AI Murmurings Slow Research Lab

In this generous conversation, artist Tania Candiani shares her vision of enlivening contemporary science and technology with “big doses of beauty and poetry and magical connection”—pointing to ways she seeks to do so through her practice. Inciting elaborate collaborations across disciplines, Candiani’s meticulous (yet at times serendipitous) approach to research is above all an act of listening: tuning in deeply while embracing the unknown in a shapeshifting pas de deux with the quantum realm. 
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Image: Tania Candiani, Organ (2012). Part of the exhibition Five Variations on Phonic Circumstances and a Pause at Laboratorio Arte Alameda (LAA), Mexico City. Courtesy of the artist.
 
Tania Candiani website: https://taniacandiani.com/en/ 
Instagram: @tcandiani
 
Others mentioned during this episode
Karla Jasso
Rogelio Sosa
Doris Salcedo
Leslie Garcia/Interspecifics
Wolfgang Lerche
Brandon LaBelle
Laznia Centre for Contemporary Art
Rolando Vasquez
Marisol de la Cadena
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@ai_murmurings is a  project of @slowresearchlab
Music by the inimitable @tignortronics
Support for the podcast generously provided by The Resonance Foundation
 

What if we could teach AIs to sing frequencies of repair and healing? This fascinating window into the world of artist Pia Lindman helps recalibrate understandings of what technology is and can be. She introduces a realm she calls the ‘subsensorial’ and describes the deeply embedded environmental awareness she has cultivated to navigate the entangled realities of a planet in crisis. Traversing subjects including humanoid robotics, Finnish mythology, and happy microbes (among others), listeners will gain insight into Lindman's practice of ‘healing as art,’ her years as a research fellow at MIT, and her upcoming presentation at the 2024 Venice Biennale. At a time when machine intelligences reach into nearly every facet of our lives, this artist illuminates a ‘Slower’ way forward—where machines not only collaborate with humans in more harmonious ways, but also become vital actors in the healing of our world.
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Learn more about Pia Lindman: https://www.pialindman.com/
 
Also mentioned during this episode
Kansanlääkintäseura Folk Medicine Society
MIT Computer Science and Artificial Intelligence Laboratory
CS1 Curatorial Projects
Heidi Fast
Aaron Edsinger
Domo
Vidha Saumya
Jenni-Juulia Wallinheimo Heimonen
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image: Pia Lindman standing in her installation Nose, Ears, Eyes at the 32nd São Paulo Bienal | photo by Guilherme Prado 

In her stunning artistic and filmmaking work, Saodat Ismailova paints a vivid, multidimensional tableau of the pasts, presents and possible futures of Central Asia. Her intricate visual and sonic layerings of histories, myths, and both inner and outer landscapes serve as sites of knowledge transmission and also as spaces for ‘radical re-remembering’ that, in the words of decolonial thinker Rolando Vázquez, “not [only] safeguard or preserve what is there, but also create alternative worlds.” Traversing a range of topics—including the fabric of dreams, the cyclical nature of time, and silence as a gesture of resistance—this conversation probes how Ismailova’s poetic interweavings of spaces, times and memory could lead to a richer palette of expressions for artificial intelligences.
Learn more: Saodat Ismailova  / Davra Collective  
The quote from Rolando Vázquez is from Field Essays, Q: Meandering in Worlds of Mourning (ed. Sophie Krier, Onomatopee, 2022) 
This season of AI Murmurings is generously sponsored by The Resonance Foundation. Music by Christopher Tignor. Audio engineering by Fabian Reichle.

In the 1970's and '80's, the Swiss artist Heidi Bucher summoned a future that we only now are beginning to grasp. Her latex skinning actions and sculptures promised emancipation from patriarchy and the social body politic, and at the same time were fertile sites of ‘magical transfer’ to as-yet-unimagined worlds. Curator and art historian Chus Martínez helps us locate the ‘underground rivers’ of Heidi Bucher’s creative practice, the realms of techno-fantasy she inhabited far ahead of her time, and the keys she may have been leaving to decrypt some future reality—perhaps with the help of AI’s.
Martínez also shares about about her role as head of Institute Art Gender Nature at the FHNW Academy of Art and Design, the importance of artists and artworks as 'monsters' to disrupt capitalist forces, and about love and generosity as drivers of freedom.
image: Photographic documentation of the skinning process of Gentlemen’s Study (Herrenzimmer), Winterthur-Wülflingen, 1978/ Photo by Hans-Peter Siffert, courtesy of The Estate of Heidi Bucher  https://heidibucher.com/
This season of AI Murmurings is generously sponsored by The Resonance Foundation. Music by Christopher Tignor. Audio engineering by Fabian Reichle.

In this exciting conversation with Brazilian artist Camila Sposati, we map her dynamic practice of (slow-ly) digging into the ground and into the unknown to reveal and weave together layers of identity, bodies, artifacts – and also energy. Could the multiple meanings and interpretations that her practice unearths and the ‘thick visioning of caring’ it models be a roadmap for the near-future of our technologies? Together we imagine how giving agency to our machines—transforming them from objects to subjects, encouraging them to dance and spin—might allow us to discover expanded ways of being human. 
image: 16th century Portuguese Faience earthenware found by Camila Sposati while digging the Earth Anatomical Theater (2014)
Learn more about Camila Sposati here >>
This new season of AI Murmurings is generously sponsored by The Resonance Foundation. Music by Christopher Tignor. Audio engineering by Fabian Reichle.

How to imbue AIs with an enlivened sense of space? Architect and practice-based researcher Renske Maria van Dam challenges normative spatial paradigms with situated interventions that extend the sensorium and help our bodies access new realms of energy. The conversation here explores the ‘soft shifts’ afforded by Japanese approaches to space—including the enigmatic spatio-temporal interval ma—, the speculative architecture of Arakawa+Gins, and Renske’s own ‘unbalancing procedurals’ that draw us into dynamic reciprocity with the world around.'
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The image here of the Go’o Shrine on Naoshima Island (JP) is courtesy of Renske Maria van Dam