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October 2014, Seoul—The Apocalypse Project’s Climate Change Couture is now on view at Seoul National University Museum of Art. My piece is on the second floor and features six garments from Climate Change Couture’s Singapore, Manila, and Seoul collections, as well as six photos from the Singapore collection.

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Curated by Arthur Clay, founder and artistic director of Digital Art Weeks International, and Jeungmin Noe, senior curator at Seoul National University Museum of Art, the exhibition blurs the boundaries between art and science and enlarges the possibilities of interdisciplinary collaborations.

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The exhibition runs until December.

Many thanks to Digital Art Weeks and SNU MoA

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11 October 2014, Seoul—I was part of a panel on Science Day at the Innovation Forum of Digital Art Weeks held at Seoul National University Museum of Art. Dr. Denisa Kera of Swiss Hacketeria and National University of Singapore gave the keynote speech. My fellow panelists included Dr. Tae-Sub Chung of Yonsei Medical School, Dr. Min Suk Chung of Ajou University School of Medicine, and Dr. Tai Hyun Park of the Advanced Institute of Convergence Technology of Seoul National University. The panel was moderated by Dr. Sunghoon Kim, Director of the Integrated Bioscience and Biotechnology Institute at Seoul National University.

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The Innovation Forum is a three-day symposium spread out during Digital Art Weeks Seoul, which runs until December. Science Day explores common themes on the crossroads between Neuroscience and Aesthetics in the arts and Bioinformatics and Biohacking art movement, bringing in and raising questions about the creative process, scientific inquiry and realm of empirical aesthetics. The panel I was on, “Convergence in Arts and Sciences”, raised questions around convergence of science and art and how they have been inseparable.

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I gave a talk on “Art, Science, and Planetary Futures”, chronicling my experiences in science and art through the different residencies and fellowships I’ve had in the world. I spoke about how art and science converged to give people new experiences, to empower audiences, and to break traditional formats. It was great to see familiar faces in the audience—from fellow alumni of the School of Visual Arts, the staff at the National Art Studio of Korea (now known as the MMCA Residency Changdong), and the Future Cities Laboratory. Even Denisa is a familiar face—she moderated our panel at ArtScience Museum in Marina Bay Sands last year. It was like going to a big family reunion. Thanks, guys!

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Thanks to DAW International for the invitation, SNU MoA for the lovely venue and staff, and Kate Kirkpatrick for the photos.

[Seoul, South Korea] I’m happy to be back here in Seoul for a bit for some exhibitions and talks. One of those talks is in the interestingly named Emotion Engineering Department at Sangmyung University. Professor Jieun Kwon, my dear friend and fellow SVA graduate, warmly invited me to give a talk in her class and to observe the lab.

In the beginning of my afternoon in the program, I was impressed by a class assignment—the students had to draw diagrams about the definition of Service Design, and it was interesting to hear a design class in another language. Professor Kwon will be asking them to do another one at the end of the term so they can observe the difference and witness the breadth of what they have learned.

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They gave me a tour of the Emotion Engineering lab. We played with a Star Wars game that uses brain waves. Here we had to make the ball rise to the top.

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I took a few minutes to successfully do so—I thought my brain died—and Professor Kwon was a lot faster than me.

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Afterwards, I gave an artist talk about my background and how I came to do my projects on art and science.

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I’m really happy to be back in Korea; I have, as you know, a lot of great memories from this place and it’s great to be meeting new people. I think it’s fantastic how art, science, and technology are explored in different countries around the world, and how collaborations bring about the coolest projects.

Sangmyung University's Emotion Engineering program with Professor Jieun Kwon

Sangmyung University’s Emotion Engineering program with Professor Jieun Kwon

Warm thanks to Dr. Kwon and her class at the Sangmyung University’s Emotion Engineering program for hosting me!

 

The past year or so has seen me venturing into the mysterious field of “speculative design.” In The Apocalypse Project, I’m trying to see possible futures under climate change, which are generally not pretty visions of tomorrow.

There are lessons I’ve learned as well as experiences whose lessons I’m still trying to find. Here they are:

1. Stories rule.

When it comes to something as dry and political as climate change, the best way to get people to care is to let them find a personal story. Climate change is humanity’s story, not just a few individuals’. It is also complex and multilayered; a photo of a melting glacier might trigger the emotions of people living near them, but it might not be as effective to a person who has never experienced a winter. Here in Southeast Asia, I notice that people paid more attention to stories about rising sea levels, extreme heat or supertyphoons, because those are the things that they have personally experienced and have something to say about.

However, this isn’t to say that people in the tropics will never care about polar bears. I think that another property about the climate story is that so many things are connected—a melting glacier may further alarm people who are experiencing drought, for example—and there are opportunities to connect these dots that people never realized existed.

2.  The power belongs to the people.

When people want to buy these hypothetical products, I’m taken aback and get a conscience attack of sorts. My goal was to show people how bad it could get, but instead people’s consumerist tendencies prevailed.

But then, why wouldn’t they want to buy these? I had made them so real that they only thing that was missing was a PayPal button.

I realized the power of people as consumers; the exchange of money for product allows for the existence of these objects. These transactions keep these products—and the ideas behind them—alive. If people refuse to buy the product, then it marks the end of it.

What does this mean for futures? For me, it gives me a barometer to see what types of people are out there. I’ve realized that the point of speculative design is to ignite debate. By making these projects, people have the opportunity to talk about these issues. There are so many opinions out there that

Should I sell these? This is something I keep thinking about. Perhaps letting people buy them allows for even greater awareness, as long as they know the intentions behind it. Let me get back to you.

3. The true test is converting a denier.

The bulk of the people who have emailed me or tweeted about how the like the project are usually futurists, artists, or other people who are already aware of climate change to begin with. While I’m extremely grateful for this, especially for the future collaborations that it could ensue, to put it bluntly these people are already smarties. The next cohort of people that I’ve impacted are the “laymen”—those whose work has nothing to do with design or sustainability, but are folks who can see their personal stories in these projects. I think this is wonderful because I’ve always wanted my designs to exist beyond, well, design. Children have always been among my primary—and usually the sharpest—audience and I usually prototype my ideas on them to see if I’m being too unnecessarily confusing.

Perhaps the pinnacle of “success” in doing projects like this is when I am able to convert a climate change denier. This is the final cohort of people who are going to be the hardest to convert but are those who will give me the greatest pleasure to impact. When the initial wave of press for my projects hit, I get trolling tweets from climate change deniers literally seconds later. It’s usually how I know that my projects are being written about. I would often joke to my friends about how they’re usually just a bunch of old white guys, usually in the US, who’ve never experienced the scale of a tropical typhoon and probably don’t get out much anyhow so who cares. I never engage in them, but the more I think about it, these are the ones that, if converted, means that I was extremely effective in conveying ideas.

But I just think they’re so gross. What to do, hmm. Any ideas?

4. Everyone can contribute to this.

In Future Feast, I got a bit floored towards the end because I truly felt that it was transformative for a lot of people. Having multiple talents together—musicians, artists, designers, scientists, etc.—can feel like high school because they have very different personalities, and I as the one behind this was a bit anxious that the dots wouldn’t connect because everyone had their own vested interest in the project. However, I realized that it was in this multilayered experience that gave people a meaningful experience. In the end, it was great to feel that it wasn’t just my project anymore—it was everyone’s, which was the point.

I’m still evaluating the impact of the work I’ve done in the past few months. Stay tuned here for updates on what’s next, and thanks so much for keeping up with the projects!

 

Hello, apocalypters! I’m excited to announce that as a culminating event for The Apocalypse Project: Imagined Futures, The Mind Museum is collaborating with Radio Republic to bring you Future Feast, a celebration of human creativity and our hopes for a sustainable future. The event will be on July 26, Saturday, 12PM to 7PM at the Special Exhibition Hall of The Mind Museum.

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With the theme of Redesign, I am working with chefs who are creating new dishes for a Convenience Store of the Future. Radio Republic is bringing in their featured artists for July: Slow Hello, Jireh Calo, and Brisom. There will also be a performance by special guest artist Joey Ayala. This is an event for all ages, so bring in your families and get the kids to play at the Tinker Studio, watch spoken word performances and science shows, dress up in clothes from the Climate Change Closet and have your photos taken at the photo booth, smell the perfumes of The Ephemeral Marvels Perfume Store, participate in Mission Apocalypse Scavenger Hunt and win an Apocalypse Project Commander Badge, and think of how you can help build a sustainable future by making an Earth Pledge.

Future Feast poster by The Mind Museum, which highlights activities

Future Feast poster by The Mind Museum, which highlights activities

Future Feast poster by Radio Republic, highlighting featured artists, special guest artist, and the chefs

Future Feast poster by Radio Republic, highlighting featured artists, special guest artist, and the chefs

Ticket prices are as follows:

EXPLORE TICKET (All Day Pass to the galleries of TMM, Access to Live Performances, Mission Apocalypse Scavenger Hunt & Climate Change Closet): 500.00 PHP

TASTE TICKET (Access to Live Performances, Future Tastes (6 dishes), and Climate Change Closet): 300.00 PHP

DISCOVER TICKET (Access to Live Performances and Climate Change Closet): 200.00 PHP

TINKER TICKET (Access to Tinker Studio: Make your own Animal Art): 150.00 PHP

You can buy tickets online here. You can also buy your tickets at the museum on the day of the event. No reservations are required.

See you there!

 

Highlighting the vanishing breeds enchantment

I am happy to announce The Ephemeral Marvels Perfume Store (T.E.M.P.S., French for time), a hypothetical perfume line set in the future when many things in nature would have disappeared as we know it because of climate change. This is the first collection of eight scents.

The Ephemeral Marvels Perfume Store is a collaboration of The Apocalypse Project and Givaudan. It is part of The Apocalypse Project: Imagined Futures at The Mind Museum and is part of the museum’s permanent collection. Go and visit The Mind Museum to smell these perfumes.

The Ephemeral Marvels Perfume Store from Catherine Young on Vimeo.

Coasts
Climate change leads to rising sea levels, threatening to swallow up the world’s coastlines.

Coasts by The Ephemeral Marvels Perfume Store

Coasts by The Ephemeral Marvels Perfume Store

Coffee
Coffee bean production is dependent on cool mountainsides that are running out because of rising temperatures. Pests are also flourishing because of the warmer weather.

Coffee by The Ephemeral Marvels Perfume Store

Coffee by The Ephemeral Marvels Perfume Store

Honey
Climate change can make flowers open too early before bees emerge from hibernation, causing their numbers to decline.

Honey by The Ephemeral Marvels Perfume Store

Honey by The Ephemeral Marvels Perfume Store

Wine
Climate change is altering growth conditions for grapes, leading to changes in quality of production in wine-producing regions.

Wine by The Ephemeral Marvels Perfume Store

Wine by The Ephemeral Marvels Perfume Store

Eucalyptus
Eucalyptus species are increasingly affected by drought and flash floods. Their long regeneration times and short dispersal of their seeds mean they may not be able to keep up with the pace of climate change.

Eucalyptus by The Ephemeral Marvels Perfume Store

Eucalyptus by The Ephemeral Marvels Perfume Store

Peanuts
The scorching heat drastically reduces the quality of peanut production, leaving more peanuts to be processed into oil rather than the edible quality.

Peanuts by The Ephemeral Marvels Perfume Store

Peanuts by The Ephemeral Marvels Perfume Store

Ice
Higher temperatures are causing the earth’s glaciers and permafrost to melt.

Ice by The Ephemeral Marvels Perfume Store

Ice by The Ephemeral Marvels Perfume Store

Hardwood trees
Different species of trees, such as cedar, pine, and fir, are being decimated as climate change increases the risk of forest fires.

Hardwood trees by The Ephemeral Marvels Perfume Store

Hardwood trees by The Ephemeral Marvels Perfume Store

To bring the project to life, I reached out to Givaudan, a Swiss flavors and fragrance company, who sources materials that preserve the environment, stimulate the development and well-being of communities, and safeguards an efficient use of previous resources. I am grateful to Marilyn Yao, Givaudan Singapore, and Givaudan Philippines for their help in the perfumes, Maribel Garcia who curated The Apocalypse Project: Imagined Futures exhibition, Stephanie Faith Bautista who designed the logo, and Nino Carandang and Peter Lorenz Frac of Shuttermaster Pro for help with photography and video.

The project was a collaboration between the perfumer who mixed the scents in the lab and myself who created the world the perfumes inhabited. Claude Charmoille, VP of Perfumery in Asia, took on this challenge. Charmoille was born in the south of France where scents abound and vary according to seasons. “After completing my botanic and chemistry education, the subtle alchemy between arts – craft – andscience attracted me to the perfumer’s profession,” says Charmoille.

Personally, my favorite scent is Coasts, because it smells of a place as opposed to the others that smell of a specific objects. Because I smell the beach, I remember my childhood memories in the beaches of the Philippines—white sand, coconut trees, the ocean breeze, salty seashells and all. For Charmoille, it’s Eucalyptus. “This one is my favourite, it brings back memories from my childhood when we visited small islands in the Mediterranean sea close to Cannes. In the hot summer days, the eucalypus and pine trees would perfume the air to a degree one can not forget, this warm aromatic and fruity whiff will always remain deeply linked to seaside vacation and family memories.”

As a designer, my intention was to show people a different side of the climate change scenario. Smell is very sensuous and visceral; its effects are instantaneous. Instead of showing statistics of what will disappear because of climate change, I decided to let people smell them. Highlighting the temporary breeds enchantment. As smell is linked to memory, I’m hoping that people will think about how their lives will be without these seemingly ordinary objects that we take for granted that might not be there anymore.

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The Ephemeral Marvels Perfume Store

Concept and Design
Catherine Sarah Young

Perfumes
Claude Charmoille of Givaudan

Exhibition
The Mind Museum
Curator
Maria Isabel Garcia

With thanks to
Givaudan Singapore Pte Ltd c/o Claude Charmoille for providing the fragrances
Marilyn Yao and Neri Mamburam

Graphic Design
Stephanie Faith Bautista
Photography
Nino Carandang
Video and Editing
Peter Lorenz Frac of Shuttermaster Pro

Shot at Shuttermaster Pro

April 25, Taguig, Philippines—The Apocalypse Project: Imagined Futures is now open for your interactive sensory pleasure at The Mind Museum. I have five exhibits curated by the awesome Maribel Garcia, with the exhibition installation managed by Marge Arciaga, the museum’s assistant exhibition manager (and my former capoeira classmate).

Here are some quick photos of the exhibition:

The show is at the second floor, in the museum’s Technology Gallery.

The Apocalypse Project: Imagined Futures at The Mind Museum

The Apocalypse Project: Imagined Futures at The Mind Museum

Climate Change Couture, volume 2, Manila

Climate Change Couture: Volume 2, Manila

Climate Change Couture: Volume 2, Manila

The Ephemeral Marvels Perfume Store, a collaboration with Givaudan:

The Ephemeral Marvels Perfume Store, a collaboration by The Apocalypse Project and Givaudan

The Ephemeral Marvels Perfume Store, a collaboration by The Apocalypse Project and Givaudan

The Planetary Poetry Board, a collaboration with poets and my friends Alena Widows and Harriet Sandilands:

The Planetary Poetry Board: a collaboration between The Apocalypse Project and poets Alena Widows and Harriet Sandilands of The Poetry Machine

The Planetary Poetry Board: a collaboration between The Apocalypse Project and poets Alena Widows and Harriet Sandilands of The Poetry Machine

More documentation as well as images coming soon! In the meantime, a huge thank you to the museum staff—this was a brutal installation because there were so many exhibits to be installed in one night after the museum’s operating hours, but this was hands down the calmest and cheeriest installation I’ve had. Thank you for the help and for being game with everything!

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