Homunculus Cinema


The Work consists of two parts: The physical environment, the „cinema“, the darkened box in which the slime molds will be permanently placed, if possible grown into a humanoid shape by means of a „skeleton“ consisting of wire and oat flakes and eventually subjected to screenings of Paul Sharits' „Word Movie“. The second part consists of an extensive study, part examination of the experiments, part essayistic interpretation of the project and diary of the researcher. The scientific nature of it will be fictional, a „documentary fiction“, which means the writings will ultimately be literary, though staying true to the form of a scientific study. Additionally, a shortened version of this concept will hint at the implications of the work (alchemy, pseudo- and protoscience, questions of perception and the self, irrationality) which are not directly spelled out in the study.

Put even simpler: 1: a group of slime molds will be cultivated onto a human-shaped „skeleton“, 2: those figurines will be examined, each watching a different part of „Word Movie“ in a darkened room on repeat, the relationship of the observer to the figures will be described in the context of the „homunculus“-concept, 3. Their reaction to the film sequences will be examined in a fictional study, which will also discuss the cultural and philosophical implications of the homunculus, literally and metaphorically, the perceptiveness of slime molds, and the attempt to communicate to them via film.


Growing the slimemold onto a human shaped form wich is watching a different part of "Word Movie". The reaction of these objects get observed, described an put in the concept of the "homunculus". This gets documentet and examined in a fictional study.

Technical steps

A human shaped "skeleton" has to be made and a concept of how the "skeleton" should watch the movie. This can be a prjojection or a screen.

DIARY - From the Desk of Professor Pyg

(part of this diary will be written from the perpective of the fictional researcher, named after the charactor from the song "Pygmalism", a song by Momus, which deals with the myth of Pygmalion, another parallel to the "homunculus" trope. those aspects will be in {...} brackets.)

21.5. A friend in need is a friend indeed

Assorted leftover lab equipment provided by a friend arrives straight from the Biolab of HU Berlin, with a detailed description on how to use it. I have no Slime Mold to call my own yet and get to organising the adoption of one. Meanwhile work on the concept, which is expanding quickly. The different Ideas are too interconnected to prioritise, at least at this point.

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Though I still don't have my Slime Mold yet, it is already very present in my mind, the mere anticipation of being responsible for a sensitive life form, one that am hardly familiar with, has already occupied my idle thoughts. Recently I noticed that I never really had room plants to call my own, something that I was already planning to change in Weimar. While walking, I found an uprooted cherry tree, left outside of a house for bypassers to pick up. Since my thoughts are already with the idea of cohabitation and tending to other organisms, I simply can't deny this chance. Looks like I'll have to develop my green thumb at the same time as my yellow one.

26.5. I have received my Slime Mold, but realise I have underestimated the sudden responsibility. When receiving the Petri-Dish, physically, I suddenly feel a certain metaphysical weight. The unopened sample does radiate a certain mystery too, the physarum is definitely a "felt presence" in my room.

The next days are marked by a kind of irritated nervousness about the sudden responsibility. Each day I realise, there is something else in my toolbox that's missing (specific 70/30 desinfectant, purified water, a kitchen scale to get the right water-agar-ratio), so each day I make another walk into town, only to realise I am still not ready. I grow worried about the physarum. Paralleled with this are the same struggles with my cherry tree, the same discrepancy between imagination and practice - I realise I don't have the right tools to open the earth and my tree remains unplanted for a couple of days, before I manage to borrow a heavy shovel from a neighbour.

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A lesson in austerity is also the struggle to find an adequate space for my laboratory. The dormitory I live in is dirty and poorly equipped with furniture. The "club room", with it's projector screen, which served as the first inspiration for the "homunculus cinema" is dark and largely unused, but there is no good surface to work on.

I make room on the top shelf of my laboratory and manically disinfect the surfaces, as well as everything I touch the surfaces with. At least the laboratory is at an unusually comfortable height for precision work.

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