Simon Hirsbrunner, media researcher from University Siegen, Germany, visited The Apocalypse Project: House of Futures at the Institute for the Future and sent us these lovely photos. Many thanks for coming!
Human beings are steadily living longer. What could happen when we extend our lifespan? In this project, I design artifacts and tell the story of Emily, a fictional 148-year-old woman in a future.
If we can live to be 150 years old, I envision that we will have technologies that will allow people to achieve this maximum longevity. Perhaps we will have tattoos that can deliver hormones for telomere repair. Or wearables that can track the number of cell divisions. Maybe we will inject young blood into ourselves to extend our lives (and maybe this blood will come from younger family members)—a macabre possibility, for sure, but so are lots of what we do to ourselves now especially if our ancestors could see them!
I also think that living longer affords us time to pursue more interests. If we want to go back to school for the second or third time, then we can! We can learn more languages, change careers, perhaps have more lovers. If we have more time, I think most of us will devote this to developing ourselves and our relationships. There are pros and cons to this future.
Browse the gallery to view The Matriarch, a story of a 148-year-old woman and a day in her life.
Many thanks to Emily Abrera and her family, and Rjho De Guzman.
This November I find myself in Seoul for the Bio-Art Seoul 2015 Conference. It’s great to be back here in Korea, which is turning into a yearly homecoming of a sort. Annyunghaseyo!
For my bit in the show, I presented the second volume of The Ephemeral Marvels Perfume Store. There were eight new scents I debuted here. The line was called “A Walk Home” and it was based on the scents of my childhood in the Philippines. These olfactory memories were especially potent when I moved to Manila last year after ten years of being away.
The Ephemeral Marvels Perfume Store: A Walk Home has these eight scents: Recess, A Chinese Apothecary, Time with My Mom, Swimming Lessons, Wild Grass, Manila Sunsets, Carnival, and Moments of Solitude.
During the exhibition, it was fun to see families smell the perfumes. My favorite part was when I saw the little kids trying them on, especially the really small ones who had to tiptoe to reach the bottles. It was so cute when one group of little boys gathered around, each taking a bottle, and sprayed it on himself. (I pity the ones who got the perfumes marked “Recess” and “A Chinese Apothecary”.)
And now, a cathartic release by writing about an embarrassing moment. It was the exhibition opening, and man, I was so excited to do my first Korean ribbon cutting—complete with the white gloves and golden scissors, yo! I was nervous to cut it in advance like I’ve seen people do when what I should have been worried about was not catching the darn things after you snip them.
I’m the sad chick second from left with the pile of ribbons on the floor. Sigh. No one ever tells me these things. Hmph.
For the record, I still think it’s a lot cooler to let everything dramatically fall to the floor. Hello. It’s a grand opening. Just kidding.
Artist Talk: Wet Media Conference
In Sogang University’s Department Art and Technology, artists (including yours truly) gave talks on their work. My talk, entitled “Living SciFi: Bio-Art and our Futures” drew on my journey through science, art, and design, ending with the show at the Institute for the Future and what I’ve learned here so far.
It was also great to meet some bio-artists. Personally, I identify more with the terms “conceptual artist” and “sci-art” since I currently work with so many different fields of sciences and haven’t stuck to just one, so it was great to learn from these guys, especially those whose work I’ve heard so much about. Mad props to Anna Dumitriu, Vicky Isley and Paul Smith of boredomresearch, Sonja Baeumel, Roberta Trentin, etc. It was cool to meet you guys!
Workshop: Making Smells of Perfumes
A week after the opening, I also did a perfumery workshop with some high school and university students in Korea. There was a group of biology students that were accompanied by their teacher. In the beginning, the students participated in my olfactory memory experiment where they were given mystery smells and then were asked to recall the memory that came to mind.
Later, I asked them to do a Smell Walk and gather objects from nature that they want to make a perfume of. We distilled essential oils and also used some from my own collection of essential oils. It was exciting as one distillation flask caught fire (the kids put it out in time and no one was hurt).
I loved that one of the museum staff participated and insisted on making a banana-flavored perfume. He was a fun student. For the record, I insisted that he tuck his tie so it wouldn’t catch fire.
After the distillation, I also got them to create perfumes using the commercial essential oils I have in my personal collection.
I gave them Apocalypse Project Commander badges as a reward for all their hard work. Thanks, guys!
Aaaannnd that’s officially it for me for 2015. No more exhibitions, talks, workshops, interviews, etc. for the rest of the year. I’ll be in Seoul until November 29th reflecting on the year that was and what to do next. You know I’m not a big fan of this part. A bit of Korean hiking should knock me to my senses. Are you in town? Come join me!
Many thanks to Bio-Art Seoul 2015, Biocon, Seoulin Bioscience Co., and Digital Art Weeks International. Thank you especially to Dr. Sunghoon Kim and Helen Kwak!
Digital Art Weeks International, whose exhibition “Hybrid Highlights” was held in Seoul last year, just published their free book, On Science, On Art, On Society: Interviews with Innovators”. Edited by Arthur Clay, Monika Rut, and Timothy J. Senior, it features a collection of twenty-five interviews from practitioners originating in diverse fields and opposing outwardly.
Divided into three separate chapters, the authors illustrate to the reader models of hybridity that can validate convergence as a method for nurturing innovation across disciplines. Readers interested in innovation and the processes that drive it, will find that each of the chapters of the book addresses a particular area of knowledge and that each of the interviews offers its own perspective on the subject at hand as well as examples that could offer theory into practice.
I was one of the interviewees in this interesting project. I’m in very cool and amazing company and it’s quite intimidating to be with them, such as Denisa Kera, Davide Angheleddu, Ruedi Stoop, etc. Download it here from iTunes now!
In my interview I talk about artscience collaborations, The Apocalypse Project, and climate change and cultural change. It also featured a photo from Climate Change Couture: Singapore (the Thermoreflector, modeled by Cheryl). Here is the interview, courtesy of DAW International:
Where Art & Science Coexist
An Interview with Catherine Young
Interviews with Innovators: As an artist, your work primarily explores human perception and its relationship to memory, creativity, and play. In a way, your story as an artist begins with studying molecular biology and biotechnology at the University of the Philippines. What inspired you to move into the arts, and what did you take with you from the sciences?
Catherine Young: I come from a family of artists and doctors. Although my grandfather was a photographer, my mom was a genetics professor so I grew up with a lot of Punnett Squares and DNA lessons. I love science and initially wanted to do only lab-based research, but I realized that I didn’t want to be just cooped up in the lab – there were so many other ways I wanted to pursue my ideas. I moved to New York City at 21 and just saw the endless possibilities available instead of the stifling path I had ahead of me. I moved (or more specifically, “ran away”) to Barcelona and rediscovered art, but also discovered for the first time how art and science could work together. From there I chose to study interaction design for my MFA in the US (which was a relatively new field at the time) because I felt it was a discipline where art and science could coex- ist and be effectively communicated to others.
IWI: You have worked in a variety of traditional forms including draw- ing and painting, but also with less-traditional media such as dirt or soil. What role has artistic and scientific practices played in helping you break away from traditional formats?
CY: When two things collide, new relationships can be formed. For exam- ple, visual art is usually composed of traditional fields such as painting or sculpture—works that the public shouldn’t touch else you destroy the work. But this doesn’t hold true with interactive pieces where the work ￼has to be touched to be experienced. The convergence of art and science leads to new ways to offer stories for people to explore, and unique opportunities for empathy. Also, advancements in science along with new ways of expression in art are leading to greater diversity in the type of work that can be done. For instance, there’s been a relatively recent interest in art investigating smell because of research that shows that olfaction is linked to memory. So if I were an artist interested in memory, this sense is now a channel for me to investigate that theme. Science can inform art and vice versa; each enriches the other.
I don’t really look at my projects and say, “Ok, what is the ‘art’ and what is the ‘science’ here?” I start with the questions I want to explore, and then test those approaches that I feel will best communicate the ideas I want to share with people. My different experience of artistic and scien- tific fields has exposed me to a lot of different ways for investigating top- ics and then presenting them to a wider audience. Science for me involves a lot of data collection, something which I often do in my current work. Artistic methods help me explore the many ways in which I can show that work. Each exhibition of a project is also like an experiment to me, so my work continues as I check how people respond to it. Person- ally, I don’t think there’s much of a difference between art and science because both ask similar questions. However, there is a great difference in the professions of art and science because of the systems we have created to practice them, such as the galleries, the festivals, the labs, academia, industry, and so on.
IWI: “Disclosure of knowledge” or “lifting of the veil” is how you describe your Apocalypse Project. Here you are trying to physically animate an in- quiry made concerning environmental futures. Can you tell us about this research in general and what the process was that transformed an en- quiry into an artwork?
CY: I started The Apocalypse Project during my participation at the 2013 ArtScience Residency Program in partnership with ArtScience Museum at ￼Marina Bay Sands, Tembusu College National University of Singapore, and the Singapore-ETH Zurich Future Cities Laboratory (FCL). I was talking to the scientists in FCL who were doing very interesting research on climate change and sustainability. But while their work was important, I saw a gap between their research and the public understanding of climate change.
In parallel to this, I was doing workshops with high school and college students in Singapore, asking them questions about what climate change looked like to them, what superpowers they wished they had to combat climate change, and what they would wear to a climate-change apocalypse. The last question resonated really well with the majority of the stu- dents, more so than my other questions. I realized that fashion is one thing that people can relate to – clothing is both a means of survival and a form of self-expression. This was the beginning of Climate Change Couture. I took the research of the FCL scientists and designed clothes and narratives that would fit a world that was uninhabitable, highlighting the problems that the research projects addressed. For the first collection, members of the FCL staff were the ones who modeled them and I think it was wonderful to see them outside the lab and being models.
IWI: Besides showing the actual objects themselves, how else have you tried to communicate the fact that climate change is real and “the heat is on” as they say?
CY: The projects are all about experience, so rather than just showing the clothes or the perfumes I developed, the visitors are invited to try on the clothes and smell the perfumes. In this way, they are able to place themselves in the story. I also hold public events, such as Future Feast at The Mind Museum in Manila where I got to collaborate with chefs to think about dishes of the future. It was a real feast with local musicians per- forming, scientists explaining topics about climate change, the chefs talking to people about why things like worm meat and sea vegetables could be future sources of nutrition, and included activities for the whole fam￼ily. I think doing these inclusive and fun events reframes climate change from a doom-and-gloom political issue, meant to be discussed only by governments, to a human issue about creativity and resilience that everyone should act on.
IWI: Some of the garments that you have put on exhibition connect traditional design culture with what we might call “a fashion of necessity”. Does the inclusion of traditional elements make the message clearer that climate change and cultural change are synonymous?
CY: I think culture has always had to adapt to the environment. For example, the Barong Tagalog, which is a traditional dress for men in the Philip- pines, was designed to be lightweight because of the country’s tropical climate. I re-imagined it with a hoodie because of the unpredictable weather the country now has. When designing for a particular city, I like to research their traditional garments because the message resonates bet- ter with the audience if the visual imagery is familiar and they can relate to it. A lot of my projects deal with future loss, and so the audience has to imagine a world where some things are not available to satisfy the needs of their traditional practices.
IWI: Which of the methods used to carry over your message have been the most effective in motivating and empowering people to become co- creators of a more tangible future?
CY: I think it’s the fact that I do multiple projects, so I give people different ways to engage with environmental futures. If one doesn’t do it for them, another one might. Each project is also exhibited through multiple platforms and in multiple cities, and uses different types of media. Some people knew about the projects through the Internet, but for most peo- ple the work was more powerful when they saw and experienced them in person. From what I’ve observed, I think the work becomes most effec- tive when people are able to share their experience (and the memories that these projects evoke) with other people. This allows conversation about climate change go beyond the exhibition or the festival and into ￼the people’s normal everyday lives. Another is that I target a wide audience. I’m particularly interested in the reactions of young children, because they have the most honest reactions. They will also bear the worst consequences of climate change, so I think they need to learn about it and how to take care of the environment as soon as possible.
IWI: Knowing that the research you have draw upon is the intellectual property of an institution with clear guidelines on representation, do you feel that there are any dangers of misrepresenting such research if presented through art objects and in a museum context?
CY: Yes, which is why I’m extremely careful about collaborations. There are a lot of conversations in the background, with me talking to my col- laborators (be it scientists, chefs, artists, students, companies, etc.) about what the project is, why I’m doing it, what possibilities could follow once we exhibit the work in public, as well as an opportunity to say no. I send out updates from time to time, and I update all my websites regu- larly so everyone knows what I’m up to. I’ve been on fellowships and grants for a long time, so I’m used to accountability and making sure eve- ryone is on the same page so that we’re all happy. For the information and images I have to send out to the press, or that I publish online, I always make sure everyone involved has reviewed it and has no issues with it. I think life is really short and there is no sense in prolonging suf- fering, so if I or the other person is unhappy, and all possible solutions have been exhausted, I probably will end the collaboration and just change the direction of the project.
That said, though, in my experience, if the finished project is successful – and I define “success” here as when a project gains an audience, when the message about climate change is effectively transmitted to another person, and when the collaboration was pleasant and we want to do it again – everybody wins: the artist, the collaborator, the space it was exhibited in, the audience who has had a positive experience. If the project fails at any point, such as if a blogger completely misinterprets it, it’s only me that has to bear it, and I try to rectify it by reaching out to the writer with more information and an invitation to get in touch. Either the writer updates his article or I’ll be working on another project to further make the point. The public events are, to me, critical, because I usually have attendants (I call them The Apocalypse Squad) who are trained to talk about the project and assist the audience if needed. The online presence of the projects is also important because that’s where I put all the information. I’ll get the occasional troll in the exhibition or on the Internet – usually climate change deniers – but I just ignore them.
￼Catherine Young is an artist, scientist, designer, explorer, and writer whose work primarily explores human perception and its relationships to memory, creativity, and play. Her work combines art and science to create stories, objects, and experiences that facilitate wonder and human connection. Her first solo exhibition was in a science museum. She re- ceived her degree in molecular biology and biotechnology from Manila, fine art education from Barcelona, and has an MFA in Interaction Design from the School of Visual Arts in New York as a Fulbright scholar. Previously, she was on residencies and fellowships in New York, Barcelona, Seoul, Singapore, and Manila.
For the past few months, I have been involved with a project by The Mind Museum, called A Glass of the Sea (AGoS), an exhibition about the Coral Triangle. Scientists from the California Academy of Sciences have been exploring the Verde Island Passage of the CT and have been discovering an abundance of new species. The Verde Island Passage may well be the apex of marine biodiversity on the planet. How amazing!
The AGoS team was led by The Mind Museum curator Maribel Garcia, Bryant Cabantac, Cris Mora, Carlie Dario, Dem Bitantes, Awesome Lab, and myself. The exhibition is made possible by a grant from USAID.
I did the graphic design of the exhibition. I was inspired by kimono fabrics on my visit in Japan, especially their vibrant and classy colors. We applied this to priming tunnels that are shaped like Asian folding fans as well as English and Filipino signage throughout the exhibition.
You haven’t lived until you’ve done graphic designs of bilingual translations about science. For real. Here’s a fun shot of Darwin and I during installation, while we wrestled with industrial strength velcro.
In “A Story of the Science of the Sea”, visitors are invited to take a wooden sculpture etched with a sea creature on top, and place it on an NFC reader to watch it come to life on screen. Audio narration gives more information about the creature. This was designed by Cris Mora.
We also made specially designed video games that each highlight one problem in our oceans. I designed the games while the awesome people at Awesome Labs programmed them.
One game is Garbage Catch, where the user has to prevent garbage from reaching the ocean floor.
Another game is Net Escape, where you prevent unsustainable seafood from swimming into a large net.
The last game is Sustainable Seafood Market, where users are given two seafood options at a time. They must pick the sustainable over the unsustainable seafood. This was the toughest game for me to design, but it’s my favorite among the three. We initially called this Sushi Tinder (which is way catchier). I dedicate this to the chick I met who said she eats shark’s fin soup in weddings because “it’s already there”. RAGE.
After each game, the user can make a pledge to take care of the ocean. The pledges are all different and specific, such as “I pledge not to eat or buy shark’s fin soup from restaurants.”
Your Role in Sea Life highlights your impact on the ocean. Cris Mora made these amazing shadow sculptures out of garbage, showing an impaled turtle (one of the many species that suffer because of what mankind is doing to the oceans), cities which contribute to ocean problems, and the earth in the palm of a hand.
AGoS is made of primarily sustainable materials, such as the bamboo framework that houses the exhibition.
It also features an education space entitled “Ocean in Motion” where visitors can make their own sea creatures, learn about marine protected areas, etc.
We launched this yesterday, July 16, at The Mind Museum. The exhibition will stay there until October and then will get to travel all over the Philippines. Hurray!
Thanks for coming, Mom!
Today, I set out to map all my current and past projects and where they landed in my personal cartography. I currently have two versions:
About a week ago, I picked up a copy of Gretchen Rubin’s new book, Better than Before, and read it in one sitting in a bookstore. The book talked about our habits and classified people into The Four Tendencies. (I got Questioner. No surprise there!) After reading, I decided to make a list of habits I wanted to pick up or break. I’ve been feeling a bit overwhelmed with so many projects lately and decided it was probably time to audit my processes and see how I can be better.
One habit I decided to take up is meditation. It’s difficult for me to do absolutely nothing, so I decided I would meditate by doing 100 deep breaths. Just that—breathing deeply (and counting!). For the past week at around 9 pm, I’ve been doing this for 10-20 minutes, lying on my back and in the dark. After the meditation I would start another few hours of work before sleeping at 3 am.
On the first day of this habit I had a very strange surprise: a tingling on my head, face, and hands. It was intense enough for me to notice. It’s not painful or anything. I would even say it was pleasant—it’s how I imagined it would feel like if someone sprinkled fairy dust on me. Here are some journal entries that showed how I felt:
April 19, Sunday
I started a 100-breath meditation practice last night. I’m pretty sure I have ASMR. I feel it around the 20-something breath. It’s stronger on the top of my head. I feel it behind my ears, my face (especially lips). and on the collarbone. Later on, I feel it in my hands.
I realized that stress and hot weather didn’t help.
April 20, Monday
I did 150 breaths, but only felt a bit of the tingling in my hands and face (a little in the chest). Maybe it’s because I slept at past 3 last night and because it’s so hot today (Manila is having a heat wave right now). And because I’m thinking too many things.
By Day 4, I was panicking that I lost it. It was a stressful day.
April 21, Tuesday
Oh no. I think I lost the power!
By Day 5, I was relieved.
April 22, Wednesday
I still have the power! My parents installed a new AC so the air was at 23 degrees Celsius. I started feeling it around breath #25. By breath #50, I sat up to see if I could feel it in the back of the head and neck without the interference of a pillow. I definitely felt it at the back of the neck, but not the spine, but then again I did a lot of side kick stretches at the bar in the dojang, so the sides of my back are killing me.
The tingling actually persists after my meditation practice. Here is a sketch to show where I feel it:
When I shift my position, or when I’m exposed to light, the tingling is affected. Breathing controls the flow of the tingling.
Movement and sudden light (someone entered the room) didn’t stop it, but diminished it a bit, and resumed on the next breath. Exhaling / inhaling seem to control the flow of the tingling, especially on the exhale. [Doing] 100 breaths now takes me around 18 minutes.
April 23, Wednesday
I can feel when it’s about to happen, like when you know you’re about to sneeze.
I immediately thought of ASMR, or autonomous sensory meridian response, since it trended online a few weeks ago and there are lots of articles about it. I tried the Youtube videos of whispering and other triggers, but it’s this breathing practice that really does it for me (though I breathe through the nose and throat as in yoga, so perhaps the sound of that helps, too). Science is skeptical about it, but I hope that I can get an MRI to check and see what is going on with me since it looks like I can control it.
All I know for sure is that I feel a tingling when I do lots of deep breaths. It’s like a meteor is about to burst from me. After I meditate, I feel like my to-do list becomes more manageable. I’m more focused and relaxed. As for the ASMR, I’m not sure if that also helps with my focus or if it’s just another consequence of the meditation, but I like visualizing myself as a superhero with a very strange (and perhaps useless) superpower.
As someone who is very interested in perception, discovering this about myself is fascinating. I’m already extremely sensitive to smell and sounds, so this makes me feel like another dimension is opening up for me. In any case, meditating amidst all the stress should be a good habit to pick up.
Next habit on my list: apply hand lotion every day.