Pinned toot

I realised recently that the different publications, video and research from my 'wood wide web' project were a little scattered all over the internet, so I've created an archive page where to link everything together, to find everything a littler more easily:

(reposted because of a typo on the link!)

Pinned toot

I'm a visual working who builds digital media installations. I'm a supporter of and or (digital and physical).

I am working on projects about 'networks' (woodland, digital, human) and planning to use a platform for a project in the UK later this year.

Look forward to meeting or anyone interested in a world built on community!

I'll post some recent here to get started.

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A little bird.

Not a talk show for geologists.

Over the years I have found some amazing marginalia, notes, bookmarks and other memories tucked into the pages of library books. This morning I found this letter asking for participation in the 1970 Dublin regatta in an obscure Sylvia Crowe book, "The Landscapes of Power" (1958).

It is very possible that this book has not been taken out of the library since Mr. Flannery had it in 1970.

Coincidentally, only yesterday I was reading about the bank strike in Ireland in the same year, 50 years ago.

October is a great month for foraging. These Hedgehog Mushrooms (Hydnum Repandum) are called "the ultimate safe mushroom" by forager John Wright, because of those unmistakable tiny stalactites. I can also testify that they are among my favourites for filling out a meal and have a lovely, soft flavour.

Also nabbed a few late apples from a tree hidden in the woods :)

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Not Going Back To Normal is a group project by disabled Scottish artists and writers. After months of work it's finally online (a book will follow later this year). I'm really thrilled to have work in it and looking forward to reading *everything* in it.

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I finally finished writing up the build of my new and improved wicking bed setup for my veggie gardening.

You can just read it here with no ads or other bullshit:

If you know people who tend to read stuff on Medium, you can throw them this link:

If you want to follow my exceptionally sporadic blog posts here on the fedi, follow @mike

You can also ignore me completely! :awesome:

#gardening #florespondence @plants

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Day 10 of #inkotober on the plotter!

Knot pattern with distortion and frayed edges.

There are some minor errors I'd love to fix, but this print took 4.5 hours so I don't think it's going to happen today.

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Just having registered in search for alternative ways to social media. Looking for conversations about #science being a #scientist myself ( #biology , #chemistry ), and always curious about #arts and #culture . | #introduction

Complementing my ongoing art project about forests and fungi, I've been invited to make new work about disease and livestock, with six UK universities (led by the University of Lincoln).

Networks, connectivity, microbiology and humans. And, of course, viruses (the theme of 2020).

"Earlier this October, nearly 100 students occupied their university after the right-wing national government of prime minister Viktor Orband transferred ownership of the public university to a private foundation and appointed a new board of trustees, without an open and public vacancy, made up completely by government associates, and therefore stripping the university’s power completely."

I'm going to throw this into the ether and see what comes: I'm interested in trying to build a biocomputer (i.e. a computer using living organisms as part of the mechanics). To start with, I'd just like to try something simple: moisture sensors using soil, or a direction planning device using fungi - something like that.

Does anyone have any experience building a project like this that might be able to point me in the right direction?

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/’̷fu:bar̞/ Gḽitch Ar̰t F̬estiv͐al͒ 2020
OCT 03-09 2020

Starting with the first Saturday of October, the sixth /’fu:bar/ festival is focusing on finding, catalyzing and documenting errors in new media art and the process of its creation.

In its first fully networked iteration – the festival is presenting a week full of online performances, lectures and discussions on the practices of more than 20 artists and collectives active in the field of electronic and digital experimental art and theory. The program is completed by a video art screening, free workshops and a group multimedia offline&online exhibition of over 150 digital artworks by 80+ artists from all around the world.

Scratch that - now heartbreakingly postponed exhibition due to renewed COVID-19 restrictions. That was a lot of work by a nice team.

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A new art exhibition about environment and technology, that I have curated, is launching this week in Tubbercurry, Ireland.

It is an exhibition of questions:
Is it possible to understand the communications of root systems? What if we saw our landscapes as an extension of ourselves? Why do we see a difference between weeds and other plants?

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Leaf on the forest floor

Making way

For the fungal growth.

Water, water, rain

On the still warm Autumn earth.

#Poetry #SmallPoems

I saw a Martin Kippenberger installation in Berlin some years ago. On the wall were photographic prints of incredible, expressionist paintings, printed large in full colour, in frames. In the middle of the gallery floor sat a large rubbish skip, filled with broken paintings, canvas, frames.

This, for me, was a perfect artwork.

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The first time I saw Sophie Calle's work was an installation kn the Whitechapel gallery in London. It was a piece about a train journey that she took - the Trans-Siberian, where she met a Russian. He did not speak French and she did not speak Russian. In frustration at not being able to communicate, he pulled out a chess board. She played, badly, and lost, repeatedly. She photographed him, he beat her at chess. This is how they learned to communicate. The installation communicated this to me.

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In galleries, I usually lament the use of text to explain artworks. This creates understanding rather than perception, and is thus contrary to what an artist is trying to do. If an artwork is good enough, it just needs to be experienced. Reading about it won't improve it, even if it clarifies something about it.

The mistake galleries (and audiences) make is believing that the explanation will improve the art, when it actually detracts from it.

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The writer David Abram used to perform magic tricks at a diner, as recorded in Merlin Sheldrake's 'Entangled Life'. The diners would often return later in the evening asking if he had slipped something in their drink during the performance. They found that the colour of the sky had changed, or that birdsong seemed louder. What Abram believes happened is that they began noticing - they saw his hands doing something that hands should not do, and had their perceptions challenged.

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