META exists at the crossroads of art and science and of culture and nature. Tracing the uncommon threads between common topics, META presents its readers with views into the abyss of visual information and with experiments in associative reading. META invites you to browse according to taste.
You may ask, â€œwhat?â€ An archive, a Wunderkammer, a magazine guided by methods of research, collection, preservation, reprint and the linking of topics at their META level.
You may then ask, â€œwhy?â€ To play with information in all its astatic glory. META refrains from attempts at categorization, taking a gamble on dynamic navigation! META eschews the linear in favor of surprise. Each visit starts with a random welcome and ends with an even more random exit.
TIMOTHY J. ATTANUCCI (1979) was born in Boston, Massachusetts and studies German literature at Princeton and the Humboldt University, Berlin. For META, he contributes his musings on the irony mark in No Irony.
DAVID BETH (1974) is a writer and esoteric explorer, and the sovereign Grand Master of the Ordo Templi Orientis Antiqua. Learn more about his Gnostic involvement in XI. ARS DE REXâ€”Sexual Magic, the Art of the King, where he is interviewed by Ailen Roc.
SUMMER BRENNER is an accomplished writer of poetry and fiction, based in Berkeley, California. Her writing has extended beyond the borders of print into performative and musical realms, and she is also involved with literacy and community projects targeted at youths. For META, she reads from her critically acclaimed novel and discusses her motivation for the project in Driving I-5.
OLAF BREUNING (1970) is a Swiss artist, living in New York and working in photography, video, sculpture, installation and drawing. For METAâ€™s mini interview series, he shares some of his favorite things in accompaniment to a selection of photographic works. See Mini Breuning.
Illustrations by William Buchina
WILLIAM BUCHINA (1978) is an illustrator with a penchant for portraits of political tyrants. In addition, he is a graphic designer and creator of illustrated guides to English grammar. Some of his work is viewable here. He currently lives and works in New York. See his work in The Body of the Event.
DAVE BUNNELL (1952) lives in the small gold-rush era town of Angels Camp, California. This professional spelunker and photographer worked on an Imax film about caves, somewhere beneath Mexico. META interviewed him for Far Beyond Stalactites and Stalagmites.
PETRA CORONATO is probably the only author in the world who didnâ€™t only read Alexanderplatz, but also swept it. She is the owner of tongue tongue Hong Kong, a company founded in 1993 with dependences in Berlin, Vienna and Zurich, which recycles fiction profitably and unpunished to this day. In 2006, she commenced the ongoing photography project The Poetry of Document.
Writer Jeffrey Croteau is the Manager of the Library and Archives at the Scottish Rite Masonic Museum and Library in Massachusetts. Read another of his articles on American Masonic groups, ''Brotherly Deception'' published in Cabinet Magazine here. For META he co-authors a discussion on ritual and fraternity for the article Daughters of Job.
MICHELE DANTINIâ€™s (1966) work is characterized by its handling of trans-cultural practices and their socio-environmental implications. A widely translated essayist and performative lecturer, he holds a position as Professor of Contemporary Art History at the UniversitÃ del Piemonte Orientale, Italy. See Chronicles of Deaths Foretold.
PAULINE DOUTRELUINGNE (1982) lived in Beijing for four years, where she co-organized the 2006 Borderline Moving Images Festival. She lives in Berlin and curates projects that bridge European and Asian art. For META, she interviewed Chen Wei in Archeology of the Future.
GEN DOY is Lecturer at De Montfort University. She is the author of Picturing The Self, Drapery and Black Visual Culture. For META, Doy discusses the sensual politics of photography in the works of Claude Cahun.
Ferrante Denise Palma
DENISE PALMA FERRANTE (1975) is a multi-disciplined artist living and working in Berlin. She is also a self-declared anti-religionist. See Timkat 2009.
ADAM FOXWELL is an American audio engineer who has worked internationally, consulting on acoustical room design, sound isolation and mechanical noise control. For META, he presents a study on noise exposure in On the Hunt for Silence in Dubai.
JACQUE FRESCO (1916) is an industrial designer and social engineer, author, lecturer, inventor and Futurist. Based in Venus, Florida, he is developing the practice of Socio-Cyber-Neering. Read the META interview Back to the Futureâ€”The Venus Project.
Dr. BRUNO GLASER is Assistant Professor at the Institute of Soil Science and Soil Geography at the University of Bayreuth. For over several years he has been conducting Amazonian dark earth research from a soil science perspective including soil fertility, sustainability, and archaeology aspects. See Terra Preta .
MARA GOLDWYN (1976) calls herself an artist but does not show anywhere and would never actually introduce herself as such. She has an existential allergy to genres, categories and identity constructs. See Showing the Opposite Side of the Death Machine.
LINDA MAI GREEN (1987) is a photographer and curator based in Berlin. She also co-runs curatorial collectiveÂ Una Tittel.Â For META article A Bridge and Not a Goal, she interviewed artist Serena Porrati.
Artist CAI GUO-QIANG (1957) was born in Chinaâ€™s Fujian Province. While living in Japan between 1986 and 1995 he began to experiment with gunpowder as a medium, gaining international attention. He has gone on to exhibit world wide and to produce large scale pyrotechnic art works. See On Explosions.
Sculptor PATRICK HILL (1972) has exhibited widely in the US and internationally as an important representative of the contemporary Los Angeles art scene. David Kordansky Gallery provided META with images of Hillâ€™s work for Patrick Hillâ€”Sculpture, Associated.
ASDF Makes founder DAVID HORVITZ (1983) is a man of many ideas. One could say this American artistâ€™s medium is the Internet, though it may be more accurate to say that he works in interactive projects. See ASDFâ€”Read On.
RUA MINX is Donna Huanca (1980), an artist who deals with clothing as shelter, transportable homes for nomads and cultural and genetic traces. Her various projects have received a range of support, from the Dallas Museum of Art to StÃ¤delschule, Frankfurt; from the Incehon Womenâ€™s Biennale Korea to British Vogue. She launched METAâ€™s downloadable artist piece series with Mask Maker.
Artist PIETER HUGO (1976) has spent his whole life in Cape Town, South Africa, though travelled extensively pursuing his characteristic brand of documentary photography. A 2002-3 residency at the Beneton Group Communication Research Center, Fabrica, also led to work with Colors magazine. In 2006 he was awarded first prize in the World Press Photo competitionâ€™s Portraits section. Welcome to Nollywood explores a recent project carried out with the Nigerian film industry.
Idnert B. Zlatan
ZLATAN B. IDNERT is an audio engineer who has worked in the fields of modelling for outdoor noise propagation, building acoustics and ground borne vibrations. He has widely consulted on acoustical engineering projects. See On the Hunt for Silence in Dubai.
JAN KEMPENAERS (1968) is an artist and documentary photographer based in Antwerp. He creates mute images of semi urban-places. Regardless of geographical context, his photographs speak powerfully to the post industrial condition and of the technologized human subject. See Spomenik, the Monuments of Former Yugoslavia.
TAO LIN (1983) is an American poet, novelist and short story writer. He is the author of Shoplifting from American Apparel, Eeeee Eee Eeee, and Bed, as well as two poetry collections, you are a little bit happier than I am, and cognitive-behavioral therapy. Linâ€™s second novel, Richard Yates, was published in September 2010.
See Tao Linâ€™s Crossword Puzzle.
TAMMY LU is a Canadian artist who makes drawings and artistsâ€™ books. She is the cover artist for the New Metaphysics philosophy series published by Open Humanities Press. See more of her work here. For META she did the drawings for METAphorism.
DAVID MAISELâ€™s (1961) photographs chronicle the complex relationships between natural systems and human intervention. His work is included in many permanent collections, such as the Metropolitan Museum of Art. Maisel lives and works in the area of San Francisco. See Blooming Souls.
Alison Malone is a photographer and educator who uses both audio and visual documentation to explore subcultures that are overlooked and often misunderstood in American society. View additional work here. For META her photographic series of the same name inspired the article Daughters of Job.
SERGEY MAXIMISHIN (1964) photographed for the Soviet Military Force Group on Cuba from 1985 to 1987. A learned physicist, he worked in the scientific and technical expertise laboratory in the Hermitage Museum and has gone on to become an award winning press photographer.
See The Dostoevsky of Photography.
CONNIE MENDOZA (1971) is a media artist, working between Berlin and Barcelona. Fata Morgana and Other Optical Phenomena discusses her film, in which Mendoza travels back to her birthplace to trace the complex relationships of her childhood to Chilean history and space travel, thereby producing images that mediate the perception of time as a highly subjective matter.
Apostolos Mitsios (1979) is a Greek psychologist, working as a systemic psychotherapist by day and as a freelance writer, preferably, by night. A former contributing editor at online design magazine yatzer.com, he is currently collaborating with the Projective Fairy Tale Test Society in Greece as well as various magazines all over the world. For META article, Death of a Performance, he interviewed artist Esther Ferrer about her intervention at the Cemetery of Art of Morille, Spain.
RACHAEL MORRISON (1981) is an artist, curator, and a librarian at the Museum of Modern Art in New York. She is the creator of an art work and a documentary film about the blind telephone hacker Joybubbles, as she describes in 718-362-9578.
TIMOTHY MORTON (1968) is a philosopher and ecologist, and a teaching professor at Rice University. He also is one of the leading figures in the philosophical movement of Speculative Realism. For META he penned some pithy aphorism on the paradigm shift in metaphysics. See METAphorism.
Architect WILLEM JAN NEUTELINGS (1959) has taught at the Berlage Institute in Rotterdam and Harvard University. His firm, Neutelings Riedijk Architects, is located in Rotterdam. He wrote Spomenik, the Monuments of Former Yugoslavia on Jan Kempenaerâ€™s photo-documentation.
Nikolaj Nielsen is a Brussels-based journalist. For META, Nielsen considers the provocative film "Enjoy Poverty Please" by Dutch artist Renzo Martens in regards to the The Lucrative Business of Chaos and Aid. For more of Nielsen's writing, visit his website.
Andreas Ã–nnerfors (1971) is Associate Professor in the History of Sciences and Ideas based in Lund, Sweden. He has written extensively on organized fraternal sociability in Europe in the context of civil society, cryptology and conspiracy theories. In 2007 he re-enacted a female masonic ritual, contributed to the deciphering project of the copiale-manuscript and commented on the Oslo terrorist Breivik's imaginary world of knighthood in counter-jihadism. Watch a 2012 lecture on "Perceptions of Freemasonry from the 18th century to the Internet" here. For META he co-authors a discussion on ritual and fraternity for the article Daughters of Job.
Yoshua OkÃ³n was born in Mexico City in 1970 where he currently lives. In his often absurd and provocative art, OkÃ³n stages partially scripted scenes using non-actors whose own identities and histories make up the true, underlying story. See Octopus. OkÃ³n founded the artist-run space La PanaderÃa in 1994 and the artist-run space and school SOMA in 2009, both in Mexico City.
LISE PATT is the founder of the Institute of Cultural Inquiry, a peripatetic visual think tank currently headquartered in Los Angeles, CA. Over the years she has treated â€˜collaborationâ€™ as an artist medium, in the development of a non-profit organization that embraces â€˜collective camouflageâ€™ in their ongoing projects. See Inquiry into the Institute of Cultural Inquiry.
KONRAD PETROVSZKY (1977) is a historian specializing in the intellectual history of Southeastern Europe. He wrote a PhD thesis on early modern historiography in Ottoman Europe at the Free University, Berlin. He talks Romania and reenactment in The Body of the Event.
Italian artist SERENA PORRATI (1981) is now currently enrolled in the inaugural year of the MA in Art and Science Program at Central St. Martins in London. She lets META in on her Nietzsche in Turin archive for Linda Greenâ€™s article, A Bridge and Not a Goal.
SUSANNE QUEHENBERGER is a Cultural Studies student at the Humboldt University in Berlin. Her focus is climate change, specifically its potential to bring about societal restructuring and the role of art in this scenario. Since 2007, she has worked as an urban gardening activist. For META, she shares her thoughts on geoengineering in Artificial Skies.
Haitian-born, DC-raised MAX RAMEAU is a pan-African theorist, organizer and founder of the group, Take Back the Land. He has worked on issues ranging from economic development to ex-felons. He discusses the US housing crisis in Desperate Times, Desperate Measures.
MILO RAU (1977) is a journalist, essayist, historian, playwright, translator, teacher, film-maker, blogger, reenactor and director of IIPM (International Institute of Political Murder, or Institute for Theoretic and Artistic Reenactments). See The Body of the Event.
AILEN ROC studied various esoteric fields such as ceremonial Magick, Sexual Magick, Tantra, Astrology, Tarot, the Quaballah and different astral-levels along with Psychology. She is currently working on her own tarot deck and a book combining certain occult fields with elements of psychology. See XI. ARS DE REXâ€”Sexual Magic, the Art of the King.
ALAN SHAPIRO (1956) is a key contributor to the fields of idea philosophy, software engineering and social choreography. At 15, he began studying at MIT and has more recently published a book on Star Trek and given talks at the Transmediale and Ars Electronica festivals. In an interview with META, he explains why â€œBeing against work as it is constituted today is fundamental.â€ See A New Computer Science is Underway.
SITU STUDIO was founded in 2005 while its partners were studying architecture at The Cooper Union. Operating at the intersection of architecture and a variety of other disciplines, Situ Studioâ€™s work has been enriched by close collaborations with geologists, writers, engineers, biologists, activists and artists. See Out of Control.
GARY SMALL, M.D., is the Director of the UCLA Memory and Aging Research Center at the Semel Institute for Neuroscience and Human Behavior. He is the author of iBrain Surviving the Technological Alteration of the Modern Mind. See This is Your Brain on Technology.
COSETTE THOMPSON is a French-American human rights consultant and freelance writer based in Arizona, USA, where she directed Amnesty International for many years. Her current interests focus on the contribution of artistic expression to the field of human rights and on the protection of threatened languages. See Sentenced to Read.
van Haarlem Dr. Michiel P.
DR. MICHIEL VAN HAARLEM (1964) is the Managing Director of the LOFAR Foundation in the Netherlands, a part of the ASTRON Institute. The astronomer discusses the next generation of telescopes in METAâ€™s Harmony of the Spheres.
Vanden Eynde Maarten
Belgian-born MAARTEN VANDEN EYNDE (1977) lives and works between Rotterdam, Brussels and Saint Mihiel. His projects span all art media, focussing on topics of ecology, archeology, biology and zoology. In 2006 he founded Enough Room for Space for â€œthe creation of physical, virtual and mental space for cultural initiatives by initiating and coordinating events and residence/research projects worldwide.â€ He enlightens META on plastic in Plastic Reef.
Swedish photographer ULRIKA WALMARK (1970) traveled across North America, Israel, Palestine, Iran, India and South Africa from 2003 to 2007, collecting portraits for her project The person behind the person. She now lives in Berlin.
Artist CHEN WEI (1980) works in Beijing and Hangzhou, incorporating influential objects and happenings from his past into the realities of modern China. He is represented by the Platform China Contemporary Art Institute in Beijing. See Archeology of the Future.
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|This is Your Brain on Technology|
|Daughters of Job|
|Death of a Performance|
|Out of Control: Experiments in Participation|
|Terra Pretaâ€”Amazonian Earth|
|A New Computer Science is Underway|
|Claude Cahunâ€”A Sensual Politics of Photography|
|The Clothing of Nature|
|On the Hunt for Silence in Dubai|
|Far Beyond Stalactites and Stalagmites|
|The Body of the Event|
|Sentenced to Read|
|Spomenik, the Monuments of Former Yugoslavia|
|XI. ARS DE REXâ€”Sexual Magic, the Art of the King|
|Tao Linâ€™s Crossword Puzzle|
|The Art of Showing Art|
|Photography and the Invisible|
|Patrick Hillâ€”Sculpture, Associated|
|Showing the Opposite Side of the Death Machine|
|Desperate Times, Desperate Measures|
|A Bridge and Not a Goal|
|This is Your Brain on Technology|
|The Poetry of Document|
|Stories of Life and Love in Todayâ€™s Actual Arctic|
|Fata Morgana and Other Optical Phenomena|
|The Nine Lives of Kaufhaus Jonass|
|The Harmony of the Spheres|
|Back to the Futureâ€”The Venus Project|
|Inquiry into the Institute of Cultural Inquiry|
|The Lucrative Business of Chaos and Aid|
|Welcome to Nollywood|
|Chronicle of Deaths Foretold|
|The Dostoevsky of Photography|
|Archeology of the Future|
By Michele Dantini, interview with Valentina Gensini, translated from Italian by Michela Filippini
In Washington in 2001, the World Bank, Exxon Mobil, Chevron Texaco and Petronas of Malaysia signed an agreement for the largest and most invasive infrastructural intervention ever in equatorial Africa. The World Bank agreed to finance construction of a pipeline crossing Chad and Cameroon to bring crude oil from the Doba Basin oil fields in Chad to offshore storage and loading platforms in Cameroon. The projectâ€™s conditions obligated the governments of Chad and Cameroon to sign a strict guarantee protocol: earnings from petroleum will have to go to finance schools, health and agriculture.
Revenues were to pass through a single account deposited at Citibank of London, and assiduous controls will thwart episodes of corruption and undue appropriation of resources. The loan is huge: 4.2 million dollars. Its construction, begun notwithstanding objections and resistance on the part of international NGOâ€™s and local communities, has an enormous ecological impact: more than 1000 km of southeastern Cameroonâ€™s primordial forest was cut down, forcing entire communities to move and abruptly alter their uses and customs.
The quiet little dirt road leading from Kribi to Bipindi and Lolodorf (the name of the village still conserves the memory of its German origins) is transformed into a deadly truck route, daily traversed by hundreds of heavy vehicles, causing damage to houses, fields, and the health of villagers, especially children, submerged in dust.
The situation encourages poachers, who admit to selling bush meat to the thousands of seasonal workers employed by contractors, and who easily penetrate the forest thanks to various construction site access roads, laid to facilitate the pipeline work.
Poachers and lumber company workers are not the only ones to pour into the area attracted by new opportunities to earn money: a small army of prostitutes move along with the advancing construction work, invading villages and encamping near workersâ€™ dormitories. Profound social, economic, demographic and environmental changes beset an area that had previously been an impenetrable forest inhabited only by small groups of hunter-gatherers.
The pipeline began functioning in 2003, when the first oil tanker loaded with crude left the platform off the Atlantic coast of Kribi. Esso Exploration and Production Chadâ€™s home page triumphantly proclaims, â€œthe first semester 2008 extractive average was 131,000 barrels of crude per day.â€
However, less than five years after the opening of the pipelineâ€”and following great presuppositions about the outcome of these direct economic processes set in motion ex imperio, in vulnerable contexts and with unreliable partnersâ€”on September 9th 2008, a terse press release from the World Bank communicated that the institution had just ceased supporting the project and interrupted its contribution.
The government of Chad, led by controversial president Idriss DÃ©by and involved for years in a protected and bloody civil war, had repeatedly and increasingly violated its obligations to the World Bank agreement. From the start, oil profits had been diverted from public works and used to acquire weapons and engage French troops.
According to the affirmations of the Reuters press agency, a high functionary of Chadâ€™s government responded to the World Bankâ€™s decision by revealing that the cessation of financing would not have the slightest impact on the national budget, greatly expanded in recent years thanks to the extraction and sale of petroleum. (m.d.)
The World Bank was shown at the exhibition Green Platformâ€”Art, Ecology, Sustainability at the Strozzina center in Florence in 2009.
Valentina Gensini: How did this project materialize and what did you go through while working on it?
Michele Dantini: The paradigmatic importance of this project drove me to visit Cameroon many times, and to cover the thousand kilometer path on the southwest border with Equatorial Guinea that skirts the construction site. I wanted to travel without any preconception, converse with the locals and learn about their expectations. With this project, I wish to raise some questions, for example, what conclusion shall we draw concerning the responsibility of global financial managers in light of failed control mechanisms?
Valentina Gensini: The World BankÂ is a project marked by a double approach: a neo-conceptual approach in its fieldwork, and an enquiry in favor of the environment. It deals with international politics, neo-colonialism, governance sustainability and sustainablemodels for development. How do these topics find a connection in your work?
Michele Dantini: Ambitious projects might totally change a regionâ€™s economical and social structure. The allotment of wealth changes the balance between available territory and patterns of human settlement and diffusion, as well as the characteristics of farming. The population in Cameroon was waiting to join the consumerist system and a global citizenship defined by the money economy: this is a justifiable expectation, though one that is rarely met by a substantial flow of money. Right now Iâ€™m working on a project about Zmeyinyi, a bare and desolated island in the middle of the Black Sea. I pay close attention to the development of relationships between the western petrol companiesâ€”in this specific case between Italyâ€™s Eni and Russiaâ€™s Gazprom. They are concerned with the construction of an oil-pipeline around the Ukraine that will provide Europe with gas. Itâ€™s impressive to see how fast the verified availability of fossil energy and its demand give a dramatic geo-political, economic and military importance to rural areas, never before interested in undergoing industrial changes. I am interested in whatâ€™s happening right now in places that â€œno one cares about,â€ the grey spots of global information?Â
Valentina Gensini: The laconic press release concerning the World Bankâ€™s withdrawal from the project lacked an analysis of the mistakes or any feedback that could actually promote debate on finding alternative solutions. What kind of support can art give to this purpose?
Michele Dantini: Until recently, the local community had limited (if any) negotiation ability: they had neither economic resources, nor political or legal competence nor access to the media. This condition is changing, and thatâ€™s positive! I see a difference between art and activism. Yet, art can contribute a more critical and well-constructed idea about the meaning of â€œcentralâ€ versus â€œruralâ€. Thatâ€™s an important contribution. The concepts of â€œsmallâ€ and â€˜marginalâ€™ become flexible and reversible, and they gradually cease to make any sense in a global critical perspective.
Valentina Gensini: As part of The World Bank, you release a magazine called MM, an annual publication about political and environmental subjects. Iâ€™d like you to tell us more about your interest in non-fiction writing and reportage.
Michele Dantini: During the late 60s, early 70s, many artists choose newspapers and magazines as an experimental exhibition space, an alternative to galleries or museums. It was an exciting experience. I believe that mainstream global media is not interested in funding any research in this field. But budget is just one aspect of the problem. The metropolitan attitude in the media is characterized by arrogance and censorship. On the other hand, new fields are becoming available to art. There is a growing understanding that art attempts to give a voice to voiceless worlds, it manages to go beyond the pre-established agendas of the imperialist reporter, and it establishes a critical distance to the so-called First World media. Today, quite a few artists are thinking about narrative strategies and how to turn them into an exhibition experience: script, reportage, poetic text. At the same time thereâ€™s a strong interest in the deconstruction of the mediaâ€™s rhetoric, memoryâ€™s politics, research in archives and issues motivated by global relevance. Wondering how art can â€œexplain culturesâ€ and contribute to creating opinions is part of the general discussion of art and the public sphere; I would define it as a kind ofÂ â€œsocial sculpture.â€
Valentina Gensini: Your work presents a critical debate on the connections within the historical, economic, social and ecological fields. Can you expound on this?
Michele Dantini: In 2003 I did some projects in SaÃµ TomÃ© and Principe islands, in the Gulf of Guinea: I was fascinated by the complexity of their story and the vagueness of the cultural placing. The two islands geographically belong to Africa, but historically they are the colonial bridgehead of the slave driving and plantation economy that the Portuguese tested here in the early sixteenth century by importing black slaves from the Congo and Benin kingdoms before moving on towards South America. Recent discoveries brought to light important oil deposits off the coast of SaÃµ TomÃ©, and aÂ joint ventureÂ has been created between the SaÃµ TomÃ© government and the Nigerian petrol companies. Many people are afraid that the painful and subordinate story about the ex-Portuguese island might be swept away by social cohesion, increasing corruption and new inequality that will arrive with the petrol industry. Furthermore, there is fear that the petrol profits will increase the Nigerian oligarch and western corporationsâ€™ wealth instead of being divided among the population. My projects are aimed at the turning points of awareness and at the possibility of cultural cancellation. Some years ago, the interest in a tiny republic in Guineaâ€™s gulf, just recently enfranchised from colonization, must have been marginal. It seems today that SaÃµ TomÃ© and Principe have become allegoric places, examples of the globalization processâ€™ destructiveness.
Valentina Gensini: It seems to me that your interest in eco-politics and cultural anthropology is comparable with artists such as Jeremy Deller , RenÃ©e Green, Ibon Aranberri and David Hullfish Bailey in terms of a skepticism for the conventional public relations that these issues receive.
Michele Dantini: There are artistic views defined by a distrust of machines and artistic production which employs complex, expensive methods, but which still explores the deep relationship between man and nature. What kind of nature stories do we â€œconstructâ€ and how? What kind of experiences and devices do we use to â€œcollectâ€ places, landscapes, geographies in changing areas and why we do that? These are the questions that I find exciting. The efforts the industrialized world is making to ensure a vital connection with the natural world seem to correspond to a deep need illustrated by the â€œbiofiliaâ€ described by socio-biologist and ecologist Edward O. Wilson in 1984: the evolutionary co-dependence of human beings and nature.
SITU STUDIO is a reserach, design and fabrication firm based in Brooklyn. Their space-altering, site-specific architectural installation reOrder augurated the Great Hall project in the Brooklyn Museum. For reOrder and other projects, see Situâ€™s website.
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