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how they will develop over time + signage

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how they will develop over time + signage

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structuring - how will the layout and sound system work?

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The Author of the Acacia Seeds - Ursula le Guin

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The Author of the Acacia Seeds - Ursula le Guin

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PLANT POETRY - NONHUMAN ARTISTS!!! How can we reach out to minds beyond our understanding as collaborators?? Is this essentially summoning a spirit? - materials as a ritual offering to the ghost of a forest

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GEOMANCER - George Jagunov - psychogeography

‘The Reservoir’ - John Grade - work that engages with natural environments with no negative impact

The Waiting Room - Sarah Sze - immersive use of technology

Chris Watson’s sound pieces sampled from nature

Sean Vicary -  ecologically focused work

Spirit Jars - Natasha V. Moody - tribute to Great North Wood

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Most difficult part of the project will probably be developing a material that would both stand up to public installation without collapsing, but also become a suitable environment for biodiversity later.

Potentially unlocked by water?

Perhaps they should be woven???

I intend for this piece to feel like a cohesive part of each environment it exists in, not to feel like a fragile, sterile art piece. I therefore intend for the terracotta material to stand up to some interaction and touch from members of the public during the first phase; it is not essential that the obelisks remain unchanged, and I feel that it would benefit from looking as though they have been touched.

MAYBE they should not move locations at all - might be more impactful and cohesive to have the pieces stay in one place while their appearance changes - maybe it should pass from naked earth into a growing part of the landscape without moving??

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Simply creating anxiety about the climate crisis with this project would probably achieve very little; I want to create something that would draw attention to the crisis but with a hopeful spin, and create a positive effect for the environment in its second phase.

Creating a commentary on the ways in which art materials can be harmful to the environment - want to suggest ways that art can be used in conjunction with natural processes without creating more eventual pollution

Seeing the pieces as gifts/a dialogue between human and nonhuman environments

I envision this project as taking place over several years. In order to develop a material for the obelisks that will provide optimal nutrients for the survival of the species they will host, I will need to work with biologists - I feel that this collaboration will be beneficial in demonstrating that the boundary between art and science is a false one, and that envisioning alternate futures for our ecosystems will require

Emphasising interconnectedness - your movements affect your environment

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Machine learning - algorithm that responds to movement of the audience. Sound? Projection?
- Animation projected outward from the site

** The waiting room Sarah Sze

Envisage the sound of the installation to be low frequency

Sound/sensory risks: will need to place signage at reasonable distance from installation so as not to harm anyone - also for lights

Lights and sound like summoning a GHOST - reaching for nonhuman spirits / connecting with them like a seance

Looked into possibility of using device that reads electromagnetic signals within plants and translates them into music but this seems to be pseudoscience :(

Plants respond positively to sounds of certain frequencies!!
https://www.frontiersin.org/articles/10.3389/fpls.2018.00025/full#:~:text=Sound%20promotes%20plant%20growth%20by,plant%20defense%20responses%20against%20pathogens.

Ensuring the sound will not disrupt wildlife - Sound will only play when exposed to presence from 50cm away or direct touch. Will play with reverb and a slight delay so the transitions are not too contrasting. Sound will be soft so as not to harm wildlife and will not play during the night due to absence of light. = echoes of ancient nature that are not always present

Probably will not be touched consistently for over 2-3 hours per day

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A HENGE!! - shape echoing the shape of standing stones - paying homage to human histories of the uk

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Location - Honouring the Great North Wood?

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Location - Honouring the Great North Wood?

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Crystal Palace park: land was originally part of the great north wood which is now mostly gone - will need to ask permission from council to place the artwork there

Dulwich woods: less for the human audience than for enriching the biodiversity of these woods to pay homage to its ancient history

Perhaps focus on rewilding a smaller area of land within a city during the second phase rather than trying to cover a forest - even large sculpture will not get far and will need stewardship in a remote location

BUT this would interfere w/ who the second phase is FOR. Is the audience still going to be nonhuman? Does placing it in a city contribute to greenwashing?

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woodland installation for second phase? a nutrient rich standing stone that has been laid to rest

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Memorial/ritual to honour lost biodiversity

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Memorial/ritual to honour lost biodiversity

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I am proposing an art piece in two phases: the first, a large scale sculptural and technological installation combining machine learning and projection with physical terracotta and mushroom, moss and lichen substrate. The installation will respond to the movements and sounds created by visitors as they move around the space, translating them into animated visuals and a sound piece.

The second phase will involve deinstalling this first piece from several months of public installation, removing the technological aspects, and placing the physical sculpture within a monocropped tree planting initiative forest to introduce biodiversity to these greenwashed and unsustainable areas. It will be stewarded by volunteers who will ensure the organic materials are surviving and spreading.

First phase: hibernation

Second phase: unseen by the human public - art that does not need an audience - art for the nonhuman world. Audience of plants and creatures who will become collaborators with the piece itself

Maybe woodlands are not the right place for this piece?

Will need to collaborate with biologists and programmers in order to develop each stage of the project

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Event/performance/festival in which sets and costumes and sculptures are substrates/contain seeds for plant growth

A way of regenerating forests in decimated areas?

Looking into plant succession - having it be a durational/longterm project in which each event focuses on a different stage of forest regrowth

First event = lichens, second = mosses etc leading up to old growth trees - repeated for decades

Regeneration effort that would combat greenwashed tree planting initiatives that actually accomplish nothing

Would look at native species for the area - avoiding invasives

PROBLEMS: how would the festival itself interfere with the growth after the first event? Should it be an untouchable space?

Stewardship in between events, making sure the plants survive

WHAT WOULD THE PERFORMANCE BE??? - sculptures made elsewhere that would travel to the site to be planted