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https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141389
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T21:36:43Z
<p>Tubo6728: </p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
<gallery widths="500" heights="400"><br />
File:MUSHroom1.jpg|© Nina Bendix Igleses<br />
File:MUSHroom3.jpg|© Nina Bendix Igleses<br />
</gallery><br />
<br />
===== '''THE RESULT''' =====<br />
[[File:MUSHroom.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
<br />
[[File:Weimar exhibition (5).jpg|thumb|© Eric Beck|left|375x375px]]At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
<gallery widths="300" heights="200"><br />
File:Weimar exhibition MUSHroom.jpg|© Yue Wang<br />
File:Weimar exhibition.jpg|© Nina Bendix Igleses<br />
</gallery><br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141388
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T21:30:17Z
<p>Tubo6728: </p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
[[File:Weimar exhibition (5).jpg|thumb|© Eric Beck]]<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
<gallery widths="500" heights="400"><br />
File:MUSHroom1.jpg|© Nina Bendix Igleses<br />
File:MUSHroom3.jpg|© Nina Bendix Igleses<br />
</gallery><br />
<br />
===== '''THE RESULT''' =====<br />
[[File:MUSHroom.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
<gallery widths="500" heights="400"><br />
File:Weimar exhibition MUSHroom.jpg|© Yue Wang<br />
File:Weimar exhibition.jpg|© Nina Bendix Igleses<br />
</gallery><br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Weimar_exhibition_(5).jpg&diff=141387
File:Weimar exhibition (5).jpg
2025-07-17T21:29:42Z
<p>Tubo6728: </p>
<hr />
<div>Weimar exhibition (5)</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141386
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T21:28:11Z
<p>Tubo6728: </p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
<gallery widths="500" heights="400"><br />
File:MUSHroom1.jpg|© Nina Bendix Igleses<br />
File:MUSHroom3.jpg|© Nina Bendix Igleses<br />
</gallery><br />
<br />
===== '''THE RESULT''' =====<br />
[[File:MUSHroom.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
<gallery widths="500" heights="400"><br />
File:Weimar exhibition MUSHroom.jpg|© Yue Wang<br />
File:Weimar exhibition.jpg|© Nina Bendix Igleses<br />
</gallery><br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141385
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T21:27:16Z
<p>Tubo6728: </p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
<gallery widths="500" heights="400"><br />
File:MUSHroom1.jpg<br />
File:MUSHroom3.jpg<br />
</gallery><br />
<br />
===== '''THE RESULT''' =====<br />
[[File:MUSHroom.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
<gallery widths="500" heights="400"><br />
File:Weimar exhibition MUSHroom.jpg|© Yue Wang<br />
File:Weimar exhibition.jpg|© Nina Bendix Igleses<br />
</gallery><br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141384
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T21:26:45Z
<p>Tubo6728: </p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
<gallery widths="500" heights="400"><br />
File:MUSHroom1.jpg<br />
File:MUSHroom3.jpg<br />
</gallery><br />
<br />
===== '''THE RESULT''' =====<br />
[[File:MUSHroom.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
<gallery widths="500" heights="400"><br />
File:Weimar exhibition MUSHroom.jpg|© Yue Wang<br />
File:Weimar exhibition.jpg|© Yue Wang<br />
</gallery><br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Weimar_exhibition.jpg&diff=141383
File:Weimar exhibition.jpg
2025-07-17T21:21:03Z
<p>Tubo6728: </p>
<hr />
<div>Weimar exhibition</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141382
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T21:19:17Z
<p>Tubo6728: </p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
<gallery widths="500" heights="400"><br />
File:MUSHroom1.jpg<br />
File:MUSHroom3.jpg<br />
</gallery><br />
<br />
===== '''THE RESULT''' =====<br />
[[File:MUSHroom.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
<gallery widths="500" heights="400"><br />
File:MUSHroom.jpg<br />
File:Weimar exhibition MUSHroom.jpg|© Yue Wang<br />
</gallery><br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.<br />
<br />
[[File:Weimar exhibition MUSHroom.jpg|thumb|© Nina Bendix Igleses]]</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:Weimar_exhibition_MUSHroom.jpg&diff=141381
File:Weimar exhibition MUSHroom.jpg
2025-07-17T21:17:55Z
<p>Tubo6728: </p>
<hr />
<div>Weimar exhibition MUSHroom</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141380
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T21:16:45Z
<p>Tubo6728: /* '''THE RESULT''' */</p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
<gallery widths="500" heights="400"><br />
File:MUSHroom1.jpg<br />
File:MUSHroom3.jpg<br />
</gallery><br />
<br />
===== '''THE RESULT''' =====<br />
[[File:MUSHroom.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
<gallery><br />
File:MUSHroom.jpg<br />
</gallery><br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141379
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T21:16:02Z
<p>Tubo6728: </p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
<gallery widths="500" heights="400"><br />
File:MUSHroom1.jpg<br />
File:MUSHroom3.jpg<br />
</gallery><br />
<br />
===== '''THE RESULT''' =====<br />
[[File:MUSHroom.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:MUSHroom.jpg&diff=141378
File:MUSHroom.jpg
2025-07-17T21:15:50Z
<p>Tubo6728: </p>
<hr />
<div>zine book</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:MUSHroom4.jpg&diff=141377
File:MUSHroom4.jpg
2025-07-17T21:14:59Z
<p>Tubo6728: </p>
<hr />
<div>Zine-Book of MUSHroom</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141376
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T21:13:07Z
<p>Tubo6728: /* PROCESS, METHODS, FINDINGS */</p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
<gallery widths="500" heights="400"><br />
File:MUSHroom1.jpg<br />
File:MUSHroom3.jpg<br />
</gallery><br />
<br />
===== '''THE RESULT''' =====<br />
[[File:MUSHroom1.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:MUSHroom3.jpg&diff=141375
File:MUSHroom3.jpg
2025-07-17T21:11:34Z
<p>Tubo6728: </p>
<hr />
<div>Exhibition at NART</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141374
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T21:06:49Z
<p>Tubo6728: </p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
<gallery widths="500" heights="400"><br />
File:MUSHroom2.jpg<br />
File:MUSHroom1.jpg<br />
</gallery><br />
<br />
===== '''THE RESULT''' =====<br />
[[File:MUSHroom1.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141373
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T21:04:22Z
<p>Tubo6728: </p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
===== [[File:MUSHroom1.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
[[File:MUSHroom2.jpg|thumb|319x319px|© Nina Bendix Igleses]] =====<br />
<br />
===== '''THE RESULT''' =====<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141372
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T21:03:52Z
<p>Tubo6728: </p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
===== H =====<br />
<br />
===== '''THE RESULT''' =====<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
[[File:MUSHroom1.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
[[File:MUSHroom2.jpg|thumb|319x319px|© Nina Bendix Igleses]]<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141371
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T20:57:33Z
<p>Tubo6728: /* THE RESULT */</p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
===== '''THE RESULT''' =====<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
[[File:MUSHroom1.jpg|thumb|316x316px|© Nina Bendix Igleses]]<br />
[[File:MUSHroom2.jpg|thumb|319x319px|© Nina Bendix Igleses]]<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:MUSHroom2.jpg&diff=141370
File:MUSHroom2.jpg
2025-07-17T20:56:48Z
<p>Tubo6728: </p>
<hr />
<div>students and teachers looking at our work</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=File:MUSHroom1.jpg&diff=141369
File:MUSHroom1.jpg
2025-07-17T20:52:44Z
<p>Tubo6728: </p>
<hr />
<div>riddle to find the projectors room</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Re-enchanting_the_field/Nina_Bendix_Igleses&diff=141368
GMU:Re-enchanting the field/Nina Bendix Igleses
2025-07-17T20:48:10Z
<p>Tubo6728: Added text</p>
<hr />
<div>=== THE STORY BEHIND ===<br />
So..<br />
<br />
=== ABOUT THE WORK ===<br />
<br />
===== '''GENERAL INFO''' =====<br />
MUSHroom blankSPACE is a poetic meditation on destruction, shame, and resilience, exploring what lingers when something is deemed “useless.” Born from a shared commitment to embrace uncertainty and confusion, the poem invites to hold space alongside nature’s silence, its ruins, and its quiet acts of resistance.<br />
<br />
===== '''CONTEXT''' =====<br />
“MUSHroom blankSPACE” explores post-industrial ruin and ecological reclamation through the anthropomorphized voice of a discarded oil site. The work began not with a grand concept, but with two words:<br />
<br />
“MUSHroom” evoking both fungal resilience and a state of emotional fog, a “mush” of grief, shame, and uncertainty; and<br />
<br />
“blankSPACE” - a site wiped clean, emptied, but also a void between meanings, between use and disuse, between ruin and renewal.<br />
<br />
From this pairing, the project emerged: a poetic reflection on destruction, shame, resilience, and the quiet, stubborn return of life. What happens when something is no longer seen as “useful”? What grows in the aftermath?<br />
<br />
Created during the artistic research residency in Narva, Estonia (May 19–25, 2025), the project took shape inside the remains of a Soviet-era cinema, now repurposed by the Narva Art Residency (NART). The site itself - a threshold between abandonment and reuse - mirrored the project's thematic concerns. With Estonia’s oil shale legacy looming in the background, we confronted the environmental scars left behind by extractive industries: places we came to see as “sacrifice zones.”<br />
<br />
Walking into the space that housed the work, one felt the air thick with memory. This wasn’t merely about a derelict site; it was the site, speaking. “MUSHroom blankSPACE” embodies the Anthropocene’s residue poisoned land, stripped of purpose, shamed and silenced. It resonates with concepts of solastalgia (the grief of environmental degradation) and thoughts about bioremediation, especially via fungi. In the poem’s voice, this is reflected as tension between shame and resistance, between toxicity and the stubborn resurgence of life.<br />
<br />
===== '''PROCESS, METHODS, FINDINGS''' =====<br />
We approached this work as ecopoetic research, where form and content were deeply entwined. The words MUSHroom blankSPACE became both method and metaphor, guiding our creative and conceptual decisions. We embraced contradiction, confusion, and cyclical patterns refusing clarity in favor of not-knowing.<br />
<br />
The poem gave voice to a post-industrial oil site, anthropomorphized and ambivalent. Fragmented, cyclical verses mirrored the rhythms of exploitation, abandonment, and the tentative beginnings of healing. We layered sensory language "tangles," "hugs," "wallow," with stark juxtapositions: the roar of past industry versus present-day silence and decay. Typography and spacing (e.g., “blankSPACE,” “MUSHroom,” “RUINS”) visually echoed the psychological fragmentation and ecological disruption of the space.<br />
<br />
We grounded our process in field research: visiting oil shale extraction sites, connecting insights on solastalgia, ecological grief and fungi growing everywhere we went, but also the talks on ideas of finding new purpose for post-industrial land (new usefulness?) and human controlled renaturation. However, our most meaningful findings were emotional. The land felt like a body, abandoned by its maker always measured by its usefulness. The voice we created was not that of a victim or villain, but of something confused, liminal, shamed, and yet still alive.<br />
<br />
A key discovery was ambivalence: the site was a scar, toxic and "useless" in the eyes of its exploiters but not silent. Nature, embodied by the tenacious MUSHroom, begins the slow, tangled work of reclamation. The fungal growths are more than biological recovery; they’re acts of defiant care. "as it hugs me, as it tangles across my bare ribs." Yet, this hope is fragile. The poem questions whether legacy, shame, and residual poison might erase even this return: "As my poison will ruin - blankness, yet again?"<br />
<br />
The exhibition itself staged confusion. In Narva, visitors followed a handwritten riddle into a hidden room, the former projection booth, where a video played on faded wallpaper. What looked like a drone-shot ocean was, in truth, a stream of acidic water near the oil ash mountains. Ocean sounds layered with voices reading the poem—sometimes in unison, sometimes breaking apart. Visitors often couldn't tell what was artwork and what was leftover ruin. And we welcomed that. Confusion became a form of resistance to quick understanding. A way of sitting with the unknown.<br />
<br />
===== '''THE RESULT''' =====<br />
What we created was a multi-sensory, site-responsive ecopoetic installation a poem not just to be read, but to be inhabited. “MUSHroom blankSPACE” is an attempt to step into the psyche of wounded land, where the text is not just narrative but material: spaced like ribs, broken like memory, merging everything together in a MUSH space.<br />
<br />
In Narva, the work lived within its original environment. The old wallpaper, the hum of the architecture, the ambiguity between installation and decay became part of the experience. A small chair held a zine-book of the poem. The projection layered visuals and sound: toxic water disguised as sea, overlapping voices, and the fragile dissonance between beauty and harm.<br />
<br />
<br />
At the Summary 2025 exhibition at Bauhaus University (July 10–13), the work took a different form. In a clean glass room overlooking the city, the projection played on a white screen. A long scroll of paper, again handwritten, unrolled across the table and floor, next to oil-shale stones and glass worn smooth by the sea. Visitors could listen through headphones, hearing the overlapping voices of the poem alongside ocean sound. The view outside invited a new kind of contemplation, distance, change of view and perspective.<br />
<br />
In both versions, the work asked if we see the "MOSS", the small, persistent life, as important, challenging our definitions of value and purpose. The MUSHroom, like the poem itself, becomes an unlikely witness: a quiet, persistent thing, recreating itself from ruin, refusing to be erased.</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119700
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T16:03:46Z
<p>Tubo6728: /* RESEARCH */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::Nematodes, also known as roundworms, are a diverse animal phylum inhabiting a broad range of humid environments. There are around 20000 species, each of them adapted to the survival requirements of their surrounding.<br/>The nematode "heterohabditis bacteriophora" is known as a useful parasite that helps gardeners to keep away pest. In codependency of bacteria which lives in the worms bodies, they are actively searching for and killing larvae in the soil. As the nematodes enter the insects body, bacteria spreads itself within the body, which leads the larva to die. This way the nematode uses the dead larva to reproduce themself.<br/> <ref name="WikipediaNematodes">https://en.wikipedia.org/wiki/Nematode</ref> <ref name="YT_MDRnematodes">https://www.youtube.com/watch?v=SN5VxSGSU5A</ref><br />
<br />
:;''What do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. Additionally, they don't like direct sunlight and should be kept in humid media. According to the company e-nema nematodes should not stay in too wet conditions as they can't swim. <br/> <ref name="YT_enemaManual">https://www.youtube.com/watch?v=d2WVoF-Utxs</ref><br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
:;List of interesting links<br />
::https://www.discovermagazine.com/planet-earth/parasitic-worms-paint-warning-colours-on-their-hosts-using-glowing-bacteria<br />
::http://www.hortipendium.de/Heterorhabditis_bacteriophora<br />
::https://www.nuetzlinge.de/produkte/freiland/heterorhabditis-bacteriophora/<br />
::https://en.wikipedia.org/wiki/Photorhabdus<br />
::http://dailyparasite.blogspot.com/2017/01/heterorhabditis-bacteriophora.html<br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119699
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T15:59:49Z
<p>Tubo6728: /* RESEARCH */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::Nematodes, also known as roundworms, are a diverse animal phylum inhabiting a broad range of humid environments. There are around 20000 species, each of them adapted to the survival requirements of their surrounding.<br/>The nematode "heterohabditis bacteriophora" is known as a useful parasite that helps gardeners to keep away pest. In codependency of bacteria which lives in the worms bodies, they are actively searching for and killing larvae in the soil. As the nematodes enter the insects body, bacteria spreads itself within the body, which leads the larva to die. This way the nematode uses the dead larva to reproduce themself.<br/> <ref name="WikipediaNematodes">https://en.wikipedia.org/wiki/Nematode</ref> <ref name="YT_MDRnematodes">https://www.youtube.com/watch?v=SN5VxSGSU5A</ref><br />
<br />
:;''What do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. Additionally, they don't like direct sunlight and should be kept in humid media. According to the company e-nema nematodes should not stay in too wet conditions as they can't swim. <br/> <ref name="YT_enemaManual">https://www.youtube.com/watch?v=d2WVoF-Utxs</ref><br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
:List of interesting links<br />
::https://www.discovermagazine.com/planet-earth/parasitic-worms-paint-warning-colours-on-their-hosts-using-glowing-bacteria<br />
http://www.hortipendium.de/Heterorhabditis_bacteriophora<br />
https://www.nuetzlinge.de/produkte/freiland/heterorhabditis-bacteriophora/<br />
https://en.wikipedia.org/wiki/Photorhabdus<br />
http://dailyparasite.blogspot.com/2017/01/heterorhabditis-bacteriophora.html<br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119698
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T15:58:27Z
<p>Tubo6728: </p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::Nematodes, also known as roundworms, are a diverse animal phylum inhabiting a broad range of humid environments. There are around 20000 species, each of them adapted to the survival requirements of their surrounding.<br/>The nematode "heterohabditis bacteriophora" is known as a useful parasite that helps gardeners to keep away pest. In codependency of bacteria which lives in the worms bodies, they are actively searching for and killing larvae in the soil. As the nematodes enter the insects body, bacteria spreads itself within the body, which leads the larva to die. This way the nematode uses the dead larva to reproduce themself.<br/> <ref name="WikipediaNematodes">https://en.wikipedia.org/wiki/Nematode</ref> <ref name="YT_MDRnematodes">https://www.youtube.com/watch?v=SN5VxSGSU5A</ref><br />
<br />
:;''What do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. Additionally, they don't like direct sunlight and should be kept in humid media. According to the company e-nema nematodes should not stay in too wet conditions as they can't swim. <br/> <ref name="YT_enemaManual">https://www.youtube.com/watch?v=d2WVoF-Utxs</ref><br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
:List of interesting links<br />
::https://www.discovermagazine.com/planet-earth/parasitic-worms-paint-warning-colours-on-their-hosts-using-glowing-bacteria<br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119675
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T12:37:00Z
<p>Tubo6728: /* 1. BRAINSTORMING */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::Nematodes, also known as roundworms, are a diverse animal phylum inhabiting a broad range of humid environments. There are around 20000 species, each of them adapted to the survival requirements of their surrounding.<br/>The nematode "heterohabditis bacteriophora" is known as a useful parasite that helps gardeners to keep away pest. In codependency of bacteria which lives in the worms bodies, they are actively searching for and killing larvae in the soil. As the nematodes enter the insects body, bacteria spreads itself within the body, which leads the larva to die. This way the nematode uses the dead larva to reproduce themself.<br/> <ref name="WikipediaNematodes">https://en.wikipedia.org/wiki/Nematode</ref> <ref name="YT_MDRnematodes">https://www.youtube.com/watch?v=SN5VxSGSU5A</ref><br />
<br />
:;''What do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. Additionally, they don't like direct sunlight and should be kept in humid media. According to the company e-nema nematodes should not stay in too wet conditions as they can't swim. <br/> <ref name="YT_enemaManual">https://www.youtube.com/watch?v=d2WVoF-Utxs</ref><br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119674
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T12:35:56Z
<p>Tubo6728: /* 1. BRAINSTORMING */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::Nematodes, also known as roundworms, are a diverse animal phylum inhabiting a broad range of humid environments. There are around 20000 species, each of them adapted to the survival requirements of their surrounding.<br/>The nematode "heterohabditis bacteriophora" is known as a useful parasite that helps gardeners to keep away pest. In codependency of bacteria which lives in the worms bodies, they are actively searching for and killing larvae in the soil. As the nematodes enter the insects body, bacteria spreads itself within the body, which leads the larva to die. This way the nematode uses the dead larva to reproduce themself.<br />
<ref name="WikipediaNematodes">https://en.wikipedia.org/wiki/Nematode</ref> <ref name="YT_MDRnematodes">https://www.youtube.com/watch?v=SN5VxSGSU5A</ref><br />
<br />
:;''What do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. Additionally, they don't like direct sunlight and should be kept in humid media. According to the company e-nema nematodes should not stay in too wet conditions as they can't swim.<br />
<ref name="YT_enemaManual">https://www.youtube.com/watch?v=d2WVoF-Utxs</ref><br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119673
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T12:35:34Z
<p>Tubo6728: </p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::Nematodes, also known as roundworms, are a diverse animal phylum inhabiting a broad range of humid environments. There are around 20000 species, each of them adapted to the survival requirements of their surrounding.<br/><br />
The nematode "heterohabditis bacteriophora" is known as a useful parasite that helps gardeners to keep away pest. In codependency of bacteria which lives in the worms bodies, they are actively searching for and killing larvae in the soil. As the nematodes enter the insects body, bacteria spreads itself within the body, which leads the larva to die. This way the nematode uses the dead larva to reproduce themself.<br />
<ref name="WikipediaNematodes">https://en.wikipedia.org/wiki/Nematode</ref> <ref name="YT_MDRnematodes">https://www.youtube.com/watch?v=SN5VxSGSU5A</ref><br />
<br />
:;''What do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. Additionally, they don't like direct sunlight and should be kept in humid media. According to the company e-nema nematodes should not stay in too wet conditions as they can't swim.<br />
<ref name="YT_enemaManual">https://www.youtube.com/watch?v=d2WVoF-Utxs</ref><br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119672
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T12:34:55Z
<p>Tubo6728: /* QUESTIONS */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::Nematodes, also known as roundworms, are a diverse animal phylum inhabiting a broad range of humid environments. There are around 20000 species, each of them adapted to the survival requirements of their surrounding. They <br />
The nematode "heterohabditis bacteriophora" is known as a useful parasite that helps gardeners to keep away pest. In codependency of bacteria which lives in the worms bodies, they are actively searching for and killing larvae in the soil. As the nematodes enter the insects body, bacteria spreads itself within the body, which leads the larva to die. This way the nematode uses the dead larva to reproduce themself.<br />
<ref name="WikipediaNematodes">https://en.wikipedia.org/wiki/Nematode</ref> <ref name="YT_MDRnematodes">https://www.youtube.com/watch?v=SN5VxSGSU5A</ref><br />
<br />
:;''What do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. Additionally, they don't like direct sunlight and should be kept in humid media. According to the company e-nema nematodes should not stay in too wet conditions as they can't swim.<br />
<ref name="YT_enemaManual">https://www.youtube.com/watch?v=d2WVoF-Utxs</ref><br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119671
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T12:11:02Z
<p>Tubo6728: /* QUESTIONS */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::Nematodes, also known as roundworms, are a diverse animal phylum inhabiting a broad range of environments. There are around 20000 species, each of them adapted to the survival requirements of their surrounding. They actively search for insects in the soil. <ref name="WikipediaNematodes">https://en.wikipedia.org/wiki/Nematode</ref> <ref name="YT_MDRnematodes">https://www.youtube.com/watch?v=SN5VxSGSU5A</ref><br />
<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119670
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T12:09:28Z
<p>Tubo6728: </p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::Nematodes, also known as roundworms, are a diverse animal phylum inhabiting a broad range of environments. There are around 20000 species, each of them adapted to the survival requirements of their surrounding. They actively search for insects in the soil. <ref name="WikipediaNematodes">https://en.wikipedia.org/wiki/Nematode</ref><br />
<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119669
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T12:08:34Z
<p>Tubo6728: /* QUESTIONS */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::Nematodes, also known as roundworms, are a diverse animal phylum inhabiting a broad range of environments. There are around 20000 species, each of them adapted to the survival requirements of their surrounding. <ref name="WikipediaNematodes">https://en.wikipedia.org/wiki/Nematode</ref> They actively search for insects in the soil.<br />
<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119668
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T12:07:52Z
<p>Tubo6728: </p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::Nematodes, also known as roundworms, are a diverse animal phylum inhabiting a broad range of environments. There are around 20000 species, each of them adapted to the survival requirements of their surrounding. <ref name="WikipediaNematodes">https://en.wikipedia.org/wiki/Nematode</ref>They actively search for insects in the soil.<br />
<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119667
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T12:04:30Z
<p>Tubo6728: /* QUESTIONS */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::Nematodes, also known as roundworms, are a diverse animal phylum inhabiting a broad range of environments. There are around 20000 species, each of them adapted to the survival requirements of their surrounding. They actively search for insects in the soil.<br />
<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119665
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T11:55:25Z
<p>Tubo6728: /* QUESTIONS */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes, especially heterohabditis bacteriophora?''<br/><br />
::They actively search for insects in the soil.<br />
<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119664
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T11:54:43Z
<p>Tubo6728: /* QUESTIONS */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''What are nematodes?''<br/><br />
::They actively search for insects in the soil.<br />
<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119663
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T11:53:58Z
<p>Tubo6728: /* QUESTIONS */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''How do they live?''<br/><br />
::They actively search for insects in the soil.<br />
<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119662
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T11:52:45Z
<p>Tubo6728: /* 1. BRAINSTORMING */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
<br />
:;''What exactly are they eating?''<br/><br />
<br />
:;''How do they live?''<br/><br />
::They actively search for insects in the soil.<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119661
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T11:51:19Z
<p>Tubo6728: /* QUESTIONS */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
:;What exactly are they eating?<br/><br />
:;''How do they live?''<br/><br />
::They actively search for insects in the soil.<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119660
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T11:49:54Z
<p>Tubo6728: /* 1. BRAINSTORMING */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
:What exactly are they eating?<br/><br />
:;''How do they live?''<br/><br />
::They actively search for insects in the soil.<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119659
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T11:49:06Z
<p>Tubo6728: /* QUESTIONS */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
:What exactly are they eating?<br/><br />
:''How do they live?''<br/><br />
::They actively search for insects in the soil.<br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=119658
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-12-10T11:45:44Z
<p>Tubo6728: /* QUESTIONS */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
:What exactly are they eating?<br/><br />
:How do they live?<br/><br />
:How are they cultivated?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=118997
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-11-26T14:45:23Z
<p>Tubo6728: /* RESEARCH */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
:What exactly are they eating?<br/><br />
:How do they live?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that'' modified Wouts medium ''and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=118996
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-11-26T14:44:43Z
<p>Tubo6728: /* RESEARCH */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
:What exactly are they eating?<br/><br />
:How do they live?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that '''modified Wouts medium''' and '''nutrient agar medium-I''' multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=118987
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-11-26T14:32:56Z
<p>Tubo6728: </p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
:What exactly are they eating?<br/><br />
:How do they live?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that modified Wouts medium and nutrient agar medium-I multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref name="EvaluationOfDifferentMedia">https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr." <ref name="EvaluationOfDifferentMedia"/><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=118986
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-11-26T14:26:23Z
<p>Tubo6728: /* RESEARCH */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
:What exactly are they eating?<br/><br />
:How do they live?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that modified Wouts medium and nutrient agar medium-I multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <br />
<br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr."<ref>https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=118985
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-11-26T14:25:58Z
<p>Tubo6728: </p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
:What exactly are they eating?<br/><br />
:How do they live?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that modified Wouts medium and nutrient agar medium-I multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <br/><br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr."<ref>https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=118984
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-11-26T14:25:33Z
<p>Tubo6728: /* RESEARCH */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
:What exactly are they eating?<br/><br />
:How do they live?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that modified Wouts medium and nutrient agar medium-I multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" </br><br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr."<ref>https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=118983
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-11-26T14:24:52Z
<p>Tubo6728: /* RESEARCH */</p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
:What exactly are they eating?<br/><br />
:How do they live?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that modified Wouts medium and nutrient agar medium-I multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr."<ref>https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728
https://www.uni-weimar.de/kunst-und-gestaltung/wiki/index.php?title=GMU:Flagelates,_Nematodes,_and_I/Nina_Bendix_Igleses&diff=118982
GMU:Flagelates, Nematodes, and I/Nina Bendix Igleses
2020-11-26T14:23:48Z
<p>Tubo6728: </p>
<hr />
<div>==THE ORGANISM==<br />
:heterorhabditis bacteriophora<br />
<br />
==1. BRAINSTORMING==<br />
<br />
==== '''QUESTIONS''' ====<br />
:;''Which temperatures do nematodes need?''<br />
::Nematodes need temperatures at 12°C and higher to be in an active state. If temperatures are temporarily decreasing they get into an inaktiv mode. <br />
:What exactly are they eating?<br/><br />
:How do they live?<br/><br />
:How long do they live?<br/><br />
:What length are they able to become?<br/><br />
:Do they make any noise?<br/><br />
:Do the react to vibration?<br/><br />
:Do they react to acoustic noise?<br/><br />
:When put in one place, how are they spreading?<br/><br />
:Do they leave tunnel marks?<br/><br />
:Do they leave any visible marks?<br/><br />
:Are there indicators for the toxin they are using to eat larva?<br/><br />
:What senses do they have?<br/><br />
<br />
===='''RESEARCH'''====<br />
:"''Results showed that modified Wouts medium and nutrient agar medium-I multiplied significantly higher numbers of 39.02 - 39.14 lakh IJs of H.. bacteriophora strain KKMH1 per 250 ml flask.''" <ref>https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
:''"These nematodes are characterized by their ability to carry specific pathogenic bacteria, Photorhabdus with Heterorhabditidae [...]which are released into the insect haemocoel after penetration of the insect hosts by the infective stage of the nematodes. Most biocontrol agents require days or weeks to kill the pest, but entomopathogenic nematodes with their symbiotic bacteria kill insects in 24-48 hr."<ref>https://www.uni-weimar.de/kunst-und-gestaltung/wiki/File:2020-11-05_10.28.03.pdf</ref><br />
<br />
==== '''PROJECT IDEAS''' ====<br />
:Photographic<br />
::* Scan a "nematode world" (Colours, tracks, frozen postitions,..)<br/><br />
:Acoustic<br />
::* make sound out of nematodes movements<br />
<br />
----<br />
==2. PREPARATION==<br />
----<br />
==3. REALIZATION==<br />
----<br />
==4. RESULTION==<br />
----<br />
==References==</div>
Tubo6728