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Catalog:

Other Skies: Exoplanetary Dust

SciArt Initiative & CLOT Magazine Opened March 20th, 2021 View 3D Gallery
Poster image for Other Skies: Exoplanetary Dust

Statement:

“Exoplanetary Dust”
Curated by CLOT Magazine & SciArt Initiative
as part of the "OTHER SKIES" festival in collaboration with Multiverse Concert Series

“Man has gone out to explore other worlds and other civilizations without having explored his own labyrinth of dark passages and secret chambers, and without finding what lies behind doorways that he himself has sealed.” -Stanislav Lem, Solaris

In 1984 astronomers observed the first planetary disk of dust and gas around the star Beta Pictoris, providing a tantalizing glimpse of the potential for exoplanet discovery. And now? Over 4,000 exoplanets have been discovered; we are fortunate to find ourselves in a fertile universe of celestial bodies. The implications of these findings are being explored with fervor by scientists and artists alike.

Recent scientific advancements—combined with our insatiable curiosity to probe the unknown—have rekindled our SciFi imaginations in the quest for the extraterrestrial. But what are the philosophical implications of these revelations? As these discoveries permeate popular culture, artists, thinkers, and scientists reflect and interpret their relevance. Can we envision new horizons for humanity away from imperialist and colonial perspectives? What undiscovered life forms will we encounter? Can we imagine what it would be like to live beneath other skies?

This exhibition was created as part of the day-long festival "OTHER SKIES: An Exoplanetary Festival," created by Multiverse Concert Series, CLOT Magazine, and SciArt Initiative in partnership with Integral Steps. Learn more about this festival at otherskies.org.

"OTHER SKIES" and the accompanying exhibition was made possible in part with the support of the Cultural Office of the Embassy of Spain in Washington DC, and the Boston Mayor's Arts and Culture COVID-19 Grant.

Artworks in this room:

Golgi Apparatus Type 00

Theo Triantafyllidis

Golgi Apparatus Type 01

Theo Triantafyllidis

Inner Ear

Centriole

Theo Triantafyllidis

Velocity Holomatrix Warp 7 (Excerpt)

TSun Araw & Theo Triantafyllidis with Tomo Jacobson

VHW7 (2020) depicts a recently discovered planetoid in the tradition that shows convincing evidence of being just such an alien bonsai sculpture. While almost nothing is known about technologies capable of such feats (or civilizations that could have created such technologies) it is becoming hard to ignore the evidence that such civilizations have existed. The extreme age of VHW7 and its ability to hold its intricate sculptural form for millennia against the magnetic and gravitational tides of its home system suggest an incredible and ancient skill, currently lost to the sentient species of the Universe. The full program allows you to holographically explore planetoid VHW7 and its many intricate ecosystems: disorienting ionic bubbles, strange levitating mineral ore deposits, phosphorescent photonic anomalies, and phenomena even stranger. In order to give a further sense of its formation and the delicate balance of forces that hold it together, algorithms have been created to convert its magnetic, electric, and gravitational forces as audio, allowing you to “hear” the skilled and intricate sculptural work that shaped and maintains it.

Project Website

Tunein

Alien Jams & Recsund

Tunein (2021) is a collaboration between Alien Jams and Clifford Sage, aka Recsund following Sage's long-time "Tuner" project. Sage built the piece in Unreal Engine, using the program FMod to create audio parameters/ interactions throughout the piece, creating an intricate alien landscape. Alien Jams' artists Nexcyia and Aircode are featured throughout the video, whereby a radio is used to tune into various frequencies as the boat moves throughout a series of passageways. Although this particular piece is a video, the aim of the project is to be playable and downloadable in the future.

VESTIBULAR_1

Albert Barque-Duran & Marc Marzenit

VESTIBULAR_1 (2020) is an immersive audio-visual installation that induces to the audience illusory sensations of self-motion in complete darkness by temporarily disrupting the vestibular functioning. It is considered the next generation of both artists’ previous project “The Zero Gravity Band” (produced by Quo Artis Foundation and premiered at Sónar (Barcelona)). It explored the concept of art outside planet Earth and its potential cultural implications. Specifically, it examined how both production (music and fine arts) and perception (aesthetics) of art changes when we are not restricted to the physical laws and framework that planet Earth’s gravity imposes on us. To overcome the terrestrial gravity, they took part in a series of parabolic flights to produce an artwork designed and motivated to be experienced and perceived in microgravity. The objectives of the ZGB project were to explore -with a rigorous scientific approach (in collaboration with the Vestibular Multisensory Embodiment Lab at Royal Holloway, University of London)- how gravity affects aesthetic preferences and to design an artistic installation based on the novel research on how gravity itself shapes our perceptual and aesthetic experiences. The project’s scientific and artistic research motivated a protocol for an immersive installation to disturb the vestibular system and induce zero-gravity and vertigo sensations to the audience based on a 3D sound and visual stimulation. The concepts of music and art interpreted and generated in contexts with different gravity present a new paradigm in the history of humanity, which the artists believe this could make ground-breaking progress in the understanding of microgravity effects on human cognition and might engender practical implications for the design of interiors of spaceships and space stations for long term space flight.

Olfactory Time Capsule for Earthly Memories

Ani Liu

Olfactory Time Capsule for Earthly Memories (2017) consists of a sensory token for astronauts that contains the unique scent of three memories of Earth: that of a loved one, that of a home, and that of a natural resource. Each new technology forces us to confront who we are as humans. As technological innovations in deep space exploration keep advancing and space travel becomes more accessible to the broader population, what might become of our memories of Earth? Speculating on a future where some of us might embark on a one-way trip into space, this project investigates the sensory modalities of memory beyond the digital. In addition to the terabytes of data that we are sure to bring with us on this long journey, what other forms of communication and connection might we invent for an extraterrestrial future? Olfaction has been shown to have strong ties to emotion and memory. Chemically, the fragrances are embedded in a special polymer designed to contain and release the scents over a long period of time. Through a dial, the user can choose to program and relive one of three Earth experiences through an immersive olfactive experience. As an emotional time capsule, this project is akin to the Voyager Golden Record, but for precious smells. An exploration in the use of science for emotional ends investigates alternative biological and perceptual modalities of communication and memory through olfaction. Speculating on a future where some of us might embark on a one-way trip into space, this project investigates the sensory modalities of memory beyond the digital.

Olfactory Time Capsule for Earthly Memories

Olfactory Time Capsule for Earthly Memories

Ani Liu

Olfactory Time Capsule for Earthly Memories (2017) consists of a sensory token for astronauts that contains the unique scent of three memories of Earth: that of a loved one, that of a home, and that of a natural resource. Each new technology forces us to confront who we are as humans. As technological innovations in deep space exploration keep advancing and space travel becomes more accessible to the broader population, what might become of our memories of Earth? Speculating on a future where some of us might embark on a one-way trip into space, this project investigates the sensory modalities of memory beyond the digital. In addition to the terabytes of data that we are sure to bring with us on this long journey, what other forms of communication and connection might we invent for an extraterrestrial future? Olfaction has been shown to have strong ties to emotion and memory. Chemically, the fragrances are embedded in a special polymer designed to contain and release the scents over a long period of time. Through a dial, the user can choose to program and relive one of three Earth experiences through an immersive olfactive experience. As an emotional time capsule, this project is akin to the Voyager Golden Record, but for precious smells. An exploration in the use of science for emotional ends investigates alternative biological and perceptual modalities of communication and memory through olfaction. Speculating on a future where some of us might embark on a one-way trip into space, this project investigates the sensory modalities of memory beyond the digital.

Olfactory Time Capsule for Earthly Memories

Olfactory Time Capsule for Earthly Memories

Ani Liu

Olfactory Time Capsule for Earthly Memories (2017) consists of a sensory token for astronauts that contains the unique scent of three memories of Earth: that of a loved one, that of a home, and that of a natural resource. Each new technology forces us to confront who we are as humans. As technological innovations in deep space exploration keep advancing and space travel becomes more accessible to the broader population, what might become of our memories of Earth? Speculating on a future where some of us might embark on a one-way trip into space, this project investigates the sensory modalities of memory beyond the digital. In addition to the terabytes of data that we are sure to bring with us on this long journey, what other forms of communication and connection might we invent for an extraterrestrial future? Olfaction has been shown to have strong ties to emotion and memory. Chemically, the fragrances are embedded in a special polymer designed to contain and release the scents over a long period of time. Through a dial, the user can choose to program and relive one of three Earth experiences through an immersive olfactive experience. As an emotional time capsule, this project is akin to the Voyager Golden Record, but for precious smells. An exploration in the use of science for emotional ends investigates alternative biological and perceptual modalities of communication and memory through olfaction. Speculating on a future where some of us might embark on a one-way trip into space, this project investigates the sensory modalities of memory beyond the digital.

Olfactory Time Capsule for Earthly Memories

Olfactory Time Capsule for Earthly Memories

Ani Liu

Olfactory Time Capsule for Earthly Memories (2017) consists of a sensory token for astronauts that contains the unique scent of three memories of Earth: that of a loved one, that of a home, and that of a natural resource. Each new technology forces us to confront who we are as humans. As technological innovations in deep space exploration keep advancing and space travel becomes more accessible to the broader population, what might become of our memories of Earth? Speculating on a future where some of us might embark on a one-way trip into space, this project investigates the sensory modalities of memory beyond the digital. In addition to the terabytes of data that we are sure to bring with us on this long journey, what other forms of communication and connection might we invent for an extraterrestrial future? Olfaction has been shown to have strong ties to emotion and memory. Chemically, the fragrances are embedded in a special polymer designed to contain and release the scents over a long period of time. Through a dial, the user can choose to program and relive one of three Earth experiences through an immersive olfactive experience. As an emotional time capsule, this project is akin to the Voyager Golden Record, but for precious smells. An exploration in the use of science for emotional ends investigates alternative biological and perceptual modalities of communication and memory through olfaction. Speculating on a future where some of us might embark on a one-way trip into space, this project investigates the sensory modalities of memory beyond the digital.

Olfactory Time Capsule for Earthly Memories

Insert

30drop & Stephen Mclaughlin

Especially for this exhibition, Stephen McLaughlin has created the visuals for the Insert track, from 30drop’s Soroban LP (2020) released on Axis, Jeff Mills' record label. The video takes inspiration from the theory of Panspermia, that life can be transmitted between planets as primordial molecules or elementary particles, and perhaps culture and language could develop in similar ways. This terrain is explored through a stark visual language mixing generative technique and minimal design.

Other Worlds Near and Far

Ed Bell

Motion graphics continues to be a driving force behind the visualization of science. Its rise is further fueled by the internet’s increasing demand for animation and infographics. But the artist's involvement in this media is motivated by something else, love: I love what I do. I love visualizing the distant places of the cosmos that we may know by measurements or graphs or inferences, but not know with our eyes. I love hearing a scientist say “Yes, that’s what I imagined it could look like!” There is great beauty throughout the cosmos and I love being able to make others see it. Having been heavily influenced by Stanley Kubrick’s film 2001 a Space Odyssey, the camera movement in animations tends to be slow-paced, giving the viewer time to examine the details of the scene. And like Kubrick, I tend to marry my scenes to music that compliments that motion. Because of this, my work has sometimes been described as ‘dreamy’ or ‘ballet-like’. Making my art as accurate as known facts will allow means asking questions like what is the gravity like, what’s the surface temperature, what’s in the atmosphere, what color is its sun, how close is it to the sun, what liquid is there. Weaving this information into an illustration or animation becomes the challenge and the joy. When I’m not creating pieces for a client, I’m creating pieces for myself and learning the new technologies that allow me to explore new ways of visualizing the cosmos. I can’t imagine not doing what I do. Other Worlds Near and Far begins with scenes of worlds from our solar system (Enceladus, Europa, early Mars, MU69, and Charon and Pluto). The middle section depicts a variety exoplanets and exomoons – wet, frozen, dry, colonized, deserted, imagined with life-forms. All strange, all beautiful, all awaiting us. The video ends by returning to our own system, which will keep us exploring for many centuries.

Ceres

Marlena Bocian

“Octave of Light” explores the artist's fascination with patterns in nature. In this particular case, patterns of light in astrophysics. These artworks also explore the relationship between abstract art and science, with influences as diverse as Leonardo da Vinci, Rembrandt van Rijn, Pablo Picasso and Wassily Kandinsky, new synergies are generated from traditional and modern art.

Ceres

Water

Marlena Bocian

“Octave of Light” explores the artist's fascination with patterns in nature. In this particular case, patterns of light in astrophysics. These artworks also explore the relationship between abstract art and science, with influences as diverse as Leonardo da Vinci, Rembrandt van Rijn, Pablo Picasso and Wassily Kandinsky, new synergies are generated from traditional and modern art.

Water

Vessel Uno

Nicole L’Hullier & Daniela Catrileo

Vessels (2021) is a series done in collaboration with an A.I. that created a set of images of what outer space is for her by crossing images of western instruments and technologies for space exploration with organic and mineral elements that are found in the south. This is an attempt to hybridize the spatial imaginary and infuse it with natural technologies to confront its predominant sterile aesthetics in its design and engineering. This experiment proposes an imaginary that is weirder and less controllable, a place that accepts otherness, with tools that can be alive, and with elements that are in a fluid relationship with the poem and universe of the Nampülwangulenfe / Mapunauta. This series is called "Vessels" since these elements are simultaneously spaceships, cosmic containers, carrier bags, and seeds of life and ideas.

Vessel Uno

Vessel Dos

Nicole L’Hullier & Daniela Catrileo

Vessels (2021) is a series done in collaboration with an A.I. that created a set of images of what outer space is for her by crossing images of western instruments and technologies for space exploration with organic and mineral elements that are found in the south. This is an attempt to hybridize the spatial imaginary and infuse it with natural technologies to confront its predominant sterile aesthetics in its design and engineering. This experiment proposes an imaginary that is weirder and less controllable, a place that accepts otherness, with tools that can be alive, and with elements that are in a fluid relationship with the poem and universe of the Nampülwangulenfe / Mapunauta. This series is called "Vessels" since these elements are simultaneously spaceships, cosmic containers, carrier bags, and seeds of life and ideas.

Vessel Dos

Vessel Tres

Nicole L’Hullier & Daniela Catrileo

Vessels (2021) is a series done in collaboration with an A.I. that created a set of images of what outer space is for her by crossing images of western instruments and technologies for space exploration with organic and mineral elements that are found in the south. This is an attempt to hybridize the spatial imaginary and infuse it with natural technologies to confront its predominant sterile aesthetics in its design and engineering. This experiment proposes an imaginary that is weirder and less controllable, a place that accepts otherness, with tools that can be alive, and with elements that are in a fluid relationship with the poem and universe of the Nampülwangulenfe / Mapunauta. This series is called "Vessels" since these elements are simultaneously spaceships, cosmic containers, carrier bags, and seeds of life and ideas.

Vessel Tres

Vessel Cuatro

Nicole L’Hullier & Daniela Catrileo

Vessels (2021) is a series done in collaboration with an A.I. that created a set of images of what outer space is for her by crossing images of western instruments and technologies for space exploration with organic and mineral elements that are found in the south. This is an attempt to hybridize the spatial imaginary and infuse it with natural technologies to confront its predominant sterile aesthetics in its design and engineering. This experiment proposes an imaginary that is weirder and less controllable, a place that accepts otherness, with tools that can be alive, and with elements that are in a fluid relationship with the poem and universe of the Nampülwangulenfe / Mapunauta.

Vessel Cuatro

Vessel Cinco

Nicole L’Hullier & Daniela Catrileo

Vessels (2021) is a series done in collaboration with an A.I. that created a set of images of what outer space is for her by crossing images of western instruments and technologies for space exploration with organic and mineral elements that are found in the south. This is an attempt to hybridize the spatial imaginary and infuse it with natural technologies to confront its predominant sterile aesthetics in its design and engineering. This experiment proposes an imaginary that is weirder and less controllable, a place that accepts otherness, with tools that can be alive, and with elements that are in a fluid relationship with the poem and universe of the Nampülwangulenfe / Mapunauta. This series is called "Vessels" since these elements are simultaneously spaceships, cosmic containers, carrier bags, and seeds of life and ideas.

Vessel Cinco

Vessel Seis

Nicole L’Hullier & Daniela Catrileo

Vessels (2021) is a series done in collaboration with an A.I. that created a set of images of what outer space is for her by crossing images of western instruments and technologies for space exploration with organic and mineral elements that are found in the south. This is an attempt to hybridize the spatial imaginary and infuse it with natural technologies to confront its predominant sterile aesthetics in its design and engineering. This experiment proposes an imaginary that is weirder and less controllable, a place that accepts otherness, with tools that can be alive, and with elements that are in a fluid relationship with the poem and universe of the Nampülwangulenfe / Mapunauta. This series is called "Vessels" since these elements are simultaneously spaceships, cosmic containers, carrier bags, and seeds of life and ideas.

Vessel Seis

Vessel Siete

Nicole L’Hullier & Daniela Catrileo

Vessels (2021) is a series done in collaboration with an A.I. that created a set of images of what outer space is for her by crossing images of western instruments and technologies for space exploration with organic and mineral elements that are found in the south. This is an attempt to hybridize the spatial imaginary and infuse it with natural technologies to confront its predominant sterile aesthetics in its design and engineering. This experiment proposes an imaginary that is weirder and less controllable, a place that accepts otherness, with tools that can be alive, and with elements that are in a fluid relationship with the poem and universe of the Nampülwangulenfe / Mapunauta. This series is called "Vessels" since these elements are simultaneously spaceships, cosmic containers, carrier bags, and seeds of life and ideas.

Vessel Siete

Vessel Ocho

Nicole L’Hullier & Daniela Catrileo

Vessels (2021) is a series done in collaboration with an A.I. that created a set of images of what outer space is for her by crossing images of western instruments and technologies for space exploration with organic and mineral elements that are found in the south. This is an attempt to hybridize the spatial imaginary and infuse it with natural technologies to confront its predominant sterile aesthetics in its design and engineering. This experiment proposes an imaginary that is weirder and less controllable, a place that accepts otherness, with tools that can be alive, and with elements that are in a fluid relationship with the poem and universe of the Nampülwangulenfe / Mapunauta. This series is called "Vessels" since these elements are simultaneously spaceships, cosmic containers, carrier bags, and seeds of life and ideas.

Vessel Ocho

Vessel Nueve

Nicole L’Hullier & Daniela Catrileo

Vessels (2021) is a series done in collaboration with an A.I. that created a set of images of what outer space is for her by crossing images of western instruments and technologies for space exploration with organic and mineral elements that are found in the south. This is an attempt to hybridize the spatial imaginary and infuse it with natural technologies to confront its predominant sterile aesthetics in its design and engineering. This experiment proposes an imaginary that is weirder and less controllable, a place that accepts otherness, with tools that can be alive, and with elements that are in a fluid relationship with the poem and universe of the Nampülwangulenfe / Mapunauta. This series is called "Vessels" since these elements are simultaneously spaceships, cosmic containers, carrier bags, and seeds of life and ideas.

Vessel Nueve

Space Bacteria 2

Raphael Kim & Jae Yeop Kim

Space Bacteria (2012) is a collaborative work between Raphael and Jae Yeop Kim, looking at the possibilities that may emerge from advances in technology from two different environments: the Earth and the outer space. Based on the idea of transferring natural resources found on earth to an alternative environment, in the hope of gaining valuable outcomes, Space Bacteria proposes to harvest microbial colonies from the human body and send them for cultivation in a hostile environment like Mars. Through synthetic biology, scientists will be able to modify human microbes to increase tolerance levels to extreme conditions. The cultivation of bacteria in space could bring promising healthcare benefits and an unexpected relationship between the human body and outer space.

Space Bacteria 2

Space Bacteria 1

Raphael Kim & Jae Yeop Kim

Space Bacteria (2012) is a collaborative work between Raphael and Jae Yeop Kim, looking at the possibilities that may emerge from advances in technology from two different environments: the Earth and the outer space. Based on the idea of transferring natural resources found on earth to an alternative environment, in the hope of gaining valuable outcomes, Space Bacteria proposes to harvest microbial colonies from the human body and send them for cultivation in a hostile environment like Mars. Through synthetic biology, scientists will be able to modify human microbes to increase tolerance levels to extreme conditions. The cultivation of bacteria in space could bring promising healthcare benefits and an unexpected relationship between the human body and outer space.

Space Bacteria 1

Space Bacteria 3

Raphael Kim & Jae Yeop Kim

Space Bacteria (2012) is a collaborative work between Raphael and Jae Yeop Kim, looking at the possibilities that may emerge from advances in technology from two different environments: the Earth and the outer space. Based on the idea of transferring natural resources found on earth to an alternative environment, in the hope of gaining valuable outcomes, Space Bacteria proposes to harvest microbial colonies from the human body and send them for cultivation in a hostile environment like Mars. Through synthetic biology, scientists will be able to modify human microbes to increase tolerance levels to extreme conditions. The cultivation of bacteria in space could bring promising healthcare benefits and an unexpected relationship between the human body and outer space.

Space Bacteria 3

Overview

Richelle Gribble

Overview (2015) is a large-scale, mixed media painting that reflects the networks which shape and connect our planet. Inspired by author Frank White’s concept of the Overview Effect, this painting creates a renewed sensation of Earth’s interconnectivity from a new perspective. In White’s exploration of the Overview Effect, he describes many astronauts recount viewing Earth from above for the first time as overwhelming yet transformative: boundaries and borders are erased, and the awe-inspiring oneness of Earth becomes clear. Overview is a visual interpretation of this sensation realized not by space travel but rather by an intricate visual collision of Earth’s systems. Overview reveals everything as connected and evolving simultaneously as one. A visual patchwork of social networks, animal migrations, microbes, people, and freeways collide into a buzzing, interconnected environment. Much like the bountiful and vibrant biodiversity of a coral reef, this painting reveals Earth systems’ interlacing textures, colors, and forms. Overview reveals everything as connected and evolving simultaneously as one. A visual patchwork of social networks, animal migrations, microbes, people, and freeways collide into a buzzing, interconnected environment. Much like the bountiful and vibrant biodiversity of a coral reef, this painting reveals Earth systems’ interlacing textures, colors, and forms. Overview’s mural-like artwork aims to encapsulate this sensation, creating a new perspective about our home planet.

Overview

Astroculture (Eternal Return)

Suzanne Anker

Installation view at The Value of Food, 2015 The Cathedral Church of Saint John the Divine, NYC. Photo by Raul Valverde / onwhitewall.com As an indoor vegetable and herb garden, Astroculture (Eternal Return) is similar to both a terrarium and a Wunderkammer, while also relating to NASA’s ongoing space program. With the rise of biotechnologies and the tinkering with living systems, what vast resources are available in outer and deep space habitats? How do plants respond to gravity? What happens to seeds grown in outer space? As climate change drives agriculture indoors, many botanical varieties will be produced by tissue culturing in factory-like greenhouses. For Astroculture (Eternal Return), plant chambers were constructed from off-the-shelf components. Each set consisted of galvanized metal cubes inset with a readymade LED panel. Placed inside the cubes were acrylic dishes supporting peat pods implanted with vegetable seeds. Like those famous Russian matryoshka dolls, there is an internal stacking at play which maintains optimal environmental conditions. The red and blue LEDs emitted a fuchsia radiance, although the plants were actually green. One could even describe fuchsia as our new green. While the study of biology is undergoing a revolution, particularly regarding growing plants in anti-gravity conditions, here on earth plants are enduring immense changes due to the increasing death of numerous pollinators. In outer space, plants sprout two pegs, while on earth they sprout one. As the climate rapidly changes, robust and novel measures are required to ensure a secure supply of food and medicine from botanical sources, both on earth and other planets. Vegetable producing plants grown from seed using LED lights. Galvanized steel cubes, plastic, red and blue LED lights, plants, water, soil and no pesticides. 6 x 6 x 6 ft (182 x 182 x 182 cm) overall.

Astroculture (Eternal Return)

Astroculture (Eternal Return) 98

Suzanne Anker

Installation view at The Value of Food, 2015 The Cathedral Church of Saint John the Divine, NYC. Photo by Raul Valverde / onwhitewall.com As an indoor vegetable and herb garden, Astroculture (Eternal Return) is similar to both a terrarium and a Wunderkammer, while also relating to NASA’s ongoing space program. With the rise of biotechnologies and the tinkering with living systems, what vast resources are available in outer and deep space habitats? How do plants respond to gravity? What happens to seeds grown in outer space? As climate change drives agriculture indoors, many botanical varieties will be produced by tissue culturing in factory-like greenhouses. For Astroculture (Eternal Return), plant chambers were constructed from off-the-shelf components. Each set consisted of galvanized metal cubes inset with a readymade LED panel. Placed inside the cubes were acrylic dishes supporting peat pods implanted with vegetable seeds. Like those famous Russian matryoshka dolls, there is an internal stacking at play which maintains optimal environmental conditions. The red and blue LEDs emitted a fuchsia radiance, although the plants were actually green. One could even describe fuchsia as our new green. While the study of biology is undergoing a revolution, particularly regarding growing plants in anti-gravity conditions, here on earth plants are enduring immense changes due to the increasing death of numerous pollinators. In outer space, plants sprout two pegs, while on earth they sprout one. As the climate rapidly changes, robust and novel measures are required to ensure a secure supply of food and medicine from botanical sources, both on earth and other planets. Vegetable producing plants grown from seed using LED lights. Galvanized steel cubes, plastic, red and blue LED lights, plants, water, soil and no pesticides. 6 x 6 x 6 ft (182 x 182 x 182 cm) overall.

Astroculture (Eternal Return) 98

Astroculture (Eternal Return) 104

Suzanne Anker

Installation view at The Value of Food, 2015 The Cathedral Church of Saint John the Divine, NYC. Photo by Raul Valverde / onwhitewall.com As an indoor vegetable and herb garden, Astroculture (Eternal Return) is similar to both a terrarium and a Wunderkammer, while also relating to NASA’s ongoing space program. With the rise of biotechnologies and the tinkering with living systems, what vast resources are available in outer and deep space habitats? How do plants respond to gravity? What happens to seeds grown in outer space? As climate change drives agriculture indoors, many botanical varieties will be produced by tissue culturing in factory-like greenhouses. For Astroculture (Eternal Return), plant chambers were constructed from off-the-shelf components. Each set consisted of galvanized metal cubes inset with a readymade LED panel. Placed inside the cubes were acrylic dishes supporting peat pods implanted with vegetable seeds. Like those famous Russian matryoshka dolls, there is an internal stacking at play which maintains optimal environmental conditions. The red and blue LEDs emitted a fuchsia radiance, although the plants were actually green. One could even describe fuchsia as our new green. While the study of biology is undergoing a revolution, particularly regarding growing plants in anti-gravity conditions, here on earth plants are enduring immense changes due to the increasing death of numerous pollinators. In outer space, plants sprout two pegs, while on earth they sprout one. As the climate rapidly changes, robust and novel measures are required to ensure a secure supply of food and medicine from botanical sources, both on earth and other planets. Vegetable producing plants grown from seed using LED lights. Galvanized steel cubes, plastic, red and blue LED lights, plants, water, soil and no pesticides. 6 x 6 x 6 ft (182 x 182 x 182 cm) overall.

Astroculture (Eternal Return) 104

Sónar Calling GJ273b

Sónar Festival

Sónar Calling GJ273b (2017) was a project launched to celebrate Sónar festival’s 25th anniversary. Reversing its role, from radar to antenna, sent a message beyond the Earth's orbit in search of extraterrestrial intelligence in an exoplanet called GJ273b or Luyten b, potentially habitable and 12.5 light-years from us. This message consists of the music of 33 renowned musicians and sound artists close to the festival, with the objective of making the first human contact with extraterrestrial intelligence. Scientific researchers specialized in searching extraterrestrial intelligence, coding, and sending data to space collaborated in the project to make it possible: a quarter of a century of musical exploration be condensed and sent into space.

Project Website

The Moon's Earth

Lisa Messeri

Click to view PDF How does the perspective of a planet from its moon shape how we think about extraterrestrial geographies? On December 25, 1968, hours after the crew of Apollo 8 captured the remarkable photograph Earthrise, astronaut Frank Borman was chatting with mission control. Still stunned at seeing Earth from the Moon, he commented on the surprise accompanying every glance out the capsule window: “I keep expecting to be seeing the Moon.” Instead, he was seeing Earth floating in the inky night sky. A bit later, Borman asked Ken Mattingly back on Earth how the weather was at the site where the crew would splash down. Mattingly replied, “They told us there is a beautiful Moon out there.” Borman responded, “Now, I was just saying that there’s a beautiful Earth out there.” This linguistic inversion, just like the photographic inversion offered by Earthrise, draws our attention to the Earth-Moon relationship. What do we learn in seeing this relationship differently? (...)

Publication Website Open PDF Viewer

Vessels Audio

Nicole L’Hullier & Daniela Catrileo

Vessels (2021) is a series done in collaboration with an A.I. that created a set of images of what outer space is for her by crossing images of western instruments and technologies for space exploration with organic and mineral elements that are found in the south. This is an attempt to hybridize the spatial imaginary and infuse it with natural technologies to confront its predominant sterile aesthetics in its design and engineering. This experiment proposes an imaginary that is weirder and less controllable, a place that accepts otherness, with tools that can be alive, and with elements that are in a fluid relationship with the poem and universe of the Nampülwangulenfe / Mapunauta. This series is called "Vessels" since these elements are simultaneously spaceships, cosmic containers, carrier bags, and seeds of life and ideas.

VESTIBULAR_1

Albert Barque-Duran & Marc Marzenit

VESTIBULAR_1 (2020) is an immersive audio-visual installation that induces to the audience illusory sensations of self-motion in complete darkness by temporarily disrupting the vestibular functioning. It is considered the next generation of both artists’ previous project “The Zero Gravity Band” (produced by Quo Artis Foundation and premiered at Sónar (Barcelona)). It explored the concept of art outside planet Earth and its potential cultural implications. Specifically, it examined how both production (music and fine arts) and perception (aesthetics) of art changes when we are not restricted to the physical laws and framework that planet Earth’s gravity imposes on us. To overcome the terrestrial gravity, they took part in a series of parabolic flights to produce an artwork designed and motivated to be experienced and perceived in microgravity. The objectives of the ZGB project were to explore -with a rigorous scientific approach (in collaboration with the Vestibular Multisensory Embodiment Lab at Royal Holloway, University of London)- how gravity affects aesthetic preferences and to design an artistic installation based on the novel research on how gravity itself shapes our perceptual and aesthetic experiences. The project’s scientific and artistic research motivated a protocol for an immersive installation to disturb the vestibular system and induce zero-gravity and vertigo sensations to the audience based on a 3D sound and visual stimulation. The concepts of music and art interpreted and generated in contexts with different gravity present a new paradigm in the history of humanity, which the artists believe this could make ground-breaking progress in the understanding of microgravity effects on human cognition and might engender practical implications for the design of interiors of spaceships and space stations for long term space flight.

VESTIBULAR_1

VESTIBULAR_1

Albert Barque-Duran & Marc Marzenit

VESTIBULAR_1 (2020) is an immersive audio-visual installation that induces to the audience illusory sensations of self-motion in complete darkness by temporarily disrupting the vestibular functioning. It is considered the next generation of both artists’ previous project “The Zero Gravity Band” (produced by Quo Artis Foundation and premiered at Sónar (Barcelona)). It explored the concept of art outside planet Earth and its potential cultural implications. Specifically, it examined how both production (music and fine arts) and perception (aesthetics) of art changes when we are not restricted to the physical laws and framework that planet Earth’s gravity imposes on us. To overcome the terrestrial gravity, they took part in a series of parabolic flights to produce an artwork designed and motivated to be experienced and perceived in microgravity. The objectives of the ZGB project were to explore -with a rigorous scientific approach (in collaboration with the Vestibular Multisensory Embodiment Lab at Royal Holloway, University of London)- how gravity affects aesthetic preferences and to design an artistic installation based on the novel research on how gravity itself shapes our perceptual and aesthetic experiences. The project’s scientific and artistic research motivated a protocol for an immersive installation to disturb the vestibular system and induce zero-gravity and vertigo sensations to the audience based on a 3D sound and visual stimulation. The concepts of music and art interpreted and generated in contexts with different gravity present a new paradigm in the history of humanity, which the artists believe this could make ground-breaking progress in the understanding of microgravity effects on human cognition and might engender practical implications for the design of interiors of spaceships and space stations for long term space flight.

VESTIBULAR_1

VESTIBULAR_1

Albert Barque-Duran & Marc Marzenit

VESTIBULAR_1 (2020) is an immersive audio-visual installation that induces to the audience illusory sensations of self-motion in complete darkness by temporarily disrupting the vestibular functioning. It is considered the next generation of both artists’ previous project “The Zero Gravity Band” (produced by Quo Artis Foundation and premiered at Sónar (Barcelona)). It explored the concept of art outside planet Earth and its potential cultural implications. Specifically, it examined how both production (music and fine arts) and perception (aesthetics) of art changes when we are not restricted to the physical laws and framework that planet Earth’s gravity imposes on us. To overcome the terrestrial gravity, they took part in a series of parabolic flights to produce an artwork designed and motivated to be experienced and perceived in microgravity. The objectives of the ZGB project were to explore -with a rigorous scientific approach (in collaboration with the Vestibular Multisensory Embodiment Lab at Royal Holloway, University of London)- how gravity affects aesthetic preferences and to design an artistic installation based on the novel research on how gravity itself shapes our perceptual and aesthetic experiences. The project’s scientific and artistic research motivated a protocol for an immersive installation to disturb the vestibular system and induce zero-gravity and vertigo sensations to the audience based on a 3D sound and visual stimulation. The concepts of music and art interpreted and generated in contexts with different gravity present a new paradigm in the history of humanity, which the artists believe this could make ground-breaking progress in the understanding of microgravity effects on human cognition and might engender practical implications for the design of interiors of spaceships and space stations for long term space flight.

VESTIBULAR_1

VESTIBULAR_1

Albert Barque-Duran & Marc Marzenit

VESTIBULAR_1 (2020) is an immersive audio-visual installation that induces to the audience illusory sensations of self-motion in complete darkness by temporarily disrupting the vestibular functioning. It is considered the next generation of both artists’ previous project “The Zero Gravity Band” (produced by Quo Artis Foundation and premiered at Sónar (Barcelona)). It explored the concept of art outside planet Earth and its potential cultural implications. Specifically, it examined how both production (music and fine arts) and perception (aesthetics) of art changes when we are not restricted to the physical laws and framework that planet Earth’s gravity imposes on us. To overcome the terrestrial gravity, they took part in a series of parabolic flights to produce an artwork designed and motivated to be experienced and perceived in microgravity. The objectives of the ZGB project were to explore -with a rigorous scientific approach (in collaboration with the Vestibular Multisensory Embodiment Lab at Royal Holloway, University of London)- how gravity affects aesthetic preferences and to design an artistic installation based on the novel research on how gravity itself shapes our perceptual and aesthetic experiences. The project’s scientific and artistic research motivated a protocol for an immersive installation to disturb the vestibular system and induce zero-gravity and vertigo sensations to the audience based on a 3D sound and visual stimulation. The concepts of music and art interpreted and generated in contexts with different gravity present a new paradigm in the history of humanity, which the artists believe this could make ground-breaking progress in the understanding of microgravity effects on human cognition and might engender practical implications for the design of interiors of spaceships and space stations for long term space flight.

VESTIBULAR_1

VESTIBULAR_1 Binaural Audio

Albert Barque-Duran & Marc Marzenit

"VESTIBULAR_1 (2020) is an immersive audio-visual installation that induces to the audience illusory sensations of self-motion in complete darkness by temporarily disrupting the vestibular functioning. It is considered the next generation of both artists’ previous project “The Zero Gravity Band” (produced by Quo Artis Foundation and premiered at Sónar (Barcelona)). It explored the concept of art outside planet Earth and its potential cultural implications. Specifically, it examined how both production (music and fine arts) and perception (aesthetics) of art changes when we are not restricted to the physical laws and framework that planet Earth’s gravity imposes on us. To overcome the terrestrial gravity, they took part in a series of parabolic flights to produce an artwork designed and motivated to be experienced and perceived in microgravity. The objectives of the ZGB project were to explore -with a rigorous scientific approach (in collaboration with the Vestibular Multisensory Embodiment Lab at Royal Holloway, University of London)- how gravity affects aesthetic preferences and to design an artistic installation based on the novel research on how gravity itself shapes our perceptual and aesthetic experiences. The project’s scientific and artistic research motivated a protocol for an immersive installation to disturb the vestibular system and induce zero-gravity and vertigo sensations to the audience based on a 3D sound and visual stimulation. The concepts of music and art interpreted and generated in contexts with different gravity present a new paradigm in the history of humanity, which the artists believe this could make ground-breaking progress in the understanding of microgravity effects on human cognition and might engender practical implications for the design of interiors of spaceships and space stations for long term space flight. "

Other Skies Ambient Audio