A group of international bioartists, including me, cultured the microbes in different zones based on the science of Proxemics, or areas of social comfort. Slated to open at DesignTO in Toronto on January 22nd, it will now open online due to increased lockdown restrictions during the pandemic.
Telluric Vibrations, UCLA Botanical Gardens – Los Angeles
Workshop: Microbial Theater
Mick Lorusso and Joel Ong
Thu Sep 10, 2020, 6:00 pm – 7:00 pm (UTC +2) Online In English language
In this workshop participants will learn about the microbiome to develop their own stories about microbes, collect and observe samples using microscopy, and create short performances based on their stories and findings.
http://telluricvibrations.com/ UCLA Art|Sci Center’s Telluric Vibrations
In this two-part workshop at Triga Creative in Toronto, Joel Ong and I lead participants in considering the microbial umwelt (or worldview) through creative approaches to interacting, swabbing and plating the relationships that we have with each other and the environmental microbiome. Making use of the petri dish as canvas, as skin and as stage for the generation of living, biological artworks as a baseline activity for mixing science and art (Hauser 2008). This workshop also leads participants in blending artistic and narrative modes to form scripts, scores or instructions for further performative gestures.
Friday, December 6, 2019, 10-1pm
Monday, December 9, 2019, 10-1pm
Joel Ong and Mick Lorusso present selections from their collaborative projects and research situated at the intersections of microbiology, environmental mythology & computational art. By conducting field and lab research on the microbiome, installations, performances, workshops, residencies and publications, the artists inquire into the relationship that humans may have to ecological systems through microbes that traverse the earth. Algorithmic processes inform the feedback loops between performing agents: microbes, their hosts, and their Umwelten. They recently published about their research in PUBLIC 59: Interspecies Communication following their residency at the Coalesce Centre for Biological Arts at SUNY Buffalo.
Presenting prints of Mick’s performances on the Swiss Glaciers and drawings of airborne microbes made with bacteriological stains, plus an augmented reality view of the “microbial sage” or Pseudomonas syringae.
Please join us at 826LA’s Time Travel Mart in Echo Park for the opening of 41st Century Mind Mastery, a glimpse into the year 4019 C.E., when humans have learned how to use their minds and bioelectrical charge masterfully to create externally usable energy, to communicate telepathically, and have enhanced sensory fields. Come and try on some of the special headwear that 41st century citizens use to help focus and harness their mental energies!
Friday, August 9
6 pm – 8 pm
Time Travel Mart in Echo Park
1714 Sunset Blvd
Los Angeles, Ca 90026
I’m honored to have published an article “Umwelt Microbiana” with Joel Ong in PUBLIC with many other luminaries in the field of art and science collaborations, including Kathy High, Jennnifer Willet, Patricia Olynyk, Charissa Terranova, and Ian Ingram!
I just gave a talk entitled “Creatividad y Conciencia para Cuidar de Gaia” (Creativity and Consciousness to care for Gaia), at the second CTES, or Transdisciplinary Coloquium of Social Environments, at the Escuela Normal Superior de Mexico.
I led a group meditation, focused on how the air connects us all, and asked participants to write and draw any ideas that occurred during the mediation. I later discussed different creative projects, including some of my own, that approach big issues around climate change, air and water pollution. The students and professors present were very congratulatory and inspired with the talk, and I truly hope that more interdisciplinary projects arise from the colloquium.
Joel Ong and I have been working at the Coalesce Center for Biological Art with the Genome, Environment and Microbiome Community of Excellence at the University at Buffalo, New York, on a project called Umwelt Microbiana.
If we see the world from the microbial perspective, we might better understand and appreciate the complex living interdependencies between the air, earth, water, plants, and animals. Through the collection and analysis of samples, the writing of microbial narratives or myths, and the construction of a small world that can be experienced by only a few people at a time, we intend to crack open a door to the microbial umwelt. To begin, we propose workshops to involve interested citizens in collecting microbial samples from the air using balloons and kites, from local water sources (Great Lakes and Niagra River) using flasks and buckets, and from the soil using shovels and probes. With a fraction of these samples we will conduct scientific tests, including metagenomic profiles, to consider the ecological networks, communication, and horizontal gene transfer between all of these realms. We will integrate the other fraction of these samples into interactive installations, where fans, heat lamps, air currents, and water currents converge around built topographies.
We have begun with samples of the Niagra watershed and in April will be launching a weather balloon in search of the microbes involved in the formation of clouds and precipitation.
Macro-Micro-Nano Climate is a series of works based on my research and interest into the relationship between Gaia, our planet Earth as a macro organism, and all of the living cells on the earth. The microbes of the planet become the protagonists of this work, featured for their role in producing clouds, and as messengers and mediators between all living beings on the planet.
I am presenting Macro-Micro-Nano Climate at two locations in Saitama, Japan, as part of International Open Air Expressions. Thanks to Onodera San and Iwaki San and all of the Iwaki students for their support and for participating in workshops for learning about microbes and depicting them in woodblock prints.
Artist and director of Arttextum, Frida Cano, is exhibiting along with me in both locations.
The first location was at the Sanbancho Gallery, from October 26th until November. The second exhibition opens at Tokyo Denki University in Saitama on December 3rd.
From August 29th to September 11th, I joined eight other artists for the Matza Aletsch expedition residency on the largest glaciers of Europe. We trekked up the great Aletsch Glacier, to Konkordiaplatz, where four glaciers meet up and give birth to the Aletsch Glacier. Konkoridaplatz means plaza of harmony, from the Latin concordia, or “with (one) heart,” a name that fits well with my mission to bond with the glacier and with the group. I went with the intention of communicating with the glacier, through a series of performances, and to examine and sing to microbial life on the glacier and in the air. See Explaining a Bosch Triptych to a Dying Glacier and Drachen of Aletsch for details on two of these performance projects.
Since the late 1800’s Aletsch has melted dramatically fast, due to climate change, dropping 200 meters and retreating 3 kilometers (Wikipedia), and without these glaciers important rivers in Europe would run dry, including the Rhone.
Here is my journal entry from the approach to the Aletsch Glacier, on August 31:
Two long days of hiking up the mountains and down the valleys, over giant swinging metal bridges, past braying goats and sheep, and cow bells clink in the alpine air. We witness the turquoise waters rush from the Glacier’s mouth, down the Glacier-carved valley, toward the Rhone.
Water, water is good, water is great, water is life. The Glacier appears from different vantages, reveals herself in all her splendid power, coiled, curving, and slowly moving downward, carving the rock. Fog and rain accompany us today. As we climb to the first cabin above Aletsch, we can only see the path in front of us and only sense the presence of the Glacier down to the left, breathing slowly, awaiting its next recharge from the winter snow. The fog parts now and shows us her ridged white, grey and brown scales, ice waves undulating at an imperceptible speed.
Plants! Green accompanies us. Before reaching the glacier, we hike up the mountain through a relatively untouched pine forest, with baby pines sprouting from old moss-coverd logs. Tiny succulents form miniature landscapes with moss of many forms. Flourishing blueberry bushes abound above Reideralp. We forage, worlding into the landscape by eating. Later, bogs with grass and methanogens dapple the landscape between giant stones. Up above, many lichens grow on every rock, bright light green splotches with black edges predominate along with large blue-grey circles.