What might the world look like 30 years from now, once we manage to significantly reduce CO2 emissions? Oliver Ressler imagines the results of specific changes that need to take place on the road towards the human civilization becoming climate-neutral. He adapts the key segments of the global economy, related to industries responsible for the lion’s share of greenhouse gas emissions, to new, zero-emission regulations. His work gives us suggestions on how to design a world in which the de-carbonization of our economy, preserving our resources, and the co-existence of man and nature is actually possible.
That last aspect seems to be particularly important to the interventions which Ressler stages in meticulously selected spaces. The reintroduction of plants into places dominated by man, exploited and subjected to industrial violence, creates an opportunity to build a new relationship between people and nature, of which they are, after all, a constituent part. However, the artist is aware of the irreversible consequences of the climate crisis, which has already made an impact both locally and globally. Reclaiming Abundance rejuvenates our imaginations, by this point geared towards dystopia, offering positive scenarios, and opening a debate on the nature and limitations of the social and cultural changes that go hand in hand with scientific and technical efforts to transform our energy sector.
SECOND PRIZE
Amazon Air, Gottfried Halder
With every item bought online, we also receive air from the warehouses of the biggest Internet stores, “packaged” into little plastic bags that fill out the empty space in the cartons. Gottfried Haider commissioned a lab to analyze samples of this air. The analysis revealed traces of chemical compounds which are harmful to people’s health and the environment.
Amazon Air is an original and powerful metaphor of the “toxicity” of global trade, the long chain of excessive and mindless consumption, as well as corporate attempts to break and curtail workers’ rights.
Thanks to Haider’s work, perhaps now every time we open another package, we will be aware of the toxic void that accompanies the items we have ordered, like a symbolic receipt for our remote access to a globalized world. And perhaps in the future, we will venture to order less of that void, thus limiting our contribution to the growing dangers and injustice visited upon our natural and social environment as a result of unfettered consumerism.
II NAGRODA
Amazon Air, Gottfried Haider
Wraz z każdą rzeczą kupioną online trafia do nas powietrze z magazynów największych sklepów internetowych, „zapakowane” w woreczki zabezpieczające pustą przestrzeń w opakowaniach. Gottfried Haider zlecił laboratoryjną analizę próbek takiego powietrza. Wyniki ujawniły związki chemiczne szkodliwe dla zdrowia człowieka i środowiska.
Amazon Air to oryginalna i mocna metafora „toksyczności” globalnego handlu, długiego łańcucha nadmiernej, bezrefleksyjnej konsumpcji, a także korporacyjnych praktyk w zakresie łamania i prób ograniczania praw pracowniczych.
Dzięki pracy Haidera być może w każdej kolejnej odebranej przesyłce, oprócz zamawianych przedmiotów, zwrócimy uwagę na toksyczną pustkę, która trafia do nas wraz z nimi niczym symboliczny rachunek za zdalny dostęp do zglobalizowanego świata. I może w przyszłości będziemy tej pustki zamawiać mniej, nie zwiększając zagrożeń i niesprawiedliwości wynikających z wpływu niepohamowanego konsumpcjonizmu na środowisko – naturalne i społeczne.
The gradual return to a dynamic, intensive social life after the pandemic might turn out to be a rather peculiar experience. For a time, we are probably going to feel strange and anxious. Magdalena Mojsiejuk has noticed that these conditions offer a fertile ground for the creation of a new form of social life – one that combines urban gardening, fitness, and better neighborly relations. In Mojsiejuk’s vision, by creating and tending to collective gardens, we are integrating our community, improving our physical fitness, and bringing more locally sourced plant products (which are healthier and have a smaller carbon footprint) into our kitchens. All against the backdrop of green cities.
Mojsiejuk provocatively encourages us to imagine what could happen if we devoted to #Gardenfit the kind of money we spend on all the activities that are meant to improve our physical fitness – classes that, though already paid for, frequently remain in the realm of potentiality. With this spectacular project, the author shows us that these kinds of grassroots, culture-forming social initiatives have the potential to become a source of real, positive change. They can start trends that will permanently change local communities.
SECOND PRIZE
Things of Internet, Helena Maciukiewicz
In our everyday experience, the Internet seems immaterial – we reduce it to uploaded and downloaded content, overlooking the social and economic ramifications of its physical presence. This issue came into focus during the pandemic, when so many everyday things had to take place in the online world, replacing personal contact. We don’t usually think about the energy-consuming infrastructure that keeps the global computer network alive. We don’t think about how it affects the emission of greenhouse gases, an issue which recently became part of public discourse thanks to the blockchain technology.
Things of Internet directs our attention to the negative environmental impact of ubiquitous digitization. By showing the material dimension of the Internet, Maciukiewicz’s interactive installation stimulates our emotions and imagination, encouraging us to analyze our Internet habits. It offers us tips on how to approach it more responsibly, and how to be more conscious of using technology. The more we know about the environmental aspect of using devices connected to the Internet, the better our chances are of successfully countering the actions of purely profit-driven tech corporations, such as introducing new regulations that are harmful to people and the environment.
The gradual return to a dynamic, intensive social life after the pandemic might turn out to be a rather peculiar experience. For a time, we are probably going to feel strange and anxious. Magdalena Mojsiejuk has noticed that these conditions offer a fertile ground for the creation of a new form of social life – one that combines urban gardening, fitness, and better neighborly relations. In Mojsiejuk’s vision, by creating and tending to collective gardens, we are integrating our community, improving our physical fitness, and bringing more locally sourced plant products (which are healthier and have a smaller carbon footprint) into our kitchens. All against the backdrop of green cities.
Mojsiejuk provocatively encourages us to imagine what could happen if we devoted to #Gardenfit the kind of money we spend on all the activities that are meant to improve our physical fitness – classes that, though already paid for, frequently remain in the realm of potentiality. With this spectacular project, the author shows us that these kinds of grassroots, culture-forming social initiatives have the potential to become a source of real, positive change. They can start trends that will permanently change local communities.
SECOND PRIZE
Things of Internet, Helena Maciukiewicz
In our everyday experience, the Internet seems immaterial – we reduce it to uploaded and downloaded content, overlooking the social and economic ramifications of its physical presence. This issue came into focus during the pandemic, when so many everyday things had to take place in the online world, replacing personal contact. We don’t usually think about the energy-consuming infrastructure that keeps the global computer network alive. We don’t think about how it affects the emission of greenhouse gases, an issue which recently became part of public discourse thanks to the blockchain technology.
Things of Internet directs our attention to the negative environmental impact of ubiquitous digitization. By showing the material dimension of the Internet, Maciukiewicz’s interactive installation stimulates our emotions and imagination, encouraging us to analyze our Internet habits. It offers us tips on how to approach it more responsibly, and how to be more conscious of using technology. The more we know about the environmental aspect of using devices connected to the Internet, the better our chances are of successfully countering the actions of purely profit-driven tech corporations, such as introducing new regulations that are harmful to people and the environment.
Die Jury bestehend aus Stanisław Welbel (Kurator für bildende Kunst, Österreichisches Kulturforum), Agnieszka Jelewska, Ph.D. (Professorin der Adam-Mickiewicz-Universität, Direktorin und Mitbegründerin des Humanities/Art/Technology-Research Center an der Adam-Mickiewicz-Universität in Poznań) sowie Krzysztof Kornas (Kurator des Przemiany-Festivals, Copernicus Science Centre) entschied sich nach der Auswertung der 49 künstlerischen Arbeiten, die zum Open Call eingereicht wurden, für vier Projekte.
Österreich
I. PREIS
Reclaiming Abundance, Oliver Ressler
Wie könnte die Welt in dreißig Jahren aussehen, wenn es uns gelingt, die CO2-Emissionen deutlich zu reduzieren? Oliver Ressler imaginiert Veränderungen, derer es bedarf, um Klimaneutralität zu erreichen. Orte, die für die Weltwirtschaft von zentraler Bedeutung sind, weil sie mit Industriezweigen verbunden sind, die für einen erheblichen Teil der Treibhausgasemissionen verantwortlich sind, passt Ressler visuell an die neuen, emissionsfreien Regeln an. Seine Arbeiten zeigen, wie man sich eine Welt vorzustellen hat, in der die Wirtschaft dekarbonisiert wurde, Ressourcen gespart werden und Mensch und Natur koexistieren.
Letzteres scheint Ressler bei seiner künstlerischen Intervention besonders wichtig zu sein. Die Rekultivierung von Orten, die vom Menschen beherrscht und ausgebeutet wurden sowie Gegenstand industrieller Gewalt waren, schafft die Möglichkeit, ein neues Verhältnis zwischen Natur und Mensch – der schließlich selbst Teil der Natur ist – zu entwickeln. Wobei der Künstler sich der unumkehrbaren Folgen der Klimakrise bewusst ist, die sowohl im Lokalen als auch im Globalen zu beobachten ist. Das Projekt Reclaiming Abundance befeuert die eher an Dystopien gewöhnte Einbildungskraft mit positiven Szenarien und initiiert eine Diskussion über das Wesen und die Restriktionen des soziokulturellen Wandels, der mit den wissenschaftlich-technischen Eingriffen im Bereich der Energiewende einhergeht.
II. Preis
Amazon Air, Gottfried Haider
Mit jedem online gekauften Gegenstand gelangt Luft aus den Lagern der größten Online-Händler zu uns, „verpackt“ in Polsterkissen, mit denen die Hohlräume der Versandpakete ausgefüllt werden. Gottfried Haider hat Proben dieser Luft im Labor untersuchen lassen. Dabei wurden chemische Verbindungen nachgewiesen, die für die Gesundheit des Menschen und die Umwelt schädlich sind.
Amazon Air ist eine originelle und starke Metapher für die „Toxizität“ des globalen Handels, für die langen Lieferketten des übermäßigen und unreflektierten Konsums sowie für Unternehmenspraktiken, mit denen gegen Arbeitnehmerrechte verstoßen, beziehungsweise versucht wird, diese einzuschränken.
Dank Haiders Arbeit werden wir bei jeder neuen Sendung vielleicht nicht nur an die bestellten Artikel, sondern auch an die toxische Leere denken, die wir geschickt bekommen, gleichsam als eine symbolische Rechnung für den Zugang zur globalisierten Welt. Und möglicherweise werden wir in Zukunft weniger von dieser Leere bestellen und infolgedessen die durch den ungezügelten Konsum bedingten Gefahren und Ungerechtigkeiten für Umwelt und Gesellschaft nicht noch zusätzlich verstärken.
Polen
I. PREIS
#Gardenfit, Magdalena Mojsiejuk
Die schrittweise Rückkehr zu einem intensiven und dynamischen gesellschaftlichen Leben nach der Pandemie wird womöglich eine merkwürdige Erfahrung sein. Für eine Weile werden wir uns vermutlich unsicher und seltsam fühlen. Magdalena Mojsiejuk sah darin einen fruchtbaren Boden, um eine neue Form des gesellschaftlichen Zusammenlebens zu entwickeln – die städtischen Gartenbau, Fitness und bessere Nachbarschaftskontakte miteinander verbindet. Indem wir kollektive Gärten gründen und betreiben, integrieren wir – so Mojsiejuks Vision – unsere lokale Gemeinschaft, halten uns fit, und auf unserem Speiseplan finden sich mehr lokale pflanzliche Produkte wieder (die nicht nur gesünder sind, sondern auch einen kleineren CO2-Fußabdruck hinterlassen). Und dies alles in der Umgebung grüner Städte.
Mojsiejuk stellt die provokative Frage, was geschähe, wenn wir für die Kampagne #Gardenfit genauso viel Geld ausgeben würden wie für sämtliche Aktivitäten, die unserer Fitness zugutekommen – Aktivitäten, die, obwohl sie bezahlt wurden, oft nur Pläne bleiben. Mit ihrem spekulativen Projekt zeigt die Autorin, dass derartige kulturfördernde, gemeinschaftliche Initiativen von unten das Potenzial haben, der Ausgangspunkt realer, positiver Veränderungen zu sein. Sie können Trends setzen, die die lokalen Gemeinschaften dauerhaft verändern.
II. Preis
Things of Internet, Helena Maciukiewicz
Die Erfahrung des Internets ist im Allgemeinen immaterieller Natur – meist reduzieren wir das Netz auf die empfangenen und gesendeten Inhalte und ignorieren die sozioökonomischen Auswirkungen seiner Stofflichkeit. Dies wurde besonders deutlich während der Pandemie, als viele alltägliche Angelegenheiten online stattfinden mussten und den direkten Kontakt ersetzten. Wir denken nicht ständig über die energieintensive Infrastruktur nach, dank derer ein globales Computernetzwerk überhaupt existieren kann. Wir überlegen uns nicht, wie das Internet die Emission von Treibhausgasen befördert, worüber zum Beispiel jüngst im Zusammenhang mit der Blockchain-Technologie diskutiert wurde.
Things of Internet verweist auf die negativen Umweltfolgen der allgegenwärtigen Digitalisierung. Maciukiewicz’ interaktive Installation, die die materielle Dimension des Internets thematisiert, spricht unsere Einbildungskraft und Emotionen an und fordert uns auf, unsere Netzgewohnheiten kritisch zu hinterfragen. Maciukiewicz zeigt, wie man die Technologie verantwortungsvoller und bewusster nutzen kann. Je mehr wir über den Umweltaspekt der an das Internet angeschlossenen Geräte wissen, desto größer sind die Chancen, dass wir uns Aktivitäten, die nur dem Profit der Technologiekonzerne dienen – unter anderem gesetzliche Regelungen, die für Mensch und Natur schädlich sind – erfolgreich zur Wehr setzen.
Jak może wyglądać świat za 30 lat, kiedy uda się znacznie zmniejszyć emisje CO2? Oliver Ressler wyobraża sobie rezultaty konkretnych zmian, jakie muszą zajść na drodze do neutralności klimatycznej cywilizacji człowieka. Miejsca kluczowe dla globalnej gospodarki, wiążące się dziś z gałęziami przemysłu odpowiedzialnymi za znaczną część emisji gazów cieplarnianych, Ressler wizualnie adaptuje do nowych, zeroemisyjnych reguł. Jego prace podpowiadają, jak projektować świat, w którym możliwe jest zdekarbonizowanie gospodarki, oszczędzanie zasobów oraz współistnienie ludzi i przyrody.
Ten ostatni aspekt wydaje się szczególnie ważny dla interwencji, których Ressler dokonuje w precyzyjnie wybranych przestrzeniach. Ponowne wprowadzenie roślinności w miejsca opanowane przez człowieka, wyeksploatowane, poddane industrialnej przemocy stwarza możliwość wypracowania nowych relacji ludzi z przyrodą, której przecież sami są częścią. Przy czym artysta jest świadomy nieodwracalnych konsekwencji kryzysu klimatycznego, który zdążył odcisnąć lokalne i globalne piętno. Projekt Reclaiming Abundance wspomaga przyzwyczajoną raczej do dystopii wyobraźnię pozytywnymi scenariuszami i otwiera dyskusję dotyczącą charakteru i ograniczeń społeczno-kulturowych zmian, jakie idą w parze z interwencjami naukowo-technicznymi w zakresie transformacji energetycznej.
II NAGRODA
Amazon Air, Gottfried Haider
Wraz z każdą rzeczą kupioną online trafia do nas powietrze z magazynów największych sklepów internetowych, „zapakowane” w woreczki zabezpieczające pustą przestrzeń w opakowaniach. Gottfried Haider zlecił laboratoryjną analizę próbek takiego powietrza. Wyniki ujawniły związki chemiczne szkodliwe dla zdrowia człowieka i środowiska.
Amazon Air to oryginalna i mocna metafora „toksyczności” globalnego handlu, długiego łańcucha nadmiernej, bezrefleksyjnej konsumpcji, a także korporacyjnych praktyk w zakresie łamania i prób ograniczania praw pracowniczych.
Dzięki pracy Haidera być może w każdej kolejnej odebranej przesyłce, oprócz zamawianych przedmiotów, zwrócimy uwagę na toksyczną pustkę, która trafia do nas wraz z nimi niczym symboliczny rachunek za zdalny dostęp do zglobalizowanego świata. I może w przyszłości będziemy tej pustki zamawiać mniej, nie zwiększając zagrożeń i niesprawiedliwości wynikających z wpływu niepohamowanego konsumpcjonizmu na środowisko – naturalne i społeczne.
Polska
I NAGRODA
#Gardenfit, Magdalena Mojsiejuk
Stopniowe wracanie do dynamicznego, intensywnego życia społecznego po pandemii może okazać się dość osobliwym doświadczeniem. Przez pewien czas prawdopodobnie będziemy się czuć niepewnie i dziwnie. Magdalena Mojsiejuk dostrzegła w tych warunkach podatny grunt dla stworzenia nowej formy społecznego życia – łączącej miejskie ogrodnictwo, fitness oraz lepsze kontakty sąsiedzkie. W wizji Mojsiejuk, zakładając i uprawiając wspólne ogrody, integrujemy swoją społeczność, dbamy o kondycję fizyczną, a w naszym jadłospisie pojawia się więcej lokalnych produktów roślinnych (a zatem zdrowszych i o niższym śladzie węglowym). Wszystko to w otoczeniu zielonych miast.
Mojsiejuk prowokacyjnie zachęca nas do wyobrażenia sobie, co mogłoby się stać, gdybyśmy na kampanię #Gardenfit przeznaczyli podobne kwoty, jak te, które przeznaczamy na wszelkie zajęcia mające nam zapewnić dobrą kondycję fizyczną – zajęcia, które, mimo że opłacone, często pozostają jedynie planami. Tym spekulatywnym projektem autorka pokazuje, że tego rodzaju oddolne, kulturotwórcze działania społecznościowe mają potencjał stawania się źródłem realnych, pozytywnych zmian. Mogą one zapoczątkować trendy, które trwale zmienią lokalne społeczności.
II NAGRODA
Things of Internet, Helena Maciukiewicz
W doświadczeniu potocznym internet wydaje się niematerialny – sprowadzamy go do odbieranych i wysyłanych treści, pomijając społeczno-ekonomiczne konsekwencje jego fizyczności. Proces ten uwidocznił się w czasie pandemii, kiedy tak wiele codziennych spraw musiało odbywać się w świecie online, zastępując bezpośredni kontakt. Na co dzień nie zastanawiamy się nad energochłonną infrastrukturą, dzięki której globalna sieć komputerowa może w ogóle istnieć. Nie myślimy o tym, jak wpływa ona na emisję gazów cieplarnianych, o czym w ostatnim czasie było głośno choćby w kontekście technologii blockchain.
Things of Internet zwraca uwagę na negatywne konsekwencje środowiskowe wszechobecnej cyfryzacji. Interaktywna instalacja Maciukiewicz, ukazując materialny wymiar internetu, oddziałuje na wyobraźnię i emocje, zachęcając do analizy własnych nawyków korzystania z sieci. Podpowiada, jak robić to bardziej odpowiedzialnie, jak bardziej świadomie używać technologii. Im więcej będziemy wiedzieć o środowiskowym kontekście korzystania z urządzeń podpiętych do internetu, tym realniejsze są szanse na skuteczne przeciwstawianie się działaniom nastawionych wyłącznie na zysk korporacji technologicznych, w tym doprowadzaniu do ustanawiania szkodliwych dla ludzi i natury regulacji prawnych.
The Swamp in the City project involves creating a simulation of a wetland micro environment in the architectural space of a city. In the chosen location of Warsaw, a fragment of the swampy environment will be recreated, similarly to the popular "forests in a jar". The reconstruction of the wetland may be accompanied by a continuous audio-visual presentation.
The Swamp will be fully participatory and open to the citizens of Warsaw. The work focuses on creating a positive vision of the future in which understanding and accepting environmental processes guarantees the survival of the planet’s wilderness and a deeper understanding of the relationship between the urban and the natural environment.
There is a reason why we also talk about the environment in a social or political context. Understanding the ecological processes taking place in the socio-biological tissue of the city is a step towards realising that the urban organism is not only urban planning and organisation of space, but also the biological life cycle present in the plant and animal organisms that inhabit cities. The Swamp will provide a better understanding of resource reuse and urban biomass recycling.
The Tiny Biogas Plant is an educational and experimental project that will be carried out in kindergarten gardens where children are engaged in gardening. The project aims to create good ecological habits.
The project focuses on learning through an analogue experience of the process of generating gas from biomass. Rising generations bear a huge responsibility for the environment. They must have a comprehensive knowledge of renewable energy sources and closed-loop lifestyle. Our proposal is a facility that illustrates how biogas is produced from biomass harvested by children, which under appropriate conditions undergoes a methane fermentation process.
Observing the gas generation will help in understanding the whole process – the installation will be equipped with gloves to mix the compost in the chamber, as a result of which the gas will start to be produced. The resulting high-quality fertiliser can be used for work in the garden, thus creating a closed cycle of matter. The produced gas can be used for further experiments.
The project was designed under the supervision of Daniel Zieliński, PhD habil., at Faculty of Design, Academy of Fine Arts in Warsaw.
The Waste Blockchain is the application of modern technology to solve the problems of today. The designed system of responsibility for manufactured materials allows the transfer from users to producers.
A widespread network of users is created organically, regardless of politics or lobbying. By scanning used packaging, users obtain information on where to dispose the waste and assign products to manufacturers, creating a grassroots advocacy network. The technology used and the dispersal of the system make it possible to track the real effects of companies’ environmental policies. It becomes impossible or not economically feasible to attempt a false pro-environmental policy. The system and the application would fall under the eco-currency system. Waste becomes as secure as currency thanks to the fact that changes cannot be made without trace in the blockchain system.
Rising levels of fossil fuel-based carbon dioxide (CO2) emissions are known to contribute to global climate change. In order to mitigate these emissions produced by industrialized, everyday human lives, numerous concepts for Carbon Capture and Utilization (or CCU) as well as Carbon Capture and Storage (or CCS) schemes have been invented and put forward: to capture and store, or to capture and recycle, CO2 emitted by industry.
Carbon Futures is an interactive installation that offers a glimpse into four examples of CCS and CCU strategies:
Carbon Capture and Storage – taking Carbon and storing it underground;
Carbon Curing – using Carbon to make a new, stronger type of cement;
Food and Drinks – using Carbon for fizzy drinks or packaging;
Recycled Carbon Fuels – using CO2 and bacteria to make jet fuels.
The Carbon Future Scenarios allow visitors to explore current trends in climate change mitigation strategies, and a look at potentially more sustainable industry practices that could have positive impacts on public health and our environment.
The four scenarios, much like their counterpart projects in the real world, are complex: Every step of each CCS and CCU technology is visualized by a simple building block. Visitors are invited to explore different carbon futures by finding the right components necessary for each strategy.
Our four Carbon Futures share one key component with a big effect on the carbon footprint: what energy source can be used to power them. Fossil fuels can’t mitigate the carbon footprint, so low carbon energy options are needed for any of these strategies to make sense.
In-depth information about the different building blocks can be found on an interactive screen with accompanying questions which invite visitors to think critically about these scenarios and their consequences.
What tools and technologies do we need for reducing industrial CO2 emissions?
Who are the key contributors to this global urgency?
How do we decide on better alternatives?
Corn Cartel was an immersive set, built with the purpose of introducing the controversy which surrounds genetic engineering in the context of living with climate change. In this near future scenario the latest innovation in genome engineering technology, CRISPR, enables precise editing even with lackluster equipment.
Local farmers finally have tools at their disposal to combat not only shrinking harvests, but also draconian genetic monopolies. Droughts and extreme weather conditions represent a huge threat to the unstable monocrops and licenses for more resilient seeds have become unaffordable. The precarious situations lead farmers to search for their own loopholes: a biohacker community starts manipulating functioning gene sequences just to a slight extent, so they can be open sourced and distributed among the local farmers.
Austria, previously strictly against any form of privately performed genetic modification, will be faced with a decision: to either reform the way agriculture is performed or risk disruptions when local monocultures have difficulties coping with the stress of more extreme weather events.
For the Festival Przemiany we want to create an installation which invites visitors to experience the previous built laboratory through videos and images, accompanied by one of the core pieces of the set: a DNA biochip that comprises several laboratory functions on a single circuit, serving as a tool to produce the carrier DNA needed for the seed manipulation.
The project is being prepared as a Master’s thesis under the supervision of Daniel Zieliński, PhD habil., at Faculty of Design, Academy of Fine Arts in Warsaw.
The Tree-state is a design of a system in which plants gain a channel of communication with humans through technology. This is a new form of the feedback from another species to humans. The project is both speculative and explorative. Its critical-pragmatic nature allows for future scientific projects.
The technology to create the system already exists today. It is currently being successfully used to increase the competitiveness and profits of businesses, but with today’s capabilities it can be applied to incorporate tree welfare into resource management to a greater or even unprecedented extent. The biggest implementation challenge is the question of our willingness to hear the needs of other species and to be proactive.
The project can also be seen as a proposal for the times when we will no longer have the privilege of discussing the state of the Earth’s climate and nature. All that remains will be measures to reduce our losses and those of the environment. The system proposed in the project involves acquiring data from non-invasive sensors testing the vital functions of trees. Its openness also allows data from other sources to be used. The data would go to the digital cloud, where signals for the economy would be generated using advanced data analytics and Artificial Intelligence. The AI will also generate content for the media based on analytical results and events. Since there is room for pets in the virtual world, a continuously updated plant presence should also find its place.
The project involves the technological design of the system along with a demonstration model using a plant, sensors and a microcomputer. A research project proposal based on the prototype system has also been established.
What if we could understand an ecosystem with help of technology?
The popularity of urban gardening is on the rise and with the growing population and more extreme weather conditions putting pressure on the global food chain, local food production will become increasingly important and we will see more space in the city dedicated to urban gardens.
This project presents a radical redesign of gardening using the newest technology and UX principles. It refers to the field of cybernetics, according to which the natural world is a complex system, a network, in which the nods are the plants, animals, microbes, humans, and machines. The recent developments in quantum computing promise us enough computing power to accurately map, analyze and simulate such a system. This would allow us to better manage an ecosystem and forecast potential risks.
In the video, you can see the gardener using devices designed to help take care of the ecosystem. He is placing sensors around the garden to gather data in real-time. The glove is identifying nutrients, plant species, and helps with load-carrying. The watering can is communicating with soil sensors to help achieve optimal moisture. The data is stored in his mobile device and then sent to a quantum computer which analyses it and decides the required course of action and gardening methods. The mask is an interface to access the simulated garden environment. Some of the UX principles include Peak-end Rule or Operational Transparency. Just like an experience of using a mobile app, the EG is aimed at improved efficiency and the satisfaction of the user. For instance, operational transparency states that when the users are separated from the people and processes that create value for them they feel like less effort went into the service. This project connects them with non-human people and presents them with data that will make them appreciate better the processes going on in the garden.
The concept of the project was based on field research to find traces of ecological and non-ecological behaviours of people living in Mazovia. The initial hypothesis that there is a correlation between the environment of aesthetic upbringing of Polish women and men and their ecological behaviour has been confirmed. Hence the recommendation to include relevant content in the education system, which will contribute to solving the climate crisis.
Nearly 200 photos were taken during the journey around the Mazovian peripheries, from which emerges a picture of the aesthetic and ecological awareness of the inhabitants of Mazovia. By treating a slice of the micro-image as a macro scale, I infer a similar state of aesthetic and ecological awareness in villages and small towns across the country. Due to the directly proportional correlation between the quality of the educational environment and ecological behaviours, an effective way to solve the problem of restoring pro-ecological behaviours will be the implementation of interdisciplinary education through art in educational institutions, which will trigger the process of conscious creation of an aesthetic educational environment. At the same time, it will be an opportunity to bring together polarised communities from the big cities and the peripheries in the common goal of saving our planet. In the 21st century, the aesthetics of education relates to many areas of life and takes into account the needs of each person and nature.
This idea will be illustrated by an artist-educational installation. In the hope of changing the use of carbon (C), I would like to emphasise the possibility of changing the negative connotation and colloquial perception of it as the cause of our problems into a positive perception suggesting a solution to the crisis thanks to nanotechnology (fullerenes, graphene, carbon nanotubes). Using easy-to-understand symbolism, the installation will inspire reflection and potential changes in behaviour and the status quo to avoid the climate catastrophe. The juxtaposition of the sculpture with photographs depicting the aesthetic and ecological awareness of the male and female inhabitants of the Mazovia region is a move that suggests the now inseparable links between aesthetics and ecology, as well as art and education.
Interactive machine producing fine fog in an intention to global warming effect. Clouds are increasing sun rays reflectivity, and thus they are lowering the atmospheric temperature. This experiment emphasizes the meaning of art for transforming both everyday life and global experiences. It is also an ironic comment on the role of science in the world dominated by the logic of technology, in which functionality and rationalization are of commercial nature. Project was based on a thesis of American and British scientists. Global Warming Control Unit also brings a method of paying attention to our habit of introducing new technologies to fix damage, instead of considering the harm in the first place.
“Geoengineering becomes an inevitable option, the only one solution worthy of anthropocene; paradoxically bringing together apocalyptic passion for destruction and belief in creating paradise on earth with the power of reason.” (E. Bendyk)
hello flower* is a speculative vision of how people will be fed in the future, when the Earth has run out of space for crops and “traditional” food production. Our only food are edible flowers, which we grow using the hydroponic (soilless) method at home, starting from sowing the seeds until the plant is fully grown. The flowers are genetically modified to meet human nutritional needs, but their shape and the physical form have not changed.
This way of eating has replaced the previously proposed powdered products, created, among other things, on the basis of bacterial fermentation. Despite its wholesome composition, people eating such food did not feel healthy – the lack of satisfaction from consuming the meal and a strong feeling of its “artificiality” resulted in deepening apathy. The reasons for this have begun to be traced to a deep-seated biophilic need necessary for physical and mental well-being.
hello flower* is a nostalgic and romantic vision of a future in which we cherish memories of the world from the memories of our ancestors. Flower meals are a kind of spiritual experience, and we treat the crops we grow ourselves with care and a kind of reverence – to them we owe life.
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The hello flower* project consists of:
photographic series
necklace with a seed storage container
seed pots and hydroponic growers with lighting
floral dish tableware
the ritual of eating new meals
Home-Based Studio & Hydro Barn is a team of developers, 2D artists, UX designers, sound designers, and writers passionate about new technologies, games, and hydroponic gardening. We develop our projects and participate in Game Jams to challenge ourselves in a wide range of entertainment areas. Our members are involved in many international exhibitions and art competitions. We also have organized a charity auction related to art. Moreover, we participate in cosplay events and create costumes. By combining our unique skills, we believe we can create something special that can impact the world!
HydroHex is a project based on hydroponics. We believe this method of cultivation is a pleasant and healthy way of getting closer to nature. Moreover, it allows for a relaxing activity while nurturing an engaging hobby
The module
HydroHex consists of two parts. The first one is a multipliable hexagon-shaped module designed for hydroponic culture. The relatively small size of the installation (65 cm of width) makes it fit even in a not spacious room. Inside its removable shelves, we can put up to five plants. The unique construction enables a simple way of creating module systems called gardens. There's also an aesthetic side to the project – a module hanging on the wall will adorn it.
The application
A dedicated application supporting proper plant cultivation makes up the second part of the project. It's of great help for people with no experience with hydroponics or even plant cultivation in general. The HydroHex application will guide them through the module configuration and suggest suitable plants based on a survey filled in by the user. It will remind them to refill the water tank and calculate required quantities of supplies, such as pH regulator or fertilizer. The app has a built-in plant encyclopedia introducing us to the needs of each plant. The Gamification feature present in the HydroHex app encourages the user to further development of their hydroponic skills.
The ILUMI project is a vision of the future in which humanity discovers the new home – Earth 2.0. The planet is liveable, but conditions are a little different to what we are used to and we need to change our habits if we want to live there. This new planet is our Earth, the one we have today when the disaster threatens. On Earth 2.0 we must stop global warming at 1.5°C. The planet we have known until now no longer exists. If we want to live on the one we have now, we have to settle it under new conditions.
The ILUMI project uses the phenomenon of polarisation, which causes a “wow effect” and makes the participant want to enjoy the experience (polarised animation).
If we want to experience pleasure, alone without the cooperation of others, we have very limited time to do so. If we start working with other participants, collectively to provide renewable energy, we spread the carbon budget over a longer period of time, which will allow us to find and introduce more advanced technologies for reducing CO2.
The project is an overall vision and presentation of selected elements of cyberpunk transformation of a fragment of the city, on the example of one housing estate in Warsaw.
The whole. Biocentric vision of Jazdów residential area in 2044.
A ten-minute film presenting a vision of the estate through a variety of artistic and cinematic means (film collage, animation, illustrations).
Visitors to the exhibition will charge the battery that powers the projector using a bicycle generator. The video will play from the beginning when the dynamo is started (by turning the pedals).
The close-up. Selected elements of the vision.
ERRADIX [er from the first part of the word “erosion” and err – “to err”, radix (Latin) – “root”]
Prototype of an asphalt removal system using the roots of fast-growing plants, mainly trees. At the exhibition we will present a functioning model in the form of a cross-section of asphalt bursting with roots and a graphic diagram with a description of the idea.
VELO-VER [vélo (French) – “bicycle”, ver from the word “versatile”].
A fully operational prototype of an electrically assisted cargo bike for transporting goods within the city. The bicycle will be equipped with a generator (dynamo) charging the battery installed in the bicycle, with the option of connecting any electric device.
The Drop of Truth is a kind of a hybrid lamp, a tool for raising public awareness about the so-called virtual water, i.e. water used for industrial production. The lamp is designed for the people of the future, who want to nurture their own awareness of how precious every drop of water is.
The light installation invites you to individually reflect on our role in saving the planet and especially the dwindling water resources. The reflection here is parallel on two different levels. As a visual phenomenon, a holographic self-confrontation in the inner structure of the droplet, and as reflections of the viewer activated by an appropriately chosen interaction scenario.
The large-format lamp – equipped with a camera, intelligent software recognising specific objects, a central unit and a mini-display – is also a kind of an oracle, a repository of knowledge giving us real data on how much water is needed to produce items of clothing, favourite accessories, technological gadgets, etc. A camera at the bottom of the lamp, controlled by appropriate software, recognises the shapes and in response generates (on the display) figures illustrating the water consumption required to produce the item. The user is given the opportunity to introduce various objects into the interior of The Drop, which – when confronted with a hemispherical mirror – seem to lose their form.
The Drop of Truth is an educational utilitarian object, a reflective medium that can become a common furnishing in homes, shops and public premises. By promoting the useful knowledge of the invisible connection between purchased objects and the water environment, it stimulates conscious choices regarding everyday water use and the rationalisation of consumption in its broadest sense. The idea behind the project is to shape a sustainable culture for the future, a culture whose important element will be the development of responsible social attitudes.
The project proposes the construction of a solar soundsystem based on a cargo bike. I intend to use two three-way acoustic speakers with high sound reproduction, allowing stereo control of bass as well as midrange and treble (2x165 W). The assembly will be supported by an amplifier covering a frequency range of approximately 30 Hz to 20 kHz. Over time, the kit can be upgraded with an Ashton mixer, which can combine 4 sources, e.g. iPod, microphone, guitar and bass (e.g. for live gigs).
On the energy side, I intend to equip the system with a sealed 12 V 75 Ah gel battery and an easily removable panel or set of panels, min. 50 W, with a regulator, so that charging is possible both at rest and in use. The set as a whole would give between 6 and 10 hours of operation at about 2/3 of the possible maximum volume. Removable manifolds could also charge the battery while garaged.
The bicycle, apart from being used for the purposes of social movements and protests in Warsaw, would be an element of performative actions in the form of playing back the sounds of nature or nature-destroying sounds recorded by myself. I also intend to provide equipment or the bicycle itself on a cooperative basis in the future for non-profit groups and communities living and working in Warsaw.
We are now in great need of mobile sound equipment, especially for spontaneous gatherings, able to move on both roads and pavements. It is also time to reduce the fuel-based sound systems at political events! As part of the festival, a completed project playing a video of a previously carried out activity would appear on a display.
The concept of the project was based on a combination of two areas: on the one hand, the need of forward-looking urban solutions for contemporary cities, and on the other, the use of new technologies in art and design.
Our work experiments with the possibilities of using artificial intelligence as a tool to creatively analyse data on the urban structure of cities and, potentially, to create new solutions. We want to draw attention to the role of nature in urban planning – access to green areas and their impact on air quality, the comfort of living for residents, as well as increasing opportunities to actively contribute to the climate neutrality of cities. This is particularly important given that half of humanity already lives in cities.
Using city plans extracted from satellite maps as data, we are creating learning sets that will be used by artificial intelligence to “learn” current urban planning solutions in cities. Based on this, the AI will generate other possible solutions, initially unrealistic, but as the learning sets expand – giving the potential for use in real life. The concept may seem utopian, but the use of AI to collect and analyse data and generate solutions is already commonplace today, including in urban planning.
Our planet is made in 72% of water. Although it might seem to be the last resource we can run out of, every day the lack of fresh water contributes to the deaths of people in various parts of the world. Many water-saving systems have been developed, but considering such huge water consumption, they are still insufficient.
The Dewatering project proposes an alternative approach. It assumes that the most effective way to address drinking water shortages is through the common sense of its users. Understanding how much we are draining our planet may come hard to residents of highly developed countries – even though they too have so much to do with it. The human body is also made up of as much as 70% water, or 49 litres for an average 70 kg person. We feel the effects of this in our day-to-day lives. The loss of even a small amount of fluid is associated with a strong need to replenish it in the body. This need is met with great care. Yet this does not translate into respect for our planet’s water resources. Even with ordinary hand washing, we use far more water than is necessary.
The Dewatering project illustrates this inconsistency. Attached to the sink, the human-shaped display is surrounded by an LED strip. The bar goes off as water consumption is measured by a liquid flow sensor connected to the drain. The display shows how many litres of liquid have disappeared in the sink, the final value is 49 litres. The LED bar and the display are controlled by an Arduino central processing unit, which receives data from a liquid flow sensor. The prototype is made of milky milled plexiglass, but the target material will be tempered glass with high light permeability.
The mass installation of similar facilities in public toilets would help raise awareness among the people who use them. Awareness resulting in respect for the Earth’s resources is the first step towards human coexistence with nature.
Pompuj! (Pump!) is an art cooperative that is budding in Biennale Warsaw from February 2020. The name Pompuj! is associated with water, and more broadly with life-giving, artistic energies that we want to pump into the social circulation of ideas.
At the same time, it refers both to the area of our activities and methods of work – in Pompuj! we put emphasis on grassroots activities, pumped with enthusiasm by members of the cooperative. The Cooperative addresses the climate catastrophe by seeking answers to the challenges we face as individuals and the society as a whole due to the environmental crisis. We do not want to scare, but to respond directly to the consequences of the change. We educate ourselves and others, and test functional solutions, such as urban gardening or home water retention methods, to adapt to an environment that is changing before our eyes.
The members of the Cooperative are graduates of the Academy of Fine Arts in Warsaw: Adelina Cimochowicz, Jakub Depczyński, Kasia Kalinowska, Ania Łyszcz, Bogna Stefańska.
We believe in:
community space management,
reclaiming urban wasteland for useful activities such as gardening,
knowledge sharing,
art as an experimental space.
This is why we design and experiment with different forms of resource efficiency. The concept of protopia is very important for us: we create simple solutions adapted to local needs and contexts, using valuable, forgotten traditions from the fields of technology, agriculture and art.
One of the biggest problems associated with the climate crisis in Poland is drought, overdrying and desertification. We lack retention systems, and those we do have are consistently destroyed (by cutting down trees, concreting river beds, building dams, etc.). Therefore, in response to an open call, we are submitting a proposal of retention sculptures that retain water in the soil. Inspired by traditional olla vases, the sculptures are a simple, ecological and creative response to the water crisis, infused with cultural meanings.
The Plantstation is an installation that builds a lyrical bond between the man and the plant. Focused primarily on nature, it builds relationships through the magical medium of music. The ceremony of playing melodies for the plants to stimulate their growth enables communication with the world of nature. Plants emit their own frequencies, communicating to one another. So why not talk to them? A modular and synesthetic project, the Plantstation, stimulates and enables users to develop habits such as respect for the environment and attention to plants. The project assumes that people, increasingly aware of the importance of the greenery and nature around us, will devote more time to it.
The Plantstation is a continuation of the Fasola si do instrumentation (video available on YouTube). The installation is modular. The inspiration for the module was the cross in the musical notation. Modifying the shape of the module, as well as the elements housing the greenery, makes it possible to create a seat and a table. The heart of the installation is a pot with electronics. This is where the process of producing plant growth-stimulating sounds begins. The music for the installation was composed by Berenika Wojnar. The result of a research-based collaboration between the composer and the project’s author is ten musical compositions containing the corresponding frequencies for nine types of leaves. The author’s vision embodied in the idea of the project is a full belief in positive social changes, in which the human individual – as a citizen of the Universe – through “tender” music-making contributes their tiny part to its development.
While finding oneself in a very delicate state of environmental change, generating understanding of our biosphere’s plasticity, is crucial for our societies to learn how to navigate within these complexities. Along with the awareness that humanity has become a main factor of this natural fabric, we’re in need of finding new ways to access this bond and originate a new behavioral understanding.
Within the many layers of human signature on Earth, plastic, as a major longlasting marker of our civilization, will certainly be one of its last prints. Despite the great efforts we put into not seeing it, plastic is now an essential component of our natural environments and habitats. While its current use is known as problematic, humanity will clearly never give up on the vast potential of this product, which has served from the beginning, medical and military purposes. Instead of turning a blind eye to the fact that we’re mainly fighting symptoms, society is in urgent need of finding new ways to treat this topic.
Plasticities, aims to explore plastic as a medium of beauty and functionality, in a strategy of revaluation, to deal with its ethical issues. By interweaving various artistic approaches, it oscillates between technological invention and anthropofictional investigation. It is based on an evolutionary storyline, where a community of a few humans will have to survive on the plastic continent.
While exploring the mechanical potential of this material, the anthropo-fiction scenario is setting a specific frame to design the prints and artifacts of the plastic land and its societies. Involving local communities, as for collecting raw material as for reflection and transmission times, will be the occasion to stage a series of immersive environments, tackling environmental and societal challenges. A series of experimental short movies will document all the process, and will compose the corpus of the docu-fiction, which compilation will be done on an open-source archive.
Moving away from industrial livestock farming
Replacing advertisements of meat and animal products with artistic information about industrial farming and its true cost – ethical, health, disastrous for the environment and our lives.
Billboard campaign – replacing advertising and other media that proclaim continued scarcity and encourage consumption with artistic information on the climate catastrophe and factory farming to bring these issues into the broader social debate.
Labelling of animal products as highly harmful – not a ban, but maximum awareness.
Creating space in cities for “now” statues:
artistic expressions in various forms – spatial, projections, ephemeral actions; space for current monuments and social art; directing the perception of the urban space users towards current problems and solutions; decentralisation, feminisation, differentiation of urban space – not only the towering, awe-inspiring monuments of men with guns;
making socially, politically, legislatively important spaces accessible; taming the dominant; accessibility;
the problem with urban space reflecting patriarchal social systems; space of domination, rivalry, culture of war; detrimental to our perception of the world and ourselves – in some way possessing, usurping, opposing, conquering, creating I-other, I-nature boundaries;
the problem of commemoration distancing us from the “now”, which is the separation of history from discussion under the pretext of the insult – the inappropriate sanctification of history; the commemoration which does not teach to act.
Projects aimed at the youngest – animations, toys, workshops that do not violate sensitivity, but educate on the subject of animals, climate:
the problem of toys: weapons, soldiers – spreading the culture of war, subjugation, desensitisation to harm; dolls – marionettes to look at, admire, shaping passivity, depriving of subjectivity and activity.
I would like to buy a piece of land without any buildings on it in Poland/Austria (the size depends on the price). There I want to plant a wild garden. I am interferring with the nature through the act of hiding seeds in the ground, and planting small bushes with edible fruits. If a fence is needed it will be out of plants - as recommended by the rewildering website. https://rewildingeurope.com/what-is-rewilding/ [1.3.2021].
The rest will be in nature’s hands.
Then I plan to visit this wild garden and artistically respond to it, „consuming myself“, which means I will use what is at hand provided by my body, reacting to the moment with movement and sound. Art that is close to the body does not need more ressources and can be understood as sustainable. The documentation of the process and the results shall happen in the frame of financial possibilites.
I, Pamina Milewska, am willing to get there in the most ecological way. By foot, or by tandem-bike (ideally - if I want someone to hold the camera for me) or by train. Use the bike, walk, dance to transport yourself, even larger distances slow traveling. Expres yourself through movement, music and (foreign) language. Reduce your need to consume. Rise your need to exist pleasureful.
Steps to buy a piece of land: choose a place, and contact the seller.
composting, a plant-rich diet, and bicycle-riding are things simple people can do in order to work with the climate crisis. These examples could reduce health-care/landfill costs and emissions, increase clean air and fertilizer production.
„As Zen master Thich Nhat Hanh has said, making the transition to a plant-based diet may be the most effective way an individual can stop climate change.“
The climate catastrophe is commonly considered in the context of humans, although it is more relevant to non-humans who have less capacity to respond to the change. One of the more vulnerable groups are amphibians (IUCN, 2021). Since the 1980s, scientists have noted their mass extinction on an unprecedented scale (Beebee, 2005, McCallum M.L., 2007).
The lives of frogs and toads are suspended between the land and the water. The life cycle of these animals completes in migration during the breeding season. The trail sometimes runs across roads and streets, these places are known as those "where a lot of frogs crash in spring" (Kurek, 2011). When amphibians see an approaching car, they freeze in fear. This is close to people’s attitudes to the climate change. The marasm of the anthropocene grows out of a sense of powerlessness in the face of impending disaster and locks us into a trap of inaction. Lack of public awareness blocks the fight against the climate crisis (Rochon & Kuper, 2008).
We will design a mobile installation with a set of accessories: technical equipment, amphibious banner, ribbons, badges and educational materials. The installation will serve in the action of moving amphibians across roads during spring migration and will elevate the event to a neighbourhood celebration. Installation design is about ease of construction, recycled materials, mobility, aesthetics.
The ideas and practices, developed together with scientists as well as the Workshop for All Beings and the Alter Eko foundation, will be made available under a free licence. We want to point out the need for holistic cooperation between local communities, professionals and officials in the fight against the climate change. The organisation of a neighbourhood spring amphibian march will generate interest in the local press and become a pretext for discussions and workshops, and perhaps the seed for a lasting change.
The pillars of the former Opaleń railway bridge stand like anonymous monuments in the Vistula. They are not even worth taking apart. They have turned into obstructions where river debris accumulates. Protopia (progress + process) in the context of rubbish is about participation and quite real river cleaning. The questioning of values and new insights into their creation and practices of value deprivation give rise to a solarpunk discourse. In 1979, anthropologist Michael Thompson published his “Rubbish Theory”. He drew attention to rubbish, which did not play a role in scientific discourses at the time and is still studied today primarily in terms of disposal, storage and recyclability.
Thompson, on the other hand, wanted to “offer different, ambiguous thinking”. Rubbish as a metaphor for something that is not seen, that is excluded, ignored, served him as a magnifying glass through which he looked at social processes and orders, and in a way determined the perspective from which he tried to analyse the society.
Stages of the project
In an artistic participatory action, artists and residents fish rubbish out of the Vistula River.
During the open-air summer event, the rubbish found is sorted by type, size, colour and chronology.
The rubbish from the river, which has now become a monument in its own right, is made visible in a moving museum of the everyday life. Bridge abutments become stations of a multiplied archive, and rubbish becomes the new facades of the abutments. Leaning on these abutments, positioned, fixed, they become a sociological formwork.
Individual pieces of waste are selected as prototypes and put back into the river in impermeable bullets. These time capsules are equipped with GPS transmitters. This allows you to follow the journey of the rubbish monuments live on the blog. The Copernicus Science Centre is creating a rubbish installation consisting of videos, a waste archive, bullets and a blog.
The aim of the project is to convert the popular view of the harmfulness and toxicity of cyanobacteria (in their general sense) to the environment and highlight the benefits of their use for air purification. A great inspiration for this project is the work of Algoland, an organisation that popularises the use of farms of certain strains of cyanobacteria for biopositive activities. Here, I would like to place particular emphasis on the air-purifying investment set up at a cement factory on Öland Island in Sweden. The cyanobacteria farm is nourished, among other things, by carbon dioxide run through a “gas pipeline” from the cement plant. Cyanobacteria use CO2 for photosynthesis. As a result, the island is supplied with large amounts of oxygen thanks to the by-products of the factory.
In the widespread facts about cyanobacteria, we rarely hear that some strains are much more efficient oxygen providers than the green plants. This is why I would like to propose the construction of a building with aesthetics reminiscent of an orangery or a spa pavilion – associated with refined relaxation, the hedonia of communing with nature and deriving health benefits from it. The transparent walls would be home to cyanobacteria colonies nourished by carbon dioxide isolated from the exhaust fumes (the proximity of the Copernicus Science Centre and the Wisłostrada Tunnel is beneficial here) and sunlight. An aesthetically pleasing building with a bundle of CO2 pipes would invite to experience a moment of relaxation inside.
The sound of bubbles flowing through cyanobacteria-infested water and the visual qualities of the site (a geometric object, an octagon-plan temple topped by a dome and light piercing through walls filled with greenish water) would be additional relaxing factors.
Systems that shape human culture and ecology are composed of many interacting components that have emergent effects, visible at the macro-scale. While ecological systems comprise adaptive, self-organising components that together exhibit complex macro-scale dynamics, designed systems such as architectural ones often operate from a top-down paradigm in which design intent frames specification. How can biological processes inform and contribute to the design of elements? The dynamic interactions between living mycelia and its designed environment can be used to animate architecture. The Living Arch is a study model for a bioactive architecture, allowing us to iterate on our method of synthesis, a form of digital craft. Arch elements are designed, 3d printed with lignocellulosic compounds and assembled to mechanically scaffold the waste-driven substrates inoculated with fungal spores. In their active metabolic state, fungal cells dynamically change their biophysical environment while their hyphae are forming an entangled filamentous structure visible on the macro-scale, called mycelia. The Living Arch will transition into numerous physical, chemical, and biological states in a transparent custom-made viewing box fitted with environmental sensors throughout the exhibition period. It will facilitate - for its human participants - a visual and olfactory experience of a novel living architectural scenario. This scenario, based on a hybrid construction method, aims to create adaptive and healthy built environments through the symbiosis of multiple species. Our goal with this installation is to encourage regular human interaction with a biohybrid structure that is undergoing slow fungal transformation, and to see if the recorded insights can be translated into the design model as meaningful changes in variables, parameters, or complexity addition/removal because of this participation. The premise of this design method benefits honeybees when the design case is a bee habitat.
Is it possible to turn CO2 into stone?
Carbon capture and storage (CSS) is a set of modern techniques for capturing carbon dioxide from the air and its safe disposal. They are not a substitute for reducing CO2 emissions, but they can effectively support the global effort to combat the climate crisis.
Of the many methods, we were most interested in CarbFix’s proposal. It involves dissolving CO2 in H2O and then injecting carbonised water into basalt deposits, leading to mineralisation of the carbon dioxide and allowing it to be safely stored as calcite underground. This mechanism is an accelerated version of a naturally occurring process.
Went to Earth translates CarbFix’s method into artistic language. A key element of the design is the use of real basalt. We enrich it with an animated light system that shows the entire process, from water injection to CO2 mineralisation.
The installation informs about an innovative method that supports the fight against the climate crisis, while being a unique aesthetic experience.
The Call for Action is a concept for a truly causative protopic project – it assumes that the entire implementation budget and the foreseen reward will be allocated to reforestation. In this way, the work transcends the spatial framework of the exhibition, creating a lasting impact on the environment. It itself becomes the realisation of a microtopia and indirectly encourages the audience that, just as the author was willing to give up his prize and the organiser his impressive exhibition, they too should take small steps adapted to their possibilities.
A sheet of paper will be posted in the exhibition space with a brief statement that the work is actually taking place elsewhere, and a short call for action.
Details
Afforestation will be carried out by a specialised foundation, chosen in agreement between the organiser and the author, implementing such actions in Poland. Preferably on degraded land, in line with biodiversity principles.
The organiser’s social media will need to be used to boost the project’s media presence so that the work can resonate widely and effectively.
We have worked a lot in the 20th and 21st centuries. Every day our brains were loaded with a massive amount of information. The pandemic has caused us to digitalise our communication processes. We have been immersed in a stream of incessant messages, protracted video conferences and countless notifications. Important information competed with irrelevant one. Finally, cognitive overload has reached a critical point. Exhausted brains began to react allergically to anything that required attention. People began to leave their jobs en masse and seek solace in nature.
Over time we have been able to develop new areas for the selection and disposal of redundant data. At the same time, we managed to develop a direct human-computer interface and abandoned screens. Millions of tonnes of electro-waste were used to build a solar temple, which put us back in touch with a severely damaged nature. We decided to get closer to the Sun. It has helped us to reduce the amount of work. We have turned the former eight hours into a modest two. With the efficient use of solar energy, we produce everything we need. We have regained our balance with nature, and therefore with ourselves and our loved ones.
Our workstations have become one of the many exhibits in the Gallery of the Past, through which we preserve the memory of not so ancient times.
Open call: projekty artystyczne z Polski i Austrii
Centrum Nauki Kopernik i Austriackie Forum Kultury zapraszają artystów i artystki z Polski i Austrii do udziału w otwartym konkursie na projekt artystyczny. Zgłoszenia przyjmujemy do 31 marca 2021. Zwycięskie prace z Austrii i z Polski zostaną zaprezentowane na XI Festiwalu Przemiany w październiku 2021 r. w Centrum Nauki Kopernik, a w Austriackim Forum Kultury odbędzie się publiczne spotkanie z twórcami prac. Wszystkie zgłoszone projekty zostaną zaprezentowane na podstronie internetowej konkursu.
Poszukujemy projektów dotyczących strategii przezwyciężenia kryzysu klimatycznego i towarzyszących im szans na trwałe zmiany społeczno-kulturowe. Wydaje się, że dzisiaj zasadnicze drogi walki z kryzysem klimatycznym zostały już dobrze rozpoznane: Project Drawdown, jedno z najlepszych źródeł na bieżąco agregujących najskuteczniejsze pomysły na tę walkę, opisuje dziesiątki rozwiązań.
Zależy nam na tym, by przesunąć środek ciężkości dyskusji o zmianach klimatycznych z perspektywy kryzysu na perspektywę realnych rozwiązań. Skoro rozwiązania są jasne, pora więcej uwagi poświęcić temu, które z nich są zarówno najbardziej prawdopodobne, jak i najbardziej pożądane oraz jak skutecznie skłonić możliwie najwięcej osób do ich wdrażania. W każdej skali: od zmian w codziennym życiu każdego z nas, przez projekty dla społeczności lokalnych i miast, po decyzje gospodarcze i polityczne regulujące całe gałęzie przemysłu, zwłaszcza w związku z transformacją energetyczną, koniecznością jak najszybszego odejścia od paliw kopalnych.
Proponujemy dwie perspektywy, które mogą pomóc odnaleźć się w tych wytycznych i połączyć zagadnienia naukowo-techniczne i społeczno-kulturowe:
1. Protopia – pojęcie wprowadzone przez Kevina Kelly’ego, który zaproponował je jako sposób na uniknięcie ograniczającej wyobraźnię dychotomii dystopia – utopia. Cząstka „pro” odnosi się do procesu i progresu. To perspektywa stopniowych usprawnień, małych kroków, działań o mierzalnych rezultatach, niewielkich pozytywnych zmian, które kumulują się wraz z upływem czasu. Najlepiej byłoby nie niszczyć świata w ogóle, ale w ujęciu protopijnym zakładamy, żeby przynajmniej tworzyć więcej niż niszczymy, zawsze wychodzić na plus.
2. Solarpunk – nowy, zyskujący na popularności nurt w literaturze, sztuce, modzie i aktywizmie, który jest jedną z nielicznych pozytywnych, aspiracyjnych, pełnych nadziei wizji przyszłości w kontekście relacji cywilizacji i świata natury. Bez utopijnego myślenia życzeniowego – chodzi o konkretne wartości i poparte faktami powody do optymizmu. Solarpunk opisuje świat, w którym jesteśmy bardziej świadomi środowiskowych kosztów rozwoju cywilizacji. W tym ujęciu człowiek nie dominuje nad przyrodą, tylko cywilizacja i natura stanowią harmonijną całość, wzajemnie się wzmacniając: czynimy sobie ziemię przede wszystkim przyjazną, a nie poddaną.
***
Interesują nas projekty eksplorujące pogranicze sztuki, designu, nauki i techniki w ramach szeroko pojętego nurtu art and science oraz sztuki nowych mediów, a więc realizacje z zakresu: bioartu, data artu, designu spekulatywnego, sztuki robotycznej czy responsive environments. Szukamy projektów, które mogłyby wpisać się w te założenia, stając się nośnikami opisanych idei oraz pretekstami do pogłębionych dyskusji oraz pracy warsztatowej w ramach XI Festiwalu Przemiany.
Chcielibyśmy, żeby projekty konkursowe:
Zakwestionowały dominujące dziś w zbiorowej wyobraźni poczucie bezsilności w walce z kryzysem klimatycznym, które rodzi narracje dystopijne, pełne katastroficznych prognoz.
Nadawały analityczno-strategicznej optyce rozwiązań kryzysu klimatycznego zrozumiały dla wszystkich kontekst humanistyczno-społeczny.
Stanowiły artystyczny pomost między naukowo-technicznymi faktami a emocjami – informacje łączyły z inspiracjami, perspektywę środowiskową ze społeczną.
Odnosiły się do zależności między wydajnością, estetyką i łatwością wdrażania nowych technologii (np. w kontekście estetycznego wymiaru transformacji energetycznej).
Promowały myślenie długoterminowe oraz budowały fundamenty pozytywnego myślenia o przyszłości.
Prezentowały rozwiązania kryzysu klimatycznego i towarzyszące im idee w sposób komunikatywny, zrozumiały dla szerszej publiczności.
Prezentowały projekty możliwe do przystosowania do ekspozycji w ramach przyznanego budżetu.
Artystów pochodzących z Polski lub z Austrii albo mieszkających i pracujących w Polsce lub w Austrii prosimy o przesłanie krótkich biogramów oraz opisów projektów (łącznie max. 2000 znaków ze spacjami), a także materiałów ilustracyjnych, wizualizacji, zdjęć, rysunków etc. (w tym max. dwie wiodące ilustracje używane jako wizytówki projektu – na stronie znajdą się one w formacie: szerokość max. 750px, wysokość max. 450px, prosimy o uwzględnienie tych wymiarów przy przygotowaniu plików) wraz z krótkim nagraniem wideo zawierającym prezentację pomysłu (max. 5 min.), jak również prezentację dotychczasowego dorobku artystycznego (portfolio, max. 5 stron). Termin nadsyłania zgłoszeń to 31 marca 2021 r.
Zgłoszenia prosimy przesyłać na adres: open.call@kopernik.org.pl w języku polskim, niemieckim lub angielskim. Projekty mogą być zgłaszane przez grupy, w takim przypadku nagroda zostanie podzielona proporcjonalnie. Dopuszcza się zgłoszenie więcej niż jednego projektu.
Konkurs zakłada przyznanie 5000 EUR na realizację zwycięskich prac (2 x 2500 EUR, czyli po 2500 EUR dla projektu z Polski i z Austrii) – kwota obejmuje koszt transportu z ew. ubezpieczeniem prac do i z Centrum Nauki Kopernik (na czas ekspozycji koszt ubezpieczenia ponosi CNK), jak również nagrodę dla jej twórców w wysokości 5000 EUR (2 x 2500 EUR czyli po 2500 EUR dla twórców z Polski i z Austrii).
Zostanie przyznana druga nagroda w wysokości 2000 EUR (2 x 1000 EUR, czyli po 1000 EUR dla projektu z Polski i z Austrii).
Zgłoszone projekty muszą być wiarygodne naukowo, nie mogą odnosić się do teorii powszechnie uznawanych za pseudonaukowe lub do działań nieetycznych (np. greenwashingu). Organizatorzy zastrzegają sobie prawo, by nie dopuścić do konkursu prac niespełniających tych warunków. Zwycięskie prace zostaną wyłonione przez jury złożone z kuratorów Festiwalu Przemiany, AFK oraz zaproszonego niezależnego eksperta.
Zapraszamy do zgłaszania projektów i eksperymentowania!
Wysłanie projektu na konkurs oznacza wyrażenie zgody na jego publikację (opis, ilustracje i/lub wideo) na stronie Austriackiego Forum Kultury, w newsletterze AFK oraz na profilach AFK na Facebooku, Instagramie i Twitterze, a także na podstronie internetowej konkursu w obrębie witryny www.kopernik.org.pl wraz z możliwością jego ewentualnego użycia (w całości lub we fragmentach) na profilach Centrum Nauki Kopernik i Festiwalu Przemiany na Facebooku i Instagramie oraz w newsletterze zewnętrznym i wewnętrznym CNK w związku z działaniami komunikacyjnymi dotyczącymi XI Festiwalu Przemiany.
Centrum Nauki Kopernik i Austriackie Forum Kultury zapraszają artystów i artystki z Polski i Austrii do udziału w otwartym konkursie na projekt artystyczny. Zgłoszenia przyjmujemy do 31 marca 2021. Zwycięskie prace z Austrii i z Polski zostaną zaprezentowane na XI Festiwalu Przemiany w październiku 2021 r. w Centrum Nauki Kopernik, a w Austriackim Forum Kultury odbędzie się publiczne spotkanie z twórcami prac. Wszystkie zgłoszone projekty zostaną zaprezentowane na podstronie internetowej konkursu.
Poszukujemy projektów dotyczących strategii przezwyciężenia kryzysu klimatycznego i towarzyszących im szans na trwałe zmiany społeczno-kulturowe. Wydaje się, że dzisiaj zasadnicze drogi walki z kryzysem klimatycznym zostały już dobrze rozpoznane: Project Drawdown, jedno z najlepszych źródeł na bieżąco agregujących najskuteczniejsze pomysły na tę walkę, opisuje dziesiątki rozwiązań.
Zależy nam na tym, by przesunąć środek ciężkości dyskusji o zmianach klimatycznych z perspektywy kryzysu na perspektywę realnych rozwiązań. Skoro rozwiązania są jasne, pora więcej uwagi poświęcić temu, które z nich są zarówno najbardziej prawdopodobne, jak i najbardziej pożądane oraz jak skutecznie skłonić możliwie najwięcej osób do ich wdrażania. W każdej skali: od zmian w codziennym życiu każdego z nas, przez projekty dla społeczności lokalnych i miast, po decyzje gospodarcze i polityczne regulujące całe gałęzie przemysłu, zwłaszcza w związku z transformacją energetyczną, koniecznością jak najszybszego odejścia od paliw kopalnych.
Proponujemy dwie perspektywy, które mogą pomóc odnaleźć się w tych wytycznych i połączyć zagadnienia naukowo-techniczne i społeczno-kulturowe:
1. Protopia – pojęcie wprowadzone przez Kevina Kelly’ego, który zaproponował je jako sposób na uniknięcie ograniczającej wyobraźnię dychotomii dystopia – utopia. Cząstka „pro” odnosi się do procesu i progresu. To perspektywa stopniowych usprawnień, małych kroków, działań o mierzalnych rezultatach, niewielkich pozytywnych zmian, które kumulują się wraz z upływem czasu. Najlepiej byłoby nie niszczyć świata w ogóle, ale w ujęciu protopijnym zakładamy, żeby przynajmniej tworzyć więcej niż niszczymy, zawsze wychodzić na plus.
2. Solarpunk – nowy, zyskujący na popularności nurt w literaturze, sztuce, modzie i aktywizmie, który jest jedną z nielicznych pozytywnych, aspiracyjnych, pełnych nadziei wizji przyszłości w kontekście relacji cywilizacji i świata natury. Bez utopijnego myślenia życzeniowego – chodzi o konkretne wartości i poparte faktami powody do optymizmu. Solarpunk opisuje świat, w którym jesteśmy bardziej świadomi środowiskowych kosztów rozwoju cywilizacji. W tym ujęciu człowiek nie dominuje nad przyrodą, tylko cywilizacja i natura stanowią harmonijną całość, wzajemnie się wzmacniając: czynimy sobie ziemię przede wszystkim przyjazną, a nie poddaną.
***
Interesują nas projekty eksplorujące pogranicze sztuki, designu, nauki i techniki w ramach szeroko pojętego nurtu art and science oraz sztuki nowych mediów, a więc realizacje z zakresu: bioartu, data artu, designu spekulatywnego, sztuki robotycznej czy responsive environments. Szukamy projektów, które mogłyby wpisać się w te założenia, stając się nośnikami opisanych idei oraz pretekstami do pogłębionych dyskusji oraz pracy warsztatowej w ramach XI Festiwalu Przemiany.
Chcielibyśmy, żeby projekty konkursowe:
Zakwestionowały dominujące dziś w zbiorowej wyobraźni poczucie bezsilności w walce z kryzysem klimatycznym, które rodzi narracje dystopijne, pełne katastroficznych prognoz.
Nadawały analityczno-strategicznej optyce rozwiązań kryzysu klimatycznego zrozumiały dla wszystkich kontekst humanistyczno-społeczny.
Stanowiły artystyczny pomost między naukowo-technicznymi faktami a emocjami – informacje łączyły z inspiracjami, perspektywę środowiskową ze społeczną.
Odnosiły się do zależności między wydajnością, estetyką i łatwością wdrażania nowych technologii (np. w kontekście estetycznego wymiaru transformacji energetycznej).
Promowały myślenie długoterminowe oraz budowały fundamenty pozytywnego myślenia o przyszłości.
Prezentowały rozwiązania kryzysu klimatycznego i towarzyszące im idee w sposób komunikatywny, zrozumiały dla szerszej publiczności.
Prezentowały projekty możliwe do przystosowania do ekspozycji w ramach przyznanego budżetu.
Artystów pochodzących z Polski lub z Austrii albo mieszkających i pracujących w Polsce lub w Austrii prosimy o przesłanie krótkich biogramów oraz opisów projektów (łącznie max. 2000 znaków ze spacjami), a także materiałów ilustracyjnych, wizualizacji, zdjęć, rysunków etc. (w tym max. dwie wiodące ilustracje używane jako wizytówki projektu – na stronie znajdą się one w formacie: szerokość max. 750px, wysokość max. 450px, prosimy o uwzględnienie tych wymiarów przy przygotowaniu plików) wraz z krótkim nagraniem wideo zawierającym prezentację pomysłu (max. 5 min.), jak również prezentację dotychczasowego dorobku artystycznego (portfolio, max. 5 stron). Termin nadsyłania zgłoszeń to 31 marca 2021 r.
Zgłoszenia prosimy przesyłać na adres: open.call@kopernik.org.pl w języku polskim, niemieckim lub angielskim. Projekty mogą być zgłaszane przez grupy, w takim przypadku nagroda zostanie podzielona proporcjonalnie. Dopuszcza się zgłoszenie więcej niż jednego projektu.
Konkurs zakłada przyznanie 5000 EUR na realizację zwycięskich prac (2 x 2500 EUR, czyli po 2500 EUR dla projektu z Polski i z Austrii) – kwota obejmuje koszt transportu z ew. ubezpieczeniem prac do i z Centrum Nauki Kopernik (na czas ekspozycji koszt ubezpieczenia ponosi CNK), jak również nagrodę dla jej twórców w wysokości 5000 EUR (2 x 2500 EUR czyli po 2500 EUR dla twórców z Polski i z Austrii).
Zostanie przyznana druga nagroda w wysokości 2000 EUR (2 x 1000 EUR, czyli po 1000 EUR dla projektu z Polski i z Austrii).
Zgłoszone projekty muszą być wiarygodne naukowo, nie mogą odnosić się do teorii powszechnie uznawanych za pseudonaukowe lub do działań nieetycznych (np. greenwashingu). Organizatorzy zastrzegają sobie prawo, by nie dopuścić do konkursu prac niespełniających tych warunków. Zwycięskie prace zostaną wyłonione przez jury złożone z kuratorów Festiwalu Przemiany, AFK oraz zaproszonego niezależnego eksperta.
Zapraszamy do zgłaszania projektów i eksperymentowania!
Wysłanie projektu na konkurs oznacza wyrażenie zgody na jego publikację (opis, ilustracje i/lub wideo) na stronie Austriackiego Forum Kultury, w newsletterze AFK oraz na profilach AFK na Facebooku, Instagramie i Twitterze, a także na podstronie internetowej konkursu w obrębie witryny www.kopernik.org.pl wraz z możliwością jego ewentualnego użycia (w całości lub we fragmentach) na profilach Centrum Nauki Kopernik i Festiwalu Przemiany na Facebooku i Instagramie oraz w newsletterze zewnętrznym i wewnętrznym CNK w związku z działaniami komunikacyjnymi dotyczącymi XI Festiwalu Przemiany.
The Copernicus Science Centre and the Austrian Cultural Forum wish to invite artists from Poland and Austria to take part in an open competition for an artistic project. The winning submissions from Austria and Poland will be presented at the 11th Przemiany Festival in October 2021, at the Copernicus Science Centre, and a meeting with the authors is going to be held at the Austrian Cultural Forum. All submissions will be posted on the competition’s webpage.
We are looking for projects that deal with strategies of overcoming the climate crisis and the accompanying, potentially permanent changes in society and culture. It appears that the main ways of combating the climate crisis have been sufficiently defined by now: Project Drawdown, one of the best aggregates of the most effective strategies in this fight, lists dozens of solution.
When it comes to the climate change debate, we want to shift the focus from the crisis to real solutions. Since those solutions are clear, it is time to devote more attention to the most probable and most desired ones, and ask ourselves how to effectively get as many people as possible interested in implementing them. At all levels: from making changes in our everyday lives, through projects for local communities and towns, to economic and political decisions that regulate entire branches of industry, particularly in light of the energy transition and our pressing need to stop relying on fossil fuels.
We propose two perspectives which might help contestants navigate these guidelines and combine issues of science and technology with those of society and culture.
1. Protopia – a term introduced by Kevin Kelly in an attempt to sidestep the overly constraining dichotomy of dystopia – utopia. The “pro” prefix refers to process and progress. Protopia is geared towards incremental improvements, baby steps, actions that have measurable results, small positive changes that accumulate over time. It would be best not to destroy the world at all, but the protopian approach focuses on at least creating more than we destroy, so that the balance is always positive.
2. Solarpunk – a new, increasingly popular trend in literature, art, fashion, and activism, and also one of the few positive, aspirational, and hopeful visions of the future in terms of our civilization’s relationship with the natural world. Devoid of utopian wishful thinking, it focuses on concrete values and fact-based reasons to be optimistic. Solarpunk describes a world in which we are more conscious of the environmental costs of development. In this approach, man does not dominate nature - civilization and nature act as a harmonious and mutually reinforcing whole: we befriend the Earth, as opposed to taming it.
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We are interested in projects that explore the intersections of art, design, science, and technology representative of the art and science and new media art trends, i.e.: bioart, data art, speculative design, robotic art, responsive environments, etc. We are looking for projects that would fit these parameters, and serve as a means of conveying the abovementioned ideas and a springboard for in-depth discussions and workshops during the 11th Przemiany Festival.
We want the submissions to:
Question the sense of helplessness in the face of the climate crisis, which currently dominates the collective imagination and gives rise to dystopian narratives filled with catastrophic prognoses.
Put the analytical and strategic optics of solutions to the climate crisis in a humanist and social context in a way that will make them accessible to everyone.
Act as an artistic bridge between scientific and technical facts and emotions – combining information with inspiration, the environmental with the social.
Address the relationship between efficiency, aesthetics, and ease of implementation of new technologies (e.g. the aesthetic aspect of the energy transition).
Promote the long-term perspective and create foundations for positive thinking about the future.
Present solutions to the climate crisis and their accompanying ideas in a communicative way that would be accessible to the broader audience.
Present projects suitable for exhibition within the assigned budget.
Artists from Poland and Austria or living and working in Poland or Austria are asked to submit short bios and descriptions of their projects (both collectively not exceeding 2000 characters, including spaces) as well as additional illustrations, visualizations, photographs, drawings, etc. (including at most two leading illustrations that will be used as visual references on the website – they will be posted in the following format: max. 750px in width, 450px in height; please take those dimensions into account when submitting the files) and a short video presentation of the idea (not exceeding 5 minutes), as well as a presentation of their body of work (portfolio, not exceeding 5 pages).
The deadline for all submissions is 1 March 2021 Please send your submissions to: open.call@kopernik.org.pl in Polish, German, or English. We also accept group submissions - in this case the prize will be divided proportionally. You can submit more than one project.
The competition offers EUR 5000 for the implementation of the victorious entries (2 x EUR 2500, one project one from Poland and from Austria) – the amount should also cover costs of transport to and from the Copernicus Science Centre, including potential transport insurance (insurance during the exhibition is covered by the Copernicus Science Centre), as well as a EUR 5000 prize for their authors (2 x EUR 2500, one project from Poland and one from Austria).
A second prize will also be awarded in the amount of EUR 2000 (2 x EUR 1000, one project from Poland and one from Austria).
Submissions must be scientifically viable, they cannot reference theories generally considered to be pseudo-scientific, or unethical activities (e.g. greenwashing). The organizers reserve the right to bar entries that do not meet those requirements from the competition. The winning submissions will be selected by a jury comprised of the curators of the Przemiany Festival, the Austrian Cultural Forum, and an independent expert.
We invite you to submit your project and to experiment!
By submitting your project to the competition you consent to its publication (description, illustrations and/or video) at the Austrian Cultural Forum website, in the ACF newsletter and on ACF social media Facebook, Instagram, and Twitter), as well as on the competition subpage of the www.kopernik.org.pl website, and consent to its potential use (in full or in part) on the Copernicus Science Centre and Przemiany Festival social media (Facebook and Instagram), and in internal and external CSC newsletters about the 11th Przemiany Festival.
Das Österreichische Kulturforum Warschau (ÖKF) und das Kopernikus-Wissenschaftszentrum (KWZ) laden Künstlerinnen und Künstler aus Österreich und Polen zu einem offenen Wettbewerb für künstlerische Projekte ein. Die österreichischen und polnischen Gewinnerarbeiten werden im Oktober 2021 beim 11. Festival „Przemiany“ im Kopernikus-Wissenschaftszentrum gezeigt, im Österreichischen Kulturforum Warschau wird ein Gespräch mit den Preisträgerinnen und Preisträgern stattfinden. Alle eingereichten Projekte werden auf der Internetseite des Wettbewerbs vorgestellt.
Wir suchen nach Projekten, die sich mit Strategien zur Überwindung der Klimakrise und den damit einhergehenden Chancen auf dauerhafte gesellschaftlich-kulturelle Veränderungen befassen. Die einzuschlagenden Wege im Kampf gegen die Klimakrise sind im Wesentlichen bekannt: so listet das Project Drawdown, eine ständig aktualisierte Sammlung der effektivsten Ideen für diesen Kampf, Dutzende möglicher Lösungen auf.
Wir wollen den Schwerpunkt der Diskussion über den Klimawandel von der Krisenperspektive auf die Erörterung realer Lösungsmöglichkeiten verlagern. Jetzt, wo klar ist, was getan werden muss, ist es an der Zeit, sich damit zu beschäftigen, welche Lösungen am wahrscheinlichsten und wünschenswertesten sind und wie man erfolgreich möglichst viele Menschen dazu bringt, sie umzusetzen. Auf jeder Ebene: Angefangen von Änderungen in unserem Alltagsverhalten, über Projekte für lokale Gemeinschaften und Städte, bis hin zu wirtschaftlichen und politischen Entscheidungen, die ganze Industriezweige regulieren, insbesondere im Zusammenhang mit der Energiewende, d.h. der Notwendigkeit, schnellstmöglich aus den fossilen Brennstoffen auszusteigen.
Wir schlagen zwei Perspektiven vor, die als Leitfaden dienen können und wissenschaftlich-technische Aspekte mit gesellschaftlich-kulturellen Fragen verbinden:
1. Protopie – das Konzept stammt von Kevin Kelly, es ist gedacht als Alternative zu der die Vorstellung einengenden Dichotomie Dystopie vs. Utopie. Die Partikel „pro“ spielt auf die Begriffe process (Prozess) und progress (Fortschritt) an. Es ist die Perspektive von einer allmählichen Verbesserung, von kleinen Schritten, von Maßnahmen, die messbare Ergebnisse bringen, von bescheidenen positiven Veränderungen, die sich im Laufe der Zeit summieren. Am besten wäre es natürlich, die Welt überhaupt nicht zu zerstören; protopisch gesehen sollten wir uns aber zumindest bemühen, mehr aufzubauen als zu zerstören, damit wir uns „per Saldo“ immer im positiven Bereich befinden.
2. Solarpunk – eine neue, immer populärere Strömung in Literatur, Kunst, Mode und Aktivismus, eine der wenigen positiven, ambitionierten und hoffnungsvollen Zukunftsvisionen, wenn es um die Beziehung zwischen Zivilisation und Natur geht. Frei von utopischem Wunschdenken – es geht vielmehr um konkrete Werte und faktenbasierte Gründe, die Anlass zu Optimismus geben. Solarpunk beschreibt eine Welt, in der wir uns der Umweltkosten des zivilisatorischen Fortschritts bewusster sind. In diesem Denken herrscht der Mensch nicht über die Natur, sondern Zivilisation und Natur bilden ein harmonisches Ganzes, stärken sich gegenseitig: Wir machen uns die Erde nicht untertan, sondern zu einem für alle lebensfreundlichen Ort.
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Wir interessieren uns für Projekte, die, im Rahmen von Art and Science und Neuer Medienkunst, die Schnittstellen von Kunst, Design, Wissenschaft und Technik erkunden, also für Projekte aus den Bereichen BioArt, Informationskunst, spekulatives Design, Roboterkunst und Responsive Environments. Wir suchen Projekte, die diesen Anforderungen gerecht werden, geeignete Träger dieser Ideen sind und einen Ausgangspunkt für eingehende Diskussion und intensive Workshoparbeit im Rahmen des 11. Festivals „Przemiany“ liefern.
Wir möchten, dass die eingereichten Projekte:
das heute in der kollektiven Vorstellungskraft vorherrschende Gefühl der Ohnmacht im Kampf gegen die Klimakrise in Frage stellen, welches dystopische Narrative voller katastrophischer Prognosen hervorbringt.
die analytisch-strategische Perspektive der Lösungen in einen allgemeinverständlichen humanistisch-gesellschaftlichen Kontext stellen.
eine künstlerische Brücke schlagen zwischen den wissenschaftlich-technischen Fakten und den Emotionen – Information mit Inspiration verbinden, die Umweltperspektive mit der sozialen Perspektive.
auf den Zusammenhang zwischen Effektivität, Ästhetik und der Leichtigkeit, neue Technologien zu implementieren (z. B. auf die ästhetische Dimension der Energiewende), eingehen.
langfristiges Denken fördern und den Grundstein für ein positives Denken über die Zukunft legen.
die aufgezeigten Lösungswege aus der Klimakrise und die damit verbundenen Ideen auf eine kommunikative, für die breite Öffentlichkeit verständliche Weise präsentieren.
im Rahmen des vorgesehenen Budgets in einer Ausstellung gezeigt werden können.
Künstlerinnen und Künstler, die aus Österreich oder Polen stammen beziehungsweise in Österreich oder Polen leben und arbeiten, bitten wir ein Biogramm, eine kurze Projektbeschreibung (insgesamt höchstens 2.000 Zeichen mit Leerzeichen), Illustrationen, Visualisierungen, Fotos, Zeichnungen etc. (u. a. bis zu zwei Hauptillustrationen, die als „Visitenkarten“ des Projekts benutzt werden – auf der Internetseite werden sie maximal 750px breit und 450px hoch sein; bitte berücksichtigen Sie das Format bei der Erstellung der Dateien), ein Kurzvideo, in dem die Idee des Projekts vorgestellt wird (max. 5 Minuten) sowie eine Präsentation des bisherigen künstlerischen Schaffens (Portfolio, max. 5 Seiten) zuzuschicken. Bewerbungsschluss ist der 1. März 2021.
Bitte senden Sie Ihre Wettbewerbsbeiträge an open.call@kopernik.org.pl auf Polnisch, Deutsch oder Englisch. Die Projekte können auch von Gruppen eingereicht werden, in diesem Fall wird der Preis zu gleichen Teilen aufgeteilt. Wettbewerbsteilnehmer können mehrere Projekte einreichen.
Die Sieger oder Siegerinnen des Wettbewerbs erhalten insgesamt 5.000 Euro für die Realisierung der Gewinnerprojekte (2 x 2.500 Euro, das heißt jeweils 2.500 Euro für ein Projekt aus Österreich und eines aus Polen) – der Betrag beinhaltet die Transportkosten nach Warschau zum KWZ und zurück, einschließlich eventueller Versicherung der Arbeiten (für die Dauer der Ausstellung übernimmt das KWZ die Versicherungskosten) sowie ein Preisgeld in Höhe von insgesamt 5.000 Euro (2 x 2.500 Euro, das heißt jeweils 2.500 Euro für den/die österreichische/n und den/die polnische/n Preisträger/in).
Ein zweiter Preis in Höhe von insgesamt 2.000 Euro (2 x 1.000 Euro, das heißt jeweils 1.000 Euro für ein Projekt aus Österreich und eines aus Polen) wird zuerkannt.
Die eingereichten Projekte müssen wissenschaftlich glaubwürdig sein, sie dürfen sich nicht auf Theorien beziehen, die allgemein als pseudowissenschaftlich angesehen werden, oder auf unethischen Aktivitäten gründen (z. B. Greenwashing). Die Veranstalter des Wettbewerbs behalten sich das Recht vor, Arbeiten, die diese Bedingungen nicht erfüllen, vom Wettbewerb auszuschließen. Die Gewinnerarbeiten werden von einer Jury ausgewählt, die sich aus Kuratoren des Festivals „Przemiany“, des ÖKF und einem/einer unabhängigen Experten/Expertin zusammensetzt.
Wir laden Sie ein, Projekte einzureichen und zu experimentieren!
Die Einreichung des Projekts bedeutet, dass Sie seiner Publikation (Beschreibung, Abbildungen und/oder Video) auf der Internetseite des Österreichischen Kulturforums Warschau, im ÖKF-Newsletter und auf den Facebook-, Instagram- und Twitter-Profilen des ÖKF, auf der Internetseite des Wettbewerbs auf der Homepage www.kopernik.org.pl sowie der eventuellen Nutzung (vollständig oder in Auszügen) auf den Profilen des Kopernikus-Wissenschaftszentrums und des Festivals „Przemiany“ auf Facebook und Instagram sowie im internen und externen Newsletter des KWZ im Zusammenhang mit dem 11. Festival „Przemiany“ zustimmen
Reclaiming Abundance, Oliver Ressler
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Ticket availability for each attraction at purchase time can differ from the information provided on the website below. To see the exact number of available tickets at a given moment, log into your account at bilety.copernicus.org.pl/en. Remember, we sell tickets online all the time – when you arrive at Copernicus, their number can be limited.
On the day of your visit, the availability of the Thinkatorium, Buzzz!, High Voltage Theatre, Robotic Theatre and laboratories may vary. You can find the current information on the site "Today at Copernicus".
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