The ecological crisis is a human crisis. Oceans must not be considered as flat blue surfaces which serve as dropping holes where we can let vanish all our anthropogenic remains. There are vast amounts of organisms that live down there and some suffer pain from our waste and noise. Many are aware of mammals such as whales and dolphins and there have been discussions about the chemical and waste pollution. But – often ignored is the invisible and the inaudible environment to us that is deeply secluded. Therefore, in this installation, we have created 3D enlarged plankton to be like whales. In addition, we amplify the noise as participants move closer to the animations to simulate how these organisms might experience and perceive this anthropogenic noise. This is a highly interdisciplinary artist led effort with biologists, chemists, nano-toxicologists and an animator all working together towards a common goal – to raise consciousness.
Plankton serve as one of the primary basis of the marine food chain and are as a result a crucial component of the Earth‘s ecosystem. Current literature and studies have demonstrated how different noise sources influence large marine life with striking examples such as images of stranded whales and dolphins. However, little have highlighted the possible impact on marvelous microscopic organisms such as plankton. Noise Aquarium spotlights animated 3D-models obtained with scientific imaging techniques of the extremely diverse plankton spectrum.
Generally, anthropogenic xenobiotic pollution of the seas is widely known. Project Noise Aquarium is dealing with unnatural noise in the oceans as a further environmental issue. This project offers a species-rich bizarre idyll as well as visual attractiveness, thus evoking interest and attention for these important creatures and their disturbance through noise pressure waves. Noise Aquarium aims to awaken awareness for biodiversity and introduces a collection of accurate 3D-models as a resource for scientific and artistic research. The academic and creative potential of a cooperation, as it was developed for this project, is rarely to be found. All participants first had to learn to go beyond their field of expertise and communicate with experts from other subjects. In order to reveal our way to collaborate and the various materials used in this project, we first will briefly summarize the artistic and scientific challenges that a project on plankton and noise pollution entails.
Then, the effort of the data collection, analysis and the final technical and artistic processing in computer animation will be outlined. The project’s emerging presentations will happen in multifaceted ways, as varied places and time add context as project presentation parameters that influence the events. The Noise Aquarium is as organic as the organisms that are subject of discussion, therefore it will grow gradually and develop with each further presentation. We aim to show the content in various interactive and linear installations and gather all kinds of information, reference material and, of course, 3D-data of the organisms.
In order to present the evolving look of the project and to show the first organisms, we decided to start with projections of short videos as well as poster presentations. For instance, we had the possibility to test-screen a short sequence of Amoeba and Paramecium animations in the Deep Space of Ars Electronica Center Linz in late summer 2016. Various screenings and presentations at conferences are in preparation and will add to the evolving project.
Proposal for VR Version
In contrary to a linear video screening, an interactive installation adds layers of narration. The fully evolved project Noise Aquarium will offer the recipient the possibility to interact with the projection. This is an opportunity to let the recipients of the project experience the effects of noise and sound on the organisms at first place and more directly.
Principal Art & Science Collaborators:
Victoria Vesna, Ph.D., is a media artist and Professor at the UCLA Department of Design | Media Arts and Director of the Art|Sci center at the School of the Arts and California NanoSystems Institute (CNSI).
She is currently Visiting Professor at the Empowerment Informatics Program (EMP), University of Tsukuba, Japan and Interface Cultures, University of Linz, Austria. Her work can be defined as experimental creative research that resides between disciplines and technologies. With her installations, she explores how communication technologies affect collective behavior and how perceptions of identity shift in relation to scientific innovation.
Victoria has exhibited her work in over twenty solo exhibitions, more than seventy group shows, has been published in excess of twenty papers and gave 100+ invited talks in the last decade. She is the North American editor of AI & Society and in 2007 published an edited volume – Database Aesthetics: Art in the age of Information Overflow, Minnesota Press and most recently an edited volume entitled Context Providers: Conditions of Meaning in Media Arts. (co-edited with Christiane Paul and Margot Lovejoy). Intellect Press, 2011.
Alfred Vendl | Science Visualization Lab – at Digital Arts department, University of Applied Arts Vienna
University of Applied Arts Vienna
Dr. Vendl is director and writer with a background in chemistry.
Science and Research: Studies of Material Science at Technical University of Vienna, PhD, Research Scientist at: Imperial College /University of London, England, University Freiburg im Breisgau, Germany, University of California – San Diego La Jolla, USA , Max-Planck-Institut of Metal-Research Stuttgart, Germany. Since 1981 Full Professor at University of Applied Arts Vienna, head of the Institute of Art and Technology, Associative Professor at Technical University Vienna. Since 2016, head of Science Visualization Lab Angewandte – Digital Art. Around 80 scientific publications in Material Science, Archaeometry and Art Technology.
Film and Television: Education as Cameraman in Vienna, Freelance Cameraman since 1968, since 1970 work for ORF (Austrian Television) as cameraman, writer, director, producer and host of scientific talk-shows. Writer, director and/or producer of more than 200 prime-time documentaries for ORF, ARD, ZDF, WDR, BR, ARTE, BBC, Discovery, Smithsonian, WNET, etc.
Martina Fröschl | Science Visualization Lab – at Digital Arts department, University of Applied Arts Vienna
Martina R. Fröschl, MSc is a digital designer focusing on computer animation and artistic scientific visualization. She studied Media Technique in St. Pölten and Media Design in Hagenberg, Austria and graduated in 2009. For her project participation as visual effects and 3D artist in film and tv productions, she obtained practice experience already during her student days and ever since. Besides her visual effects and graphics projects, she engages in the organization team of PIXELvienna conference. Currently, she is a doctoral researcher in scientific visualization projects in the Science Visualization Lab at the University of Applied Arts Vienna.
Stephan Handschuh | VetCore-Facility for Research, University of Veterinary Medicine Vienna
Stephan Handschuh is a biologist with a technical focus on microscopic imaging and 3D visualization. He has a broad biological background in diverse fields such as evolutionary biology, comparative and functional morphology, microscopic anatomy, developmental biology, and theoretical biology. He obtained his Magister in biology at the University of Vienna in 2007. After a fellowship at the KLI Altenberg he became a staff scientist in the imaging facility at University of Veterinary medicine Vienna in 2012. There he has a strong technical focus on quantitative microscopic x-ray imaging and 3D data visualization and analysis. Since 2010 he is also a member of the Science Visualization group of the University of Applied Arts Vienna, where he works on creating scientifically meaningful 3D models of microscopic animal samples.
Thomas Schwaha | Department of Integrative Zoology, University of Vienna
Dr. Thomas Schwaha is a zoologist with particular focus on animal morphology and evolution as well as imaging techniques. He studied biology with a focus on zoology, particularly animal morphology, at the University of Vienna and completed his education with a doctoral degree on soft-body morphological aspects of bryozoans, a not-too-well-known of colonial invertebrates. Since 2011 he has a post-doc position at the Department of Integrative Zoology at the same university where he is responsible for all microscopes and imaging facilities of the department but also is active in teaching undergraduate and graduate students as well continue research on primarily bryozoan morphology. Due to his strong imaging background, he also focuses on new developments in imaging and actively aids other researchers with new approaches towards research questions. Along with his broad teaching experience, this has allowed him to gain detailed knowledge into the morphology of various animal phyla such as e.g. arthropods, mollusks or annelids.
Ruth Schnell | Head of Digital Arts department at University of Applied Arts Vienna
Ruth Schnell is a media artist based in Vienna.
Since 2010 she is Head of the Digital Art Department at the University of Applied Arts Vienna.
She has been working with computer-aided tools since the mid-1980s. Her corpus of work, which includes video installations, interactive video environments and light installations, explores the nature of human perception as well as the relationship between perception and the body. She is considered an expert in dynamic projection in particular. Moreover she has done pioneering work by investigating spatial and contextual implications of the after-image phenomenon in different series of works using LED light sticks.
Glenn is a computer programmer, photographer and digital artist based in Vienna. He is one of the founding members of United Motion Labs, established in 2005. UML is an experimental lab dedicated to creating immersive audio-visual installations and Glenn is involved in every step of production — from filming, content creation, pre/post production, VJing, DJing, creating software tools, IT administration and handling photo, video and time-lapse documentation.