby explored the possibilities of synthetic biology and techniques of genetic engineering in an art context (e.g. in artworks such as kate, katEred, Stressostat or Banana Bacteria).

C-LAB, katEred, 2012
Also the DIY scene has started to experiment with biology on a molecular level in private homes. The technologies and chemicals that they use are usually being acquired through the internet, just like the theoretical background knowledge and the working instructions. This growing community meets in online forums or festivals, and is connected worldwide. The movement is creating both fascination and discomfort, the potential misuse of modern biotechnologies is creating fears in times of repeated warnings of pandemics through viruses such as SARS or H5N1. At the same time this democratization of technologies and knowledge can lead to new impulses for the sciences as well as enhance public debate and consciousness.
After the peek into C-LAB's art practice the Berlin-based biohacker Rüdiger Trojok will give a presentation of the do-it-yourself biohacking scene and the possibilities and limits of bringing biotechnologies into private spaces.
In a following discussion round these different perspectives and areas of knowledge will be combined and confronted, which will give the possibility for exchange, discussion and imagination with regard to the ethical and aesthetic examination of art on the intersection with science and research.
(more at http://www.artlaboratory-berlin.org/html/eng-events-archive.htm)
C-LAB: http://c-lab.co.uk/home.html
Rüdiger Trojok: http://www.openbioprojects.net/1801.html
24 August,3 PM
CLAB, The Living Mirror, 2013
Art Laboratory Berlin would like to invite you to an artist talk with the artist collective C-LAB (UK) and the biohacker Rüdiger Trojok (Berlin) presented by Desiree Förster and Daniela Silvestrin on 24 August from 3 PM.
C-LAB is a London based artist collective, founded by the two artists and scientists Laura Cinti and Howard Boland, that is dealing critically with contemporary intersections and cross-fertilisation of art, science, and technology. The work of Cinti and Boland focuses on the examination and exploration of the implications, properties and peculiarities of all which is or regards organic and synthetic life. This being their incentive, they want to create a platform that is open for both artistic and scientific reflection and discourse. In their most recent experimental art projects, C-LAB developed a variety of genetic constructs that led to new kinds of behavior of e.coli bacteria; the scientists thereby explored the possibilities of synthetic biology and techniques of genetic engineering in an art context (e.g. in artworks such as kate, katEred, Stressostat or Banana Bacteria).
C-LAB, katEred, 2012
Also the DIY scene has started to experiment with biology on a molecular level in private homes. The technologies and chemicals that they use are usually being acquired through the internet, just like the theoretical background knowledge and the working instructions. This growing community meets in online forums or festivals, and is connected worldwide. The movement is creating both fascination and discomfort, the potential misuse of modern biotechnologies is creating fears in times of repeated warnings of pandemics through viruses such as SARS or H5N1. At the same time this democratization of technologies and knowledge can lead to new impulses for the sciences as well as enhance public debate and consciousness.
After the peek into C-LAB's art practice the Berlin-based biohacker Rüdiger Trojok will give a presentation of the do-it-yourself biohacking scene and the possibilities and limits of bringing biotechnologies into private spaces.
In a following discussion round these different perspectives and areas of knowledge will be combined and confronted, which will give the possibility for exchange, discussion and imagination with regard to the ethical and aesthetic examination of art on the intersection with science and research.
(more at http://www.artlaboratory-berlin.org/html/eng-events-archive.htm)
C-LAB: http://c-lab.co.uk/home.html
Rüdiger Trojok: http://www.openbioprojects.net/1801.html
Thursday, July 25, 2013
Works from Eva-Maria Bolz, Andy Holtin and Ditte Lyngkær Pedersen in Synaesthesia/4: Translating, Correcting, Archiving
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| Eva-Maria Bolz, Der Innere Monitor Colour Plates (c) Photography: Kirsten Kofahl, 2013 |
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| Eva-Maria Bolz, Der Innere Monitor Colour Plates (c) Photography: Kirsten Kofahl, 2013 |
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| Eva-Maria Bolz, Der Innere Monitor Colour Plates (c) Photography: Eva-Marie Bolz, 2013 |
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| Eva-Maria Bolz, Der Innere Monitor Artist Book (c) Photography: Eva-Marie Bolz, 2013 |
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| Andy Holtin, Corrections and Connections Video Installations (c) Photography: Tim Deussen, 2013 |
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| Ditte Lyngkær Pedersen, Why Is Green a Red Word? Illustrations and Video Installations (c) Photography: Tim Deussen, 2013 |
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| Ditte Lyngkær Pedersen, Why Is Green a Red Word? Illustrations and Video Installations (c) Photography: Tim Deussen, 2013 |
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| Ditte Lyngkær Pedersen, Why Is Green a Red Word? Video Installations (c) Photography: Tim Deussen, 2013 |
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| Ditte Lyngkær Pedersen, Why Is Green a Red Word? Illustrations and Video Installations (c) Photography: Tim Deussen, 2013 |
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| Ditte Lyngkær Pedersen, Why Is Green a Red Word? Illustrations (c) Photography: Tim Deussen, 2013 |
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| Ditte Lyngkær Pedersen, Why Is Green a Red Word? Illustration (c) Photography: Tim Deussen, 2013 |
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| Ditte Lyngkær Pedersen, Why Is Green a Red Word? Illustrations and Video Installation (c) Photography: Tim Deussen, 2013 |
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| Ditte Lyngkær Pedersen, Why Is Green a Red Word? Illustrations and Video Installations (c) Photography: Tim Deussen, 2013 |
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| Ditte Lyngkær Pedersen, Why Is Green a Red Word? Video Installations and Artist Book (c) Photography: Tim Deussen, 2013 |
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| Ditte Lyngkær Pedersen, Why Is Green a Red Word? Artist Book (c) Photography: Tim Deussen, 2013 |
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| Ditte Lyngkær Pedersen, Why Is Green a Red Word? and Andy Holtin, Corrections and Connections Video Installations and Artist Book (c) Photography: Tim Deussen, 2013 |
Saturday, July 13, 2013
International Interdisciplinary Conference: Synaesthesia. Discussing a Phenomenon in the Arts, Humanities and (Neuro-)Science
| Synaesthesia Conference Introduction by Regine Rapp, Christian de Lutz |
| Synaesthesia Conference Introduction by Regine Rapp, Christian de Lutz |
| Synaesthesia Conference Introduction by Regine Rapp, Christian de Lutz |
| Keynote speech by Prof. Dr. Hinderk M. Emrich |
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| Prof. Dr. Hinderk M. Emrich. (C) Photography: Tim Deussen |
| Keynote speech by Prof. Dr. Hinderk M. Emrich |
| Ditte Lyngkaer Pedersen on "Why is Green a Red Word?" |
| Sina A. Trautmann-Lengsfeld, Multisensory Processing in Synaesthesia |
| Birgit Schneider, On Hearing Eyes and Seeing Ears. Berlin Optophonia in the 1920s. |
| David Strang talking about his project "Transmission + Interference" |
| Caro Verbeek, Inhaling History of Art - On the Role of Olfaction during the Avant-Garde |
| Agnieszka Janik, Synaesthesia for Color is Linked to Reduced Motion Perception |
| Romi Mikulinsky, From Page to Screen - the Present and Future of Reading |
| Discussion, Agnieszka Janik speaking |
| In the front with Katharina Gsöllpointner, Caro Verbeek and Gertrud Koch (from left to right) |
| Katharina Gsöllpointner, Digital Synaesthesia - Introduction into a New Project |
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| James Rosenow, (C) Photography: Tim Deussen |
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| James Rosenow and Regine Rapp, (C) Photography: Tim Deussen |
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| (C) Photography: Tim Deussen |
Thursday, June 13, 2013
Synaesthesia Conference 5/6 July, 2013
Art Laboratory Berlin is pleased to announce our upcoming conference:
5/ 6 July, 2013
Theater Glaskasten, Prinzenallee 33, Berlin-Wedding
As a theoretical addition to our ongoing exhibition series SYNAESTHESIA (October 2012 - July 2013/ http://artlaboratory-berlin.org/home_eng.htm), Art Laboratory Berlin will hold an international interdisciplinary conference to further explore and theoretically question the field of multisensory perception.
The term "synaesthesia", from the Greek "aisthesis" ("Sensation", "sensory impression") and "syn" ("together") means the experience of two or more sensory impressions at the same time. Currently there is a strikingly strong interest in the coupling of the senses in science, humanities and in contemporary art. This should come as no surprise: Our daily life in recent years has been subject to ever more multimedia and multisensory experiences. Comparing the latest technologies in the field of communication we come upon the radical technological development during the last 25 years: music video (text, music, colour), computer (as "total" sensory object) and also newest multiple forms of mobile phones (not only used for calls, but as a photo camera, music player or text machine, etc.).
It is the aim of Art Laboratory Berlin to grasp the specific impulses of our current complex, synchronous and technologised society on the phenomenon of synaesthesia, with its distinctive form of sensory fluctuation. For the upcoming conference, we are interested in discussing issues from diverse scholarly fields - humanities, arts as well as natural and social sciences - regarding both historical positions and contemporary inquiries. We will reflect topics such as: synaesthesia and the neurological discourse (memory and cognition; sensory perception); synaesthesia - between perception and subjectivity; synaesthesia and language; synaesthetic modalities (grapheme synaesthesia; synaesthesia of smell, taste, touch, sound and vision); synaesthesia in art and cultural history (in visual art, literature and film); synaesthesia and the digital world (synaesthesia in the 21st century).
More information at: http://www.artlaboratory-berlin.org/html/eng-events-archive.htm
Conference Concept: Regine Rapp & Christian de Lutz, Art Laboratory Berlin
Realisation of Conference: The Art Laboratory Berlin Team: Regine Rapp, Christian de Lutz, Olga Shmakova, Chiara Cartuccia, Chiara Massari, Anastasia Shavlokhova, Ashley Chang
Cooperation partners: Association of Neuroesthetics_Platform for Art and Neuroscience, fotoscout
Supported by:

Medienpartner:
5/ 6 July, 2013
Theater Glaskasten, Prinzenallee 33, Berlin-Wedding
As a theoretical addition to our ongoing exhibition series SYNAESTHESIA (October 2012 - July 2013/ http://artlaboratory-berlin.org/home_eng.htm), Art Laboratory Berlin will hold an international interdisciplinary conference to further explore and theoretically question the field of multisensory perception.
The term "synaesthesia", from the Greek "aisthesis" ("Sensation", "sensory impression") and "syn" ("together") means the experience of two or more sensory impressions at the same time. Currently there is a strikingly strong interest in the coupling of the senses in science, humanities and in contemporary art. This should come as no surprise: Our daily life in recent years has been subject to ever more multimedia and multisensory experiences. Comparing the latest technologies in the field of communication we come upon the radical technological development during the last 25 years: music video (text, music, colour), computer (as "total" sensory object) and also newest multiple forms of mobile phones (not only used for calls, but as a photo camera, music player or text machine, etc.).
It is the aim of Art Laboratory Berlin to grasp the specific impulses of our current complex, synchronous and technologised society on the phenomenon of synaesthesia, with its distinctive form of sensory fluctuation. For the upcoming conference, we are interested in discussing issues from diverse scholarly fields - humanities, arts as well as natural and social sciences - regarding both historical positions and contemporary inquiries. We will reflect topics such as: synaesthesia and the neurological discourse (memory and cognition; sensory perception); synaesthesia - between perception and subjectivity; synaesthesia and language; synaesthetic modalities (grapheme synaesthesia; synaesthesia of smell, taste, touch, sound and vision); synaesthesia in art and cultural history (in visual art, literature and film); synaesthesia and the digital world (synaesthesia in the 21st century).
More information at: http://www.artlaboratory-berlin.org/html/eng-events-archive.htm
Conference Concept: Regine Rapp & Christian de Lutz, Art Laboratory Berlin
Realisation of Conference: The Art Laboratory Berlin Team: Regine Rapp, Christian de Lutz, Olga Shmakova, Chiara Cartuccia, Chiara Massari, Anastasia Shavlokhova, Ashley Chang
Cooperation partners: Association of Neuroesthetics_Platform for Art and Neuroscience, fotoscout
Supported by:
Medienpartner:
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