Fog is a very complex phenomena in the sense of how it forms, how it evolves, and how it dissipates or disappears. The notion of ‘fog’ as a regional physical phenomenon has the potential to mystify our human vision/perception. Fog injects ambiguity in our experience and hence enhances a multiplication of signals in our ‘vision’. Through fog we can extend our idea of visibility beyond technicality: Theta hz, light, which falls in the eye and which gives an impulse to our brain, the thinking machine …
- Steve Anker, Radical Light: Alternative Film + Video in the San Francisco Bay Area, 1945–2000.
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Fog Inquiry is an extended, periodic residency at the University of California, Santa Cruz, hosted by the Institute of the Arts and Sciences. Fog Inquiry uses the physical phenomena of fog as a conceptual framework to engage various fields of inquiry within the university setting. Futurefarmers sees fog as a state of being whereby hierarchies get troubled, perspectives shift, and new modes of thinking (and making) can emerge. Fog has the potential to mystify our human vision/ perception and inject ambiguity in our experience and hence enhances a multiplication of signals in our senses.
Fog Inquiry brings people, places and ideas together who may not usually meet. Due to the many restrictive factors of a university campus; bureacracy, campus design, geography, funding, access, pedagogy, architecture... a university in-of-itself can become a dense atmospheric condition that needs new navigation tools. Futurefarmers Fog Inquiry endeavors to move through the physical and intellectual matter of the university campus as a Fog Body - a growing and shitfing constellation of people and actions. Like fog, this Fog Body draws from the elusive and complex nature of coastal fog in how it forms, how it evolves, and how it dissipates or disappears.
Institute of the Arts & Sciences
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Futurefarmers’ Fog Inquiry is commisioned by the Institute of the Arts and Sciences at the University of California, Santa Cruz which is supported by the Nion McEvoy Family Fund of the San Francisco Community Foundation, the Gurdon Woods Visiting Artist Fund established by Jock Reynolds, and annual donors to the Institute of the Arts and Sciences. Thanks also to the support oft the Office for Contemporary Art Norway and Ray and Robin Yeh-Green, patrons of housing for Wandering Residency. |
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Alexi Leuthaud
Astronomy & Astrophysics |
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Anna Friz
Film & Digital Media
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Janette Dinishak
Philosophy |
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Karen Barad
Feminist Studies/Philosophy |
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Albert Narath
History of Art & Visual Culture |
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Renate Kupke
Instrument Scientist |
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Peter Weiss
Chemistry |
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Laurie Palmer
Art |
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Marianne Weems
Theater |
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The first phase of Fog Inquiry, was Wandering Residency. Futurefarmers operated as a Fog Body moving within the physical and intellectual matter of the campus. By visiting classes and staging events, Futurefarmers created an atmopsheric phenomona that brought together people, projects, and places that would not usually meet. Futurefarmers wandered through the blurred edges of research troubling disciplines, hazing over the borders of certainty, questioning the tools used to collect data at these edges. To guide them through this fog, Futurefarmers carried with them a lighthouse, a buoy, a beacon— their Whistling Tea Kettle. Mounted upon a 14 foot wooden tripod, the kettle was erected at the entrance of each meeting to mark the space of inquiry. The sound and steam of the kettle provided a simple, poetic invitation. Objects are signals and symbols, and this relational object drew in diverse groups, absorbing them into the fog and into conversation.
Wandering Residency culminated with a public exhibition in the Sesnon Faculty Gallery on Tuesday, January 22, 5-7 p.m., with the artists and their collaborators.
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Anna Friz |
Sound in the Film & Digital Media Department
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Inquiry |
Electromagic
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Etymologies of Farming & Radio Practices
and critical resistance to the enclosure of such.
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Action |
Dispersal of The Bogotá Declaration through various microphones.
Context
Seminar, Audio Documentary
Section, Introduction to the Microphone
Studio D (Communications 113)
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A microphone is a is a type of transducer that converts sound into an electrical signal.
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A transducer is a device that converts one form of energy to another - a signal in one form of energy to a signal in another- acoustical energy (sound waves) into electrical energy (the audio signal). Transducers are often employed at the boundaries of automation, measurement, and control systems, where electrical signals are converted to and from other physical quantities (energy, force, torque, light, motion, position, etc.).
Microphones convert acoustical energy (sound waves) into electrical energy (the audio signal). Different types of microphones have different ways of converting energy, but they all share one thing in common: The diaphram - a thin piece of material (such as paper, plastic or aluminium) which vibrates when it is struck by sound waves. When the diaphragm vibrates, it causes other components in the microphone to vibrate. These vibrations are converted into an electrical current which becomes the audio signal.
Hypothesis:
In order to speak to larger groups of people, a need arose to increase the volume of the human voice. The earliest devices used to achieve this were acoustic megaphones. Some of the first examples, from fifth century BC Greece, were theater masks with horn-shaped mouth openings that acoustically amplified the voice of actors in amphitheatres.
LOG BOOK
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January 11, 2019
In a building near 3rd growth redwood trees
Present:
Anna Friz, Lode Vranken, Yasi P, Amy Franceschini
Notes:
Repetition
Distance
Natural Radio
Diffraction
Chance
Radio:
A relationship of things over distance
References
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The Marvelous Clouds,
John Durham Peters
The Bogotá Declaration
A Case of Transnational Resistance
Blurs
A Kind of Conference
Tetsuo Kogowa
Doris Ingrisch
(Fuzzy/Fog/ Gender Studies)
Experiments in And - Doing Art & Science:
Explorations of
blurs, blanks, interspaces, and the unnamable.
Sharpness as the hidden imperative of modernity served the Enlightenment, the disenchantment of the modern world. Blurring, however, breaks with the notion of a universe of uniqueness. Opposites become blurred, ambiguity is given room - in listening, in seeing, in thinking. The relationship with the considered becomes another. It takes time to see something, it's about creating associations. The focus on the blur changes the production of knowledge and art. Blurring refers to dimensions that allow us to perceive the world differently - in art, quantum theory and gender studies ...
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IMAGE INDEX
The Bogotá Declaration
Bogota, Colombia
3 December 1976
Brasil, Colombia, Congo, Ecuador, Indonesia, Kenya, Uganda, Zaire
DECLARATION OF THE FIRST MEETING OF EQUATORIAL COUNTRIES
The undersigned representatives of the States traversed by the Equator met in Bogota, Republic of Colombia, from 29 November through 3 December, 1976 with the purpose of studying the geostationary orbit that corresponds to their national terrestrial, sea, and insular territory and considered as a natural resource. After an exchange of information and having studied in detail the different technical, legal, and political aspects implied in the exercise of national sovereignty of States adjacent to the said orbit, have reached the following conclusion
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Albert Narath |
History of Art + Visual Culture
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Inquiry |
Thinking Spaces - New Objectivity
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History of Campus Design
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Action |
Reading, Wandering, Mapping Heterotopias
Context
Seminar
No-Place- The Campus as Utopia
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LOG BOOK
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First Meeting
9:50 – 11:25am
Porter Academy 245
Notes:
Le Corbusier
Radiance
Plan obus
References
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Radiant City/ Ville Radieuse
Of Other Spaces (1967), Heterotopias, Foucault
...Brothels and colonies are two extreme types of heterotopia, and if we think, after all, that the boat is a floating piece of space, a place without a place, that exists by itself, that is closed in on itself and at the same time is given over to the infinity of the sea and that, from port to port, from tack to tack, from brothel to brothel, it goes as far as the colonies in search of the most precious treasures they conceal in their gardens, you will understand why the boat has not only been for our civilization, from the sixteenth century until the present, the great instrument of economic development (I have not been speaking of that today), but has been simultaneously the greatest reserve of the imagination. The ship is the heterotopia par excellence. In civilizations without boats, dreams dry up, espionage takes the place of adventure, and the police take the place of pirates.
The daily life of individuals was regulated, not by the whistle, but by the bell. Everyone was awakened at the same time, everyone began work at the same time; meals were at noon and five o'clock-, then came bedtime, and at midnight came what was called the marital wake-up, that is, at the chime of the churchbell, each person carried out her/his duty. |
IMAGE INDEX
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Le Courbusier erasing Paris |
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Le Courbusier, Radiant City as example of Utopia |
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Student Corbusier Enthusiast |
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HETEROTOPIA ON CAMPUS
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Student Corbusier Enthusiast |
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LOG BOOK
First Meeting
January 11, 2019
2:00 Cowell Faculty Annex
Notes
Perceptual Shift
References
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Rabbit Duck Ilusion
two different ways of seeing: "seeing that" versus "seeing as"
The Country of the Blind,
H.G. Wells
Three hundred miles and more from Chimborazo, one hundred from the snows of Cotopaxi, in the wildest wastes of Ecuador’s Andes, there lies that mysterious mountain valley, cut off from the world of men, the Country of the Blind.
IMAGE INDEX
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Duck Rabbit Ambiguous Figure |
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Karen Barad
Feminist Studies
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Inquiry |
Electromagic
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Diffraction, Matter, Matters
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Action |
Reading
Context
Table in Restaurant, Santa Cruz
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LOG BOOK
First Meeting
12 noon
A Restaurant to remain anonymous
Notes:
Diffraction as a methodology is a matter of reading insights through rather than against each other to make evident the always already entanglement of specific ideas in their materiality.
References
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Joe Masco
The Nuclear Borderlands: The Manhattan Project in Post-Cold War New Mexico
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Alexie Leauthand
Astronomy & Astrophysics
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LOG BOOK
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First Meeting
11:00 am
Center for Adaptive Optics
Room 113
Notes:
We Know it is There, but We cannot See It
Acoustic Oscillations
Dark Matter
Dark Energy
References
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Helmholtz Resonator
IMAGE INDEX
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A constellation of Futurefarmers collaborators who have initiated Fog Inquiry.
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Amy Franceschini, San Francisco
Amy is the founder of Futurefarmers, an international group of artists, anthropologists, farmers and architects with a common interest in creating frameworks of participation that recalibrate our cultural compass. Their work uses various media to enact situations that disassemble habitual apparatus. Through public art, architecture, museum installations, publications and temporary educational programs inside institutions, they have transformed public policy, urban planning, educational curricula and public transportation plans. Futurefarmers’ work often creates relational sculptures and tools for audiences to gain insight into deeper fields of inquiry- not only to imagine, but also to participate in and initiate change in the places we live.
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Lode Vranken, Belgium
Lode has been practicing architecture internationally since 1993. In 1993, he received his masters in a UN course on Human Settlements + Architectural Philosophy from the KU Leuven, Belgium. He taugh in 2005 as a NED delegate at The Institute for Advanced Architecture of Catalonia, Barcelona, Spain and from 1993-94 at the Asian Institute for Technolgy in Bangkok, Thailand.
Lode co-founded the research coalition, De Bouwerij in Belgium that focuses on social living structures for passive houses and zero¨energy construction. His research is focused on new concepts for small, self-sufficient living units; folding buildings, kinetic structures, rolling shelters all with zero carbon dioxide emission. He is also a partner of Dear Pigs in Belgium and member of the The Ghent School for Metaphysics.
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ooooo.be, Belgium
ooooo is a transuniversal constellation that initiates, mediates and facilitates, curates and appropriates projects, abducing thought, reflection and praxis on relevant issues. oooo is hosted by Marthe Van Dessel, an activist and performer who creates interfaces, devices & protocols to instigate our urban and institutional hardware & software. She engages in the administrative, cultural, socio-political dimension of personal and collective identities. By triggering intersubjective alliances she confronts the 'self & other' with the commons, co-authorship and the redistribution into the public domain.
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