Victoria Douka-Doukopoulou

Becoming a Sentinel Species is a fictional story imagining a future in which humans explore and reflect on the role of the sentinel as an eye witness to environmental pollution. The film follows two researchers who experimentally introduce microplastics collected from the sea into their own bodies. In order to "become sentinels" they isolate macrophages from blood and contaminate them with microplastics in a laboratory setting. The film weaves in documentary footage of the making of an actual human biomarker to microplastics, using macrophages (the immune system's "first responders") grown from the artist's blood. Project by Sissel Marie Tonn in collaboration with Heather A. Leslie & Juan J. Garcia Vallejo. Producer: Victoria Douka-Doukopoulou. Cinematography: Casper Brink. Performers: Kenzo Kusuda & Goda Žukauskaitė. Sound, Electronic Music Score & Foley: An3_at & Yun Lee. Sound Mixing and Mastering: An3_at. Electro-acoustic score: Vincenzo Castellana. Laboratory technician: Marlous van den Braber. Microscopy: Marko Popovic. Glass blown objects: Geir Nustad

Becoming a Sentinel Species is a fictional story imagining a future in which humans explore and reflect on the role of the sentinel as an eye witness to environmental pollution. The film follows two researchers who experimentally introduce microplastics collected from the sea into their own bodies. In order to "become sentinels" they isolate macrophages from blood and contaminate them with microplastics in a laboratory setting. The film weaves in documentary footage of the making of an actual human biomarker to microplastics, using macrophages (the immune system's "first responders") grown from the artist's blood. Project by Sissel Marie Tonn in collaboration with Heather A. Leslie & Juan J. Garcia Vallejo. Producer: Victoria Douka-Doukopoulou. Cinematography: Casper Brink. Performers: Kenzo Kusuda & Goda Žukauskaitė. Sound, Electronic Music Score & Foley: An3_at & Yun Lee. Sound Mixing and Mastering: An3_at. Electro-acoustic score: Vincenzo Castellana. Laboratory technician: Marlous van den Braber. Microscopy: Marko Popovic. Glass blown objects: Geir Nustad

On Thursday 5 July 2018 between 23:00 and 00:00 CEST we set off to transverse the atmospheric levels for the radio prologue of Eline Benjaminsen & Sophie Dyer — RADIO, TECHNO, FOSSIL at Het Schimmengebied hosted by Duistere Bardo on Radio Tonka 92.0 Den Haag FM. Amongst other, the hour-long radio program featured pieces by Dr. Matt Rogalsky & Dr. Laura Cameron, Emptyset and Daniele Guerrini & Matthias Girardi and welcomed lecturer in GeoHumanities at Royal Holloway, University, Sasha Engelmann as a program contributor.

Meaning Seeking Animals explores the possibility of a publication as a world, it is a personal collection of digested knowledge that keeps on growing as Lisa van Casand proceeds to make new work. The publication could be thought along the more traditional or fa- miliar notions of a notebook, diary or log — but as a collection of knowl- edge it is much closer to how Walter Benjamin envisioned the dream world “an autonomous world of dreams circling the earth at night”. Audience members during the silent-disco lecture installation of the publication.

Radio, Techno, Fossil tells the story of a radio-image as it traverses the bounds of the Earth’s surfaces, atmospheres and techno-geographies. The publication tunes into our highly textured and complex radio environment by subjecting itself to the unpredictability, seasonality, solar circles of the ionosphere and the current location of the reader. The publication embeds itself by using real time ionospheric measurements to determine how much publication and how much environment arrives.

acatalog.allthingsinvisible.online complies stories of the invisible, the unthinkable and the inappreciable.

acatalog.allthingsinvisible.online complies stories of the invisible, the unthinkable and the inappreciable.

‘So let’s say, you walk down a path and you run into a snag, a dead tree, an unexpected drawback — a soarvi’ begins with us already in conversation, yet it doesn’t matter what we were discussing before diving in. Before running into the soarvi, the big or peculiar dead tree that will remain a point of references in our walk. It is a non-linear exploration of ways to express thoughts like walks, ways to tell a story about time that involve getting to know all the participants — human and non human. A triple story; that of the landscape, Sámi and Western Science. In the slow pace of walking it works through time scales, from the pattern of forest developments to SI seconds, offering a peek into otherness.

Poetics and Politics of Erasure is a multidisciplinary essay by Yun Lee on the aesthetics and politics of erasure. The framework for erasure is drawn from a critique of accelerationism, the video game Katamari Damacy, and internet aesthetics. It begins by investigating power relations in dominant archival practices, before tracing how memory storage technology (from the written word to the internet) reinforces hierarchical models of knowledge, and finally posing the generative potential of erasure in alternative models of knowing, doing, and being. It does so by locating strategies of erasure in audio, visual, and digital cultures in the forms of: erasure/ forgetting, translation/mutation, and recontextualizing/remythologizing. In an online terrain that seems to permanently exist in the paradigm between the lack of long-term preservation and the increasing realisation that ‘the internet never forgets’. Poetics and Politics of Erasure situates itself in erasure as practice — slowly and collectively — upon each visit, each read and each refresh the work deletes itself. And as bits of the essay are changed or lost, new meaning is created. Continuing with this collective erasure until the page is blank.

“New media—we are told—exist at the bleeding edge of obsolescence. We thus forever try to catch up, updating to remain the same”, wrote Wendy Chung in Updating to Remain the Same: Habitual New Media in 2016. Karina Zavidova wrote Artificial Intelligence Never Has A Headache as her bachelor thesis in 2016, and saw that bleeding age up close. Now in 2018 she is revisiting the original text, so many things have been updated, so many things have remained the same, yet her mode of existence has not. The publication imagines a possible future format for tech related theory which — with the constant updates of technology— tend to see the edge of obsolescence straight out of the publisher’s door. Borrowing from version technologies and software lingo, the publication explores what an edition would mean or look like when it occurs as often as update rollups. Over the next couple months, the author will keep a leisurely eye on the publication making sure it remains updated and “running”, as one would do upkeeping a plug in.

research project exploring unseen organic landscapes.

Nitrate film base dominated the motion picture industry until the late 1950s. Nitrate was highly flammable and could ignite spontaneously even at low temperatures, so it was also a good replacement for gunpowder as an explosiveused in mining. Because of its combustibility, projection rooms needed to be fireproof with wall coverings made ofasbestos. The mysterious 120 frames of a decomposing nitrate film about the first Dutch apostle mission to California – discovered in the EYE Film Institute in Amsterdam – serve as a starting point for the material study of the nitrate film base. A single wave crashing into the shore, hand-scanned from the red negative, acts as a hypnotic sample of once luscious cinematic nitrate landscapes. The endless loop in which the wave is trapped reminds us of the stories lost in the nitrate fires and the acid decomposition of the material.

Nitrate film base dominated the motion picture industry until the late 1950s. Nitrate was highly flammable and could ignite spontaneously even at low temperatures, so it was also a good replacement for gunpowder as an explosiveused in mining. Because of its combustibility, projection rooms needed to be fireproof with wall coverings made ofasbestos. The mysterious 120 frames of a decomposing nitrate film about the first Dutch apostle mission to California – discovered in the EYE Film Institute in Amsterdam – serve as a starting point for the material study of the nitrate film base. A single wave crashing into the shore, hand-scanned from the red negative, acts as a hypnotic sample of once luscious cinematic nitrate landscapes. The endless loop in which the wave is trapped reminds us of the stories lost in the nitrate fires and the acid decomposition of the material.