Medien Wiki - User contributions [en]

Vivi Morais

2024-06-12T12:29:06Z

Vivi Morais:

Vivi Morais

2024-06-12T12:26:44Z

Vivi Morais:

File:Sketch 01.png

2024-06-12T12:24:40Z

Vivi Morais:

Tools/processes to explore touch in different levels

File:Sketch01.pdf

2024-06-12T12:18:18Z

Vivi Morais:

Some sketches of ways to explore levels of touch

Vivi Morais

2024-06-12T11:59:00Z

Vivi Morais: /* MAPS AND TERRITORIES */

== EMBODIMENT TOOLKIT ==

Exercise I: Chain of Sorrow
[[File:Chain of Sorrow.png|left|thumb|736x736px|A draft with first impressions about the "sorry" moveExercise I: Chain of Sorrow]]

Vivi Morais

2024-06-12T11:48:36Z

Vivi Morais: /* An amusement park/recreational politics */

== EMBODIMENT TOOLKIT ==

Exercise I: Chain of Sorrow
[[File:Chain of Sorrow.png|left|thumb|736x736px|A draft with first impressions about the "sorry" moveExercise I: Chain of Sorrow]]

///////////////

== '''MAPS AND TERRITORIES''' ==

'''The WonderCerradoLand''' is a series of artworks focusing on the theme of Brazilian Cerrado, aiming to provoke environmental and social awareness, using the Cerrado biome as a nourishing soil for this discussion.

“The WonderCerradoLand: harvest with us!” is an installation that aims to create an immersive space where the public can experience the uncomfortable stages of exploitation that the Brazilian soil and culture has been facing since the Portuguese invasion.

'''The experience'''

''To see''

First, a visual exploitation coming from the long-term colonization that led to a exoticizing gaze towards our everyday Brazilian lives.

''To feel''

Then, the land exploitation that broke our sense of belonging to earth and it’s now being represented by devastation and monoculture.

''To act''

In the end, the visitors find themselves in the role of tourists, getting three options after the “amusement”:

1. “Buy” the souvenir of this experience: the traditional contemporary Brazilian good (soy or sugar cane)

2. Take an action and send a postcard to someone that was not able to visit the installation. The postcard will contain a link for those who want to learn about Cerrado.

3. Ignore and leave unnoticed

'''References'''

The piece is inspired in amusement parks experiences, where one usually has the first contact with the toy during the line, where an introduction video or audio is shown, followed by the actual “ride”. In the end, the public is led to a merch spot related to the presented characters.

'''Bibliography'''

Bourdieu, Pierre. ''Distinction''. 1984.

Hersh, Eitan. ''Politics Is for Power''. Scribner, 2020.

Vivi Morais

2024-05-22T21:26:11Z

Vivi Morais:

== EMBODIMENT TOOLKIT ==

Exercise I: Chain of Sorrow
[[File:Chain of Sorrow.png|left|thumb|736x736px|A draft with first impressions about the "sorry" move]]

///////////////

'''The WonderCerradoLand''' is a series of artworks focusing on the theme of Brazilian Cerrado, aiming to provoke environmental and social awareness, using the Cerrado biome as a nourishing soil for this discussion.

== '''An amusement park/recreational politics''' ==

“The WonderCerradoLand: harvest with us!” is an installation that aims to create an immersive space where the public can experience the uncomfortable stages of exploitation that the Brazilian soil and culture has been facing since the Portuguese invasion.

'''The experience'''

''To see''

First, a visual exploitation coming from the long-term colonization that led to a exoticizing gaze towards our everyday Brazilian lives.

''To feel''

Then, the land exploitation that broke our sense of belonging to earth and it’s now being represented by devastation and monoculture.

''To act''

In the end, the visitors find themselves in the role of tourists, getting three options after the “amusement”:

1. “Buy” the souvenir of this experience: the traditional contemporary Brazilian good (soy or sugar cane)

2. Take an action and send a postcard to someone that was not able to visit the installation. The postcard will contain a link for those who want to learn about Cerrado.

3. Ignore and leave unnoticed

'''References'''

The piece is inspired in amusement parks experiences, where one usually has the first contact with the toy during the line, where an introduction video or audio is shown, followed by the actual “ride”. In the end, the public is led to a merch spot related to the presented characters.

'''Bibliography'''

Bourdieu, Pierre. ''Distinction''. 1984.

Hersh, Eitan. ''Politics Is for Power''. Scribner, 2020.

Vivi Morais

2024-05-22T21:25:55Z

Vivi Morais:

File:Chain of Sorrow.png

2024-05-15T15:25:11Z

Vivi Morais:

Systematising my guilt

File:Chain of sorrow.png

2024-05-15T15:23:48Z

Vivi Morais:

Systematising "Sorry"s

GMU:Embodiment Toolkit

2024-05-15T15:05:13Z

Vivi Morais:

[[:Category:Fachmodul|Werk/Fachmodul]]

''Lecturer:'' [[Christian Doeller]]

''Credits:'' 6 [[ECTS]], 4 [[SWS]]

''Times:'' Thursday 13:30 - 16:30

''Venue:'' Digital Bauhaus Lab, Performance Platform

''First meeting:'' April 18, 13:30

[[File:EmbodimentToolkit-header.jpg|thumb|1081x1081px]]

Description:

How can we physically immerse ourselves in the non-human protagonists in our environment? How can we approach otherness and develop empathy, what tools do we need and what can we learn about ourselves in the process?

The seminar "Embodiment Toolkit" is an immersive experiment in which we ourselves become the test objects: we re-enact the role of the Other. The goals of our performative research process are a change of perspective and the exploration of new spaces of experience.

Our starting point are non-human beings, things and technologies from our everyday environment. We explore different speculative strategies to closely observe, describe and systematically analyze these role models. Ultimately, we translate our assumptions into simple guidelines for performative exercises and role plays, which we carry out and evaluate together in the group. We either only act within the limits of our own physiological capabilities or with the help of interactive tools from the world of DIY electronics.

Our weekly meetings mainly consist of performative experiments outside the seminar room; here we attempt to swap roles, and test, document and discuss our ideas and prototypes. On the other hand, we engage with related artistic and theoretical positions. We will get in touch with individual ideas and approaches, for example from the fields of systems theory, embodiment, media- and performance art. The course ultimately aims at the independent conception of interactive performative exercises, which will be carried out together with visitors during the upcoming Summaery exhibition.

This course is open to programming enthusiasts, system thinkers, data collectors and anyone who likes to move, observe, be outdoors and create something together. You do not need to be a performer or extrovert to participate. Requirements for participation: Regular attendance, short presentation on a topic of your choice, conception of a performative exercise, upload of documentation to the GMU media wiki. Open to all disciplines and semesters, no prior knowledge necessary.

Registration by Sunday (April 7) via e-mail, subject "Embodiment Toolkit", with a short letter of motivation (3-4 sentences) to christian.doeller@uni-weimar.de.

Embodiment Toolkit:

Meeting #1<gallery>
File:Toolkit-screenshot.jpg
File:Embodiment-screenshot.jpg
</gallery>Participants:
*YOUR NAME HERE
*[[Maxi Götz]]
*[[JAn Munske]]
*[[Vivi Morais]]
*

Schedule:

April 18, 13:30 – 16:30
:- first meeting @ DBL - Digital Bauhaus Lab

Topics:
*strategies of observation
**experience and human perception as data collection processes
**build your own world by setting a frame
*strategies of analysis
**formalizing processes, dependencies, relationships in our environment
**is everything part of a larger system?
**flow charts, diagrams, schemas as choreography
**pattern recognition and chaos
*strategies of transformation
**building on the above to design simple sets of rules for performative exercises
**algorithmic behavior and human identity
*interactive settings + power relations
*the audience + participation
*iterative learning + design processes
*what is a toolkit and what does it need?

Artists:
*John Cage
*Xavier Le Roy
*Pauline Oliveros
*Jennifer Gabrys
*William Forsythe
*Marina Abramovic
*AND Lab
*Mark Lombardi
*Esther Hovers
*Bambi van Balen
*Anna Oppermann
*Adelheid Mers
*La Monte Young
*Bruce Naumann
*Trisha Brown
*Tino Sehgal

extended: Nadine Fecht, Helio Oiticica, Lygia Clark, Nise da Silveira, Abraham Palatinik, Arthur Bispo do Rosário, Castiel Vitorino Brasiliero

Literature:
*Erika Fischer Lichte: ''The Transformative Power of Performance''
*Donella Meadows''':''' ''Thinking in Systems. A Primer''
*Ludwig von Bertalaffny: ''General Systems Theory''
*Bruno Latour: ''An Introduction to Actor Network Theory''
*W. Ross Ashby: ''An Introduction to Cybernetics''
*Valentino Breitenberg: ''Vehicles: Experiments in synthetic psychology''
*Donna Haraway: ''Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective''

General References:
*Obsidian
*KNN
*Move Bank (MPI)
*Predator-Prey Equations
*State Machines
*Brownian Motion
*Flocking Simulations
*Swarm Robotics

Language & skill level:
*The module will be held in English, unless all participants are speaking German.
*No prior knowledge is required.
*You do not need to be a performer or an extrovert to participate in this course ;)

Criteria for passing:
*be on time, attend the classes, be active
*present a topic of your choice
*develop a prototype for a collective performance
*document your work and contribute to the Embodiment Toolkit

GMU:Embodiment Toolkit

2024-05-15T15:04:04Z

Vivi Morais:

[[:Category:Fachmodul|Werk/Fachmodul]]

''Lecturer:'' [[Christian Doeller]]

''Credits:'' 6 [[ECTS]], 4 [[SWS]]

''Times:'' Thursday 13:30 - 16:30

''Venue:'' Digital Bauhaus Lab, Performance Platform

''First meeting:'' April 18, 13:30

[[File:EmbodimentToolkit-header.jpg|thumb|1081x1081px]]

Description:

How can we physically immerse ourselves in the non-human protagonists in our environment? How can we approach otherness and develop empathy, what tools do we need and what can we learn about ourselves in the process?

The seminar "Embodiment Toolkit" is an immersive experiment in which we ourselves become the test objects: we re-enact the role of the Other. The goals of our performative research process are a change of perspective and the exploration of new spaces of experience.

Our starting point are non-human beings, things and technologies from our everyday environment. We explore different speculative strategies to closely observe, describe and systematically analyze these role models. Ultimately, we translate our assumptions into simple guidelines for performative exercises and role plays, which we carry out and evaluate together in the group. We either only act within the limits of our own physiological capabilities or with the help of interactive tools from the world of DIY electronics.

Our weekly meetings mainly consist of performative experiments outside the seminar room; here we attempt to swap roles, and test, document and discuss our ideas and prototypes. On the other hand, we engage with related artistic and theoretical positions. We will get in touch with individual ideas and approaches, for example from the fields of systems theory, embodiment, media- and performance art. The course ultimately aims at the independent conception of interactive performative exercises, which will be carried out together with visitors during the upcoming Summaery exhibition.

This course is open to programming enthusiasts, system thinkers, data collectors and anyone who likes to move, observe, be outdoors and create something together. You do not need to be a performer or extrovert to participate. Requirements for participation: Regular attendance, short presentation on a topic of your choice, conception of a performative exercise, upload of documentation to the GMU media wiki. Open to all disciplines and semesters, no prior knowledge necessary.

Registration by Sunday (April 7) via e-mail, subject "Embodiment Toolkit", with a short letter of motivation (3-4 sentences) to christian.doeller@uni-weimar.de.

Embodiment Toolkit:

Meeting #1<gallery>
File:Toolkit-screenshot.jpg
File:Embodiment-screenshot.jpg
</gallery>Participants:
*YOUR NAME HERE
*[[Maxi Götz]]
*[[JAn Munske]]
*Vivi Morais
*

Schedule:

April 18, 13:30 – 16:30
:- first meeting @ DBL - Digital Bauhaus Lab

Topics:
*strategies of observation
**experience and human perception as data collection processes
**build your own world by setting a frame
*strategies of analysis
**formalizing processes, dependencies, relationships in our environment
**is everything part of a larger system?
**flow charts, diagrams, schemas as choreography
**pattern recognition and chaos
*strategies of transformation
**building on the above to design simple sets of rules for performative exercises
**algorithmic behavior and human identity
*interactive settings + power relations
*the audience + participation
*iterative learning + design processes
*what is a toolkit and what does it need?

Artists:
*John Cage
*Xavier Le Roy
*Pauline Oliveros
*Jennifer Gabrys
*William Forsythe
*Marina Abramovic
*AND Lab
*Mark Lombardi
*Esther Hovers
*Bambi van Balen
*Anna Oppermann
*Adelheid Mers
*La Monte Young
*Bruce Naumann
*Trisha Brown
*Tino Sehgal

extended: Nadine Fecht, Helio Oiticica, Lygia Clark, Nise da Silveira, Abraham Palatinik, Arthur Bispo do Rosário, Castiel Vitorino Brasiliero

Literature:
*Erika Fischer Lichte: ''The Transformative Power of Performance''
*Donella Meadows''':''' ''Thinking in Systems. A Primer''
*Ludwig von Bertalaffny: ''General Systems Theory''
*Bruno Latour: ''An Introduction to Actor Network Theory''
*W. Ross Ashby: ''An Introduction to Cybernetics''
*Valentino Breitenberg: ''Vehicles: Experiments in synthetic psychology''
*Donna Haraway: ''Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective''

General References:
*Obsidian
*KNN
*Move Bank (MPI)
*Predator-Prey Equations
*State Machines
*Brownian Motion
*Flocking Simulations
*Swarm Robotics

Language & skill level:
*The module will be held in English, unless all participants are speaking German.
*No prior knowledge is required.
*You do not need to be a performer or an extrovert to participate in this course ;)

Criteria for passing:
*be on time, attend the classes, be active
*present a topic of your choice
*develop a prototype for a collective performance
*document your work and contribute to the Embodiment Toolkit

GMU:Colloquium

2023-11-15T08:28:45Z

Vivi Morais:

Here are the thesis projects from Bachelor, Master, and PhD students in summer semester 23

we are meeting at room 204, Marienstrasse 5. Hybrid participation is possible.

*[[/Isabella Lee Aturo/]]
* [[Dasa Geiger]]
*[[Rico Graupner/]]
*[[/Jörg Brinkmann/]]
*[[/Gabriel Moses/]]
*[[/Vaclav Harsa/]]
*[[/Quan Zhou/]]
*[[Valeria Shakhova]]
*[[Belcim Yavuz]]
*[[Ruo Jin Yen]]
*[[Fei Xie]]
*[[Ruo-Jin Yen]]
*[[Mint_Chanitnanth]]
*[[Vivi Morais]]
*[[Eirini]]
*[[Ulas Yener]]
*Francis Kamprath
*Martin Müller
*Victoria Mikhailova
*Yavor Minchev

== Presentation Timetable ==

{| class="wikitable"
|-
| '''Week'''
| '''Date'''
| '''Presenter'''
|-
| 1
| 18. October
| N.N.
|-
| 2
|25. October
| N.N.
|-
| 3
| 01. November
| N.N.
|-
| 4
|08. Novmeber
| Yavor Minchev, Jemma Woolmore
|-
|5
|15. Novmeber
| Dasa Geiger, Victoria Mikhaylova
|-
|6
|22. November
| Eirini Kokkinidou
|-
| 7
|29. November
| Valeriia Shakhova
|-
|8
| 06.Dezember
| Martin Müller
|-
|9
| 13. Dezember
| Belcim Yavuz
|-
| 10
|20. Dezember
| Viviane Morais Dantas
|-
|11
|03. Januar
|N.N.
|-
|12
|10. Januar
|Retreat
|-
|13
|17. Januar
|Eirini Kokkinidou, Victoria Mikhaylova
|-
|14
|24. Januar
|Viviane Morais Dantas, Belcim yavuz
|-
|15
|31. Januar
|Yavor Minchev
|}
[[Category:WS23]]

Vivi Morais

2023-11-07T05:16:17Z

Vivi Morais: Created page with " '''The WonderCerradoLand''' is a series of artworks focusing on the theme of Brazilian Cerrado, aiming to provoke environmental and social awareness, using the Cerrado biome as a nourishing soil for this discussion. == '''An amusement park/recreational politics''' == “The WonderCerradoLand: harvest with us!” is an installation that aims to create an immersive space where the public can experience the uncomfortable stages of exploitation that the Brazilian soil a..."

'''The WonderCerradoLand''' is a series of artworks focusing on the theme of Brazilian Cerrado, aiming to provoke environmental and social awareness, using the Cerrado biome as a nourishing soil for this discussion.

== '''An amusement park/recreational politics''' ==

“The WonderCerradoLand: harvest with us!” is an installation that aims to create an immersive space where the public can experience the uncomfortable stages of exploitation that the Brazilian soil and culture has been facing since the Portuguese invasion.

'''The experience'''

''To see''

First, a visual exploitation coming from the long-term colonization that led to a exoticizing gaze towards our everyday Brazilian lives.

''To feel''

Then, the land exploitation that broke our sense of belonging to earth and it’s now being represented by devastation and monoculture.

''To act''

In the end, the visitors find themselves in the role of tourists, getting three options after the “amusement”:

1. “Buy” the souvenir of this experience: the traditional contemporary Brazilian good (soy or sugar cane)

2. Take an action and send a postcard to someone that was not able to visit the installation. The postcard will contain a link for those who want to learn about Cerrado.

3. Ignore and leave unnoticed

'''References'''

The piece is inspired in amusement parks experiences, where one usually has the first contact with the toy during the line, where an introduction video or audio is shown, followed by the actual “ride”. In the end, the public is led to a merch spot related to the presented characters.

'''Bibliography'''

Bourdieu, Pierre. ''Distinction''. 1984.

Hersh, Eitan. ''Politics Is for Power''. Scribner, 2020.

GMU:Colloquium

2023-11-07T05:15:59Z

Vivi Morais:

Here are the thesis projects from Bachelor, Master, and PhD students in summer semester 23

*[[/Isabella Lee Aturo/]]
* [[Dasa Geiger]]
*[[Rico Graupner/]]
*[[/Jörg Brinkmann/]]
*[[/Gabriel Moses/]]
*[[/Vaclav Harsa/]]
*[[/Quan Zhou/]]
*[[Valeria Shakhova]]
*[[Belcim Yavuz]]
*[[Ruo Jin Yen]]
*[[Fei Xie]]
*[[Ruo-Jin Yen]]
*[[Mint_Chanitnanth]]
*[[Vivi Morais]]
*[[Eirini]]
*[[Ulas Yener]]
*Francis Kamprath
*Martin Müller
*Victoria Mikhailova
*Yavor Minchev

== Attendance Timetable ==

{| class="wikitable"
|-
| '''Week'''
| '''Date'''
| '''Presenter'''
|-
| 1
| 18. October
| N.N.
|-
| 2
|25. October
| N.N.
|-
| 3
| 01. November
| N.N.
|-
| 4
|08. Novmeber
| Yavor Minchev
|-
|5
|15. Novmeber
| Dasa Geiger
|-
|6
|22. November
| Eirini Kokkinidou
|-
| 7
|29. November
| Valeriia Shakhova
|-
|8
| 06.Dezember
| Martin Müller
|-
|9
| 13. Dezember
| Belcim Yavuz
|-
| 10
|20. Dezember
| N.N.
|-
|11
|03. Januar
|N.N.
|-
|12
|10. Januar
|N.N.
|-
|13
|17. Januar
|Eirini Kokkinidou
|-
|14
|24. Januar
|Viviane Morais Dantas
|-
|15
|31. Januar
|Yavor Minchev
|}
[[Category:WS23]]

GMU:Beings and Machines

2023-11-07T04:57:07Z

Vivi Morais:

[[File:Beings and Machines.jpg|thumb|608x608px]]
The project module introduces into media that moderate the living and the digital. We look into environments in their diverse natures, and how various actors live in them, network and relate to each other. The aim is to develop interfaces, methods and practices that enable such communication between different actors. The project addresses both questions of craftsmanship in the use of sensors as well as the performative use of media as an enactment of a writing of history and culture of technologies. In the end, our physicality is and remains the central point of orientation and the measure of reference and evaluation. Subjectivity - experienced as artistic expression - remains an essential measure for artefacts in the making. But addressing the subjectivity of the other person also means taking their interests into account and planning for them.

On this basis we want to thematize ideological questions that arise from the narratives of performance with media and how these can be brought into a non-violent relation and strategy to and in the present.

The project expects participants to conceive and elaborate a self-defined work, but also offers numerous literature and digressions on the topic.

Students are expected to be able and willing to work in a self-organized manner and to actively engage in the discourses of the module.

A prerequisite is prior enrollment in a specialized module with the co-workers of GMU or the Interface Design Professorship.

An accompanying course of the modules of the professorship is recommended.

====== Syllabus ======
'''each Monday we have lecture time at DBL at 15.15'''
# 10.10.2023: Informal meeting for coffee...
# 17.10.2023: First official meeting, introduction, Topics, lecture
# 24.10.2023: Your short presentations (recent works, plans for the semester)
# 31.10.2023: Holiday, no meeting
# 07.11.2023: '''You should present your concept and a workplan for the semester!'''
# 14.11.2023: Start with your lectures related to your topic
# 21.11.2023
# 28.11.2023
# 05.12.2023: '''Midterm Presentations'''
# 12.12.2023
# 19.12.2023
# 08.01.2024-11.01: class in Siegmundsburg: Excursion to Siegmundsburg and Jena with Dr. Klaus Fritze
# 16.01.2024
# 23.01.2024
# 30.01.2024
# 06.02.2024: Final presentation

====== Artworks in presentations related to the course ======

-> Moodle!

====== Drawing examples for concepts ======

* https://www.gansterer.org/
* https://www.adelheidmers.org/
* https://www.suzannetreister.net/
* https://www.tomasschmit.com/
* Carthographies of Time: A History of the Timeline ISBN 9781568987637
* Birgit Schneider, Christoph Ernst, Jan Wöpking: Diagrammatik-Reader; Grundlegende Texte aus Theorie und Geschichte ISBN 9783110380309
======Materials======

*[https://monoskop.org/log/?p=567 W. Ross Ashby: Design for a Brain]
*[https://monoskop.org/log/?p=506 Stafford Beer: Designing Freedom]
*[https://www.youtube.com/watch?v=cymMEKrKoh0 Katherine Hayles on Cybernetics]
*James Bridle: Ways of Being ISBN 9780141994260
*[https://peterasaro.org/writing/Asaro_Dissertation.pdf Peter Asaro: On the Origins of the Synthetic Mind: Working Models, Mechanisms, and Simulations] [https://journals.univie.ac.at/index.php/oezg/article/view/3917/3664 german version]
*Donna Haraway: Staying with the Trouble. Making Kin in the Chthulucene <nowiki>ISBN 978-0822362241</nowiki>
*Lynn Margulis: Symbiotic Planet: A New Look At Evolution ISBN 978-0465072729
*[https://www.hausderkunst.de/en/eintauchen/inside-other-spaces-environments Inside Other Spaces. Environments by Women Artists 1956 – 1976]
*[https://georgtrogemann.de/wp-content/uploads/2021/04/CodeArt-first-chapter.pdf Georg Trogemann, Code@Art first chapter]
*[https://mitp-arch.mitpress.mit.edu/the-architecture-machine The Architecture Machine]
*[https://www.google.com/search?q=turtle+robotics+walter+grey&client=firefox-b-d&sca_esv=567971749&ei=EfsPZarHI7TAlAafxb24DA&ved=0ahUKEwjqk4TG8cKBAxU0IMUKHZ9iD8cQ4dUDCA8&uact=5&oq=turtle+robotics+walter+grey&gs_lp=Egxnd3Mtd2l6LXNlcnAiG3R1cnRsZSByb2JvdGljcyB3YWx0ZXIgZ3JleTIFECEYoAEyBRAhGKABMgUQIRigATIIECEYFhgeGB1IxmxQuA1Y3GFwAXgBkAEAmAGLAaAB4gmqAQQxMy4yuAEDyAEA-AEBwgIKEAAYRxjWBBiwA8ICChAuGIoFGLADGEPCAgoQABiKBRiwAxhDwgIHEAAYExiABMICCBAAGBYYHhgTwgIKEAAYFhgeGBMYCsICBxAAGA0YgATCAgYQABgeGA3CAgYQABgWGB7CAgoQABgWGB4YDxgTwgIFEAAYogTiAwQYACBBiAYBkAYK&sclient=gws-wiz-serp#fpstate=ive&vld=cid:085b936b,vid:lLULRlmXkKo,st:0 Turtles by William Grey Walter]

======Recommended Artists======

*[http://adamwbrown.net/ Adam Brown]
*[http://heavythinking.org/ Verena Friedrich]
*[http://www.agnes-meyer-brandis.de/ Agnes Meyer-Brandis] [[http://www.blubblubb.net/OneTreeID/index.html One Tree ID]], [[http://www.blubblubb.net/mga/index.html The Moon Goose Analogue]] and others...
*[https://www.adachitomomi.com/ Tomomi Adachi]
*[https://niklasroy.com/ Niklas Roy] [[https://niklasroy.com/20windmills/ Windmills]]
*[https://www.felipecastelblanco.com/ Felipe Castelblanco] [[https://vimeo.com/782667500/fb0ccecdb8 Video Reporte por Ñambi Rimai Colectivo de Medios: Quemas de Páramo en el Pueblo Quillacinga]], [[https://vimeo.com/715583135 La Jungla Amazónica]]
*[https://geobodies.org/ Ursula Biemann]
*[https://www.theartstory.org/artist/clark-lygia/ Lygia Clark]
*[https://jennasutela.com/ Jenna Sutela]
*[https://hyungkoolee.com Hyungkoo Lee]
*[https://robertina.net/ Robertina Sebjanic] [[https://robertina.net/aurelia-1hz-proto-viva-sonification/ Aurelia 1-Hz]]
*[https://vimeo.com/neozoon Neozoon], [[https://vimeo.com/61511109 My BBY 8L3W] ]
* William Forsythe [https://synchronousobjects.osu.edu/<nowiki>]</nowiki>
* [http://iasl.uni-muenchen.de/links/GCA-III.2e.html Thomas Drehers Website on Computer Art]

====== Participants ======
*[[User:Mojjo|Mojjo]]
*[[Stefffen]]
*[[Amy Zimber]]
*[[Betül Peker]]
*[[Mina Boylu]]
*parisa salimi
*Çağdaş Biber
*[[Gift Lalicha Lalitsasivimol]]
*[[Rebecca]]
*[[Sabah Elhadid]]
*[[Amelia]]
*[[rpsr]]
*[[Emil Torp|Emil]]
*[[Vivi Morais]]

GMU:Colloquium

2023-10-14T17:13:36Z

Vivi Morais:

Here are the thesis projects from Bachelor, Master, and PhD students in summer semester 23

*[[/Isabella Lee Aturo/]]
* [[Dasa Geiger]]
*[[Rico Graupner/]]
*[[/Jörg Brinkmann/]]
*[[/Gabriel Moses/]]
*[[/Vaclav Harsa/]]
*[[/Quan Zhou/]]
*[[Valeria Shakhova]]
*[[Belcim Yavuz]]
*[[Ruo Jin Yen]]
*[[Fei Xie]]
*[[Ruo-Jin Yen]]
*[[Mint_Chanitnanth]]
*Viviane Morais Dantas
*[[Eirini]]
*[[Ulas Yener]]
*Francis Kamprath
*Martin Müller
*Victoria Mikhailova
*Yavor Minchev

== Attendance Timetable ==

{| class="wikitable"
|-
| '''Week'''
| '''Date'''
| '''Presenter'''
|-
| 1
| 18. October
| N.N.
|-
| 2
|25. October
| N.N.
|-
| 3
| 01. November
| N.N.
|-
| 4
|08. Novmeber
| Yavor Minchev
|-
|5
|15. Novmeber
| Dasa Geiger
|-
|6
|22. November
| Eirini Kokkinidou
|-
| 7
|29. November
| Valeriia Shakhova
|-
|8
| 06.Dezember
| Martin Müller
|-
|9
| 13. Dezember
| N.N.
|-
| 10
|20. Dezember
| N.N.
|-
|11
|03. Januar
|N.N.
|-
|12
|10. Januar
|N.N.
|-
|13
|17. Januar
|Eirini Kokkinidou
|-
|14
|24. Januar
|Viviane Morais Dantas
|-
|15
|31. Januar
|N.N.
|}
[[Category:WS23]]

GMU:Maps, Territories and Possibility Spaces

2023-05-20T14:18:55Z

Vivi Morais: /* Syllabus - Presentations */

[[File:mapsterritoriespossibilityspaces.jpg|640px]]

''The map is not the territory it represents, but, if correct, it has a similar structure to the territory, which accounts for its usefulness. — Alfred Korzybski, Science and Sanity, p. 58.

Maps and territories contrast two manifestations of space: there are inner mental maps that are subject to the logic of our brain and the functioning of neurons. And there is a territory outside. It shows causalities with which we live and act unquestioned and validate with formulas.
Possibility spaces are a rather new promise. The term comes from mathematics and describes all states of a system, which in our case is described by sensor data and spatial coordinates. The humanities have assigned great power and vision to these spaces: described by Foucault as utopias, virtual spaces are now places of rich life under entirely new conditions.
The project deals with questions of craftsmanship in working with space with the help of sensors as well as with the technological history and constitution of space. In the end, our corporality is and remains the central point of orientation and the measure of reference.
It will also be examined how philosophical questions, which in the end ask how utopias become visions and how these can be brought into a non-violent relation and strategy to and in the present.

The project expects the participants to conceive and elaborate a self-defined work, but also offers numerous literature and excursions on the topic.

Part of the project is a field trip to [http://schieferpark.de/ Schieferpark] /Thüringen as an intensive working retreat in early June (5.6. until 9.6.).
The specialized modules of the professorship are recommended for technical assistance.

----

Karten und Territoren stellen zwei Raummanifestationen gegenüber: da gibt es innere mentale Räume, die der Logik unseres Gehirns und der Funktionsweise der Neuronen unterliegen. Und es gibt ein Territorium draussen, das Kausalitäten aufweist, mit denen wir ungefragt leben und handeln.
Möglichkeitsräume sind ein eher neues Versprechen. Der Term kommt aus der Mathematik und beschreibt alle Zustände eines Systems, das in unserem Fall durch Sensordaten und Raumkoordinaten beschrieben wird. Die Geistesgeschichte weisst diesen Räumen eine große Kraft und Vision zu: von Foucault als Utopien beschrieben, sind virtuelle Räume mittlerweile Orte von reichhaltigem Leben unter ganz neuen Bedingungen.

Im Projekt geht es sowohl um handwerkliche Fragen im Arbeiten mit Raum unter zur Hilfenahme von Sensoren wie auch um die technologische Geschichte und Verfaßtheit von Raum. Dabei ist und bleibt letztendlich unsere Körperlichkeit zentraler Orientierungspunkt und Maßgabe der Referenz.
Es soll auch untersucht werden, wie weltanschauliche Fragestellungen, die letztendlich danach fragen, wie aus Utopien Visionen werden und wie diese in eine gewaltfreie Relation und Strategie zur und in die Gegenwart gebracht werden können.

Das Projekt erwartet von den Teilnehmern die Konzeption und Ausarbeitung eines selbstdefinierten Werkes, bietet aber auch zahlreiche Literatur und Exkurse zum Thema.

Bestandteil des Projektes ist eine Exkursion in den [http://schieferpark.de/ Schieferpark] als intensivem Arbeitsretreat Anfang Juni (5. - 9. Juni).
Empfohlen werden die Fachmodule der Professur zur technischen Hilfestellung.
----
== '''Fach courses''' ==
* [https://playground.uni-weimar.de/coding/ coding]
* outplaying the videogame
* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:AI_beyond_mystification_%E2%80%93_an_introduction_to_the_discussion_on_machine_learning AI beyond mystification]
* Experimental Interaction Environments

== Syllabus - '''Presentations'''==
* 16.05.: N.N.
* 23.05.: Viviane - Cerrado: an introduction
* 30.05.: Zelda - glitch art & reclaiming the fractures Betül Peker Art and 3D Scan (?)
* Retreat
* 13.06.: Simon , Mina _ Utopias(?)
* 20.06.: Luka Friedland _ Virtual tourism and content extraction: Approaching the medium of digital games with more traditional artistic practices. Dahye Seo _ Lyn Margulis
* 27.06.: no course - possibly postponed to 29th
* 04.07.: Torben _ Cybernetics and the idiosyncratic life of systems.
* 11.07.: N.N.

== '''Materials:''' ==

'''Books:'''
* [https://monoskop.org/images/6/65/Bateson_Gregory_Steps_to_an_Ecology_of_Mind_1987.pdf Gregory Bateson: Steps to an Ecology of Mind: Collected Essays in Anthropology, Psychiatry, Evolution, and Epistemology]
* [https://ilam3d.files.wordpress.com/2010/12/alfred-korzybksi-science-and-sanity.pdf Alfred Korzybski: Science and Sanity – An Introduction to Non-Aristotelian Systems and General Semantics]
* Die Heterotopien. Der utopische Körper: Zwei Radiovorträge by Michel Foucault ISBN 978-3518296714
* [https://web.mit.edu/allanmc/www/foucault1.pdf Michel Foucault. Of Other Spaces: Utopias and Heterotopias in english]
* Raumwissenschaften Hg.: Stefan Günzel ISBN 978-3-518-29491-8
* Program Earth by Jennifer Gabrys ISBN 978-0-8166-9314-6
* How to Do Things with Sensors by Jennifer Gabrys ISBN 978-1-5179-0831-7
* Sensing Machines by Chris Salter ISBN 9780262046602
* See yourself Sensing by Madeline Schwartzman ISBN 1907317295
* The Architecture Machine by Nicolas Negroponte ISBN 978-0262640107
* Frederick J. Kieseler: Endless Space ISBN 3-7757-1047-7
* Hans Baumer: Sferics ISBN 9783498004873
* Douglas Davies: Vom Experiment zur Idee. Die Kunst des 20. Jh im Zeichen von Wissenschaft und Technologie ISBN 9783770108114
* Mapping It Out: An Alternative Atlas of Contemporary Cartographies ISBN 978-0500239186
* The Map as Art: Contemporary Artists Explore Cartography ISBN 978-1568989723
* Cartographies of Time: A History of the Timeline ISBN 978-1616890582
* [https://monoskop.org/images/1/1d/Uexkuell_Jakob_von_A_Stroll_Through_the_Worlds_of_Animals_and_Men_A_Picture_Book_of_Invisible_Worlds.pdf Uexkülls Stroll through the worlds of animals and men]
* Georges Canguilhelm Über Maurice Halbwachs - Henning Schmidgen Das Problem der Umwelt ISBN 978-3-7518-9007-6
* [https://www.cddc.vt.edu/sionline/si/report.html Report on the Construction of Situations and on the International Situationist Tendency's Conditions of Organization and Action]
* [https://archive.org/details/micromanlivinggr00pask/mode/2up Microman by Gordon Pask & Susan Curran]

Traditional Artists:

* [https://cdn.contemporaryartlibrary.org/store/doc/2119/docfile/original-310b6e0377ae8266379da151866894a7.pdf Ocean Earth by Peter Weibel and Peter Fend]
* [https://www.dennisaoppenheim.org/ Website Dennis Oppenheim]
* [https://youtu.be/LAhrSiUeP2I Memory Palace Documentation by Janet Cardiff and George Bures Miller]
* [https://youtu.be/UTU5j33hK2o Paul McCarthy @ WhitneyMuseum]
* [https://www.diaart.org/visit/visit-our-locations-sites/walter-de-maria-the-lightning-field Lightning Field by Walter de Maria]
* [https://www.documenta14.de/en/artists/5877/alvin-lucier Alvin Luciers "Sferics" Installation]
* [https://rewana.com/ Ana Rewakowicz]
* [https://www.simonfaithfull.org/ Simon Faithfull]

Digital Artists/Designers/Architects:
* [https://www.angelidakis.com/ Andreas Angelidakis]
* [https://forensic-architecture.org/ Forensic Architecture]
* [https://www.reversibledestiny.org/ Arakawa/Gins]
* [https://ricardodominguez.net/ Ricardo Dominguez]
* [http://courchel.net/ Luc Courchesne], [https://youtu.be/9E4idA6POxM Luc Courchesne on Cyberspace at a TED Talk]
* [https://www.dwbowen.com/ David Bowen]
*[https://vimeo.com/44721227 Gravicells by Mikami/Ichikawa], [https://vimeo.com/56312901 Videodocumentation]
* [https://www.evdh.net/evolving_spark_network/ Edwin von der Heide: Sparks]
* [https://www.lozano-hemmer.com/ Raphael Lozano-Hemmer]
* [https://www.yolandeharris.net/work/satellite-sounders Yolande Harris: Satellite Sounders]
* [https://vimeo.com/7560336 Home of the Brain by Monika Fleischmann]
* [https://www.dattasaurabh.com/Overskopia Overskopia by Saurabh Datta]
* [https://vimeo.com/361612991/40ebed00a5 Gerhard Eckel, VR Artwork from 2000]

== '''Topics for Presentations/Lectures to prepare (by students):''' ==

* on Hans Baumers Sferics
* on Peter Fends Ocean Earth
* Dennis Oppenheims oevre
* Dew Collectors
* Ana Rewakowicz works
* "Video Place" by Myron Krueger
* "The map is not the territory"
* VR as a "map of a territory"
* KI as a new form of map

== '''other Materials:''' ==
* [https://www.postwarcultureatbeinecke.org/guy-debord on Guy Debord in english]
* [https://www.goodreads.com/work/quotes/105796-science-and-sanity-an-introduction-to-non-aristotelian-systems-and-gene Alfred Korzybski, on Science and Sanity: An Introduction to Non-Aristotelian Systems and General Semantics]
* [https://www.menimagerie.com/manuscripts/2018/6/8/the-ill-defined-possibility-space Menimagerie Website]
* [https://de.wikipedia.org/wiki/Sferics Sferics bei Wikipedia]
* [https://en.wikipedia.org/wiki/Ecological_niche Ecological Niche and their spaces]
* [https://kg.ikb.kit.edu/hinterwaldner/downloads/hinterwaldner_ws_18_19/08_art_n_tech_software_burnham_01online.pdf Materials from Inge Hinterwaldner Art & Technology Bewegungen in Amerika]
* [https://www.telepolis.de/features/Re-Reeducation-oder-Kunst-und-Konditionierung-3415671.html Lutz Dambeck on Technology and Seek (Installation by Niclolas Negroponte)]
* [https://cambridge.nuvustudio.com/posts/329097-architecture-of-gerbils-and-machine Video documentation on the revival of "Seek"]
* [https://www.daowo.org/ DAOWO]
* [https://tbt.tome.press/ Transborder Immigrant Tool by Ricardo Dominguez]
* [https://vimeo.com/7560336 ETOYS Digital Hijack (1996)]

== '''Students:''' ==
*
* [[Betül Peker.]]
* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Maps,_Territories_and_Possibility_Spaces/Luka_Friedland Luka*s Friedland]
* [https://echo.bau-ha.us/mindpath Zelda Diedrich]
* [[Simon]]
* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Maps,_Territories_and_Possibility_Spaces/Torben_Zsagar Torben Zsagar]
* [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Maps,_Territories_and_Possibility_Spaces/DahyeSeo Dahye Seo]
* [[Cosmo Schüppel]]

GMU:Sustainable Aesthetics/Viviane Morais Dantas

2022-11-08T12:34:16Z

Vivi Morais:

SUSTAINABILITY IN AESTHETICS

Art as a medium requires material to be done. Being it physical or digital, being it made on paper or using electric energy, the trace it leaves on the world is more than the poetical/subjective one. In days like these, when we question more and more the exhaustive human impact on the environment, it looks essential to have a less hypocritical attitude on this topic.

My point of view on sustainability in aesthetics is pretty literal. Normally, we put the concept above everything in our art practice and, then, if we manage to make it more ecologically right on time (and on budget), it's a plus. So first of all, I guess that to be really committed to sustainability, we have to focus on the practical ecological part as much as we do it with the conceptual phase - understanding that it will always be a matter of choice and calculus, as we'll always impact nature somehow.

Second, to be sustainable it is needed to be coherent. So, personally, even being very interested in forms of media art that is completely based on recycling, I know that I need some materials that cannot be recycled, for example. So it is better for me to understand your practice, acknowledging your process and looking for ways of making it less harmful than to try to abolish some types of art in oder to make it more ecological and start to make art that does not resonate with your own feelings.

IDEA 1. PRINTING ON RECYCLED TEXTILE

''aesthetic''

borrowed from New Latin *aestheticus,*
borrowed from Greek *aisthētikós*
"of sense perception, sensitive, perceptive," from *aisthētós*
"sensible, perceptible" (verbal adjective of *aisthánomai, aisthánesthai*
"to perceive, take notice of, understand," going back to **awis-th-,*

base of Greek *aḯein*
"to perceive, hear" + *-th-,*
resultative noun suffix) + *-ikos*
(https://www.merriam-webster.com/dictionary/-ic#etymology)

"o futuro é ancestral"
Ailton Krenak

Between the fact and the affection, there is my practice. So I'll start with the affection.

My grandmother from my mother's side was a seamstress and I grew up seeing sewing as a labor, a maintenance of mental health, more than the fashion aspect of it. When she lost part of her vision due to an unsuccessful surgery - this, for me, was the moment when my grandmother begun to die, even though it happened around 6 years before her death. Sewing [[sustained her life.]]

This got the back of my head and, now, practicing the purest form of aesthetic - which is to perceive -, I'm looking back trying to understand my contradictions. Always very fascinated about fashion and clothes, I could never get how could it hit me so deeply, me being someone that cares about sustainability since my childhood. Waste was always a topic on my mind, so how can a support such a dirty industry?

Sometimes we talk about being sustainable as if it was just a matter of (f)act, of following the right input. But we have our deepest emotions, habits and memories anchored

Every step we take impacts nature, every stone taken out of place.

So let's go to the fact: textile waste.

Textile production is estimated to be responsible for about 20% of global clean water (pollution
from dyeing and finishing products).

IDEA 2. BODY ARCHIVE

https://app.milanote.com/1OR2Te1ppRApdv/useless-archives?p=jTTfFu9Ny8b

GMU:Sustainable Aesthetics/Viviane Morais Dantas

2022-10-31T23:14:58Z

Vivi Morais:

GMU:Sustainable Aesthetics/Viviane Morais Dantas

2022-10-31T23:06:03Z

Vivi Morais:

SUSTAINABILITY IN AESTHETICS

Art as a medium requires material to be done. Being it physical or digital, being it made on paper or energy, the trace it leaves on the world is more than the poetical/subjective one and in days like these, when we question more and more the exhaustive human impact on the environment, it looks essential to have a less hypocritical attitude.

My point of view on sustainability in aesthetics is pretty literal. Normally, we put the concept above everything in our art practice and, then, if we manage to make it more ecologically right on time (and on budget), it's a plus. So first of all, I guess that to be really committed to sustainability, we have to focus on the practical ecological part as much as we do it with the conceptual phase.
Second, to be sustainable it is needed to be coherent.

IDEA 1. PRINTING ON RECYCLED TEXTILE

''aesthetic''

borrowed from New Latin *aestheticus,*
borrowed from Greek *aisthētikós*
"of sense perception, sensitive, perceptive," from *aisthētós*
"sensible, perceptible" (verbal adjective of *aisthánomai, aisthánesthai*
"to perceive, take notice of, understand," going back to **awis-th-,*

base of Greek *aḯein*
"to perceive, hear" + *-th-,*
resultative noun suffix) + *-ikos*
(https://www.merriam-webster.com/dictionary/-ic#etymology)

"o futuro é ancestral"
Ailton Krenak

Between the fact and the affection, there is my practice. So I'll start with the affection.

My grandmother from my mother's side was a seamstress and I grew up seeing sewing as a labor, a maintenance of mental health, more than the fashion aspect of it. When she lost part of her vision due to an unsuccessful surgery - this, for me, was the moment when my grandmother begun to die, even though it happened around 6 years before her death. Sewing [[sustained her life.]]

This got the back of my head and, now, practicing the purest form of aesthetic - which is to perceive -, I'm looking back trying to understand my contradictions. Always very fascinated about fashion and clothes, I could never get how could it hit me so deeply, me being someone that cares about sustainability since my childhood. Waste was always a topic on my mind, so how can a support such a dirty industry?

Sometimes we talk about being sustainable as if it was just a matter of (f)act, of following the right input. But we have our deepest emotions, habits and memories anchored

Every step we take impacts nature, every stone taken out of place.

So let's go to the fact: textile waste.

Textile production is estimated to be responsible for about 20% of global clean water (pollution
from dyeing and finishing products).

IDEA 2. BODY ARCHIVE

GMU:Sustainable Aesthetics/Viviane Morais Dantas

2022-10-31T22:48:36Z

Vivi Morais:

SUSTAINABILITY IN AESTHETICS

IDEA 1. PRINTING ON RECYCLED TEXTILE

''aesthetic''

borrowed from New Latin *aestheticus,*
borrowed from Greek *aisthētikós*
"of sense perception, sensitive, perceptive," from *aisthētós*
"sensible, perceptible" (verbal adjective of *aisthánomai, aisthánesthai*
"to perceive, take notice of, understand," going back to **awis-th-,*

base of Greek *aḯein*
"to perceive, hear" + *-th-,*
resultative noun suffix) + *-ikos*
(https://www.merriam-webster.com/dictionary/-ic#etymology)

"o futuro é ancestral"
Ailton Krenak

Between the fact and the affection, there is my practice. So I'll start with the affection.

My grandmother from my mother's side was a seamstress and I grew up seeing sewing as a labor, a maintenance of mental health, more than the fashion aspect of it. When she lost part of her vision due to an unsuccessful surgery - this, for me, was the moment when my grandmother begun to die, even though it happened around 6 years before her death. Sewing [[sustained her life.]]

This got the back of my head and, now, practicing the purest form of aesthetic - which is to perceive -, I'm looking back trying to understand my contradictions. Always very fascinated about fashion and clothes, I could never get how could it hit me so deeply, me being someone that cares about sustainability since my childhood. Waste was always a topic on my mind, so how can a support such a dirty industry?

Sometimes we talk about being sustainable as if it was just a matter of (f)act, of following the right input. But we have our deepest emotions, habits and memories anchored

Every step we take impacts nature, every stone taken out of place.

So let's go to the fact: textile waste.

Textile production is estimated to be responsible for about 20% of global clean water (pollution
from dyeing and finishing products).

IDEA 2. BODY ARCHIVE

GMU:Sustainable Aesthetics/Viviane Morais Dantas

2022-10-31T22:43:18Z

Vivi Morais: Created page with "***aesthetic*** borrowed from New Latin *aestheticus,* borrowed from Greek *aisthētikós* "of sense perception, sensitive, perceptive," from *aisthētós* "sensible..."

***aesthetic***

borrowed from New Latin *aestheticus,*
borrowed from Greek *aisthētikós*
"of sense perception, sensitive, perceptive," from *aisthētós*
"sensible, perceptible" (verbal adjective of *aisthánomai, aisthánesthai*
"to perceive, take notice of, understand," going back to **awis-th-,*
from **awis-,*
base of Greek *aḯein*
"to perceive, hear" + *-th-,*
resultative noun suffix) + *-ikos*
[-IC entry 1](https://www.merriam-webster.com/dictionary/-ic#etymology)

"o futuro é ancestral"
Ailton Krenak

Between the fact and the affection, there is my practice. So I'll start with the affection.

My grandmother from my mother's side was a seamstress and I grew up seeing sewing as a labor, a maintenance of mental health, more than the fashion aspect of it. When she lost part of her vision due to an unsuccessful surgery - this, for me, was the moment when my grandmother begun to die, even though it happened around 6 years before her death. Sewing sustained her *life*.

This got the back of my mind and, now, practicing the purest form of aesthetic - which is to perceive -, I'm looking back trying to understand my contradictions. Always very fascinated about fashion and clothes, I could never get how could it hit me so deeply, me being someone that cares about sustainability since my childhood. Waste was always a topic on my mind, so how can a support such a dirty industry?

Sometimes we talk about being sustainable as if it was just a matter of (f)act, of following the right input. But we have our deepest emotions, habits and memories anchored

Every step we take impacts nature, every stone taken out of place.

So let's go to the fact: textile waste.

> Textile production is estimated to be responsible for about 20% of global clean **water pollution**
from dyeing and finishing products.

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-27T18:44:57Z

Vivi Morais: /* Symbiosis: a mother diary */

== '''Symbiosis: a mother diary''' ==

[[File:Bildschirmfoto 2021-11-27 um 12.43.10.png|400px]]

>> Concept

_Symbiosis: a mother diary_ documents the experience and thoughts of two young women and their slime mold child. The diary will document the growing of Vina Garcia Morais, the slime mold we reproduced, and reflect about this “caring system” that is always expected on us (women). We sign the "family contract" to care, feed, protect and love, putting our efforts to keep them alive and support them in their own journeys.

Being regularly questioned by our families about our plans to have children, specially because our ovules are in their "healthiest phase" at this age we're in, we never know if our ability to take care is something natural of our personalities or if it was imposed on us so we could be better mothers. Considering the diary as a literature genre that gives place to a regular input of honest confessions, we see this medium as an appropriate way to share our thoughts letting it clear that every statement there is profoundly personal and "unfinished".

>> Relevance

Maternal bond, biological clock, unconditional love are terms inherently attached to parenthood, especially when talking about the mother-child relationship. With this project we question how much the weight of its terms' meanings is on real feelings - and this almost magical environment created around the idea of motherhood - and how much it is actually related to society laws and social pressure.

>> Technical aspects

During the phase of getting to know Vina (our child) we'll try to understand their preferences such as food, music and space preferences. For example, we already know that Vina loves kinder bueno but is not that into broccoli. With these "experiments" we shall observe our own feelings on the process and the discoveries to share them in the diary.

*Slime mode
*Medium plastic dish

*Normal oats
*Gluten-free oats
*Kinder bueno

*1 week
*dark spaces

As we didn't have our previous slime molds, we asked [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Nicolas_Krewer Nicolas] to be our baby's grandfather and give us a bit of his slime mold. Being always so kind, he provided us not only a whole new petri dish full of a living blob but also a dry one that we could bring back to life with water if necessary.

>> Aesthetic approach

[[File:biolab_vina_dois.jpg|400px]]

[[File:Bildschirmfoto 2021-11-27 um 09.45.24.png|400px]]

The diary will contain a mixture of Viviane's photographs and Carolina's drawings, both being our point of view about our baby's growth. The journaling experience is going to take place in a period of one week, being this week what we could call the childhood of the slime mold and the moment where we're having our first steps as mothers. During this time we share our duties so each day one of us is responsible for feeding, observing from time to time, documenting and giving attention in general to our blob.

Within the imagetic documentation, we will write down our thoughts and feelings while taking care of Vina.

[https://drive.google.com/file/d/1eNFpqSji-8KtDh7gUdgLfYGUsjSz5xGa/view?usp=sharing Symbiosis]

>> References

[https://aihasegawa.info/i-wanna-deliver-a-shark I WANNA DELIVER A SHARK… - Ai Hasegawa]

== LabLogBook ==

Inspired by those old Logbooks written by travelers exploring the world, I want to document my experience at the BioLab as a human exploring these unknown beings that I had contact with before but never really paid attention to.

Could I do it without a colonizing gaze?

I don't want to manipulate them but to let them show me the way to discover and understand their own knowledge.

===Phase 1: First thoughts===

My work at the Lab started on reading the available writings there. A fortunate encounter led me to start reading ''[https://mitpress.mit.edu/books/tactical-biopolitics Tactical Biopolitcs]'' that got to translate my thoughts to words.
In reference to Foucault's statement:

"Resistance comes first, and resistance remains superior to the forces of the process; power relations are obliged to change with the resistance"

My very first experiment was on trying to make the slime mold follow the route I built for it with oats. Nonetheless its resistance showed me the unpredictable aspect of nature as it started growing through a different path.

[[File:First timelapse.MOV]]

It made me think about our ambitious intentions to manipulate others lives for our own purposes and how it is the first possibility that comes to mind when we talk about experiments.

But what can slime mold teach me? Which signs does it give to me about what it wants?

===Phase 2: Crisis===

After a few days highly exposed to sunlight, spores started to appear on my first slime molds. The frustration gave place to amazement when Miga pointed out that it wasn't necessarily a bad thing but just the beginning of another life cycle.

Having in mind post-humanist and object oriented studies, this changing of perspective enlightened my research. I understood that what I was seeking was to question this anthropocentric way of seeing even the non-human beings.

As I talked to a friend about my aim to deal with the slime mold in a non-manipulative way, they stressed that any type of Bioart, especially if I am bringing the living matter to the lab or to my house, implies in manipulating the media I am working with. They said that better than avoiding manipulation it would be interesting to work with a symbiotic approach, understanding not just the slime mold's agency on me but also mine on it.

===Phase 3: Gestation===

Coming back to the very first observation when my slime mold didn't follow the oat path I built, I remembered how much I could relate it to my relation with my mother. In many aspects I feel that I didn't follow the path she wanted me to follow. I grew up following another way.

It was somehow frustrating to me, seeing my slime mold going the other way because I was so sure that the food path would be the best one to follow. It was frustrating as I couldn't understand and also we couldn't talk - we don't speak the same language.

But why did I have this caring feeling about a being that I reproduced in a lab?

I could see some colleagues talking in such a distant position about our experiments, having many ideas on how to work with them but I could only feel this curiosity to understand the relation I stablished with my "babies" (I couldn't help referring to them like this).

Could this maternal bond be my subject to study?

===Phase 4: Giving birth and caring===

At last, I talked to [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Carolina_Fernandes_Garcia_Pinto Carolina] and we saw that our thoughts about our projects were going through a similar way. Thus we decided to work together and follow the question:

Could the maternal bond be fabricated?

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-27T15:43:31Z

Vivi Morais: /* Symbiosis: a mother diary */

== '''Symbiosis: a mother diary''' ==

[[File:Bildschirmfoto 2021-11-27 um 12.43.10.png|400px]]

>> Concept

_Symbiosis: a mother diary_ documents the experience and thoughts of two young women and their slime mold child. The diary will document the growing of Vina Garcia Morais, the slime mold we reproduced, and reflect about this “caring system” that is always expected on us (women). We sign the "family contract" to care, feed, protect and love, putting our efforts to keep them alive and support them in their own journeys.

Being regularly questioned by our families about our plans to have children, specially because our ovules are in their "healthiest phase" at this age we're in, we never know if our ability to take care is something natural of our personalities or if it was imposed on us so we could be better mothers. Considering the diary as a literature genre that gives place to a regular input of honest confessions, we see this medium as an appropriate way to share our thoughts letting it clear that every statement there is profoundly personal and "unfinished".

>> Relevance

Maternal bond, biological clock, unconditional love are terms inherently attached to parenthood, especially when talking about the mother-child relationship. With this project we question how much the weight of its terms' meanings is on real feelings - and this almost magical environment created around the idea of motherhood - and how much it is actually related to society laws and social pressure.

>> Technical aspects

During the phase of getting to know Vina (our child) we'll try to understand their preferences such as food, music and space preferences. For example, we already know that Vina loves kinder bueno but is not that into broccoli. With these "experiments" we shall observe our own feelings on the process and the discoveries to share them in the diary.

*Slime mode
*Medium plastic dish

*Normal oats
*Gluten-free oats
*Kinder bueno

*1 week
*dark spaces

As we didn't have our previous slime molds, we asked [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Nicolas_Krewer Nicolas] to be our baby's grandfather and give us a bit of his slime mold. Being always so kind, he provided us not only a whole new petri dish full of a living blob but also a dry one that we could bring back to life with water if necessary.

>> Aesthetic approach

[[File:biolab_vina_dois.jpg|400px]]

[[File:Bildschirmfoto 2021-11-27 um 09.45.24.png|400px]]

The diary will contain a mixture of Viviane's photographs and Carolina's drawings, both being our point of view about our baby's growth. The journaling experience is going to take place in a period of one week, being this week what we could call the childhood of the slime mold and the moment where we're having our first steps as mothers. During this time we share our duties so each day one of us is responsible for feeding, observing from time to time, documenting and giving attention in general to our blob.

Within the imagetic documentation, we will write down our thoughts and feelings while taking care of Vina.

>> References

[https://aihasegawa.info/i-wanna-deliver-a-shark I WANNA DELIVER A SHARK… - Ai Hasegawa]

== LabLogBook ==

Inspired by those old Logbooks written by travelers exploring the world, I want to document my experience at the BioLab as a human exploring these unknown beings that I had contact with before but never really paid attention to.

Could I do it without a colonizing gaze?

I don't want to manipulate them but to let them show me the way to discover and understand their own knowledge.

===Phase 1: First thoughts===

My work at the Lab started on reading the available writings there. A fortunate encounter led me to start reading ''[https://mitpress.mit.edu/books/tactical-biopolitics Tactical Biopolitcs]'' that got to translate my thoughts to words.
In reference to Foucault's statement:

"Resistance comes first, and resistance remains superior to the forces of the process; power relations are obliged to change with the resistance"

My very first experiment was on trying to make the slime mold follow the route I built for it with oats. Nonetheless its resistance showed me the unpredictable aspect of nature as it started growing through a different path.

[[File:First timelapse.MOV]]

It made me think about our ambitious intentions to manipulate others lives for our own purposes and how it is the first possibility that comes to mind when we talk about experiments.

But what can slime mold teach me? Which signs does it give to me about what it wants?

===Phase 2: Crisis===

After a few days highly exposed to sunlight, spores started to appear on my first slime molds. The frustration gave place to amazement when Miga pointed out that it wasn't necessarily a bad thing but just the beginning of another life cycle.

Having in mind post-humanist and object oriented studies, this changing of perspective enlightened my research. I understood that what I was seeking was to question this anthropocentric way of seeing even the non-human beings.

As I talked to a friend about my aim to deal with the slime mold in a non-manipulative way, they stressed that any type of Bioart, especially if I am bringing the living matter to the lab or to my house, implies in manipulating the media I am working with. They said that better than avoiding manipulation it would be interesting to work with a symbiotic approach, understanding not just the slime mold's agency on me but also mine on it.

===Phase 3: Gestation===

Coming back to the very first observation when my slime mold didn't follow the oat path I built, I remembered how much I could relate it to my relation with my mother. In many aspects I feel that I didn't follow the path she wanted me to follow. I grew up following another way.

It was somehow frustrating to me, seeing my slime mold going the other way because I was so sure that the food path would be the best one to follow. It was frustrating as I couldn't understand and also we couldn't talk - we don't speak the same language.

But why did I have this caring feeling about a being that I reproduced in a lab?

I could see some colleagues talking in such a distant position about our experiments, having many ideas on how to work with them but I could only feel this curiosity to understand the relation I stablished with my "babies" (I couldn't help referring to them like this).

Could this maternal bond be my subject to study?

===Phase 4: Giving birth and caring===

At last, I talked to [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Carolina_Fernandes_Garcia_Pinto Carolina] and we saw that our thoughts about our projects were going through a similar way. Thus we decided to work together and follow the question:

Could the maternal bond be fabricated?

File:Bildschirmfoto 2021-11-27 um 12.43.10.png

2021-11-27T15:43:19Z

Vivi Morais: File uploaded with MsUpload

File uploaded with MsUpload

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-27T14:29:55Z

Vivi Morais: /* Symbiosis: a mother diary */

== '''Symbiosis: a mother diary''' ==

>> Concept

_Symbiosis: a mother diary_ documents the experience and thoughts of two young women and their slime mold child. The diary will document the growing of Vina Garcia Morais, the slime mold we reproduced, and reflect about this “caring system” that is always expected on us (women). We sign the "family contract" to care, feed, protect and love, putting our efforts to keep them alive and support them in their own journeys.

Being regularly questioned by our families about our plans to have children, specially because our ovules are in their "healthiest phase" at this age we're in, we never know if our ability to take care is something natural of our personalities or if it was imposed on us so we could be better mothers. Considering the diary as a literature genre that gives place to a regular input of honest confessions, we see this medium as an appropriate way to share our thoughts letting it clear that every statement there is profoundly personal and "unfinished".

>> Relevance

Maternal bond, biological clock, unconditional love are terms inherently attached to parenthood, especially when talking about the mother-child relationship. With this project we question how much the weight of its terms' meanings is on real feelings - and this almost magical environment created around the idea of motherhood - and how much it is actually related to society laws and social pressure.

>> Technical aspects

During the phase of getting to know Vina (our child) we'll try to understand their preferences such as food, music and space preferences. For example, we already know that Vina loves kinder bueno but is not that into broccoli. With these "experiments" we shall observe our own feelings on the process and the discoveries to share them in the diary.

*Slime mode
*Medium plastic dish

*Normal oats
*Gluten-free oats
*Kinder bueno

*1 week
*dark spaces

As we didn't have our previous slime molds, we asked [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Nicolas_Krewer Nicolas] to be our baby's grandfather and give us a bit of his slime mold. Being always so kind, he provided us not only a whole new petri dish full of a living blob but also a dry one that we could bring back to life with water if necessary.

>> Aesthetic approach

[[File:biolab_vina_dois.jpg|400px]]

[[File:Bildschirmfoto 2021-11-27 um 09.45.24.png|400px]]

The diary will contain a mixture of Viviane's photographs and Carolina's drawings, both being our point of view about our baby's growth. The journaling experience is going to take place in a period of one week, being this week what we could call the childhood of the slime mold and the moment where we're having our first steps as mothers. During this time we share our duties so each day one of us is responsible for feeding, observing from time to time, documenting and giving attention in general to our blob.

Within the imagetic documentation, we will write down our thoughts and feelings while taking care of Vina.

>> References

[https://aihasegawa.info/i-wanna-deliver-a-shark I WANNA DELIVER A SHARK… - Ai Hasegawa]

== LabLogBook ==

Inspired by those old Logbooks written by travelers exploring the world, I want to document my experience at the BioLab as a human exploring these unknown beings that I had contact with before but never really paid attention to.

Could I do it without a colonizing gaze?

I don't want to manipulate them but to let them show me the way to discover and understand their own knowledge.

===Phase 1: First thoughts===

My work at the Lab started on reading the available writings there. A fortunate encounter led me to start reading ''[https://mitpress.mit.edu/books/tactical-biopolitics Tactical Biopolitcs]'' that got to translate my thoughts to words.
In reference to Foucault's statement:

"Resistance comes first, and resistance remains superior to the forces of the process; power relations are obliged to change with the resistance"

My very first experiment was on trying to make the slime mold follow the route I built for it with oats. Nonetheless its resistance showed me the unpredictable aspect of nature as it started growing through a different path.

[[File:First timelapse.MOV]]

It made me think about our ambitious intentions to manipulate others lives for our own purposes and how it is the first possibility that comes to mind when we talk about experiments.

But what can slime mold teach me? Which signs does it give to me about what it wants?

===Phase 2: Crisis===

After a few days highly exposed to sunlight, spores started to appear on my first slime molds. The frustration gave place to amazement when Miga pointed out that it wasn't necessarily a bad thing but just the beginning of another life cycle.

Having in mind post-humanist and object oriented studies, this changing of perspective enlightened my research. I understood that what I was seeking was to question this anthropocentric way of seeing even the non-human beings.

As I talked to a friend about my aim to deal with the slime mold in a non-manipulative way, they stressed that any type of Bioart, especially if I am bringing the living matter to the lab or to my house, implies in manipulating the media I am working with. They said that better than avoiding manipulation it would be interesting to work with a symbiotic approach, understanding not just the slime mold's agency on me but also mine on it.

===Phase 3: Gestation===

Coming back to the very first observation when my slime mold didn't follow the oat path I built, I remembered how much I could relate it to my relation with my mother. In many aspects I feel that I didn't follow the path she wanted me to follow. I grew up following another way.

It was somehow frustrating to me, seeing my slime mold going the other way because I was so sure that the food path would be the best one to follow. It was frustrating as I couldn't understand and also we couldn't talk - we don't speak the same language.

But why did I have this caring feeling about a being that I reproduced in a lab?

I could see some colleagues talking in such a distant position about our experiments, having many ideas on how to work with them but I could only feel this curiosity to understand the relation I stablished with my "babies" (I couldn't help referring to them like this).

Could this maternal bond be my subject to study?

===Phase 4: Giving birth and caring===

At last, I talked to [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Carolina_Fernandes_Garcia_Pinto Carolina] and we saw that our thoughts about our projects were going through a similar way. Thus we decided to work together and follow the question:

Could the maternal bond be fabricated?

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-27T13:55:43Z

Vivi Morais:

== '''Symbiosis: a mother diary''' ==

>> Concept:

_Symbiosis: a mother diary_ documents the experience and thoughts of two young women and their slime mold child. The diary will document the growing of Vina Garcia Morais, the slime mold we reproduced, and reflect about this “caring system” that is always expected on us (women). We sign the "family contract" to care, feed, protect and love, putting our efforts to keep them alive and support them in their own journeys.

Being regularly questioned by our families about our plans to have children, specially because our ovules are in their "healthiest phase" at this age we're in, we never know if our ability to take care is something natural of our personalities or if it was imposed on us so we could be better mothers. Considering the diary as a literature genre that gives place to a regular input of honest confessions, we see this medium as an appropriate way to share our thoughts letting it clear that every statement there is profoundly personal and "unfinished".

>> Relevance

Maternal bond, biological clock, unconditional love are terms inherently attached to parenthood, especially when talking about the mother-child relationship. With this project we question how much the weight of its terms' meanings is on real feelings - and this almost magical environment created around the idea of motherhood - and how much it is actually related to society laws and social pressure.

>> Technical aspects:

During the phase of getting to know Vina (our child) we'll try to understand their preferences such as food, music and space preferences. For example, we already know that Vina loves kinder bueno but is not that into broccoli. With these "experiments" we shall observe our own feelings on the process and the discoveries to share them in the diary.

*Slime mode
*Medium plastic dish

*Normal oats
*Gluten-free oats
*Kinder bueno

*1 week
*dark spaces

As we didn't have our previous slime molds, we asked [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Nicolas_Krewer Nicolas] to be our baby's grandfather and give us a bit of his slime mold. Being always so kind, he provided us not only a whole new petri dish full of a living blob but also a dry one that we could bring back to life with water if necessary.

>> Aesthetic approach:

[[File:biolab_vina_dois.jpg|400px]]

[[File:Bildschirmfoto 2021-11-27 um 09.45.24.png|400px]]

The diary will contain a mixture of Viviane's photographs and Carolina's drawings, both being our point of view about our baby's growth. The journaling experience is going to take place in a period of one week, being this week what we could call the childhood of the slime mold and the moment where we're having our first steps as mothers. During this time we share our duties so each day one of us is responsible for feeding, observing from time to time, documenting and giving attention in general to our blob.

Within the imagetic documentation, we will write down our thoughts and feelings while taking care of Vina.

>> References

[https://aihasegawa.info/i-wanna-deliver-a-shark I WANNA DELIVER A SHARK… - Ai Hasegawa]

== LabLogBook ==

Inspired by those old Logbooks written by travelers exploring the world, I want to document my experience at the BioLab as a human exploring these unknown beings that I had contact with before but never really paid attention to.

Could I do it without a colonizing gaze?

I don't want to manipulate them but to let them show me the way to discover and understand their own knowledge.

===Phase 1: First thoughts===

My work at the Lab started on reading the available writings there. A fortunate encounter led me to start reading ''[https://mitpress.mit.edu/books/tactical-biopolitics Tactical Biopolitcs]'' that got to translate my thoughts to words.
In reference to Foucault's statement:

"Resistance comes first, and resistance remains superior to the forces of the process; power relations are obliged to change with the resistance"

My very first experiment was on trying to make the slime mold follow the route I built for it with oats. Nonetheless its resistance showed me the unpredictable aspect of nature as it started growing through a different path.

[[File:First timelapse.MOV]]

It made me think about our ambitious intentions to manipulate others lives for our own purposes and how it is the first possibility that comes to mind when we talk about experiments.

But what can slime mold teach me? Which signs does it give to me about what it wants?

===Phase 2: Crisis===

After a few days highly exposed to sunlight, spores started to appear on my first slime molds. The frustration gave place to amazement when Miga pointed out that it wasn't necessarily a bad thing but just the beginning of another life cycle.

Having in mind post-humanist and object oriented studies, this changing of perspective enlightened my research. I understood that what I was seeking was to question this anthropocentric way of seeing even the non-human beings.

As I talked to a friend about my aim to deal with the slime mold in a non-manipulative way, they stressed that any type of Bioart, especially if I am bringing the living matter to the lab or to my house, implies in manipulating the media I am working with. They said that better than avoiding manipulation it would be interesting to work with a symbiotic approach, understanding not just the slime mold's agency on me but also mine on it.

===Phase 3: Gestation===

Coming back to the very first observation when my slime mold didn't follow the oat path I built, I remembered how much I could relate it to my relation with my mother. In many aspects I feel that I didn't follow the path she wanted me to follow. I grew up following another way.

It was somehow frustrating to me, seeing my slime mold going the other way because I was so sure that the food path would be the best one to follow. It was frustrating as I couldn't understand and also we couldn't talk - we don't speak the same language.

But why did I have this caring feeling about a being that I reproduced in a lab?

I could see some colleagues talking in such a distant position about our experiments, having many ideas on how to work with them but I could only feel this curiosity to understand the relation I stablished with my "babies" (I couldn't help referring to them like this).

Could this maternal bond be my subject to study?

===Phase 4: Giving birth and caring===

At last, I talked to [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Carolina_Fernandes_Garcia_Pinto Carolina] and we saw that our thoughts about our projects were going through a similar way. Thus we decided to work together and follow the question:

Could the maternal bond be fabricated?

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-27T12:52:24Z

Vivi Morais: /* Project description */

== LabLogBook ==

Inspired by those old Logbooks written by travelers exploring the world, I want to document my experience at the BioLab as a human exploring these unknown beings that I had contact with before but never really paid attention to.

Could I do it without a colonizing gaze?

I don't want to manipulate them but to let them show me the way to discover and understand their own knowledge.

===Phase 1: First thoughts===

My work at the Lab started on reading the available writings there. A fortunate encounter led me to start reading ''[https://mitpress.mit.edu/books/tactical-biopolitics Tactical Biopolitcs]'' that got to translate my thoughts to words.
In reference to Foucault's statement:

"Resistance comes first, and resistance remains superior to the forces of the process; power relations are obliged to change with the resistance"

My very first experiment was on trying to make the slime mold follow the route I built for it with oats. Nonetheless its resistance showed me the unpredictable aspect of nature as it started growing through a different path.

[[File:First timelapse.MOV]]

It made me think about our ambitious intentions to manipulate others lives for our own purposes and how it is the first possibility that comes to mind when we talk about experiments.

But what can slime mold teach me? Which signs does it give to me about what it wants?

===Phase 2: Crisis===

After a few days highly exposed to sunlight, spores started to appear on my first slime molds. The frustration gave place to amazement when Miga pointed out that it wasn't necessarily a bad thing but just the beginning of another life cycle.

Having in mind post-humanist and object oriented studies, this changing of perspective enlightened my research. I understood that what I was seeking was to question this anthropocentric way of seeing even the non-human beings.

As I talked to a friend about my aim to deal with the slime mold in a non-manipulative way, they stressed that any type of Bioart, especially if I am bringing the living matter to the lab or to my house, implies in manipulating the media I am working with. They said that better than avoiding manipulation it would be interesting to work with a symbiotic approach, understanding not just the slime mold's agency on me but also mine on it.

===Phase 3: Gestation===

Coming back to the very first observation when my slime mold didn't follow the oat path I built, I remembered how much I could relate it to my relation with my mother. In many aspects I feel that I didn't follow the path she wanted me to follow. I grew up following another way.

It was somehow frustrating to me, seeing my slime mold going the other way because I was so sure that the food path would be the best one to follow. It was frustrating as I couldn't understand and also we couldn't talk - we don't speak the same language.

But why did I have this caring feeling about a being that I reproduced in a lab?

I could see some colleagues talking in such a distant position about our experiments, having many ideas on how to work with them but I could only feel this curiosity to understand the relation I stablished with my "babies" (I couldn't help referring to them like this).

Could this maternal bond be my subject to study?

===Phase 4: Giving birth and caring===

At last, I talked to [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Carolina_Fernandes_Garcia_Pinto Carolina] and we saw that our thoughts about our projects were going through a similar way. Thus we decided to work together and follow the question:

Could the maternal bond be fabricated?

== '''Project description''' ==

>> Concept:

_Symbiosis: a mother diary_ documents the experience and thoughts of two young women and their slime mold child. The diary will document the growing of Vina Garcia Morais, the slime mold we reproduced, and reflect about this “caring system” that is always expected on us (women). We sign the "family contract" to care, feed, protect and love, putting our efforts to keep them alive and support them in their own journeys.

Being regularly questioned by our families about our plans to have children, specially because our ovules are in their "healthiest phase" at this age we're in, we never know if our ability to take care is something natural of our personalities or if it was imposed on us so we could be better mothers. Considering the diary as a literature genre that gives place to a regular input of honest confessions, we see this medium as an appropriate way to share our thoughts letting it clear that every statement there is profoundly personal and "unfinished".

>> Relevance

Maternal bond, biological clock, unconditional love are terms inherently attached to parenthood, especially when talking about the mother-child relationship. With this project we question how much the weight of its terms' meanings is on real feelings - and this almost magical environment created around the idea of motherhood - and how much it is actually related to society laws and social pressure.

>> Technical aspects:

During the phase of getting to know Vina (our child) we'll try to understand their preferences such as food, music and space preferences. For example, we already know that Vina loves kinder bueno but is not that into broccoli. With these "experiments" we shall observe our own feelings on the process and the discoveries to share them in the diary.

*Slime mode
*Medium plastic dish

*Normal oats
*Gluten-free oats
*Kinder bueno

*1 week
*dark spaces

As we didn't have our previous slime molds, we asked [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Nicolas_Krewer Nicolas] to be our baby's grandfather and give us a bit of his slime mold. Being always so kind, he provided us not only a whole new petri dish full of a living blob but also a dry one that we could bring back to life with water if necessary.

>> Aesthetic approach:

[[File:biolab_vina_dois.jpg|400px]]

[[File:Bildschirmfoto 2021-11-27 um 09.45.24.png|400px]]

The diary will contain a mixture of Viviane's photographs and Carolina's drawings, both being our point of view about our baby's growth. The journaling experience is going to take place in a period of one week, being this week what we could call the childhood of the slime mold and the moment where we're having our first steps as mothers. During this time we share our duties so each day one of us is responsible for feeding, observing from time to time, documenting and giving attention in general to our blob.

Within the imagetic documentation, we will write down our thoughts and feelings while taking care of Vina.

>> References

[https://aihasegawa.info/i-wanna-deliver-a-shark I WANNA DELIVER A SHARK… - Ai Hasegawa]

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-27T12:50:38Z

Vivi Morais: /* Phase 4: Giving birth and caring */

== LabLogBook ==

Inspired by those old Logbooks written by travelers exploring the world, I want to document my experience at the BioLab as a human exploring these unknown beings that I had contact with before but never really paid attention to.

Could I do it without a colonizing gaze?

I don't want to manipulate them but to let them show me the way to discover and understand their own knowledge.

===Phase 1: First thoughts===

My work at the Lab started on reading the available writings there. A fortunate encounter led me to start reading ''[https://mitpress.mit.edu/books/tactical-biopolitics Tactical Biopolitcs]'' that got to translate my thoughts to words.
In reference to Foucault's statement:

"Resistance comes first, and resistance remains superior to the forces of the process; power relations are obliged to change with the resistance"

My very first experiment was on trying to make the slime mold follow the route I built for it with oats. Nonetheless its resistance showed me the unpredictable aspect of nature as it started growing through a different path.

[[File:First timelapse.MOV]]

It made me think about our ambitious intentions to manipulate others lives for our own purposes and how it is the first possibility that comes to mind when we talk about experiments.

But what can slime mold teach me? Which signs does it give to me about what it wants?

===Phase 2: Crisis===

After a few days highly exposed to sunlight, spores started to appear on my first slime molds. The frustration gave place to amazement when Miga pointed out that it wasn't necessarily a bad thing but just the beginning of another life cycle.

Having in mind post-humanist and object oriented studies, this changing of perspective enlightened my research. I understood that what I was seeking was to question this anthropocentric way of seeing even the non-human beings.

As I talked to a friend about my aim to deal with the slime mold in a non-manipulative way, they stressed that any type of Bioart, especially if I am bringing the living matter to the lab or to my house, implies in manipulating the media I am working with. They said that better than avoiding manipulation it would be interesting to work with a symbiotic approach, understanding not just the slime mold's agency on me but also mine on it.

===Phase 3: Gestation===

Coming back to the very first observation when my slime mold didn't follow the oat path I built, I remembered how much I could relate it to my relation with my mother. In many aspects I feel that I didn't follow the path she wanted me to follow. I grew up following another way.

It was somehow frustrating to me, seeing my slime mold going the other way because I was so sure that the food path would be the best one to follow. It was frustrating as I couldn't understand and also we couldn't talk - we don't speak the same language.

But why did I have this caring feeling about a being that I reproduced in a lab?

I could see some colleagues talking in such a distant position about our experiments, having many ideas on how to work with them but I could only feel this curiosity to understand the relation I stablished with my "babies" (I couldn't help referring to them like this).

Could this maternal bond be my subject to study?

===Phase 4: Giving birth and caring===

At last, I talked to [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Carolina_Fernandes_Garcia_Pinto Carolina] and we saw that our thoughts about our projects were going through a similar way. Thus we decided to work together and follow the question:

Could the maternal bond be fabricated?

== '''Project description''' ==

>> Concept:

_Symbiosis: a mother diary_ documents the experience and thoughts of two young women and their slime mold child. The diary will document the growing of Vina Garcia Morais, the slime mold we reproduced, and reflect about this “caring system” that is always expected on us (women). We sign the "family contract" to care, feed, protect and love, putting our efforts to keep them alive and support them in their own journeys.

Being regularly questioned by our families about our plans to have children, specially because our ovules are in their "healthiest phase" at this age we're in, we never know if our ability to take care is something natural of our personalities or if it was imposed on us so we could be better mothers. Considering the diary as a literature genre that gives place to a regular input of honest confessions, we see this medium as an appropriate way to share our thoughts letting it clear that every statement there is profoundly personal and "unfinished".

>> Relevance

Maternal bond, biological clock, unconditional love are terms inherently attached to parenthood, especially when talking about the mother-child relationship. With this project we question how much the weight of its terms' meanings is on real feelings - and this almost magical environment created around the idea of motherhood - and how much it is actually related to society laws and social pressure.

>> Technical aspects:

During the phase of getting to know Vina (our child) we'll try to understand their preferences such as food, music and space preferences. For example, we already know that Vina loves kinder bueno but is not that into broccoli. With these "experiments" we shall observe our own feelings on the process and the discoveries to share them in the diary.

*Slime mode
*Medium plastic dish

*Normal oats
*Gluten-free oats
*Kinder bueno

* 1 week
* dark spaces

As we didn't have our previous slime molds, we asked [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Nicolas_Krewer Nicolas] to be our baby's grandfather and give us a bit of his slime mold. Being always so kind, he provided us not only a whole new petri dish full of a living blob but also a dry one that we could bring back to life with water if necessary.

>> Aesthetic approach:

[[File:biolab_vina_dois.jpg|400px]]

[[File:Bildschirmfoto 2021-11-27 um 09.45.24.png|400px]]

The diary will contain a mixture of Viviane's photographs and Carolina's drawings, both being our point of view about our baby's growth. The journaling experience is going to take place in a period of one week, being this week what we could call the childhood of the slime mold and the moment where we're having our first steps as mothers. During this time we share our duties so each day one of us is responsible for feeding, observing from time to time, documenting and giving attention in general to our blob.

Within the imagetic documentation, we will write down our thoughts and feelings while taking care of Vina.

>> References

[https://aihasegawa.info/i-wanna-deliver-a-shark I WANNA DELIVER A SHARK… - Ai Hasegawa]

File:Biolab vina dois.jpg

2021-11-27T12:50:06Z

Vivi Morais: File uploaded with MsUpload

File uploaded with MsUpload

File:Bildschirmfoto 2021-11-27 um 09.45.24.png

2021-11-27T12:50:05Z

Vivi Morais: File uploaded with MsUpload

File uploaded with MsUpload

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-27T01:26:12Z

Vivi Morais: /* Phase 4: Giving birth and caring */

== LabLogBook ==

Inspired by those old Logbooks written by travelers exploring the world, I want to document my experience at the BioLab as a human exploring these unknown beings that I had contact with before but never really paid attention to.

Could I do it without a colonizing gaze?

I don't want to manipulate them but to let them show me the way to discover and understand their own knowledge.

===Phase 1: First thoughts===

My work at the Lab started on reading the available writings there. A fortunate encounter led me to start reading ''[https://mitpress.mit.edu/books/tactical-biopolitics Tactical Biopolitcs]'' that got to translate my thoughts to words.
In reference to Foucault's statement:

"Resistance comes first, and resistance remains superior to the forces of the process; power relations are obliged to change with the resistance"

My very first experiment was on trying to make the slime mold follow the route I built for it with oats. Nonetheless its resistance showed me the unpredictable aspect of nature as it started growing through a different path.

[[File:First timelapse.MOV]]

It made me think about our ambitious intentions to manipulate others lives for our own purposes and how it is the first possibility that comes to mind when we talk about experiments.

But what can slime mold teach me? Which signs does it give to me about what it wants?

===Phase 2: Crisis===

After a few days highly exposed to sunlight, spores started to appear on my first slime molds. The frustration gave place to amazement when Miga pointed out that it wasn't necessarily a bad thing but just the beginning of another life cycle.

Having in mind post-humanist and object oriented studies, this changing of perspective enlightened my research. I understood that what I was seeking was to question this anthropocentric way of seeing even the non-human beings.

As I talked to a friend about my aim to deal with the slime mold in a non-manipulative way, they stressed that any type of Bioart, especially if I am bringing the living matter to the lab or to my house, implies in manipulating the media I am working with. They said that better than avoiding manipulation it would be interesting to work with a symbiotic approach, understanding not just the slime mold's agency on me but also mine on it.

===Phase 3: Gestation===

Coming back to the very first observation when my slime mold didn't follow the oat path I built, I remembered how much I could relate it to my relation with my mother. In many aspects I feel that I didn't follow the path she wanted me to follow. I grew up following another way.

It was somehow frustrating to me, seeing my slime mold going the other way because I was so sure that the food path would be the best one to follow. It was frustrating as I couldn't understand and also we couldn't talk - we don't speak the same language.

But why did I have this caring feeling about a being that I reproduced in a lab?

I could see some colleagues talking in such a distant position about our experiments, having many ideas on how to work with them but I could only feel this curiosity to understand the relation I stablished with my "babies" (I couldn't help referring to them like this).

Could this maternal bond be my subject to study?

===Phase 4: Giving birth and caring===

At last, I talked to [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Carolina_Fernandes_Garcia_Pinto Carolina] and we saw that our thoughts about our projects were going through a similar way. Thus we decided to work together and follow the question:

Could the maternal bond be fabricated?

Maternal bond, biological clock, unconditional love are terms inherently attached to parenthood, especially when talking about the mother-child relationship. With this project we question how much the weight of its terms' meanings is on real feelings - and this almost magical environment created around the idea of motherhood - and how much it is actually related to society laws and social pressure.

'''Project description'''

>> Concept:
Through this project we want to document the growing of Vina Garcia Morais, and reflect about this “caring system” that is always expected on us (women). We sign the "family contract" to care, feed, protect and love, putting our efforts to keep them alive and support them in their own journeys.

>> Technical aspects:
*Slime mode
*Medium plastic dish
*Normal oats
*Gluten-free oats
*Kinder bueno

As we didn't have our previous slime molds, we asked [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Nicolas_Krewer Nicolas] to be our baby's grandfather and give us a bit of his slime mold. Being always so kind, he provided us not only a whole new petri dish full of a living blob but also a dry one that we could bring back to life with water if necessary.

>> Aesthetic approach:
*Drawings + Photographs

[https://drive.google.com/file/d/1PCsSmdLtLCYaiLUTd_RE1hAE2sx3iZB8/view?usp=sharing VINA]

>> References
[https://aihasegawa.info/i-wanna-deliver-a-shark I WANNA DELIVER A SHARK… - Ai Hasegawa]

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-26T13:09:00Z

Vivi Morais: /* Phase 4: Giving birth and caring */

== LabLogBook ==

Inspired by those old Logbooks written by travelers exploring the world, I want to document my experience at the BioLab as a human exploring these unknown beings that I had contact with before but never really paid attention to.

Could I do it without a colonizing gaze?

I don't want to manipulate them but to let them show me the way to discover and understand their own knowledge.

===Phase 1: First thoughts===

My work at the Lab started on reading the available writings there. A fortunate encounter led me to start reading ''[https://mitpress.mit.edu/books/tactical-biopolitics Tactical Biopolitcs]'' that got to translate my thoughts to words.
In reference to Foucault's statement:

"Resistance comes first, and resistance remains superior to the forces of the process; power relations are obliged to change with the resistance"

My very first experiment was on trying to make the slime mold follow the route I built for it with oats. Nonetheless its resistance showed me the unpredictable aspect of nature as it started growing through a different path.

[[File:First timelapse.MOV]]

It made me think about our ambitious intentions to manipulate others lives for our own purposes and how it is the first possibility that comes to mind when we talk about experiments.

But what can slime mold teach me? Which signs does it give to me about what it wants?

===Phase 2: Crisis===

After a few days highly exposed to sunlight, spores started to appear on my first slime molds. The frustration gave place to amazement when Miga pointed out that it wasn't necessarily a bad thing but just the beginning of another life cycle.

Having in mind post-humanist and object oriented studies, this changing of perspective enlightened my research. I understood that what I was seeking was to question this anthropocentric way of seeing even the non-human beings.

As I talked to a friend about my aim to deal with the slime mold in a non-manipulative way, they stressed that any type of Bioart, especially if I am bringing the living matter to the lab or to my house, implies in manipulating the media I am working with. They said that better than avoiding manipulation it would be interesting to work with a symbiotic approach, understanding not just the slime mold's agency on me but also mine on it.

===Phase 3: Gestation===

Coming back to the very first observation when my slime mold didn't follow the oat path I built, I remembered how much I could relate it to my relation with my mother. In many aspects I feel that I didn't follow the path she wanted me to follow. I grew up following another way.

It was somehow frustrating to me, seeing my slime mold going the other way because I was so sure that the food path would be the best one to follow. It was frustrating as I couldn't understand and also we couldn't talk - we don't speak the same language.

But why did I have this caring feeling about a being that I reproduced in a lab?

I could see some colleagues talking in such a distant position about our experiments, having many ideas on how to work with them but I could only feel this curiosity to understand the relation I stablished with my "babies" (I couldn't help referring to them like this).

Could this maternal bond be my subject to study?

===Phase 4: Giving birth and caring===

At last, I talked to [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Carolina_Fernandes_Garcia_Pinto Carolina] and we saw that our thoughts about our projects were going through a similar way. Thus we decided to work together and follow the question:

Could the maternal bond be fabricated?

Maternal bond, biological clock, unconditional love are terms inherently attached to parenthood, especially when talking about the mother-child relationship. With this project we question how much the weight of its terms' meanings is on real feelings - and this almost magical environment created around the idea of motherhood - and how much it is actually related to society laws and social pressure.

'''Project description'''

>> Concept:
Through this project we want to document the growing of Vina Garcia Morais, and reflect about this “caring system” that is always expected on us (women). We sign the "family contract" to care, feed, protect and love, putting our efforts to keep them alive and support them in their own journeys.

>>Technical aspects:
Slime mode
Medium plastic dish
Normal oats
Gluten-free oats
Kinder bueno

As we didn't have our previous slime molds, we asked [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Nicolas_Krewer Nicolas] to be our baby's grandfather and give us a bit of his slime mold. Being always so kind, he provided us not only a whole new petri dish full of a living blob but also a dry one that we could bring back to life with water if necessary.

>>Aesthetic approach:
Drawings + Photographs

[https://drive.google.com/file/d/1PCsSmdLtLCYaiLUTd_RE1hAE2sx3iZB8/view?usp=sharing VINA]

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-26T02:17:09Z

Vivi Morais: /* Phase 4: Giving birth and caring */

== LabLogBook ==

Inspired by those old Logbooks written by travelers exploring the world, I want to document my experience at the BioLab as a human exploring these unknown beings that I had contact with before but never really paid attention to.

Could I do it without a colonizing gaze?

I don't want to manipulate them but to let them show me the way to discover and understand their own knowledge.

===Phase 1: First thoughts===

My work at the Lab started on reading the available writings there. A fortunate encounter led me to start reading ''[https://mitpress.mit.edu/books/tactical-biopolitics Tactical Biopolitcs]'' that got to translate my thoughts to words.
In reference to Foucault's statement:

"Resistance comes first, and resistance remains superior to the forces of the process; power relations are obliged to change with the resistance"

My very first experiment was on trying to make the slime mold follow the route I built for it with oats. Nonetheless its resistance showed me the unpredictable aspect of nature as it started growing through a different path.

[[File:First timelapse.MOV]]

It made me think about our ambitious intentions to manipulate others lives for our own purposes and how it is the first possibility that comes to mind when we talk about experiments.

But what can slime mold teach me? Which signs does it give to me about what it wants?

===Phase 2: Crisis===

After a few days highly exposed to sunlight, spores started to appear on my first slime molds. The frustration gave place to amazement when Miga pointed out that it wasn't necessarily a bad thing but just the beginning of another life cycle.

Having in mind post-humanist and object oriented studies, this changing of perspective enlightened my research. I understood that what I was seeking was to question this anthropocentric way of seeing even the non-human beings.

As I talked to a friend about my aim to deal with the slime mold in a non-manipulative way, they stressed that any type of Bioart, especially if I am bringing the living matter to the lab or to my house, implies in manipulating the media I am working with. They said that better than avoiding manipulation it would be interesting to work with a symbiotic approach, understanding not just the slime mold's agency on me but also mine on it.

===Phase 3: Gestation===

Coming back to the very first observation when my slime mold didn't follow the oat path I built, I remembered how much I could relate it to my relation with my mother. In many aspects I feel that I didn't follow the path she wanted me to follow. I grew up following another way.

It was somehow frustrating to me, seeing my slime mold going the other way because I was so sure that the food path would be the best one to follow. It was frustrating as I couldn't understand and also we couldn't talk - we don't speak the same language.

But why did I have this caring feeling about a being that I reproduced in a lab?

I could see some colleagues talking in such a distant position about our experiments, having many ideas on how to work with them but I could only feel this curiosity to understand the relation I stablished with my "babies" (I couldn't help referring to them like this).

Could this maternal bond be my subject to study?

===Phase 4: Giving birth and caring===

At last, I talked to [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Carolina_Fernandes_Garcia_Pinto Carolina] and we saw that our thoughts about our projects were going through a similar way. Thus we decided to work together and follow the question:

Could the maternal bond be fabricated?

Maternal bond, biological clock, unconditional love are terms inherently attached to parenthood, especially when talking about the mother-child relationship. With this project we question how much the weight of its terms' meanings is on real feelings - and this almost magical environment created around the idea of motherhood - and how much it is actually related to society laws and social pressure.

'''Project description'''

>> Concept:
Through this project we want to document the growing of Vina Garcia Morais, and reflect about this “caring system” that is always expected on us (women). We sign the "family contract" to care, feed, protect and love, putting our efforts to keep them alive and support them in their own journeys.

>>Technical aspects:
Slime mode
Medium plastic dish
Normal oats
Gluten-free oats
Kinder bueno

As we didn't have our previous slime molds, we asked [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Nicolas_Krewer Nicolas] to be our baby's grandfather and give us a bit of his slime mold. Being always so kind, he provided us not only a whole new petri dish full of a living blob but also a dry one that we could bring back to life with water if necessary.

>>Aesthetic approach:
Drawings + Photographs

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-26T02:16:26Z

Vivi Morais: /* Phase 4: Giving birth and caring */

== LabLogBook ==

Inspired by those old Logbooks written by travelers exploring the world, I want to document my experience at the BioLab as a human exploring these unknown beings that I had contact with before but never really paid attention to.

Could I do it without a colonizing gaze?

I don't want to manipulate them but to let them show me the way to discover and understand their own knowledge.

===Phase 1: First thoughts===

My work at the Lab started on reading the available writings there. A fortunate encounter led me to start reading ''[https://mitpress.mit.edu/books/tactical-biopolitics Tactical Biopolitcs]'' that got to translate my thoughts to words.
In reference to Foucault's statement:

"Resistance comes first, and resistance remains superior to the forces of the process; power relations are obliged to change with the resistance"

My very first experiment was on trying to make the slime mold follow the route I built for it with oats. Nonetheless its resistance showed me the unpredictable aspect of nature as it started growing through a different path.

[[File:First timelapse.MOV]]

It made me think about our ambitious intentions to manipulate others lives for our own purposes and how it is the first possibility that comes to mind when we talk about experiments.

But what can slime mold teach me? Which signs does it give to me about what it wants?

===Phase 2: Crisis===

After a few days highly exposed to sunlight, spores started to appear on my first slime molds. The frustration gave place to amazement when Miga pointed out that it wasn't necessarily a bad thing but just the beginning of another life cycle.

Having in mind post-humanist and object oriented studies, this changing of perspective enlightened my research. I understood that what I was seeking was to question this anthropocentric way of seeing even the non-human beings.

As I talked to a friend about my aim to deal with the slime mold in a non-manipulative way, they stressed that any type of Bioart, especially if I am bringing the living matter to the lab or to my house, implies in manipulating the media I am working with. They said that better than avoiding manipulation it would be interesting to work with a symbiotic approach, understanding not just the slime mold's agency on me but also mine on it.

===Phase 3: Gestation===

Coming back to the very first observation when my slime mold didn't follow the oat path I built, I remembered how much I could relate it to my relation with my mother. In many aspects I feel that I didn't follow the path she wanted me to follow. I grew up following another way.

It was somehow frustrating to me, seeing my slime mold going the other way because I was so sure that the food path would be the best one to follow. It was frustrating as I couldn't understand and also we couldn't talk - we don't speak the same language.

But why did I have this caring feeling about a being that I reproduced in a lab?

I could see some colleagues talking in such a distant position about our experiments, having many ideas on how to work with them but I could only feel this curiosity to understand the relation I stablished with my "babies" (I couldn't help referring to them like this).

Could this maternal bond be my subject to study?

===Phase 4: Giving birth and caring===

At last, I talked to [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Carolina_Fernandes_Garcia_Pinto Carolina] and we saw that our thoughts about our projects were going through a similar way. Thus we decided to work together and follow the question:

Could the maternal bond be fabricated?

Maternal bond, biological clock, unconditional love are terms inherently attached to parenthood, especially when talking about the mother-child relationship. With this project we question how much the weight of its terms' meanings is on real feelings - and this almost magical environment created around the idea of motherhood - and how much it is actually related to society laws and social pressure.

'''Project description'''

Concept:
Through this project we want to document the growing of Vina Garcia Morais, and reflect about this “caring system” that is always expected on us (women). We sign the "family contract" to care, feed, protect and love, putting our efforts to keep them alive and support them in their own journeys.

Technical aspects:

slime mode
Medium plastic dish
Normal oats
Gluten-free oats
Kinder bueno

As we didn't have our previous slime molds, we asked [https://www.uni-weimar.de/kunst-und-gestaltung/wiki/GMU:Being_a_Unicellular_Organism/Nicolas_Krewer Nicolas] to be our baby's grandfather and give us a bit of his slime mold. Being always so kind, he provided us not only a whole new petri dish full of a living blob but also a dry one that we could bring back to life with water if necessary.

Aesthetic approach:

Drawings + Photographs

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-25T23:36:54Z

Vivi Morais: /* Phase 1: First thoughts */

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-24T22:03:17Z

Vivi Morais: /* Phase 4: Giving birth and caring */

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-24T22:02:49Z

Vivi Morais: /* Phase 4: Giving birth and caring */

File:907B4078.png

2021-11-24T22:02:01Z

Vivi Morais: File uploaded with MsUpload

File uploaded with MsUpload

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-24T21:21:54Z

Vivi Morais: /* Phase 1: First thoughts */

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-24T21:21:41Z

Vivi Morais: /* Phase 2: Crisis */

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-24T20:41:47Z

Vivi Morais: /* Phase 3: Gestation */

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-24T20:37:36Z

Vivi Morais: /* LabLogBook */

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-24T18:48:38Z

Vivi Morais:

== LabLogBook ==

Inspired in those old Logbooks written by travelers exploring the world, I want to document my experience at the BioLab as a human exploring these unknown beings that I had contact with before but never really paid attention to.

Could I do it without a colonizing gaze?

I don't want to manipulate them but to let them show me the way to discover and understand their own knowledge.

===Phase 1: First thoughts===

My work at the Lab started on reading the available writings there. A fortunate encounter led me to start reading "Tactical Biopolitcs" that got to translate my thoughts to words.
In reference to Foucault's statement:

"Resistance comes first, and resistance remains superior to the forces of the process; power relations are obliged to change with the resistance"

My very first experiment was on trying to make the slime mold follow the route I built for it with oats. Nonetheless its resistance showed me the unpredictable aspect of nature as it started growing through a different path.

[[File:First timelapse.MOV]]

It made me think about our ambitious intentions to manipulate others lives for our own purposes and how it is the first possibility that comes to mind when we talk about experiments.

But what can slime mold teach me? Which signs does it give to me about what it wants?

===Phase 2: Crisis===

After a few days highly exposed to sunlight, spores started to appear on my first slime molds. The frustration gave place to amazement when Miga pointed out that it wasn't necessarily a bad thing but just the beginning of another life cycle.

Having in mind post-humanist and object oriented studies, this changing of perspective enlightened my research. I understood that what I was seeking was to question this anthropocentric way of seeing even the non-human beings.

As I talked to a friend about my aim to deal with the slime mold in a non-manipulative way, they stressed that any type of Bioart, especially if I am bringing the living matter to the lab or to my house, implies in manipulating the media I am working with. They said that better than avoiding manipulation it would be interesting to work with a symbiotic approach, understanding not just the slime mold's agency on me but also mine on it.

===Phase 3: Gestation===

Coming back to the very first observation when my slime mold didn't follow the oat path I built, I remembered how much I could relate it to my relation with my mother. In many aspects I feel didn't follow the path that she wanted me to and that she put so much effort on to. I grew up following another way.

It was somehow frustrating to me, seeing my slime mold going the other way because I was so sure that the food path would be the best one to follow. It was frustrating because I couldn't understand and also we couldn't talk - we don't speak the same language.

But why did I have this caring feeling about a being that I reproduced in a lab?

I could see some colleagues talking in such a distant position about our experiments, having many ideas on how to work with them but I could only feel this curiosity to understand the relation I stablished with my "babies" (I couldn't help referring to them like this).

Could this maternal bond be my subject to study?

===Phase 4: Giving birth and caring===

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-24T18:33:45Z

Vivi Morais: /* Phase 2: Crisis */

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-18T11:58:21Z

Vivi Morais:

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-18T11:57:53Z

Vivi Morais: /* LabLogBook */

GMU:Being a Unicellular Organism/Viviane Morais Dantas

2021-11-17T15:33:35Z

Vivi Morais: /* LabLogBook */

File:The path created.jpeg

2021-11-17T15:31:24Z

Vivi Morais: Vivi Morais uploaded a new version of File:The path created.jpeg

File uploaded with MsUpload