tag:vegetal.posthaven.com,2013:/posts Vegetal Studies 2018-05-12T11:24:08Z Xin Wei Sha tag:vegetal.posthaven.com,2013:Post/1282763 2018-05-12T11:24:08Z 2018-05-12T11:24:08Z Serra idea for how to relate people activity to ecosystem activity… Hi Todd, Oana,

As a first pass to composing relations between people's activity to ecosystem activity…I’m thinking about exemplars of ensemble movements, but under two optics: (1)what people would naturally do as they encounter such a structure in an art event, and (2) ensemble movement that kinetically (formally) happens to resonate with some of the behavior that I see up into the ecosystem,

Exemplar A in people ensemble movement : people start filling up the space, when it has been empty for awhile.

Exemplar A’ in ecosystem movement : all the stuff that happens in transition from night to dawn.

Exemplar B in people ensemble movement : 
People have been milling around for awhile, driving the activity-clock*,  but then they begin to settle down in place (presence under the sky > 1** ).
(But after a while, that activity-clock’s acceleration (second time derivative of clock value) starts to fall to zero)

Exemplar B' in ecosystem movement : a storm builds, leaves silver as they turn under the wind, particles begin to be driven by chaotic wind, in addition to the movement of the leaves.

Of course, in these examples A’ is correlated to A, and B’ to B.   That’s a compositional decision.
The correlation is not fully deterministic, but correlated enough to give Serra a sense of legible response to people activity.

In order to make palpable that there are relations between one self’s activity / presence and the ecosystem, that one is in fact part of the ecosystem, some direct 1-1 logic is necessary, such as:

Exemplars C + C': each person’s movement perturbs the plants corresponding to their location, as if the wake of their passage brushes aside those leaves

I know that as a rule, we do not want to build only 1-1 logics into our piece, bc then that would be merely “interactive art.”  On the other hand, I’d like to avoid the illegibility of "complex systems."   Beesley’s hylomorphic “forests” of fronds: although his installation(s) exhibit complex behavior that has some algorithmic relation to inhabitants' presence and activity as well as the fronds' own states.  Bur after the initial charm wore off, I got bored because (1) the activity was homogeneous over time, (2) the complexity seemed randomly related to my activity.  (He explained that indeed there was a randomizer.)

* activity-clock is a Max patch that has an integer value.  It increments at a default rate per clock time.   However degree of motion (or any parameter derived from sensor data reflecting degree of activity ) increments or decrements that rate.   This simply patch could be re-written as an exercise in elementary Max.    I’d like to use it to drive certain transitions or behaviors in place of simple clocks or line or metro.

** presence can be calibrated so that 1.0 corresponds to 1 human body’s worth of occupancy under the field of view of the camera.   Thus stray smaller objects could sum up to 1.   Similarly degree of motion should be scaled so that 1.0 corresponds to the activity of one person walking about at a pace that we set experimentally by walking under Serra ourselves.

When I see you today, maybe we can start with a quick walk thru of all the different states of behaviour of the ecosystem.  Then we can bought out a bunch of human ensemble activities that we expect, then some transitions corresponding to the emergence of those ensemble activities…  (Every correlation will be naturally continuous.  We can make them seem more triggered simply by changing the response curve to be more like a step function.)

Some obvious human ensemble activities:

D. People move such that there is a general drift along one particular vector.

E. People start to move in a big circle, clockwise or counter-clockwise, with an angular velocity.

F. Gather-Scatter (how closely people bunch together): Connor’s utility.

Xin Wei

Sha Xin Wei • Professor and Director • School of Arts, Media and Engineering + Synthesis
Herberger Institute for Design and the Arts + Fulton Schools of Engineering • ASU
Fellow: ASU-Santa Fe Center for Biosocial Complex Systems
Affiliate Professor: Future of Innovation in Society; Computer Science; English
Associate Editor: AI & Society Journal
skype: shaxinwei • mobile: +1-650-815-9962
Founding Director, Topological Media Lab
tag:vegetal.posthaven.com,2013:Post/1191601 2017-09-16T09:05:19Z 2017-09-16T09:05:19Z Sweden: glass inverse greenhouses for people inside nature
Relevant to both Serra ("greenhouse") and Multidimensional health :
tag:vegetal.posthaven.com,2013:Post/1159634 2017-06-01T14:23:00Z 2017-06-01T14:23:00Z Serra: sounding out spaces
Sounding Out Spaces - Garden Ecologies (preview video)
Lauren S Hayes, Julian Stein
28-29 April 2017 Clark Park Community Garden, Tempe, Arizona

attaching very lightweight photocells, accelerometers with conductive threads, mics and small speakers
+ feedback, filters

Sounding Out Spaces - Scorched Earth (excerpt)

Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/1159466 2017-06-01T03:58:50Z 2017-06-01T03:58:50Z FoAM videos re. plants, vegetal experience
FoAM videos re. plants, vegetal experience

Snoepwinkel: Inner Space

Borrowed Scenery: Silent Dialogues

Borrowed Scenery: Opening Electrified

Inner Garden
Stevie Wishart, Martin Howse, Viriditas Community Choir
International Society of Patobotany

FoAM and Vooruit join voices to create an inter-species choir, where plants and humans chant an ode to the greening force of nature and its continuous cycles of growth and decay. Visitors' voices and movement through the gardens complete the piece as a musical invocation to Hildegard's Viriditas - infinite greenness. From sunrise to sunset the choir filled the Victoriakas with sonic musings in Hildegard's unknown language: a lullaby sending nature to its winter sleep.
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/1158581 2017-05-29T19:34:45Z 2017-05-29T19:34:45Z FoAM re vegetal life: Viriditas and Thalience

Viriditas and Thalience

by Maja Kuzmanovic, Nik Gaffney and FoAM


The interconnectedness of the human and the vegetal has been a recurring, age-old theme in art, science and religion. Medieval healer and mystic Hildegard of Bingen wrote about plants radiating a greening life-force (Roth 2000), which she called viriditas. Any translation of viriditas into words and symbols would remain inadequate, but it is a phenomenon that can be viscerally experienced by most humans. Viriditas can be felt while walking through a lush forest, or picking leafy greens from a garden. It is the feeling of freshness and incomprehensible greenness, a quiet, elemental consciousness permeating all life. Sadly, the cultural values of our times seem to have strayed away from viriditas in favour of the active aspects of our animal attributes — speed, expansion, predation and consumption. The balance has tipped toward the bestial side of humanity at the expense of the vegetal. However, we can reacquaint ourselves with viriditas when we slow down, become still but acutely present, like a plant. We can witness viriditas in our own resilience, awareness, compassion and contemplation.

Most noble
 evergreen with your roots
 in the sun:
 you shine in the cloudless
 sky of a sphere no earthly
 eminence can grasp,
 enfolded in the clasp
 of ministries divine.
— Hildegard Von Bingen

While viriditas can be an experiential and spiritual muse of a vegetal human culture, for the analytically inclined a more empirical approach to the idea of vegetal sentience is needed (aside from the well-known psychedelic and shamanistic perspectives). Justifiably, before encouraging development of a vegetal mind in humans, we’d like to understand the plant’s point of view first, rather than modelling our human existence on an incomplete interpretation. We might want to engage with the botanical kingdom directly, and grasp how plants perceive and communicate. There are several examples from both mainstream and fringe science looking at plant perception, signalling and sentience. Daniel Chamovitz recently wrote about how plants experience and respond to the world (Chamovitz 2012). Plant neurobiology developed in the last decade as a scientific discipline researching plants’ signalling and adaptive behaviour (Barlow 2008). On the edges of scientific replicability, we find Clive Backster’s biocommunication experiments with a specimen of Dracena Massengeana connected to a polygraph (Backster 2003), or the imaginative crescographs by Jagdish Chandra Bose and Randall Fontes (Theroux 1997). These experiments look at plant growth and movement in response to external stimuli, and attempt to understand plant perception and communication.

Venturing to communicate with plants would require humans to grasp the logic of the “vegetal mind.” Plant consciousness would no doubt be considered alien and impossible to perceive without assistance. This is where knowledge of human-computer interaction might be informative. The field of computer science has developed a variety of methods to determine the nature of machine mind by comparing it to the human mind (the Turing test being the best known example). However, it is quite anthropocentrically arrogant to think that human sentience, perception and behaviour is the only possible expression of consciousness. Why measure sentience by how well it mirrors that of humans? Nature may contain a myriad of disparate sentiences, operating according to their own internally consistent, externally incomprehensible logic. We might be “hearing their voices” daily, but having no sensory and mental capacity to translate and interpret their meaning. Perhaps we should focus our energies on “an attempt to give the physical world itself a voice so that rather than us asking what reality is, reality itself can tell you” (Schroeder, retrieved 2008). Writer Karl Schroeder called this “post-scientific” communication with non-human sentient beings “thalience.” A plant-inspired culture could benefit from getting to know its verdant neighbours from a range of perspectives, including direct and unmediated experience, moving away from teleological, utilitarian and reductionist analyses of human relationships with plants. Schroeder talks about “non-human intelligences who come to different conclusions about what the universe [is] like” (Schroeder, retrieved 2008). Plants are such “non-human intelligences” with whom we share the same universe, yet the way in which they experience the world remains beyond our grasp.

We have nothing in common with the Geometers. No shared experiences, no common culture. Until that changes, we can’t communicate with them. Why not? Because language is nothing more than a stream of symbols that are perfectly meaningless until we associate them, in our minds, with meaning; a process of acculturation. Until we share experiences with the Geometers, and thereby begin to develop a shared culture — in effect, to merge our culture with theirs — we cannot communicate with them, and their efforts to communicate with us will continue to be just as incomprehensible as the gestures they’ve made so far.
— Neal Stephenson

At the intersections of culture, gardening and technology we can start to see how plants can become organisational principles for human society in the turbulent times of the 21st century. Although we may need to scavenge at the fringes of contemporary society, we can observe many healing effects that humans can have on their surroundings through a symbiotic collaboration with plants. Some fight desertification and remediate industrial wastelands through natural farming and permaculture. Others design whole lifecycle, closed-loop technological and architectural systems inspired by natural processes, based on the art and science of biomimicry. Yet, these are scattered examples. We still don’t have widespread methods to improve wasteful, often counter-productive human behaviours. How do we encourage broader, longer-term cultural changes? What varieties of culture would be capable of forging symbiotic relationships between postindustrial human societies and the rest of the earth? How do we compost bitterness to grow beauty?

From these questions and assertions sprouted the groWorld initiative, a long-term inquiry into human-plant interactions and their effect on the longevity of human culture. The people of FoAM — a distributed laboratory for speculative culture — initiated groWorld to “minimise borders and maximise edges” between the man-made and the vegetal. In these zones of liminality and ambiguity, groWorld abets “unholy alliances” between contemporary culture and cultivation, building and growing, botany and technology. Inspired by the way in which plant species propagate – spanning multiple temporal layers – the initiative encompasses both long- and short-term explorations. The slow processes of cultural adaptation and plant cultivation are researched across several decades, through observation and interaction. At the same time, quick technological and social changes are incorporated through techno-artistic experiments in three interconnected branches: {sym}, {bio} and {sys}. The {sym} branch looks at how human culture can be infused with vegetal characteristics: in botanical fiction, plant games, active materials, and responsive environments. The {bio} branch is about a direct collaboration with plants, using age-old techniques of foraging and gardening and seeing cities as edible landscapes for humans and non-humans. Finally, {sys} deals with botanically-inspired technologies that can help humans engage with plants beyond the physical level, through sensing, perception and perhaps even communication.

Through a cross-fertilisation of {sym}{bio}{sys}, groWorld merges digital culture with environmentalism. Both approaches promote empowerment of trans-local communities and are rooted in self-reliant maker-cultures, yet they don’t often mingle. groWorld encourages their interaction by bringing programmers and gardeners, gamers and botanists together on the common ground of the arts. Together, they create hybrids of gardening and technology, or narrative realities where human and vegetal can merge into a unified, hybrid culture.

Sha Xin Wei • +1-650-815-9962 • skype: shaxinwei
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/1141450 2017-03-25T12:04:44Z 2018-01-15T18:12:02Z Re: SERRA _ ripe _ new concept _1903
vegetal.posthaven.com  is now passworded: serra,

Nina i’ve added you as Contributor.

Here again is Oana’s description of the lovely set idea, minimally edited:

Entering the space, one sees a bright overarching ceiling and on the ground a series of reflective surfaces, or luminous ‘pools’. The ceiling is a large projection surface on which one perceives images of plants in motion taken from a low angle perspective (as if we were lying half a meter below the ground). However, the proximity to the ceiling should make it difficult to clearly read the images when standing up. From this position, one should be prompted to rather turn their sight towards the floor. On the floor, the pools of water reflect the same accelerated images of plants seen on the ceiling, yet stopping to look at them triggers the images to slow down to the threshold of barely perceptible motion, plant movement as perceived in human time. The surrounding walls are dark and the floor is occasionally vibrating from the stimuli retransmitted by transducers, which makes the water surface ripple at times. On the ground, large cushions (or a slight ramp) invites the passerby to rest. If one lays down, they can clearly see looking up the plants moving, reacting to one another and to the presence of the observers. From this perspective, where the human body is at rest, one sees the movement in another temporality, plant time

Maybe 5  lotus pad sized reflecting pools, in any case roughly as many pools as # people in room’s idea capacity 

On Mar 23, 2017, at 4:17 PM, oana suteu khintirian <khintirian@gmail.com> wrote:

hi all,

Let me share with you the new concept for the design of SRRA_ripe and please let me know what your think! Would a quick skype on Friday be possible?

Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/1141445 2017-03-25T11:27:43Z 2018-01-15T18:12:01Z Oana Suteu Khintirian: SERRA _ ripe _ new concept _1903
Entering the space, one sees a bright overarching ceiling and on the ground a series of reflective surfaces, or luminous ‘pools’. The ceiling is a large projection surface on which one perceives images of plants in motion taken from a low angle perspective (as if we were lying half a meter below the ground). However, the proximity to the ceiling should make it difficult to clearly read the images when standing up. From this position, one should be prompted to rather turn their sight towards the floor. On the floor, the pools of water reflect the same accelerated images of plants seen on the ceiling, yet stopping to look at them triggers the images to slow down to the threshold of barely perceptible motion, plant movement as perceived in human time. The surrounding walls are dark and the floor is occasionally vibrating from the stimuli retransmitted by transducers, which makes the water surface ripple at times. On the ground, large cushions (or a slight ramp) invites the passerby to rest. If one lays down, they can clearly see looking up the plants moving, reacting to one another and to the presence of the observers. From this perspective, where the human body is at rest, one sees the movement in another temporality, plant time

hi all,

Let me share with you the new concept for the design of SRRA_ripe and please let me know what your think! Would a quick skype on Friday be possible?

Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/1139927 2017-03-19T10:10:03Z 2018-01-15T18:11:10Z Serra set design, update coming
Oana’s latest insight over last few hours
on the set design for Serra’ is quite beautiful.  
I just heard about it and will let Oana describe it herself !

It has conceptual crispness — 
a lot of experiential aspects click into place — 
and it seems buildable.   

As a resonance:
it also leads me to re-understand a most cherished poem: 
Dylan Thomas’ The force that through the green fuse drives the flower,
which comes into play in the last two pages of my book,
on ethico-aesthetic play and the re-enchantment of the world.

Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/1045247 2016-05-02T04:13:05Z 2018-01-15T17:16:38Z elegant mappings of motion into graphics by Tobias Grumbler
Jitter artists:

Tobias Gremmler’s elegant, straightforward mappings of motion into graphic renderings could be a nice inspiration for 
mocap —> jitter if we can figure how to work with a sparse set of trackers.

The quality suggests it is not realtime, but this is useful for ideas for jitter instruments that should be doable in Max 7 / gen.
The primitives are lines and points, so not very challenging to render on gpu.   We don’t have the density.   

Could be time to implement camera-based tracker-free mocap as jitter externals.

skype: shaxinwei • mobile: +1-650-815-9962

Sha Xin Wei, PhD • Professor and Director • School of Arts, Media and Engineering + Synthesis
Herberger Institute for Design and the Arts + Fulton Schools of Engineering • ASU
Fellow: ASU-Santa Fe Center for Biosocial Complex Systems
Affiliate Professor: Future of Innovation in Society; Computer Science; English
Founding Director, Topological Media Lab
skype: shaxinwei • mobile: +1-650-815-9962
tag:vegetal.posthaven.com,2013:Post/998329 2016-02-21T16:19:39Z 2016-02-21T16:19:39Z the best carbon sequestering system in the world, solutionism
Forest : the best carbon sequestering system in the world


Tech-based solutions limited by framing assumptions, such as:

assumptions include:
solution by novel technology 
no change in car and airplane travel
no change in consumer behavior 
no change in commodity-based markets

Engineering research implies
(1) new technology rather than non-technological considerations;
(2) the solutions have to be “new”
(3) Solutionism : the drive to find a “solution” to a "problem" rather than 
determine and achieve socio-economic-symbolic conditions 
under which the problem does not even arise. 

All good approaches are welcome.  But how shall we tackle things in proportion to their strategic importance from cosmopolitical, ecological-economic, biosocial, historic as well as poetic-symbolic perspectives?
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/985844 2016-02-04T16:32:17Z 2016-02-04T16:32:17Z 4D printing, ripping off plants https://www.technologyreview.com/s/546126/gorgeous-new-4-d-printing-process-makes-more-than-just-eye-candy/]]> Xin Wei Sha tag:vegetal.posthaven.com,2013:Post/967940 2016-01-10T10:54:11Z 2016-01-10T10:54:11Z Damanhur: sonifying plants (1976)
Plant research, including sonification of plants (1976).
Damanhur is a new age alternative community established in the 1970’s in Italy.
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/942124 2015-12-02T15:52:54Z 2018-01-15T16:46:26Z AME research and graduate proseminar: the problem with explaining things in terms of "'parts' of the brain"
Hardcastle and Stewart succinctly point out a fundamental problem at the heart of the methodology of neuroscience (and of cognitive science): the modularity thesis.

Neuroscience did not “discover” modules — loci of functions —  in brains.   Rather “they don’t even have a good way of accessing the appropriate evidence. It is a bias in neuroscience to localize and modularize brain functions.”

The problem with scientistic methodology is that you see what you expect to see.

There’s much more in play: Noah Brender’s work questions the modularity thesis underlying much of technoscience. 
However, another world is possible :)

Xin Wei
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/919009 2015-10-18T21:33:38Z 2015-10-19T01:31:55Z Lowline underground park, New York stunning underground park 

Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/902262 2015-09-07T21:03:48Z 2015-09-07T21:03:48Z Re: production calendar for Montreal Workshop Nov 2-13
Hi Pete,

This is the SERRA project website: http://serracreation.weebly.com/
as conceived by Oana Suteu Khintirian, filmmaker from Montreal / Paris, and me
in collaboration with choreographer Ginette Laurin.
This workshop is the third in a series of workshops to generate choreographic material for proposal to get funding for a performance by O Vertigo, Ginette Laurin’s dance company in Montreal: http://www.overtigo.com/
The first workshop was May 2015 at O Vertigo’s Place des Arts blackbox.
Second was ours in iStage.
Third workshop in Nov 2-13. will be with her dancers.  Up to 7.

After Ginette green-lights the next phase — which Oana and I hope will come in the coming week or so.
I’ll introduce you to Adnre Houle, the TD for O Vertigo.
That way, Andre and you can confer directly  about precise specs: e.g. 
floor plan and elevation for O Vertigo’s beautiful blackbox space in the Place des Arts Montreal.

Their blackbox is a professional theater, about 3x the floor footage of iStage, roughly 5’ higher.

One wall (about 60’ wide) is half spanned by a projection surface.
Surrounded by black drapes.
Full dance floor,
Grid, with a standard complement of AV gear.   

Andre has about 30 years in the business, and was Michael Montanaro’s TD for Michael’s dance company.
He worked in iStage about 12 years ago when Michael, Sandy & company were resident here
as guests of ISA.  Nice guy to work with :)  Andre and OV have the experience and means 
to design and install standard theatrical,
and build or obtain scenographic material (like scrims screens).   

The exception would be the gear unique to our media system:
Mac computers
Projectors (spec’ed to be bought or rented in Montreal.
Perhaps we can go to Solotech, I know the VP there.)

The November workshop is NOT a performance — no audience, only dancers and principal artists.
But we will use this to inform the spec for a touring kit.

Xin Wei

PS We need a project blog:  I’ve added the main folks who worked on the SERRA workshop to 
vegetal.posthaven.com/  (Check it out for prior history.)

You can post multimedia docs simply by emailing   post@vegetal.posthaven.com 

Sha Xin Wei • Professor and Director • School of Arts, Media and Engineering + Synthesis
Herberger Institute for Design and the Arts + Fulton Schools of Engineering • ASU
Fellow: ASU-Santa Fe Center for Complex Biosocial Systems
Affiliate Professor: Future of Innovation in Society; Computer Science; English
Founding Director, Topological Media Lab
skype: shaxinwei • mobile: +1-650-815-9962

On Sep 7, 2015, at 11:31 AM, Peter Weisman <peter.weisman@asu.edu> wrote:

Hi all,

What workshop will be happening in Montreal? I would be more then happy to create a Production Calendar. But, I need to know all of the details and the people to be involved in AZ and those going to Montreal. Who in Montreal would be handling of the physical in Montreal?


Happy Connecting. Sent from my Sprint Samsung Galaxy S® 5

-------- Original message --------
From: Xin Wei Sha <Xinwei.Sha@asu.edu>
Date: 2015/09/05 5:47 AM (GMT-07:00)
To: Todd Ingalls <Todd.Ingalls@asu.edu>, Christopher Roberts <cmrober2@asu.edu>, Peter Weisman <peter.weisman@asu.edu>
Subject: production calendar for Montreal Workshop Nov 2-13

How about if we draw up a proper production calendar for the Montreal Workshop  Nov 2-13:  software, local testing, gear, people logistics, workshop scheduling etc.  With milestones.

I’d like to consult Pete.  (We should not expect much active participation from Oana during this time.  At the right time with OV agreement, we’ll work with Andre Houle, the TD for O Vertigo.  Andre came to ASU with Michael Montanaro.)  

I will to be in Montreal Sep 19-24, so can advance prep for Todd (and or Julian)’s pre-staging trip in Montreal (October?) before the Nov workshop.

I will probably not be able to be in Montreal for the actual November workshop  since I’ll have to be in Phoenix to staff the fort, host Lexing, and do a UK loop.

Xin Wei

Sha Xin Wei • Professor and Director • School of Arts, Media and Engineering + Synthesis
Herberger Institute for Design and the Arts + Fulton Schools of Engineering • ASU
Fellow: ASU-Santa Fe Center for Complex Biosocial Systems
Affiliate Professor: Future of Innovation in Society; Computer Science; English
Founding Director, Topological Media Lab
skype: shaxinwei • mobile: +1-650-815-9962
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/902260 2015-09-07T21:03:30Z 2018-01-15T16:23:12Z SERRA workshop flyers, Sep 2015 ]]> Xin Wei Sha tag:vegetal.posthaven.com,2013:Post/902259 2015-09-07T21:01:44Z 2015-09-07T21:01:44Z Serra workshop Sep 1-4, 2015
SERRA Workshop with 
Sep 1-4, iStage
Ginette Laurin, O Vertigo
Oana Suteu Khintirian, assisted by Gabriela Fuchs
Todd Ingalls
Sha Xin Wei

Thanks to
Connor Rawls, Julian Stein
Chris Roberts
Pete Weisman, assisted by Chris Zlaket, Megan Patzem
and rest of Synthesis Team
Assegid Kidane
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/799250 2015-01-21T16:41:29Z 2015-01-21T16:41:30Z Coelux sun-lighting
Coelux sun-lighting 

via advanced films that mimic how air refracts sunlight
Check out this elegantly designed video:

Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/790293 2015-01-02T13:14:46Z 2015-01-02T13:14:46Z Physis, poiesis in the highest sense

Not only handcraft manufacture, not only artistic and poetical bringing into appearance and concrete imagery, is a bringing-forth, poiesis. Physis also, the arising of something from out of itself, is a bringing-forth, poiesis. Physis is indeed poiesis in the highest sense. For what presences by means of physis has the bursting open belonging to bringing-forth, e.g., the bursting of a blossom into bloom, in itself (en heautoi). In contrast, what is brought forth by the artisan or the artist, e.g. the silver chalice, has the bursting open belonging to bringing­ forth not in itself, but in another (en alloi), in the craftsman or artist.

[Heidegger, Question Concerning Technology, 11]

Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/767071 2014-11-08T15:10:26Z 2014-11-08T15:10:27Z Laura Boyd-Clowes, MSC Ethnobotany, Kent

Laura Boyd-Clowes MSC Ethnobotany University of Kent, School of Anthropology and Conservation, United Kingdom https://kent.academia.edu/LauraBoydClowes/Activity http://seedlibraries.org/profile/LauraBoydClowes

Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/734718 2014-09-01T04:48:43Z 2014-09-01T04:48:44Z lush: bamboo bridge and curtain fig tree

curtain fig tree: http://1.bp.blogspot.com/.../4k-fzEZG5Dg/s1600/IMG_0695.JPG
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/728225 2014-08-16T17:54:27Z 2014-08-16T17:54:27Z [TML][Synthesis] Plant-Thinking Meeting/Seminar: discuss Marder, November 1 - Dec 19 ? Hi Michael, everyone,

All great! 

I’ve been talking with Oana and most recently Omar about the vegetal studies research
From Omar it seems that most of the interested folks are away or too busy in September.  And October there are other events (e.g. Listen(n) @ ASU; lighting animation workshop, Einstens Dreams workshop) planned related to Synthesis or TML. 

It’s a good idea to do it on a weekly basis.  But instead of stretching over a whole semester, how about we concentrate the Marder-based part of the seminar into 1.5 months during a period when people are prepared to really grapple with the Marder.

To take the reading of Marder seriously, I think it’d be necessary to do this in person, or as synchronously as our portals can deliver.   And we need time for each one to prepare himself/herself with absorbing related works.  I would strongly recommend some of the Aristotle and Goethe.   ( to make time we invest worth the investment. ) 

So our — Oana and my — suggestion is to prep readings and exchange references etc. in vegetal studies stream
now, and do the actual readings  of Marder over seven weeks: November 3 through Dec 19.   
We recommend 
Week 1 Chap 1
Week 2 Chap 2
Week 3-4 Chap 3 & 4
Week 5-6 Chap 4 & 5
Week 7 Papers and Crits (double long session)

It’d be great to aim to deliver some substantial multi-format responses — on the order of a paper, short video, sketches of experiments that really synthesize the insights form the seminar.

Here are two key starting operating rules for this game :

• Avoid allegory — not the depiction of “what plants look like" but how plants grow, and experience dynamical existence.   

• Avoid as radically as possible anthropomorphizing .

Perhaps I can come mid November and mid December.
On the other hand my duties this Fall may well be so heavy that it’d be easier if Synthesis hosted this theoretical phase of the joint TML-Synthesis vegetal studies research stream in Phoenix.

Xin Wei

Sha Xin Wei, Ph.D. • xinwei@mindspring.com • skype: shaxinwei • +1-650-815-9962
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/670061 2014-03-31T13:34:14Z 2014-03-31T13:34:15Z Amrine, Zucker, and Wheeler, eds., Goethe and the Sciences: A Reappraisal.
On Goethe and morphogenesis:

Tim Lenoir, “Eternal Laws of Form: Morphotypes and the Conditions of Existence in Goethe’s Biological Thought,” Journal of Social and Biological Structures, Vol. 7 (1984): 317-324.

Reprinted in Amrine, Zucker, and Wheeler, eds., Goethe and the Sciences: A Reappraisal, Boston Studies in the Philosophy of Science, Dordrecht and Boston: D. Reidel, 1986: 17-28.

(Tim's scholarship is so broad and deep, probably no one student has understood more than a fraction of his work over the past 40 years.   May we all live long and prosper so :)

Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/667790 2014-03-26T12:17:41Z 2014-03-26T12:17:43Z Tree Rings, stories from The Atlantic, by Hugh Crawford
My friend, Hugh Crawford at LCC GaTech sent a link to his rich essay about trees.  I include some of my favourites and a link to the essay which just came out in the Atlantic this month.

Tree Rings: A Time-Line


2014                Every schoolchild learns that trees, as they grow, lay down new wood each year, so the age of a tree can be determined by counting the growth rings, officially called dendrochronology.  Not only do those rings mark time and weather (temps & temps, as the French say), but also they are subtle ridges to the hand and form supple patterns both geometric and chaotic, warm and arresting, fragile and strong. Wood remains a constant in 21st century culture, still forming the basis for much of what we do, how we live, and how we mark out our days. 

1056                The Wooden Pagoda of Yingxian, the world's oldest multi-story timber-framed structure, was built. The trees for a timber frame—felled by axe, squared by broadax, and smoothed by adze—form a structure through massive beams and time-tested joints.  Heavy timbers slot tenons into mortises, dovetail tie-beams to headers, and peg girts to posts.  These beams carry the full load of the structure without nails, screws, or metal fasteners.  The joiners work with care, selecting wood with structural integrity, cutting mortises with long handled chisels and mallets.  It is exacting work, slow and patient, but it is also communal.  A craftsman may linger in solitude for hours over a kerf-wedged dovetailed through-mortise, but when it comes to raising the frame, he is part of an agile choreography of joiners, timbers, and joints, working in concert to raise a frame that will, given proper care, stand for a millennium. After the joiners finish, the beams, in compression and tension, flex and creak through the days, continuing their own dynamic dance through time. 

350 BCE         Aristotle writes his Physics and initiates the Western way of thinking about stuff.  Technological objects are formed matter (hylomorphism), a world made up of compliant, malleable matter upon which humans impose their designs.  Hylē, Aristotle's word for matter and the foundation of all physical interactions, actually means wood.  This bit of etymology prompted Henry David Thoreau to question the notion of art determined by form alone, noting that Aristotle defined art as "The principle of the work without the wood,  and going on to observe that "most men prefer to have some of the wood along with the principle; they demand that the truth be clothed in flesh and blood and the warm colors of life." As a hewer of the arrowy pines he cut to build his Walden house, Thoreau knew hylē not as malleable material but instead as a knotty, twisted living being that can only be known through patient, careful engagement.

1379                New College, Oxford is founded and College Hall is built with a massive oak-beam roof.  In the late 1800s, those roof-beams became infested with beetles, so the school's dons cast about trying to find 40 foot oak timbers of sufficient heft to replace the existing roof.  Someone suggested checking with the college forester to see if there were any ancient oaks in the college's woodlots. As the story goes, the queried forester smiled and informed them that a stand of oaks had been planted when the hall was first built with the express purpose of supplying those timbers when needed. The perfect parable of planning for the future, the story has been contested (the  forest land was not acquired by New College for a number of years after the college hall was built).  Nevertheless, it resonates: the college maintains forest land for production with exceedingly long-term plans. Even though the trees were not explicitly planted to replace that particular roof, those oaks were nurtured over hundreds of years, and, when needed, timbers of sufficient strength and size were available. An ancient version of just-in-time management.
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/667434 2014-03-25T13:47:27Z 2018-01-15T13:42:49Z Flower Marie Lunn (MFA Fibres 2011 Concordia), essay "Patterns of growth and perception: the site, the city and the wild"
This is more background material — more earth — for the resurgence of vegetal interests in the TML thanks to the prolific energies of Oana, Nina, Elysha et al.   Flower once wrote a moving letter about what was at stake in our early discussions about minor, poetic speculative architecture.   I can’t find that inspiring letter among my archives, but I send you her AIS essay.

Flower Marie Lunn
MFA Fibres 2011 Concordia
See artist statement below and attached
AI & Society essay "Patterns of growth and perception: the site, the city and the wild"

Flower Marie Lunn at Parisian Laundry, in Collision 7
Artist statement: niche opportunity

My practice is a continued examination of the subtle intertwining of wild and urban ecologies,
and our relations to the local landscapes we live within. To this end, I focus on awkward or disused
architectural architectural spaces as sites of invasion by processes of decay, growth and colonisation.
In a postminimalist tradition, my practice brings attention to the existent shape and texture of the
space around the work through subtle gestures that present or suggest processes of instability that
may already be at work. Taking inspiration from minerals, molds, insects, mosses and plants, I
present interpretations of overlooked ecologies. In a variety of scales, and occasionally within the
landscape itself, my work is a continual inquiry into the nature of our interaction with the non-human
world; our relation to local ecologies as they are or may be, and our response to subversion of our
assumptions about human-imposed boundaries.

To see the world as it is, with its complex layers of interaction between the architectures and
infrastructures of our cities, the ruptures of the derelict and the wild and weedy bits of nature
inbetween, we must focus on the spaces around us. Though it is often a dismissive act, perception is
actually an interaction with our surroundings, a “reaching out to the world.”1 Noticing the presence of
the non-human other, whether plant, animal, fungus or mold, is a chance to see the relations we have
with it, and how it responds to our built spaces. This relational way of seeing “places us fully within the
field of our many relations, sensitive once more to the volume, the width, and depth of being within an
animated landscape.”2 Though displaced, disturbed and fragmented, the wild continues in and
through the margins of urban space, and is no less animate.

This notion of invasion or infestation by landscape elements has been one that has guided my
work; as much as it is possible I view installation sites with a non-human perspective, thinking about
microbes, insects, animals, and plants' approach to a particular site. These organisms
opportunistically inhabit various conditions favorable to them; their presences tracing the elements
they require, ignoring our delineation of space. The UK artists Helen Nodding and Lizzie Cannon
have been of particluar influence here, as well as the manga artist Yuki Urushibara, and the wealth of
documentation from urban explorers the world over, in addition to my own observations throughout the
city. These invasions are moments when the boundaries of our architectures function instead as
thresholds, and indicate that conceptions of fixed boundaries – inside and outside – are ever
impermanent. In fact, scientific redefinitions of ‘limiting surfaces’ indicate that closed boundaries never
really existed in the first place. Like porous membranes, surfaces are the areas of osmotic exchange
when differing environments meet. For then the “limitation of space has become commutation… the
activity of incessant exchanges.”3

1Yi-Fu Tuan, quoted in Sewall, Laura, Sight and Sensibility: The Ecopsychology of Perception, NewYork:Putnam Press ,
1999, page 16
2 Sewall, Laura, Ibid, page 124
3Virilio, Paul, “The Overexposed City”, Neil Leach,ed., Rethinking Architecture: A Reader in Cultural Theory, London:

The bunker corridor of Parisian Laundry is an ideal site for this discussion. Its ceiling is slowly
crumbling, and gaps and holes in the concrete reveal its reinforcing grid, rusting and crumbling as
well. It is a localized area of decay, of dereliction within the boundary space of a commercial art
gallery. It is also an area of architectural anomaly: here the viewer is confronted with the architecture
and materials of the building. With its low ceiling one feels it necessary to bend to get through it, and
for a moment we directly sense the mass and presence of the buildings we habitually move through.
This basement-like passageway is one a viewer either avoids and passes through quickly, or is drawn
to, enjoying the cave-like aspects of it. Either way, it is not a neutral space, but one charged with
intensity. Its decay goes for the most part unnoticed, but for the adventurous who enjoy awkward
spaces and architectural rupture. As I am such a viewer, this is exactly what niche opportunity

In a visual metaphor, the partially uncovered reinforcing structures that form our secure spaces
transmute into softer, organic ones. Their gestures of stability and fixedness become looser, erratic,
as they chaotically explore and reach out into the room. No longer are they dependably obeying our
human purposes; these structures now follow their own agenda, at the very least holding the door
open for organic oversized roots to invade the interior space. These conceivably may continue into
tangled messes and masses of chaos. Having gotten far enough, however, their gestures change into
lines that drop down from the ends, like fine litmus strips, to absorb the atmospheres of the activities
within the gallery. This is in much of the same vein as the soft ambiances the Situationists sought out
in their psychogeographical re-mapping of Paris: “the play of presence and absence, of light and
sound, of human activity, even of time and the association of ideas.”4

A key aesthetic guide for the form of niche opportunity were the poplar roots that are bound into
most of the pieces. A fast-growing species, poplar trees have very vigorous and invasive root
systems that stretch up to 40 m from the trees; if they are growing close to houses it may result in
cracked walls and damaged foundations. It is then not so far-fetched, given the crumbling ceiling of
the bunker corridor, to imagine the roots actually coming through the foundation of the building of their
own accord. However, it is the gestures of roots that are being quoted here; their vocabulary, as their
presence is overshadowed by other materials, becoming something else altogether.
The actual roots are bundled and wrapped with wire, yarn, embroidery thread and fleece.
Echoing electrical wires, data bundles and insulation, they evoke the hidden elements that travel
through a building distributing energy and data. At their initial emergence, they are wrapped in thread
and twine that mimic the overhead grid, as well as textiles that soften interior spaces. As they move
out from their origin, they loosen and become softer until they swell into amorphous ends, before
dropping downwards into another form entirely. In this way they surrender their structural forms,
becoming mere lines bound by gravity, and then begin to dissolve even that.
Routledge, 1997

4 Sadler, Simon, The Situationist City, Cambridge: MIT Press, 1998

The aesthetics of wrapping express care or preservation, as in bandaging or mummification. As
I worked, the histories of the roots became apparent; their twists and bends a record of their routes
through underground densities, and veins of nourishment. All this was being preserved and encased
in a more permanent way than their fragile skeletons would allow. Another aspect of wrapping is that
of binding. In our earliest technologies, binding was how we made our tools, our dwellings, our human
world. The binding of two things together continued to be the essence of magic; of the actual to the
desired. There is a coaxing, an intimacy to binding, much like vows, that preserves the being-ness of
both elements while forcing them to work together for as long as the binding lasts. Next to
conventional construction methods of hitting and cutting, binding is an integrative act of responding to
the world, acknowledging its impermanence, while still making something with it. For this reason,
this is very much a textiles piece.

In its intimate relation to the site, however -its specificity- makes it much more about the space,
in a specific moment in time. Late March and April is the spring melting season, when dampness
seeps in, a time when hidden things had been accumulating or infesting our buildings over the winter
are revealed. It is very appropriate, therefore to present this piece during this season of strange
discoveries, of uneasiness mixed with the optimism of the coming spring, and anticipation of a
heightened engagement with the ecologies around us.

Though the details of its construction are very apparent, and it is a somewhat exaggerated
presence in the space, niche opportunity still may conceivably have grown of its own accord,
exploiting the ruptures of an architectural anomaly. Indeed at the opening, one viewer was heard to
remark that she didn't realize there was a piece there; that instead she thought the gallery had a root
problem. That ambiguity for me is the measure of success of my work, for it then invites a closer look
at the art, architectures and non-human beings around us, and potentially at ourselves as “a
constellation of interdependent processes,”5 in continual exchange with our living, growing world.
5Pepperell, Robert, The Posthuman Condition: Consciousness Beyond the Brain, Portland: Intellect Books, 2003

Professor and Director • School of Arts, Media and Engineering • Herberger Institute for Design and the Arts / Director • Synthesis Center / ASU
Founding Director, Topological Media Lab / topologicalmedialab.net/  /  skype: shaxinwei / +1-650-815-9962
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/667047 2014-03-24T11:50:40Z 2014-03-24T11:50:41Z Polytemporal Timelapses of PLSS Plants Polytemporal Timelapses of PLSS Plants

Timelapse of Flower Lunn's screen of morning glories in the corner of the Topological Media Lab shows plants in their daily rhythms in concert with the rhythms of people, sun and night, passing clouds, and the room's electric lighting.  Displaying these in staggered time would help compare their relations to their ambient at different times of solar, electric, social days.
What's most interesting is the interference and relation between the rhythms of the ambient and the plants. Timelapse video by Tim Sutton.

Rather than treat the plants as autonomous beings, we thought of the plants as tracing all the activity of their surround (including themselves) with  exquisite sensitivity and material density, infinitely exceeding any trace that man-made sensors could report.   The challenge to us shifts from mapping a few numbers from some sparse set of electronic sensors to interpreting the dynamical growth of these plants  in a non-reductive and non-anthropcentric way.

On Mar 24, 2014, at 12:26 AM, oana suteu <oanasu@hotmail.com> wrote:

hello all,
I wanted to share this article with you and point out the time-lapse experiment at the very bottom of the page http://www.pri.org/stories/2014-01-09/new-research-plant-intelligence-may-forever-change-how-you-think-about-plants (as a note it seems like it was shot in day-light).
Hope to see you on Tuesday for updates on the last meetings and the adoption process.
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/665748 2014-03-19T23:20:18Z 2014-03-19T23:20:19Z PLANTS research update

Very happy to see ongoing explorations of the EV building's rich entanglements with photosynthesizing things!! As Xin Wei mentioned, I'm working on an MSc in the UK right now, but I'm at your service to the extent that it's possible. I'll be going to do field work in a month, and will be far away from the web, so if you need my support with PLANTS, best to get in touch soon. 


On Wed, Mar 19, 2014 at 9:01 PM, Xin Wei Sha <Xinwei.Sha@asu.edu> wrote:
Dear TMLabbers,

Hurrah for this fresh sprout!

I’d like to point to people who played key roles in earlier generations of plant studies
(this is incomplete — I’m missing at least one

Flower Lunn
Tim Sutton
Josée-Anne Drolet
Katie Jung
Michal Seta
Jane Tingley
Tobias Glidden
Laura Boyd-Clowes
Morgan Sutherland
Carina (Gaspar?)
Alex Gaskin
Nina Bouchard

I’d like to especially recognize the people who actually cared for the plants continuously over the months and years, treating them as living beings rather than objects, with whom there developed a continuous dynamically constituting material relation.   These few people gave the work some ethical credibility.  (Thank you.)  Starting with Flower’s art during her MFA, Josee-Anne nursed 8 generations plant to seed, which gave us some diachronic as well as technical credibility.    After Flower, Laura Boyd-Clowes probably has gone the furthest of us all in her practice and her thinking about vegetal experience, ranging from her leadership in our Spinoza seminar, the reading of Goethe’s Metamorphosis of Plants (1790), to her Philosophy senior thesis, and now her MSc. graduate studies in ethnobotany at the University of Kent, Canterbury.

I also point to our friend and partner : Prof. Natasha Myers, and her grad students in the Plant Studies Collaboratory at York University.   TML and PSC have exchanged ambassadors : Morgan Sutherland and Laura ours :)

With affection and esteem,
Xin Wei


Professor and Director • School of Arts, Media and Engineering • Herberger Institute for Design and the Arts / Director • Synthesis Center / ASU
Founding Director, Topological Media Lab / topologicalmedialab.net/  /  skype: shaxinwei / +1-650-815-9962

On Mar 19, 2014, at 10:50 AM, topological media <topologicalmedia@gmail.com> wrote:

Dear all,

Following last weeks' campfire, were the PLANTS research arose a great interest, we explored some external venues for growing our plants and came to the conclusion it is better for us and them to co-habite in the TML lab (at least before September). Therefore, we will need to design and build a platform for "growing vegetal life forms in the lab along with a technological apparatus for sensing, recording and re-manifesting vegetal activities/forces" (Navid).

Since many of us are interested in the project and there is plenty to do, we decided to create several working-research groups to handle the different immediate practical tasks. We are also interested in organizing discussions with past and future TML affiliates who have experience or interest in the project. The meetings and presentations will be organized by TML, through Nina and Lauren, in a collaboration with the ASU Synthesis Center research with the theme PLACE and ATMOSPHERE, directed by Xin Wei.

The first working research groups will take place in the following days:

Wednesday March 19th, 12-1pm TML lab
first meeting of the GROWING & GROOMING team.

Thursday March 20th, 12-2pm TML lab
first meeting of the SENSING team.

Monday morning March 24nd, TBD, Jean-Talon Market
G&G field trip.

The general meeting of the PLANTS research group, including all working groups was fixed for Tuesdays 3:30-4:00pm (just before campfire, but not during campfire :). Modifications to this schedule will be announced if needed.

Some of you already manifested your choice for a specific working-research group (Lauren, Nina, Elysha, Navid and Oana for G&G; Navid, Julian and Oana for SENSING), but those who didn't please join and let us include you in the group closer to your interest.  

hope to see you all soon,


Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/664696 2014-03-17T15:42:23Z 2014-03-17T15:42:24Z Michael Marder Plant-Thinking : A Philosophy of the Vegetal
Here in the desert paradise, some of us at ASU are laying ground work for the second research theme to be added to the Synthesis Center’s masthead: 
PLACE and ATMOSPHERE.   We’re beginning an internal grant proposal.  It may be smart to coordinate both the discussion, seed experiments (so-to-speak), and some target funding for this work.


Current reading: 
Michael Marder Plant-Thinking : A Philosophy of the Vegetal (Columbia, 2013)

vegetally, atmospherically yours
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/642898 2014-01-17T05:30:33Z 2014-01-17T05:30:35Z vegetal life : Maja Kuzmanovic, How do we rehearse an uncertain future? (2013)
Let's invite Maja Kuzmanovic for the Place and Atmosphere stream in 2015-2016 ?  - xw

Maja Kuzmanovic – ‘How do we rehearse an uncertain future?


The process of reimagining requires being aware of what is, what has gone before and attempts to answer the tricky questions of “what if…” Maja will talk about how FoAM create real life labs to explore these questions using methods such as ‘future pre-enactments’ and alternate reality narratives, attempting to transform speculative fiction into embodied foresight. As the loops between imagination and reality can be either tightened or unwound, reimagining becomes a heuristic process of perpetually walking into a swarm of possible futures, immersing ourselves in what might be and finding ways to thrive in conditions of uncertainty.

Borrowed Scenery

Borrowed Scenery : Opening Electrified

Keep in mind Isabel Stengers’ & Pignarre’s proposal in the final chapter of Capitaiist Sorcery?
Xin Wei Sha
tag:vegetal.posthaven.com,2013:Post/342920 2012-11-20T14:04:01Z 2013-10-08T16:34:57Z make an experimental plan
Dear Plant People:
Nina, Julian, Nikos.

Yes -- Nikos cites an excellent research strategy: prioritize research over tool making :)  However, I believe the PLSS / SAF fund ran out already, so the only way would be if some students adopt this project as well as the strategy of buying a solution for data acquisition rather than making yet another one themselves.

Maybe it'd be worth writing up a very small, informal experimental plan:

That way, we can move on to the real fun and potentially fresh contribution, which is mapping and entanglement of human and plant expression!

Xin Wei

On Nov 19, 2012, at 11:40 AM, Nikolaos Chandolias wrote:

Yes, I didn't mean to use it as it is though. Although it might be funny having a plant to tweet you "I am thirsty, come and water me" :), but I understand that is not in the purposes of the lab. 

My suggestion was mostly for having a system implemented that can give us all this kind of data, such as humidity, light and temperature and then use this data for non-human, vegetal centric implementation to the TML's theatrical scene/ environment. However, there might be different ways to do so than the system I aforementioned, but as I understand so far with our current Arduino system the information we are taking is relevant only to the plants soil humidity. It might be of our purposes to implement also other kinds of data that are relevant to the plants vitality.


On Mon, Nov 19, 2012 at 11:03 AM, Sha Xin Wei <shaxinwei@gmail.com> wrote:
Yes, thanks for that.

However I think the TML  could go a different route and NOT vector through human semiotics (obvious crutches like language, tweets, and "social media"  -- hence topological media :)

Shall someone talk with Elio as a follow-on to Elysha's initiative, to look for non-human, vegetal-centric signal analysis.  (Also email Prof. Natasha York for botanical references.)

Also at OCAD Toronto, Prof.  in the DFI program
Kate Hartman, co-creator of Botanicalls, a system that lets thirsty plants place phone calls for human help  

Kate Hartman is an artist, technologist, and educator whose work spans the fields of physical computing, wearable electronics, and conceptual art. She is the co-creator of Botanicalls, a system that lets thirsty plants place phone calls for human help, and the Lilypad XBee, a sewable radio transceiver that enables your clothing to communicate. Her work has been exhibited internationally and featured by the New York Times, BBC, CBC, and NPR. Hartman recently moved to Toronto to join the Digital Futures Initiative at OCAD University where she is the Assistant Professor of Wearable & Mobile Technology.

Kate is was a nice person in the PLSS network.  She   came to visit TML a couple of years ago (or so)

Xin Wei
Canada Research Chair • Associate Professor • Design and Computation Arts • Concordia University
Director, Topological Media Lab (EV7.725) • topologicalmedialab.net/  •  skype: shaxinwei •


On Nov 19, 2012, at 10:40 AM, Nikolaos Chandolias wrote:

Hello everybody,

A friend of mine today forwarded me a really interesting system of Hans Crijns. He developed GrowGuard - a wireless monitoring system for plants - because he grew tired of not knowing why his plants were withering away. GrowGuard is a networked system made to tweet or text you about your plants’ desires for humidity, light, and temperature.

I think that we can might  use this kind of system in parallel to the existing one and get all this other information that might be proved valuable!


On Sun, Nov 18, 2012 at 1:16 PM, Sha Xin Wei <shaxinwei@gmail.com> wrote:
Regarding sloooowwwwww plant changes to sound  Adrian sent me a paper to review last year about mapping plant data to something that dancers could work with.  I'd like to track that down!

On a different note :

Brian Eno, January 07003: Bell Studies for The Clock of The Long Now
1st-14th January 07003, Hard Bells, Hillis Algorithm

Xin Wei

Canada Research Chair • Associate Professor • Design and Computation Arts • Concordia University
Director, Topological Media Lab (EV7.725) • topologicalmedialab.net/  •  skype: shaxinwei •


Xin Wei Sha