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The PAV Parco Arte Vivente, Turin’s experimental centre for Living Arts, is celebrating its ten years anniversary this Summer with The God-Trick, a group exhibition that aims to offer new perspectives and lines of inquiry on the Anthropocene.
Critical Art Ensemble, Environmental Triage: An Experiment in Democracy and Necropolitics, 2018. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
The exhibition title is borrowed from a text by Donna Haraway, the most quoted figure in the anthropocene conversation. The philosopher calls “god-trick” the view that knowledge is only achieved by adopting an objective, disembodied, impartial view from nowhere. She believes this claim to the “objectivizing” of the real is an illusion, for knowledge is always situated geographically, historically and culturally.
The artworks in the exhibition “have the role of reminding us that there is nothing natural, nothing objective, nothing inevitable about the processes of capitalist accumulation, thereby encouraging us to go beyond the confines of thoughts that prevent us from seeing any alternative to the system.”
The exhibition has some very strong works. Whether they speculate on alternative energy supply, un-peel the strata of nature and industrial history beneath our feet or invite us to turn neglected public spaces into community garden, the pieces exhibited demonstrate that there are indeed artists, thinkers and citizens who are willing to look critically into matters that threaten life on this planet. They are not the first ones to do so. We’ve been warned time and time again and as far back as in the 19th century when polymath Alexander von Humboldt drew on his studies in geography and exploration of the South American rain forests to predict deforestation and harmful human induced climate change.
The God Trick will hopefully encourage us to turn these warnings into meaningful individual and political actions.
In the meantime, here are some of my favourite works in the show:
Critical Art Ensemble, Environmental Triage: An Experiment in Democracy and Necropolitics, 2018. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Critical Art Ensemble, Environmental Triage: An Experiment in Democracy and Necropolitics, 2018. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Critical Art Ensemble, Environmental Triage: An Experiment in Democracy and Necropolitics, 2018. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Critical Art Ensemble, Environmental Triage: An Experiment in Democracy and Necropolitics, 2018. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
The Critical Art Ensemble collaborated to the discussion with a fascinating research on the theme of necropolitics. The term is defined as the use of social and political power to dictate how some people may live and how some must die. When applied in a hospital context, the concept can be compared to the process of triage which determines the priority of patients’ treatments based on the severity of their condition. There, where resources are plentiful, the person with the greatest injury receives the greatest share of resources and is treated before others of lesser injury. In the case of war, where resources are limited, the typical application of triage consists of designating who is most likely to survive an injury for the longest period of time, and they are treated first. Those with the worst injuries and those most likely to die, are treated last, if at all.
What might be the consequences of triage when you apply it to wildlife and the environment? How do we decide to use our limited resources? Which damaged ecosystems should be prioritized for remediation? Which one are we going to wash our hands of? Do we use the hospital model, the war model, or something else?
The work is based on a research started in April 2018. Collaborating with a scientist who has a deep knowledge of the biology of the waters in the area, the artists and PAV took some water samples and had them analyzed to evaluate the type of pollution and the presence of micro-organisms and plant species in the water. They selected 4 ‘candidates’ to remediation:
– a lake in reasonably good conditions, both chemically and ecologically, but it needs to be protected and cleaned up;
– a small pond in fairly good health. It would be cheap to regenerate its waters;
– a river that’s chemically healthy but suffering in terms of ecology. It would be costly to clean and protect it but many more living organisms depend upon its health;
– an aqueduct that needs to be upgraded in order for the quality of the water to improve. People would then drink more tap water and be less inclined to buy plastic bottles.
Visitors of the exhibitions are invited to vote for the water pond or stream that needs to be prioritized. I found it very difficult to chose: you get maps, facts, samples of water in tanks to help you make an informed decision. I ended up cheating and casting my vote for two of them.
The CAE explains in the catalogue of the exhibition:
Our experience is that this conversation will not solely be grounded in reason, but will contain copious amounts of emotion, aesthetic prejudice, desire, and for some, metaphysical considerations.
Conversation is one of the key aspects of this work. It leaves space for exchanges of views about local resources and landscapes and, beyond that, it forces us to reexamine our ecological, societal and even political priorities.
Lara Almarcegui, Rocks of Spitsbergen (Svalbard), 2014. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Lara Almarcegui, Rocks of Spitsbergen (Svalbard), 2014. Image
Spitsbergen is the largest island of the Svalbard archipelago in northern Norway. Using figures established by the Norway Environment Agency, Lara Almarcegui made a poster listing the rock types and how many tons there are of each in the island’s bedrock.
Rocks of Spitsbergen brings together the region’s long and slow geological formation and its history of prospecting, drilling and mining the mineral resources. With estimated coal deposits of some 22 million tons, the area around Longyearbyen on Spitsbergen has two active mines, and further extraction might start soon. The dry inventory of the volume of the mineral resources raises questions such as: What will remain of the island if its rocks are extracted for minerals? Is our need of minerals worth the destruction of a territory? Who has the right to decide what to do with the ground beneath our feet? Or, more generally, how to manage our natural resources?
Michel Blazy, Forêt de balais, 2013–18. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Michel Blazy, Forêt de balais, 2013–18. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Many of Michel Blazy‘s installations feature organic elements that take over and transform the artworks over time. His “Forêt de balais”, literally “forest of brooms”, features brooms made of broomcorn, a type of sorghum used for making brooms. The domestic objects are planted on the ground and, gradually, they start germinating and growing until they return to their original, living state of plants. After the exhibition, the brooms turned plants again will remain in the park at PAV and become an integral part of its landscape, remembering us that nature can, with time and obstinacy, reclaim the areas which humankind had confiscated.
Bonnie Ora Sherk, A Living Library Is Cultivating The Human & Ecological Garden, 2018. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Bonnie Ora Sherk’s Living Library is a framework and methodology for planning the “ecologizing” of specific areas.
Sherk is a landscape architect, educator and artist who has been producing visionary ecological work since the early 1970s. In 1981, she founded A Living Library, a community project that enrolls the help of local communities to turn public open spaces that have fallen into disuse or dilapidation into ecological wonderlands and landscapes. Each green site is unique and kept thriving with hands-on learning activities that explore the deep connections between biological, cultural and technological systems.
Go and visit The God Trick if you’re in Northwest Italy this Summer. It is not only intelligently curated but it will also demonstrate, if needed, that the best response to the current heat wave doesn’t lie in more air conditioning and more barbecued meat.
The God-Trick, curated by Marco Scotini, remains open until 21 October 2018 Parco Arte Vivente (PAV) in Turin.
Começou como uma antologia de seis capítulos sobre o Velho Oeste, mas depois virou um filme a ser inscrito nas principais mostras de cinema a tempo de concorrer ao próximo Oscar. Agora embalado pelo prêmio de Melhor Roteiro no último Festival de Veneza e prestes a passar pelo Festival de Cinema de Nova York e …
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A empresa Diageo Plc, maior fabricante de destilados do mundo, está negociando com uma empresa canadense de Cannabis, a fim de criar bebidas com base na erva. Segundo o BNN Bloomberg, a Diageo – que vende bebidas como Guinness, Smirnoff e Johnnie Walker – se recusou a dar detalhes sobre a negociação, mas em julho desse …
O post Fabricantes de bebidas alcoólicas começam a mirar na Cannabis para se adaptar ao mercado apareceu primeiro em B9.
O MIT (Instituto de Tecnologia de Massachusetts) desenvolveu uma ferramenta que utiliza a inteligência artificial para detectar se uma pessoa está com depressão, apenas analisando sua fala. O projeto comandado pela PhD Tuka Alhanai focou na compreensão da linguagem e treinou um sistema de IA usando de 142 conversas gravadas para avaliar se uma pessoa está deprimida e, em …
O post Ferramenta usa inteligência artificial para detectar depressão através da voz das pessoas apareceu primeiro em B9.
Rocco Princi opened his first store in Villa San Giovanni, Italy and moved his business to Milan in 1986. Back then, Howard Schultz was still convincing the founders of Starbucks that coffeehouses could catch on in the U.S. Now, Starbucks, with more than 13,000 U.S. locations, has invested in Princi, and is bringing to the U.S. a second location of the high-end bakery and bar.
“We as a company were so intrigued by the possibility,” Selim Giray, Starbucks VP of business planning for Princi, recalls of meeting with the Italian chain’s founder about six years ago.
While there definitely won’t be nearly as many locations for Princi, the chain is starting to grow, thanks to Starbucks. On Tuesday, Starbucks will open a Chicago location for Princi, its second U.S. location and its first outside Seattle.
The similarities between the customers of John Lewis and Waitrose are striking, and yet the majority only currently shop in one of the two, writes the managing director of Mando Connect.
The PAV Parco Arte Vivente, Turin’s experimental centre for Living Arts, is celebrating its ten years anniversary this Summer with The God-Trick, a group exhibition that aims to offer new perspectives and lines of inquiry on the Anthropocene.
Critical Art Ensemble, Environmental Triage: An Experiment in Democracy and Necropolitics, 2018. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
The exhibition title is borrowed from a text by Donna Haraway, the most quoted figure in the anthropocene conversation. The philosopher calls “god-trick” the view that knowledge is only achieved by adopting an objective, disembodied, impartial view from nowhere. She believes this claim to the “objectivizing” of the real is an illusion, for knowledge is always situated geographically, historically and culturally.
The artworks in the exhibition “have the role of reminding us that there is nothing natural, nothing objective, nothing inevitable about the processes of capitalist accumulation, thereby encouraging us to go beyond the confines of thoughts that prevent us from seeing any alternative to the system.”
The exhibition has some very strong works. Whether they speculate on alternative energy supply, un-peel the strata of nature and industrial history beneath our feet or invite us to turn neglected public spaces into community garden, the pieces exhibited demonstrate that there are indeed artists, thinkers and citizens who are willing to look critically into matters that threaten life on this planet. They are not the first ones to do so. We’ve been warned time and time again and as far back as in the 19th century when polymath Alexander von Humboldt drew on his studies in geography and exploration of the South American rain forests to predict deforestation and harmful human induced climate change.
The God Trick will hopefully encourage us to turn these warnings into meaningful individual and political actions.
In the meantime, here are some of my favourite works in the show:
Critical Art Ensemble, Environmental Triage: An Experiment in Democracy and Necropolitics, 2018. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Critical Art Ensemble, Environmental Triage: An Experiment in Democracy and Necropolitics, 2018. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Critical Art Ensemble, Environmental Triage: An Experiment in Democracy and Necropolitics, 2018. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Critical Art Ensemble, Environmental Triage: An Experiment in Democracy and Necropolitics, 2018. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
The Critical Art Ensemble collaborated to the discussion with a fascinating research on the theme of necropolitics. The term is defined as the use of social and political power to dictate how some people may live and how some must die. When applied in a hospital context, the concept can be compared to the process of triage which determines the priority of patients’ treatments based on the severity of their condition. There, where resources are plentiful, the person with the greatest injury receives the greatest share of resources and is treated before others of lesser injury. In the case of war, where resources are limited, the typical application of triage consists of designating who is most likely to survive an injury for the longest period of time, and they are treated first. Those with the worst injuries and those most likely to die, are treated last, if at all.
What might be the consequences of triage when you apply it to wildlife and the environment? How do we decide to use our limited resources? Which damaged ecosystems should be prioritized for remediation? Which one are we going to wash our hands of? Do we use the hospital model, the war model, or something else?
The work is based on a research started in April 2018. Collaborating with a scientist who has a deep knowledge of the biology of the waters in the area, the artists and PAV took some water samples and had them analyzed to evaluate the type of pollution and the presence of micro-organisms and plant species in the water. They selected 4 ‘candidates’ to remediation:
– a lake in reasonably good conditions, both chemically and ecologically, but it needs to be protected and cleaned up;
– a small pond in fairly good health. It would be cheap to regenerate its waters;
– a river that’s chemically healthy but suffering in terms of ecology. It would be costly to clean and protect it but many more living organisms depend upon its health;
– an aqueduct that needs to be upgraded in order for the quality of the water to improve. People would then drink more tap water and be less inclined to buy plastic bottles.
Visitors of the exhibitions are invited to vote for the water pond or stream that needs to be prioritized. I found it very difficult to chose: you get maps, facts, samples of water in tanks to help you make an informed decision. I ended up cheating and casting my vote for two of them.
The CAE explains in the catalogue of the exhibition:
Our experience is that this conversation will not solely be grounded in reason, but will contain copious amounts of emotion, aesthetic prejudice, desire, and for some, metaphysical considerations.
Conversation is one of the key aspects of this work. It leaves space for exchanges of views about local resources and landscapes and, beyond that, it forces us to reexamine our ecological, societal and even political priorities.
Lara Almarcegui, Rocks of Spitsbergen (Svalbard), 2014. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Lara Almarcegui, Rocks of Spitsbergen (Svalbard), 2014. Image
Spitsbergen is the largest island of the Svalbard archipelago in northern Norway. Using figures established by the Norway Environment Agency, Lara Almarcegui made a poster listing the rock types and how many tons there are of each in the island’s bedrock.
Rocks of Spitsbergen brings together the region’s long and slow geological formation and its history of prospecting, drilling and mining the mineral resources. With estimated coal deposits of some 22 million tons, the area around Longyearbyen on Spitsbergen has two active mines, and further extraction might start soon. The dry inventory of the volume of the mineral resources raises questions such as: What will remain of the island if its rocks are extracted for minerals? Is our need of minerals worth the destruction of a territory? Who has the right to decide what to do with the ground beneath our feet? Or, more generally, how to manage our natural resources?
Michel Blazy, Forêt de balais, 2013–18. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Michel Blazy, Forêt de balais, 2013–18. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Many of Michel Blazy‘s installations feature organic elements that take over and transform the artworks over time. His “Forêt de balais”, literally “forest of brooms”, features brooms made of broomcorn, a type of sorghum used for making brooms. The domestic objects are planted on the ground and, gradually, they start germinating and growing until they return to their original, living state of plants. After the exhibition, the brooms turned plants again will remain in the park at PAV and become an integral part of its landscape, remembering us that nature can, with time and obstinacy, reclaim the areas which humankind had confiscated.
Bonnie Ora Sherk, A Living Library Is Cultivating The Human & Ecological Garden, 2018. Photo: © Filippo Alfero for PAV – Parco Arte Vivente
Bonnie Ora Sherk’s Living Library is a framework and methodology for planning the “ecologizing” of specific areas.
Sherk is a landscape architect, educator and artist who has been producing visionary ecological work since the early 1970s. In 1981, she founded A Living Library, a community project that enrolls the help of local communities to turn public open spaces that have fallen into disuse or dilapidation into ecological wonderlands and landscapes. Each green site is unique and kept thriving with hands-on learning activities that explore the deep connections between biological, cultural and technological systems.
Go and visit The God Trick if you’re in Northwest Italy this Summer. It is not only intelligently curated but it will also demonstrate, if needed, that the best response to the current heat wave doesn’t lie in more air conditioning and more barbecued meat.
The God-Trick, curated by Marco Scotini, remains open until 21 October 2018 Parco Arte Vivente (PAV) in Turin.
Very few of us think of trees in terms of how hardworking they are. And yet, they work 24/7 and most of their labour is to our benefit. Trees (and any plant for that matter) perform all kinds of services for us. They shelter us against the elements, they help filter water and cool the air, soak up solar radiation, prevent soil erosion, provide living space for wildlife, can be turned into wood, some of them bear fruit and beautiful flowers, etc. They also perform all sorts of ‘cultural services’ for us: they help us unwind, inspire art, mental well-being and spiritual experiences. All of us, human and non-human alike, benefit from their presence around us.
Marija Bozinovska Jones, Treebour, 2018. Photo by Pau Ros
Image courtesy of Marija Bozinovska Jones
Artist Marija Bozinovska Jones pays homage to this ‘treebour’ in her contribution to Playbour – Work, Pleasure, Survival, an exhibition at Furtherfield in London that explores an issue that deserves more attention from us: the blurring between work, well-being and play in an age of increasingly data-driven technologies.
With the sound piece, Bozinovska Jones investigates playbour from the perspective of trees and asks:
What would it mean to value this treebour like we value human labour? Trees’ careers last hundreds of years. They’re also natural co-operators and communicators, existing in symbiotic harmony with each other and other lifeforms. If they ever form a union and strike for back pay we’re in trouble.
If we were more aware of what trees do for us, would we treat them like we treat women doing an unfair share of household chores? Like the YouTubers creating free content, the factory and field workers exposed to hazardous chemicals and the other human workers who don’t get a decent wage for their efforts?
And if we valued the labour that trees perform for us, wouldn’t we be tempted to make them work harder? Would we try and extract profit from the “social” underground and air-borne networking of trees? Would they end up being the new victims of companies like Uber, Deliveroo and Amazon Mechanical Turk that promise autonomy and flexibility but make humans compete for each gig to drive down costs and reframe hobbies as potential revenue streams?
Marija Bozinovska Jones, Treebour promo video
The Treebour sound installation gives a human voice to three treebourers. Each of these anthropomorphised trees patiently describes their worth, highlighting the insidious logic of the gamification of all forms of life and work.
Marija Bozinovska Jones, Treebour, 2018. Photo by Pau Ros
Treebour is a very moving and smart sound piece. I don’t have a video or sound file of the beautiful text of the trees’ pleas but i got in touch with Marija Bozinovska Jones and asked her to tell us more about trees, anthropocentrism and all things playbour:
Hi Marija! Why did you decide to approach the playbour theme through trees? Looking at some of your previous works, i would have expected you to explore playbour through a piece that comments on playbour in virtual environment.
I tend to consider mimicry of biological in computational and social infrastructures.
The early stages of conceptualising the work was collective, during a workshop organised by curator Dani Admiss with Furtherfield. After its conclusion some of us participating were asked to produce work towards an exhibition.
In the course of the workshop we were discussing the unusual gallery location of Furtherfield – in the middle of a park; I am personally keen to exhibit in environments outside the white cube. The first idea was to work with couple of chosen trees surrounding the gallery onto which we would map contemporary socio-cultural values, for example through creating social media profiles for the trees, where they would compete against each other for attention, followers and likes.
Consequently, another workshop participant, Rob Gallagher who is a postdoctoral researcher in Gaming and Identity at King’s College, and myself developed individual monologues for three tree species found in Finsbury park to correspond to human characters. They were to communicate gamified aspects and corporatization of interpersonal relationships online. We likewise aimed to disneyfy the tree personas to appeal to the wide demographic of the audience that passes through the park and the gallery.
Marija Bozinovska Jones, Treebour, 2018. Photo by Pau Ros
The text of Treebour is amazing. It’s moving, very well researched and it made me appreciate trees even more. Perhaps, if we had a better understanding of what trees and other plants do for us we would be less keen on ‘artificializing’ our landscape with roads, airport extensions, shopping malls, etc. Do you think we need to instrumentalize nature more in order to recognise its value? Or are there dangers to that strategy?
Being an anthropocentric society, we have a tendency to translate other natural species’ communication to fit our logic rather than leaving it as something open which transcends our knowledge and perception.
Beyond our own nature, we often tend to take others’ for granted, as something to be consumed, exploited and conquered. In this respect we can learn from trees who live in symbiotic relationships with each other and other life forms.
We have organised ourselves in a way that we are dependent on concrete infrastructural architecture. In urban environments, the ratio of the built and the artificial is highly disproportionate with the natural.
Research studies observe how our wellbeing increases when surrounded with other natural species of flora and fauna, even with downscaled botanical versions such as plants in our living and working environments; the sole use of green colour in interior space is supposed to have calming properties for the human nervous system.
Marija Bozinovska Jones, Treebour, 2018. Photo by Pau Ros
Marija Bozinovska Jones, Treebour, 2018. Photo by Pau Ros
Marija Bozinovska Jones, Treebour, 2018. Photo by Pau Ros
I can imagine where you found the information for the techy-intellectual tree and the habitat tree. But what about the “relaxing tree”? How did you manage to make it sound so Gwyneth Paltrow-ish? Where does that particular jargon come from?
The character for the Relaxing (beech) tree was based on ASMR YouTubers. I asked my studio colleague to contribute with his voice for it as he has a very soothing voice.
The monologue was based on guided mindfulness instructions as something I am practicing myself as well as researching for work.
Treebour is clearly the outcome of a research on trees and the role they play in making our planet more liveable for us and other living species, etc. Is there anything you discovered during your research that truly amazed you?
The research was building on previous knowledge, for example of way in which trees communicate with each other as well as other life forms, phrased as ‘wood wide web’ and arboreal ARPANET. Rob came across some descriptive botanical jargon such as ‘vascular cambium’ and ‘carboniferous rhytidome‘.
Marija Bozinovska Jones, Treebour, 2018. Photo by Pau Ros
I love that you made Treebour a sound installation. It’s very suggestive and gives a sense of intimacy. But what were your motivations to do an art piece rather than a video animation or a performance for example? Why did you decide to give trees a voice?
For awhile now, our modes of communication is mediated through blackboxed screen interfaces predominantly employing the visual sense, followed by the haptic and the sonic. Over the past years, I have been examining human voice as a dimensional interface which is able to encapsulate affect. Due to our ability to detect and project emotions onto voice, it is often exploited by technocapitalism through disembodied AI. For example, intelligent personal assistants couple sleek consumer products with a sentient often female voice since we are genetically predisposed to react to a voice most similar to our primary caregiver’s, our mother. Anthropomorphised technologies are something I have been addressing through a proxy MBJ Wetware, a simulation of my voice via machine learning.
What shape does the concept of playbour play in your life as an artist?
Producing ’Treebour’ was a role-play itself.
With the plethora of social media with its potentials to promote work, lifestyle and disseminate opinions, playbour reaches new immaterial labour heights.
Thanks Marija!
Marija Bozinovska Jones’s Treebour is part of Playbour, an exhibition curated by Dani Admiss for Furtherfield Gallery in London. The show remains open until Sunday 19 Aug 2018.
Playbour is realized in the framework of State Machines, a joint project by Aksioma (SI), Drugo more (HR), Furtherfield (UK), Institute of Network Cultures (NL) and NeMe (CY).
O MIT (Instituto de Tecnologia de Massachusetts) desenvolveu uma ferramenta que utiliza a inteligência artificial para detectar se uma pessoa está com depressão, apenas analisando sua fala. O projeto comandado pela PhD Tuka Alhanai focou na compreensão da linguagem e treinou um sistema de IA usando de 142 conversas gravadas para avaliar se uma pessoa está deprimida e, em …
O post Ferramenta usa inteligência artificial para detectar depressão através da voz das pessoas apareceu primeiro em B9.
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Almost half of adults have experienced harm online and over half want more regulation of social media platform, according to research from Ofcom.
57.16 percent of employees at tech companies feel burnt out by their jobs. And unfortunately for YouTube, creator burnout is becoming a bigger phenomenon than ever before. The platform’s algorithm increasingly rewards the <span aria-describedby="tt" class="glossaryLink " data-cmtooltip=" Channel A distribution method; In advertising, it's an outlet used by advertisers to reach audiences, such as…
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