{"id":46,"date":"2019-02-04T11:12:10","date_gmt":"2019-02-04T11:12:10","guid":{"rendered":"https:\/\/blogs.ncl.ac.uk\/blackbox\/?page_id=46"},"modified":"2020-02-25T10:57:12","modified_gmt":"2020-02-25T10:57:12","slug":"futures-4th-8th-february-2019-10am-530pm","status":"publish","type":"page","link":"https:\/\/blogs.ncl.ac.uk\/blackbox\/futures-4th-8th-february-2019-10am-530pm\/","title":{"rendered":"FUTURES 4th-8th February 2019 10am-5:30pm"},"content":{"rendered":"

BLACK BOX \u2013 FUTURES WEEK<\/strong><\/p>\n

Show times 10:00 | 11:30 | 13:00 | 14:30 | 16:00<\/p>\n

Total Running Time: 1 hour 30 minutes<\/p>\n

What do advances in genetics mean for the future of humanity and other species? How will medicine change as a result of genetic research? What do we mean by biotechnology? What possible genetic futures can we imagine?<\/p>\n

In FUTURES<\/strong> week, we explore how science and art influence each other through the imagination of genetic futures. We begin in FUTURES\u00a0 I<\/strong> with an introduction to the world of genetics through the voices of futuristic \u2018hybrid machines\u2019 in Charlie Tweed and Darren Logan\u2019s The Signal and the Noise<\/em>; the commuter-train discussions of geneticists Volker Straub, David Elliott and artist, Chris Dorsett in TrainSlidingTalk<\/em> and the rapid-fire philosophy of Jason Silva in The Genetics Revolution<\/em>. In FUTURES\u00a0 II<\/strong>, we hear of possibilities in genetic research from medical clinicians, biologists and designers working at the forefront of genetics and its sister discipline, synthetic biology. FUTURES\u00a0 III<\/strong> then presents three of many possible genetic futures: the development of designer pets in Demelza Kooij\u2019s The Breeder<\/em>, viral cuisine in Pei-Ying Lin\u2019s Virophilia<\/em> and the imaginative use of genetic engineering to develop myths for the future in The Ray Cat Solution<\/em>.<\/p>\n

CONTENT GUIDANCE:<\/strong><\/span><\/p>\n

Some films contain scenes of a medical, surgical or physical \u00ad\u00adnature*, or occasional strong language** that some viewers may find uncomfortable. Whilst there is no age specific content guidance, and viewing of all films is at the discretion of parents, we have deemed content suitable for age 12+<\/span><\/p>\n

FUTURES\u00a0 I<\/strong><\/p>\n

\u00a0\"\"<\/strong>\u00a0<\/strong><\/p>\n

The Signal and the Noise (2017)<\/strong><\/p>\n

Charlie Tweed and Dr Darren Logan<\/p>\n

06:47<\/p>\n

www.charlietweed.com<\/a><\/p>\n

www.silentsignal.org<\/a><\/p>\n

Voiced by an anonymous group of \u2018hybrid\u2019 machines from the near future, The Signal and the Noise<\/em> takes us through advances in genetic technologies such as DNA sequencing, optogenetics and CRISPR gene editing, to propose a future vision of hybrid computing devices that are used to monitor and repair living things. Whilst the film appears to be science fiction, all of the technologies and ideas discussed in it are based on actual advances and visions of the future. The work questions the limits of human desire for control and technological progression: what is the future of the \u2018human machine\u2019 and what are the ethics of fixing the code? The Signal and the Noise was produced as part of Silent Signal and is a Wellcome, Garfield Weston and Animate Projects collaboration.<\/p>\n

\"\"<\/p>\n

TrainSlidingTalk (2013)<\/strong><\/p>\n

Chris Dorsett<\/p>\n

06:10<\/p>\n

www.chrisdorsett.com<\/a><\/p>\n

www.cnos.org.uk\/chris-dorsett<\/a><\/p>\n

TrainSlidingTalk was originally delivered as a performance lecture at BALTIC CCA, Gateshead. Chris Dorsett is a Professor of Fine Art at Northumbria University and a founding member of The Cultural Negotiation of Science (CNoS) research group. He is an artist and exhibition-maker whose career has been built on cross-disciplinary collaborations with collection-holding institutions. For a number of years, Dorsett regularly met genomics experts Volker Straub and David Elliott (both of the Institute of Genetic Medicine, Newcastle University) on a local commuter train. Across a moving carriage, they would swap ideas about ‘junk’ DNA and institutionalised collection-holding. The motion of the train is part of their exchange: the stations they stop at a reminder that inactivity, rather than continual transition, can shape both history and evolution.<\/p>\n

\"\"<\/p>\n

The Genetics Revolution (2016)<\/strong><\/p>\n

Jason Silva<\/p>\n

02:04<\/p>\n

www.thisisjasonsilva.com<\/a><\/p>\n

In this condensed \u2018TV-bite\u2019 philosophy film, media artist, futurist and philosopher, Jason Silva proposes that if genetics is code, our new canvas is life itself.<\/p>\n

\u00a0<\/strong>
\n<\/strong><\/p>\n

FUTURES\u00a0 II<\/strong><\/p>\n

\u00a0\"\"<\/strong>\u00a0<\/strong><\/p>\n

Exchanges at the Frontier: Paul Nurse (2012), edited<\/strong><\/p>\n

Wellcome Collection<\/p>\n

04:17<\/p>\n

www.wellcomecollection.org<\/a><\/p>\n

www.bbc.co.uk\/programmes\/p00lrk6r<\/a><\/p>\n

In this film, Sir Paul Nurse shares his visions for the future of research in genetics and cell biology. Sir Paul Nurse is a Nobel Prize-winning cell biologist and the new President of the Royal Society. A geneticist and cell biologist, his ambitions for the future of science exceed the confines of the laboratory. He is also Director and Chief Executive of the new Francis Crick Institute, a major scientific research centre that opened in 2015 In London.<\/p>\n

\"\"<\/p>\n

Design Meets Synthetic Biology (2016)<\/strong><\/p>\n

Ana\u00efs Moisy<\/p>\n

16:56<\/p>\n

www.anaismoisy.com<\/a><\/p>\n

On 12th July 2016, in Edinburgh, during the \u2018Design meets Synthetic Biology workshop’, biologists, engineers, designers, artists and social scientists were invited to discuss issues of representation, access and perception of synthetic biology – the growing field of making with living material. They were asked to share their vision of the future synthetic biology, their hope and fears. This video aims to represent a range of voices gravitating around the discipline but disconnected from each other. Far from a single united vision, it depicts the complexities of working with living material and the range of opinions surrounding the discipline.<\/p>\n

\"\"<\/p>\n

The Synthetic Kingdom (2009)<\/strong><\/p>\n

Alexandra Daisy Ginsberg & Cath Elliott<\/p>\n

03:30<\/p>\n

www.daisyginsberg.com<\/a><\/p>\n

www.cathelliott.com<\/a><\/p>\n

Created in 2009, the questions raised in this film are still highly relevant 10 years later. How can we classify what is natural or unnatural when life is built from scratch? Synthetic biology is turning to the living kingdoms for its materials. It promises no more petrochemicals: instead, pick a feature from an existing organism, locate its DNA and insert into a biological \u2018chassis\u2019 or cell body. Engineered life could compute, produce energy, clean up pollution, kill pathogens and even do the housework. Meanwhile, we\u2019ll have to add an extra branch to the Tree of Life. Whilst biotechnology promises us control over nature, The Synthetic Kingdom<\/em> reminds us that biology doesn\u2019t respect boundaries or patents.<\/p>\n

FUTURES\u00a0 III<\/strong><\/p>\n

\u00a0<\/strong>\u00a0\"\"<\/strong><\/p>\n

The Breeder (2017)<\/strong><\/p>\n

Demelza Kooij<\/p>\n

11:56<\/p>\n

www.demelzakooij.com<\/a><\/p>\n

Liverpool\u00a0John Moores – The Breeder<\/a><\/p>\n

The Breeder hints at the ethical dilemmas in our genetic futures, setting out a scenario in which the genetic modification of pets has become mainstream. Demelza Kooij is an independent artist\/filmmaker and works as senior lecturer in fiction and documentary filmmaking at Liverpool John Moores University. Her work is presented at film festivals, art galleries, and conferences. The Breeder (2017, UK\/USA) is a short film commissioned by Imagine Science Films and Labocine New York as part of the feature film Mosaic.<\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0\"\"<\/strong><\/p>\n

Virophilia (2018, work-in-progress)<\/strong><\/p>\n

Pei-Ying Lin<\/p>\n

09:22<\/p>\n

www.peiyinglin.net<\/a><\/p>\n

Virophillia<\/em> is part of a proposal by artist Pei-Ying Lin for a near future in which viruses have beneficial use outside of a medical context. Lin’s current work involves the development of a cookbook that details how the viruses can be used. This short film, a work-in-progress, shows the culinary influenza virus: a bioengineered \/ cultivated strain of the influenza virus that causes only a minor infection reaction in the host. Each viral strain is briefly experienced, only once as a vaccine that is mixed with food. The infection reaction, such as fever and sore throats, is the “add-on dining experience” in this new trend of “viral cuisines”, extending a traditional food experience whilst boosting the immune system.<\/p>\n

\"\"<\/p>\n

The Ray Cat Solution (2015)<\/strong><\/p>\n

Benjamin Huguet<\/p>\n

14:20<\/p>\n

www.benjaminhuguet.com<\/a><\/p>\n

www.theraycatsolution.com<\/a><\/p>\n

The Ray Cat Solution<\/em> explores the possibility of using genetic technology in the creation of a \u2018future myth\u2019. This short film engages with a theory initially proposed in the 1980s by Philosophers Fran\u00e7oise Bastide and Paolo Fabbri as part of the Human Interference Task Force, employed by the US Department of Energy to tackle the issue of how to warn future humans of radioactive waste sites.<\/p>\n","protected":false},"excerpt":{"rendered":"

BLACK BOX \u2013 FUTURES WEEK Show times 10:00 | 11:30 | 13:00 | 14:30 | 16:00 Total Running Time: 1 hour 30 minutes What do advances in genetics mean for the future of humanity and other species? How will medicine change as a result of genetic research? What do we mean by biotechnology? What possible … <\/p>\n

Continue reading “FUTURES 4th-8th February 2019 10am-5:30pm”<\/span><\/a><\/p>\n","protected":false},"author":4483,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-46","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.ncl.ac.uk\/blackbox\/wp-json\/wp\/v2\/pages\/46","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ncl.ac.uk\/blackbox\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.ncl.ac.uk\/blackbox\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/blackbox\/wp-json\/wp\/v2\/users\/4483"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ncl.ac.uk\/blackbox\/wp-json\/wp\/v2\/comments?post=46"}],"version-history":[{"count":5,"href":"https:\/\/blogs.ncl.ac.uk\/blackbox\/wp-json\/wp\/v2\/pages\/46\/revisions"}],"predecessor-version":[{"id":154,"href":"https:\/\/blogs.ncl.ac.uk\/blackbox\/wp-json\/wp\/v2\/pages\/46\/revisions\/154"}],"wp:attachment":[{"href":"https:\/\/blogs.ncl.ac.uk\/blackbox\/wp-json\/wp\/v2\/media?parent=46"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}