Session 7: Stop Motion, More Crystals and Gut Flora

We started the session with Jullianne’s homework from the previous session:

  1. Set up a Twitter account for the project
  2. Keep pushing on gathering content
  3. Speak to the technical support team about likely projector for her final show
  4. Make video/static documentation of code as it is
  5. Draw out the interface as she sees it – paper prototype it!

She created a Twitter account for the project: @sharemodernlove. On the content side of things she reached out to Tinder Nightmares and LastMessageRecieved, and posted on her blog about it. She emailed the technical support team, but I suggested meeting them in person as they are so busy. She posted some documentation of her code in its current state:

We discussed building the installation on the web in p5.js rather than in openFrameworks, which has quite a steep learning curve.

I found a series of tutorials from the amazing Coding Train on physics simulation in p5.js:

In addition I suggested using .json files to store conversations and use this tutorial to load it into p5.js.

I set the following homework:

  1. Gather more content, dependent on Tumblr responses.
  2. Make a prototype with:
    1. p5.js
    2. Data files in json for conversations
    3. Physics based chains of conversations, similar to this Matter.js example.
    4. Voice synthesis with p5.js-speech.
    5. iPad swipes via osc using HammerJS and p5js-osc.
  3. Keep chasing the technical team for projector resolution
  4. Set up your own GitHub.

Jayson was next in the session and we started by reviewing his homework from the previous session:

  1. Watch Silent Running
  2. Reach out to Mike Rumsey
  3. What computing problems can crystals solve?
  4. Speak to theo about computing people
  5. Take a crystal healing session
  6. Reach out to Andy Lomas

He watched Silent Running, but didn’t cry! He emailed Mike Rumsey, who was predictably very busy – but Jayson is trying to set up a time to meet with him. This conversation brought up the subject of crystals formed as a result of human activity. Jayson referenced Drexciya:

Drexciya, which eschewed media attention and its attendant focus on personality, developed an afrofuturist myth. The group revealed in the sleeve notes to their 1997 album The Quest that “Drexciya” was an underwater country populated by the unborn children of pregnant African women who were thrown off of slave ships; the babies had adapted to breathe underwater in their mothers’ wombs.

We seized upon this idea of creating ones own myths – the idea of minerals forming around a shipwreck – like a stomach bug eating the dead body of it’s host. Jayson referenced Hopi Native Americans and their use of crystals during ceremonies – to be able to see new things and also to deflect light. I said to not be afraid of making a beautiful space – imagine a network of reflected beams. Jayson decided to write about it – I suggested making a map of his myth.

The main computing application of crystals was to use as oscillators to allow for timing within the computer. He showed two very dry Department of Defense videos on the subject. I suggested some more research into the applications of oscillators – what is the computational relationship?

Jayson spoke to Theo, and unfortunately he didn’t have any further contacts for him. I suggested looking at crystal radios, as a reference to something that I had done in my youth. I then remembered the image of the first transistor:

Which used a crystal of Germanium – a perfect computational reference!

We moved on to a discussion of the previous article around the Anthropocene, particularly around the forming of crystals on the great barrier reef – in the future could sea level rises cause electronic dumps to be flooded to form new crystal structures? Jayson stated that he’s going to print some 3D shapes as forms to grow crystals on.

Jayson hasn’t been for his crystal healing session as yet, he is going to do the walking tour. He posted on several forums for a lower cost alternative to a full crystal healing session. He’s going to wait to reach out to Andy Lomas until he’s surer of what his installation is going to be. I discovered a link about crystals being used to enable quantum computing.

I set the following homework:

  1. Make a crystal radio.
  2. Research Germanium.
  3. Consider your new mythology – around undersea wrecks? Flooded dumps? Mining in the future?
  4. 3D print a support structure to grow crystals on.
  5. Meet a crystal healer / do an esoteric walking tour
  6. Think again about the analogue/digital mix of your installation. Situate your practise in your own life history and memories.

Dianne was last to have her work discussed in the session. Her homework from the previous session was as follows:

  1. Ask mum best place in London for research
  2. Biohacking lab, can they help with construction
  3. Make contact with the best place – what would they advise
  4. Plan exhibition more – micro / macro / explanation
  5. Speak to the Wellcome trust
  6. Get glassware catalogues from mum – or the websites for gear
  7. Speak to William Latham at Goldsmiths
  8. Speak to other researchers at Goldsmiths
  9. Research biome simulation

After speaking to her mum, she was recommended Imperial College and Kings College as places in London doing Microbiome research. Jeremy Nicholson was one person that she highlit, as well as Tim Spector at Kings.

Further away from London we found the Oxford Interdisciplinary Microbiome Project, unfortunately she missed their recent meeting, but it looked to be a good resource. Her mother also suggested Glen Gibson who know’s her personally – his work is more around diet and nutrition, but he is well connected.

The Biohack lab will help with advice but it’s much more of a do it yourself kind of place.

She felt she needed to develop her core questions further before approaching people. Quorum sensing was an area that looked interesting – how bacteria communicate with each other by forming a biofilm.

Dianne is focusing on her dissertation at the moment – as she will be marked on it. This written work will form the core of the question(s) and theme(s) she wants to explore in her exhibition – which she will not be marked on.

She has visited them, but she needs a larger group of people to get funding – I suggested using them as a resource for glassware and other historical artefacts.

She found this source for Agar, which would have to be ordered through a lab – but she could make dyed Agar with regular nutrient Agar and food colourings. Her mother suggested experimenting with various dyes – certain bacteria will tend to certain colours.

She reached out to William Latham, after finding two of his papers that were relevant:

He suggested meeting after the end of term and also suggested bringing Frederic Laymarie into the conversation too. He linked to his Mutator VR project.

 

Some recent projects from Frederic:

  • FoldSynth: An interactive platform for the study of proteins and other molecular strands (joint work with Imperial College/Bioinformatics)
  • Eco-a-Life: Ecosystems in Virtual Worlds (joint work with Portuguese artist/programmer Rui Antunes)

It looks like he could be a good contact for an introduction to the Bioinformatics team at Imperial – who state on their website that they are keen to:

Develop new collaborative projects within and outside Imperial, particularly those that are multi-disciplinary.

Dianne said she’s also interested in bioinformatics – computation is the lens through which we view the biome.

She emailed Lisa Blackman, she replied with the following:

I just edited a special issue of Body and Society called The New Biologies exploring some of these issues. I would recommend Hannah Landecker‘s work who contributes to the issue. You might also find the work of Samantha Frost of interest and particularly her new book Biocultural Creatures.

Dianne ordered the book and found some great resources from looking at Hannah Landecker.

We then moved on to her research around simulation.

Pink Bacteria Dance by kynd.

Wanderers: Living Mushtari by The Mediated Matter group at MIT.

RGB Petri by Jeremy Awon.

AADRL Spyropoulos Design Lab research.

We also found some good biohacking  resources:

We returned to the central question of her work – what is it? Dianne said she was exploring what it means to be human. We came back to the thought of alien life seeing humans as hosts for the biome. If you take two humans their DNA will be 99.9% identical, but their biomes will be wildly different. In terms of DNA, humans are 98% pig and 80% banana! We also discussed brain/biome interaction and what the Bioinformatics team is researching in that area.

Dianne referenced Simon Sublime, an anonymous Artist/Scientist, particularly his methods of exhibiting his work.

Finally I suggested looking at the simulation of mitosis on the fantastic Coding Train.

Perhaps Dianne could simulate all Gut Flora?

Diane Homework:

  1. Keep thinking on question for dissertation
  2. What is the installation? Bioinformatics of the Biome?
  3. Speak to the Wellcome trust collection what do they have on the biome? What apparatus? Even just the glassware collection.
  4. Contact the Science Museum – about their work on the Biome.
  5. Meet with William Latham and Frederic Laymarie at Goldsmiths.
  6. Make contact with the Bioinformatics team at Imperial.

Building Every Where

Every Where allows anyone to add augmented reality content to their environment.

Concept image for Every Where, showing historic photographic, three dimensional and text based augmented reality content. Illustration by Tom Jennings.
Example use cases:
  • Museums:
    After digitising their collection, museums could use Every Where to display it in the local area surrounding their building – or place it at any location in the entire world. For example, the British Museum could display the Rosetta Stone at a huge scale floating above Bloomsbury in London, in it’s original location in Memphis, Egypt or above a primary school in Leeds that recently visited the museum on a school trip.
  • Libraries:
    Libraries could use Every Where to display information or content at an architectural scale over their locality. Imagine a quote from the book of the week looming over the town square or a drawing from the pre-school playgroup floating above the library entrance.
  • Local History:
    Residents could use Every Where to add photography back to the place where it was taken. A grandfather could add a photo of him and his brother celebrating England’s football world cup win of 1966 in the street where he grew up at the exact point it was taken – creating a historical Trompe-l’œil.
  • Digital Graffiti:
    Local children could use Every Where to write in letters ten metres high or add 3D emoticons to their street as well as learning how to program in augmented reality along the way.
  • Unlimited Sculpture:
    Artists could use Every Where to add sculpture to their world unencumbered by budget or physical possibility.
Quote by ex-director of the V&A, Martin Roth from the book “100 Secrets of the Art World”
Hardware:

Every Where can either run on a traditional web server, in the cloud or locally on a Raspberry Pi.

Every Where runs locally by creating a local WiFi network on the Raspberry Pi itself. In this way Every Where can function even in places that are out of the range of cellular data services or broadband. Additionally, Every Where can be solar powered, allowing it to run “Off Grid” – completely independently of all traditional public utility services at a very low cost. It will also be possible to create a mesh of local Every Where units to create an independent network for hosting a variety of content.

Software:

Every Where runs atop A-Frame and Node.js. A-Frame allows compatibility with a wide variety of hardware platforms – Vive, Rift, desktop and mobile platforms.

Every Where not only allows for viewing of content but the creation of content via a built in editor.

Request for collaborators/support:

I’m currently applying for support for Every Where from a variety of sources. If you’d like to be involved, please get in touch.

Current Status of the Sculpture

Unfortunately, the project didn’t win the competition:

However, I am still developing the project and concept and would be very interested in repurposing it for another country, or even on a global scale. Get in touch if you’d like to help make it happen! Huge thanks to the British Council for supporting me to build the proof of concept.

All the source code and demonstration files are still available.

Session 6: Insights into the Gut Biome, Modern Love Tales and Crystals

We started the session by going over Dianne’s homework:

  1. Her top ten insights into the gut biome
  2. Can she source Agar in large quantities?
  3. What existing microscopy equipment can she get access to at Goldsmiths?

She supplied the following insights:

  1. “Recent studies demonstrate that gut microbes directly alter neurotransmitter levels, which may enable them to communicate with neurons.”
  2. Scientists have observes that the gut microbiota interact with the central nervous system…mental health and  even neurological development might be shaped by the composition and behaviour of these bacteria.
  3. The human gut microbiome is made up of organisms belonging to over 30 different genera and as many as 500 separate bacterial species or phenotypes, most being from the Firmicutes and the Bacteroides.
  4. Bacteria are our ancestors, “every living thing that exists now, or has ever lived is bacterial.”
  5. The human is a walking ecosystem.
  6. There are ten times as many bacterial cells as human cells in the body.
  7. It is impossible to study the entire gut microbiome as when extracted from the body as lot of the bacterial species die.
  8. 95% of the body’s serotonin is produced in the digestive tract.
  9. Fecal transplantation is being researched and developed to treat disease and obesity etc.
  10. Bacteria invented all the basic metabolic processes, including photosynthesis and chemical conversion that every other life form remains utterly dependent on.
  11. The wide adoption of antibiotics, rigorous hygiene and processed diets id thought to have cut down the genetic diversity of micro biomes in the developed world.

We then moved on to discussing how much agar she could source. After some research she realised that it’s not possible to use agar if you want to do microscopy – as you need to use a slide in order for that to work – and under-light the sample.

I asked what the speed/lifespan was normally – she’s done previous experiments which had a lifespan of 24/48 hours, especially if she avoids copper lined dishes, which is a natural anti-bacterial.

The conversation then moved onto organ on a chip discussions – could she find a gut on a chip? She referenced the Wyss Institute at Havard. I said it reminded me of Tobie Kerridge’s BioJewellery project.

We discussed her sourcing glassware to contain her gut biome – she suggested speaking to the BioHackingLab to find where they source from – I also suggested speaking to her mum (who is a micro-biologist) to find out the best places to collaborate with in London – there must be people in London working on gut biome / brain interaction. We did a quick search on the Goldsmiths site via Google, which yielded some promising results.

Finally she raised concerns that there isn’t enough computing in her project – I said to keep it in mind, but there is plenty of work around biological simulation on computers – from Conway’s Game of Life to more recent Microbiome Simulations.

I set the following homework:

  1. Ask mum best place in London for research
  2. Biohacking lab, can they help with construction
  3. Make contact with the best place – what would they advise
  4. Plan exhibition more – micro / macro / explanation
  5. Speak to the Wellcome trust
  6. Get glassware catalogues from mum – or the websites for gear
  7. Speak to William Latham at Goldsmiths
  8. Speak to other researchers at Goldsmiths
  9. Research biome simulation

Next it was Julianne’s turn. Her homework from the last session was as follows:

  1. What is the screen resolution for your projection? So we can think about text scale and spacing.
  2. Investigate voice synthesis
  3. Think about the flower metaphor for conversations – beautiful at first, but terrifying conversations
  4. Interface – draw it out create a stop motion animation
  5. Think about how to campaign for more content

Since our last session she created a Tumblr for the project, as well as an email address for submissions. I advised her to set up a Twitter account in addition. She’s going to create a poster for the project as soon as everything is in place – I emphasised how important it was to keep up the momentum on the project. She doesn’t know the screen resolution of her projection as yet, I advised her to talk to the technical team at Goldsmiths to find out which projector she’s likely to be able to access – it’s essential to allow her to think about her text resolution which will impact readability dramatically.

Julianne shared Romantimatic, an app that reminds you to be romantic, we then moved on to a discussion about using voice synthesis to speak the content that she is collecting – she said she’s not opposed to it, just unsure of how to implement – I demonstrated the voice synthesiser in OSX, and how to get it to read any piece of text.

We then moved on to a discussion about the flower metaphor – she thought about it but was more envisioning a bubble effect, with multiple camera angles and using the flower idea for connections between conversations. She’s keen not to create just a long chain of conversations.

I shared ofxBox2D for openFrameworks by Todd Vanderlin, a 2D Newtonian physics simulator:

I showed ofxAddons.com, a repository of addons for openFrameworks. Together we picked out several addons that might be useful for her project:

I said the most important thing was to get to a technically complete prototype as soon as possible – and to document those early prototypes, but the most important thing being the creation of a paper prototype. I advised her to sketch it out as soon as possible – using Keynote from Apple with simple stop motion animation via photographs.

I set the following homework:

  1. Set up a Twitter account for the project
  2. Keep pushing on gathering content
  3. Speak to the technical support team about likely projector for her final show
  4. Make video/static documentation of code as it is
  5. Draw out the interface as she sees it – paper prototype it!

The last person in the session was Jayson, who had the following homework:

  1. Watch Silent Running
  2. What is the personal aspect of this installation? How is it unique to you? Why could have it only have been made by you?
  3. Why does it exist?

Unfortunately, he hadn’t managed to watch Silent Running, so we moved on to the personal aspect of the work. He suggested having a screen to explain the piece – I suggested just making a normal poster so that he could concentrate his setup time on the installation itself. We talked about making crystal growth interactive, using electricity, hydrochloric acid and tin, which can be done in real time:

Jayson felt it didn’t look enough like what people think of as a crystal, so we searched for other crystal growing methods. He shared an aluminium sulphate crystal that he had already grown at home.

Borax:

Alum:

Bizmuth:

I suggested trying to find a mineralogist, gemologist or chemist. We found Mike Rumsey at the Natural History Museum. Jayson said that he’s going to experiment with a moving microscope that he’s found at Goldsmiths Digital Fabrication lab.

We moved on to a discussion of computation and how it relates to this project – I thought simulating crystal growth digitally was an interesting area – how does this relate to Cybernetics? What problems could be solved by this simulation? Computing the shortest route in a maze? How else can they be used for computation?

We found a paper on Crystal Voronoi Diagrams, which led me to reference Scott Snibbe’s Boundary Functions installation:

I advised Jayson to speak to Theo Papatheodorou about other people working in this area at Goldsmiths, or in London. We discussed crystal formation as a kind of non conscious self organisation.

Jayson demonstrated a crystal renderer based on a shader that he found on ShaderToy, as well as an additive growth demo. We found a demonstration of a slime mold that can solve mazes:

We discussed doing a 3D print of crystal growth with a real time simulation alongside. In terms of real life activities we found a shop that could give him a crystal healing session, a spiritual shop walking tour of London and a statement from the British Museum on their crystal skull.

I set the following homework:

  1. Watch Silent Running
  2. Reach out to Mike Rumsey
  3. What computing problems can crystals solve?
  4. Speak to theo about computing people
  5. Take a crystal healing session
  6. Reach out to Andy Lomas

Session 5: Paper prototypes, Interviews and Individual Tasks

We started by discussing Jayson’s recent work. Since the last tutorial, he’d been to visit Susan Stepney in Cambridge. He was particularly interested in her because of her academic work around Non-Standard Computation, as well as her interest in Science Fiction:

Reality is a crutch for those who can’t cope with Science Fiction

They had a wide ranging discussion about the Computational Arts from Jayson’s point of view – using computing and computational thinking to inspire, reflect and challenge art. Susan was particularly interested in how artists could visualise complexity and emergence in new ways. They discussed her recent work – particularly around allowing people to control a feedback loop and see it in action. She supplied a series of complexity theory links for him to research – mainly around Jim Crutchfield’s work.

Seizure by Roger Hiorns

This thinking on complexity led Jayson back to cellular automata, emergence and crystals – as an an example of an emergent structure. Following up on these areas, Jayson visited the Natural History Museum crystal and gem aka Mineralogy collection. After buying ten kilograms of Magnesium Sulphate, he started investigating growing his own crystals, and thinking about 3D printing a lattice to support it. I referenced Roger Hiorn’s “Seizure” .

Jayson’s paper mockup

Jayson presented the paper mockup of his graduating show. From right, a glass tank for growing crystals, the largest crystal in the central spot and on the left a computer to display a digital screen simulation of crystal growth.

Andy Lomas, Aggregation 9

I referenced Andy Lomas’s work around digital Aggregation, as well as Kimchi and Chips Line Segments Space and Lit Tree projects. The Lit Tree project produced discussions around blending the analogue and the digital – especially users being able to change the growth of the tree by highlighting different parts of the plant with their hands in real time.

Could people “mine” for digital rocks when they visit Jayson’s installation? We discussed how we could make the installation more autobiographical – which prompted Jayson to relate a memory of growing up in Australia – playing in the back garden and digging up Copper there. We talked about using a microscope to allow visitors to view the analogue (grown) crystal in real time.

Jayson discussed “The Crystal World” by J.G. Ballard:

The novel tells the story of a physician trying to make his way deep into the jungle to a secluded leprosy treatment facility. While trying to make it to his destination, his chaotic path leads him to try to come to terms with an apocalyptic phenomenon in the jungle that crystallises everything it touches.

We discussed him making a self portrait – but with crystals replacing his eyes. How can he accelerate the process? We talked about seeing crystals as computation – or as a metaphor for computation.

I referenced the MONIAC liquid simulator of the British Economy:

As well as Arcologies (self contained environments), which led to me screening the trailer for Silent Running by Douglas Trumbull:

I set Jayson the homework of watching Silent Running as well considering the why of his installation.

Moving onto Julianne’s work, we began by discussing the various people that she has reached out to on the project – Alison Wade responded, but unfortunately she’s currently in India. Julianne posted her questions for Alison on her blog:

  • Why paintings as opposed to other mediums?
  • How were you able to turn your heartache into art?
  • How did you go about picking these phrases instead of other parts of the messages?
  • What is your take on the way technology is affecting love?
  • Have you ever been ghosted? If so, how can that be portrayed through art in a way that these messages have been portrayed?
  • Was it hard to look over these messages? Did that affect your ability to create your work? Did it drive you?
  • Did you meet any of these ex’s online?
  • Do you think the nature of these messages would have changed if you had?
  • Was creating this series therapeutic?
  • What was your thought process/process for this piece?
  • Why do you think people gravitated towards this series? It seems as it it cultivated a lot of press.
  • The cult: the beginning of this project came after, she hadn’t been contacted
  • What advice would you give modern love with regard to what you’ve discovered about modern relationships?
  • What advice would you give artists today that are interested in your same subject?
  • Breakups can be quite debilitating. How would you advise young artists that are feeling crippled by their own heartache?

Next Julianne shared her cardboard mockup of her exhibition:

I.e. a central projection of the conversations that she’s been gathering from friends from social networks (Tinder and Bumble) – with a computer on the right to allow people to add their own content. She’s been getting screen grabs and then transcribing the content manually. I advised against her allowing people to add content live at the installation – it’s a minefield of people either trolling or a time sink in terms of coding to live functionality.

We discussed the moment that she was most interested in the relationships – the inflection point when people decide to get closer or fall apart – I asked if the installation was a kind of Memento mori – i.e. reminding people that everything ends.

We talked about the projected text itself breaking up at the point of breaking up. I posed the question of what the interface would allow people to navigate her curated dataset in a natural way – we quickly moved away from Kinect or computer vision based gestural interfaces and zero’d in on using a version of the Tinder swipe left or right as a way of selecting – a fitting echo.

I referenced Listening Post again – especially the voice synthesis as a way of communicating text content in a multimedia fashion:

I went on to reference the visualisation methods used for several projects from Andreas Muller – Wind, SwimmingMessageSystem and Hana:

Finally, we discussed 40 Days of Dating from Sagmeister and Walsh as a good reference for visualising the history of a relationship.

We focussed on the flower metaphor for a relationship – growing and branching and either blooming or decaying away. I set the following homework for Julianne:

  1. What is the screen resolution of your projection going to be? This will impact on your type sizing dramatically, as well as the relative scale of other parts of your interface.
  2. Investigate voice synthesis
  3. Explore the flower metaphor
  4. Paper prototype your projection interface, make a stop motion animation of it
  5. Plan your campaign to get more content

Finally, we moved onto Diane’s work. We started by discussing her trip to Transmediale 2017, where amongst other things she managed to have a conversation with Martin Howse. One of the most interesting parts for Diane was how he positions himself – he’s not making art about science but rather how you artistically interface with these scientific things.  How far you go into it, how you can shift it, you are not the scientist. He looks at medieval alchemy to investigate digital technology, trying to redo ancient experiments – it’s not important for them to “work”. He’s looking at the chemicals used in modern computer:

…you take these materials that are used in modern computing and then try to process them through these alchemical techniques. Critical connections start to emerge…

For example, cyanide is used to process gold, cyanide killed Turing. He is interested in the toxicity of things and where software executes. I mentioned that it sounds like he is on a Quixotic quest – it’s a way of investigating modern technology in ancient ways – pre scientific method almost. Diane said that he had no formal scientific training, did a lot of work with computing, was at Goldsmiths at the beginning of his career. Diane stated that life seemed to be more about death in old times, now future is shiny and heavenly – this brought
up Howes’s most recent bacterial work – he’s been investigating a gold mine and the run off feeding bacteria. Finally Diane discussed his practise in general – Howse likes the process of making the exhibition about the studio experiments, re making it for the gallery – for example working with poetry generating worms and then hiding them in the gallery. His method of translating from studio to gallery context.

We then moved on to discuss Diane’s proposed exhibition, which can be seen above. She intends it to be an intimate, enclosed space, darkly lit.  The large bean like object on the table at the rear is a large scale glass vessel containing her own gut bacteria in culture (aka an anaerobic fermentation cell), with a large strip light adjacent – strobing randomly. She aims to monitor the fermentation cell in some real time method, and have that output to a screen on the floor – which can be seen at the bottom right of the maquette. As the gut cells are anerobic, they must be sealed against our atmosphere. Diane went on to discuss how she’d keep the cells alive – it would smell awful and have to be “fed” constantly. I said it reminded me of a terrarium.

Diane has been looking at the latest research on the gut biome – particularly around biome/brain communication. I said I thought this was a very rich area to communicate – but what will she be able to actually measure? pH? What is the output going to be? How will this screen on the floor function? Diane said that she was interested in the idea of symobiosis – and also that visiting aliens might view us as merely mosts for our gut bacteria – rather than an independent organism. I challenged her on the idea of her being the host for her bacteria – could the exhibition be about that? Her gut as her partner? Her brain affecting her gut and her gut affecting her brain? Could we measure the activity of the bacteria and use that to generate a story? I referenced Memo Atken’s recent work around generation of texts using neural networks. Could the gut be generating her thoughts? Diane stated quickly that she doesn’t want it to be a self portrait – I asked if it could be autobiographical – about her relationship with her mother and her mother’s relationship with her and her gut bacteria. She’s very keen to allow people to interface with the biome in real time – and educate people that we don’t actually eat food, we eat the byproducts of food. I asked her if she could be the mother, and the biome her baby? I referenced the following project:

Would it be possible to do a similar scale installation with her own gut bacteria? Could we allow visitors to “fly” around the landscape using a mounted microscope?

I left Diane with the following three questions:

  1. Her top ten insights into the gut biome
  2. Can she source Agar in large quantities?
  3. What existing microscopy equipment can she get access to at Goldsmiths?