ART-PRESENTATION: Survival of the Fittest – dreamideamachine ART VIEW

The current discourse on where humankind is heading is increasingly dominated by the danger that environmental destruction in general and climate change in particular pose for the survival of our species. Global political movements gave the issue a new level of urgency by emphasizing the need for an instant ecological paradigm shift at all levels of society. The role that technology can play in the future is being debated controversially.

By Efi Michalarou
Photo: Kunstpalais Archive

From Artificial Intelligence (AI) to blockchain technology, big data and bioengineering—while optimists praise technological innovation as a key to preserving our habitat, skeptics warn about a naive hope that is fueled by an increased lack of understanding of technology. In a flood of contradictory information it becomes harder and harder to objectively evaluate the current state of the world. Caught in a doomsday atmosphere, feelings swing between euphoria and impotence, departure and demise, decadence and Weltschmerz*/ The exhibition “Survival of the Fittest-Nature and High Tech in Contemporary Art” features 10 artists that work on the boundaries between nature and high technology and approach their multifaceted relations through photography, computer simulation, video, installations and performances. The exhibition looks at our relation to planet earth and how to shape it in the future—from deconstructive critical perspectives to optimistic views towards the future or fantastic visions of the re-enchantment of nature. “ArchaeaBot: A Post Climate Change, Post Singularity Life-form” is an underwater robotic installation by Anna Dumitriu and Alex May that explores what ‘life’ might mean in a post-singularity and post-climate change future. Based on new research on archaea (a group of unicellular micro-organisms believed to be the oldest form of life on earth adapted to life in extreme conditions) combined with the latest innovations in artificial intelligence and machine learning, the artists have tried to create the ultimate’ species for the end of the world. While conservationists struggle to protect existing ‘natural’ species and reverse the effects of the Anthropocene (the human epoch), synthetic biologists are busy designing new organisms for the ‘benefit of humanity’. What might the ‘wilds’ look like in a synthetic biological future? Alexandra Daisy Ginsberg’s investigates synthetic biology’s potential impact on biodiversity and conservation in “Designing for the Sixth Extinction”. Could we tolerate ‘rewilding’ — the conservation movement that lets nature take control — using synthetic biology to make nature ‘better’? Letting synthetic biodiversity loose to save the ‘nature’ that we idealise would disrupt existing conventions of preservation. “RESURRECTING THE SUBLIME” is a new collaborative work bringing together cutting-edge scientific research and immersive installations, by Alexandra Daisy Ginsberg, Sissel Tolaas, and a team of synthetic biologists at Ginkgo Bioworks led by Christina Agapakis. For “Asunder” (2019), Tega Brain, Julian Oliver, and Bengt Sjölén constructed a highly specialized supercomputer and developed special neural networks that analyze satellite, climate, geology, biodiversity, topography, population, and social media data permanently in real time. In a visualization projected onto three screens, Artificial Intelligence designs the simulation of a fictitious geoengineering process, proposing deliberate and large-scale interven- tions in geochemical or biogeochemical Earth cycles to preserve planetary boundaries or contain climate change and its consequences. The case studies show scenarios in different parts of the world, from the Arctic to the Brazilian rainforest, in Silicon Valley, or cities such as Dubai and Vienna. After analysis of the actual data on the left-hand screen, calculations and recommendations of the AI are shown on the central screen, resulting in the output on the right-hand screen, visualizing what could happen if an AI as an “environmental manager” were to transform the planet: cities being relocated or simply removed, forests planted or lithium mines transferred to technological production sites. In the course of the exhibition, further models are autonomously calculated and presented, and finally a completely new planet is created. It remains unclear what role humans play in these scenarios or to what extent human interests are represented at all.

*Weltschmerz is a term coined by the German author Jean Paul. In its original meaning in the Deutsches Wörterbuch by Brothers Grimm, it denotes a deep sadness about the inadequacy or imperfection of the world.

Participating artists: Christina Agapakis & Alexandra Daisy Ginsberg & Sissel Tolaas, Tega Brain & Julian Oliver & Bengt Sjölen, James Bridle, Simon Denny, Anna Dumitriu & Alex May, Futurefarmers, Andreas Greiner, Paul Seidler & Paul Kolling & Max Hampshire, Jonas Staal, und Pinar Yoldas

Info: Curator: Milena Mercer, Kunstpalais, Palais Stutterheim, Marktplatz 1, Erlangen, Duration : 29/2-24/5/20, Days & Hours : Tue & Thu-Sun 10:00-18:00, Wed 10:00-20:00, www.kunstpalais.de