Human+: forecasting our future
April 18, 2011
The premise underlying Human+, an exhibition that opened April 15 at the Science Gallery at Trinity College Dublin, Ireland, is that the future is knowable.
Science Gallery director Michael John Gorman and his team have put together a fascinating array of objects, creations, and schemes, each of which explores some aspect of our engineered future.
Human+ is organized into five categories: “extended ecologies,” “authoring evolution,” “augmented abilities,” “non-human encounters,” and “life at the edges.”
Human+, which marks the 300th anniversary of Trinity College Dublin’s School of Medicine, is supported by the Wellcome Trust. It runs until June 24.
The premise underlying Human+, the exhibition that opens today at the Science Gallery at Trinity College Dublin, Ireland, is that the future is knowable - even though everyone knows it's not. As a species, we seem to be hard-wired to speculate on what's going to happen next. Science Gallery director Michael John Gorman and his team have tapped into this tendency to put together a fascinating array of objects, creations and schemes, each of which explores some aspect of our engineered future. Gorman's catalogue essay aptly describes the show as "an Alice-in-Wonderland world of pills, promises and prosthetics". It's a provocative exploration of the possible ways in which we may change what it means to be human.
Human+ is organised into five categories - "extended ecologies", "authoring evolution", "augmented abilities", "non-human encounters" and "life at the edges" - but the best way to explore the exhibition is to ignore these thematic distinctions and dive in. One's entrance - via robotics artist Louis-Phillipe Demers's Area V5 - is tracked by dozens of pairs of disembodied robotic eyes. Demers, from Canada, is one of several exhibitors exploring the "uncanny valley", that zone of discomfort that arises when robots become a little too true-to-life for comfort.
Although many of the projects of the fabled UK-based Australian performance artist Stelarc should evoke similar feelings of uneasiness - not least his evolving "third ear", which is growing on a biomaterial scaffold implanted in his left arm - the man himself has such personal charm he seems to make it all OK. His work leaves you with the reassuring sense that he does all of these things so that we won't have to - at least not yet. Stelarc is in Dublin this week, and his much-travelled Prosthetic Head, a giant talking avatar, is a centrepiece of the exhibition. When the head hits on a favoured topic, it can be difficult to get a word in edgeways (it did offer a clipped "maybe you should ask someone older" when I asked if Ireland should default on its debt).
The artist Eduardo Kac is showing his "Edunia" or "plantanimal", supposedly a transgenic petunia that expresses some of his DNA in the pink veins of its flowers. Although its transport to Dublin - from Paris - followed international protocol for handling transgenic organisms, the Irish Environmental Protection Agency took the view that, in the absence of any supporting documentation, the plant hadn't been genetically modified at all. So instead of stoking fears of mutant plants taking over the place à la Day of the Triffids, the slightly droopy and unprepossessing plant playfully elicits an "is it or isn't it?" response. Marcel Duchamp would have approved.
New Zealand-based Douglas Easterly and Matt Kenyon of the US also play around with plants - and with our skewed notions of growth. In Spore 2.0, they've rigged up an automated watering system for an office plant, which is controlled by the share price performance of Home Depot, its supplier. The giant retailer is, they tell us, responsible for the plant in two ways - by offering an unconditional customer guarantee to replace any plant that dies and by "an implied cybernetic contract" to keep it watered.
Some of the concerns explored in HUMAN+ are quite immediate. Several exhibits address the area of disability, which is an important proving ground for human enhancement technologies. Reproductive Futures, a beautiful triad of delicately illustrated books created by the UK's Zoe Papadopoulou and Anna Smajdor, offers new ways of telling stories about our origins in an era of technologically assisted reproduction.
But many of the schemes set out in the exhibition are deliberately fanciful. It would be surprising if Julijonas Urbonas's Euthanasia Coaster, a detailed design for a euphoric death by the mother of all roller coaster rides, ever came to fruition. But the likelihood of such things is beside the point - our very human sense of play is the thing. One leaves HUMAN+ not with any real insights into how the future will actually play out but with a bracing sense that, whatever happens, we, as a species, will be ready.
Human+, which marks the 300th anniversary of Trinity College Dublin's School of Medicine, is supported by the Wellcome Trust. It runs until 24 June.
http://goo.gl/1u2Uj
Source and/or read more: http://3.ly/rECc Publisher and/or Author and/or Managing Editor:__Andres Agostini ─ @Futuretronium at Twitter! Futuretronium Book at http://3.ly/rECc