actually impacting the environment around us. how the industry works as well it is for us to understand its surrounding discourse, materiality of the cloud is necessary in order It is only by acknowledging that the physical FOR OUR LONG-TERM HEALTH AND SURVIVAL. OUR SKINS HEALTH IS CRITICAL THE INVISIBLE VISIBLE. WE MUST MAKE own survival. climate for the sake of their that humans are engineering the It is depressing, but not surprising LONELINESS IS NOT JUST A SILENT KILLER BUT A STAIN ON OUR SOCIETY.

Is a future that permits and allows virtual rape and sexual exploitation a sign of a decent, functioning and civilised society?

Where is IT IS ONLY the dividing RIGHT THAT line between WE BUILD MAdangerous CITIES waste and a THAT WORK

lucrative NOT JUST asset? FOR US BUT Despite the rich ALSO FOR cultural heritage of THE WILD- cheesemaking, either LIFE THAT the industry will WE SHARE have to adapt or cease IT WITH. to exist in a future post-dairy world.

FORGET ABOUT THE PEOPLE, PROTECT THE ENVIRONMENT! FORGET ABOUT THE PEOPLE, PROTECT ENVIRONMENT! FORGET ABOUT THE ENVIRONMENT, PROTECT PEOPLE! MF Our bodies are a made up of series valuable minerals and materials that could, and should be recycled post-death to ensure a more sustainable and holistic approach to life, the planet and our long term survival. ENTOMOPHAGY, THE CONSUMPTION OF INSECTS AS FOOD IS A CULTURAL TABOO. HOWEVER, IF WE COULD ENSURE THE WELFARE OF THE INSECT, AS WELL ITS SUBSEQUENT HUMANE SLAUGHTER AND HYGIENIC PROCESSING, SHOULDN’T WE CONSIDER IT A NUTRITIONALLY SUPERIOR SUBSTITUTE FOR ANIMALS IN A MORE SUSTAINABLE FUTURE? 3

Now, more than at any time in our history, This year, it is very clear that our students feel our species needs to work together. We face anxious and apprehensive about what the future awesome environmental challenges: climate holds. However, they stand united in the belief change, food production, overpopulation, the that it is exactly at times like these that they decimation of other species, epidemic disease must highlight, critically engage with and tackle and acidification of the oceans. Together, these pressing issues head on. they are a reminder that we are at the most dangerous moment in the entire development Contrary to our current leaders, the MA Material of human history. We now have the technology Futures philosophy is that only through listening to destroy the planet on which we live, but have to experts, embracing new fields outside of not yet developed the ability to escape it. our own and subverting what we believe to be the inevitable can we even begin to find These are not my words but those of Professor more positive alternative futures. This year’s Stephen Hawking, and they echo the opinions students have risen to the challenge, proactively based on the most sophisticated data, analysis contributing to biological, environmental, and statistical evidence ever collected by the technological, political and social change. international scientific community. The sheer diversity of projects this year shows I think it is safe to say that 2016/17 has been a willingness to expand the horizons of design a disastrous year. A year in which ‘Post-truth’ and find new, often very personal approaches became the Oxford Dictionary word of the year, to dealing with this uncertain future, from where we witnessed three terrorist attacks in virtual-reality rape to fast-fashion, entomophagy the UK in the space of three months and as to space mining, our students explore the moral, this publication goes to print we see President social, environmental and ethical implications Trump withdrawing the US from the Paris Climate of how our actions today could drastically Agreement, in a blatant denial of the global impact the way we live tomorrow. dangers posed by climate change. This is just the beginning for our graduates as they Truth it seems, is now a matter of choice; facts join an ever-expanding network of successful become secondary to what we decide we want designers and practitioners from the Material to believe rather than what we should believe. Futures programme who are paving the way in But how long can we continue on this path of proposing new, more sustainable alternatives to ignoring evidence that clearly shows we need the challenges of our changing world. to act now? To all the practitioners, visiting lecturers, experts and technicians that have contributed to making this year’s projects a success, thank you.

KIEREN JONES, COURSE LEADER 4 5

The intersection THE PROGRAMME Material Futures is a two-year Masters course at UAL Central Saint Martins, dedicated to exploring how we of craft, science will live in the future. The course is divided into two units across two years.

and technology Year one provides an intensive and reactive learning experience. Students are exposed to a broad variety of new ideas and technical processes through a combination of workshops, lectures, expert collaborations and OUR AIM IS TO ACTIVELY RE-THINK THE FUTURE. individual project briefs. Providing a bombardment of new ideas, processes and skills, our teaching encourages Through collaboration, risk-taking and blurring the worlds students to deconstruct their previous experience and of craft, science and technology we look beyond existing expertise and instead adopt an open, experimental and boundaries to anticipate our future needs, desires and multi-disciplinary approach to design. We value working challenges for the 21st century. with industrial partners and usually incorporate at least one live project during the year.

WE ENCOURAGE A WHOLLY MULTI-DISCIPLINARY Year two study encourages students to reflect on their APPROACH TO DESIGN. experiences gained in year one and consider their own design agenda and desired role within the creative Materiality is the starting point of our design process; industries. taking the things we can touch, feel, interact with and observe, we integrate high and low technological materials By synthesizing the new processes and methodologies and processes to respond to the environment around us. introduced to them in first year, with their previous skills and experience, students formulate a single Our students come from and continue to explore within project proposal. All master projects are directed by a diverse range of disciplines, including fashion, a single research question, driven by the student’s architecture, industrial, communication, textile, personal definition of Material Futures in the context critical, digital and speculative design. of a more sustainable future.

Collaboration is key and all students engage external RESEARCH IS INTRINSIC TO OUR DESIGN PROCESS. support from established practitioners and experts to help validate and strengthen their final projects. We practice research-driven design. We believe that it is only by observing and analysing how we live today that we Both year groups enjoy a vibrant and diverse Design can begin to consider and explore how we might live more Perspectives lecture programme featuring inspiring sustainably tomorrow. Considering the current and future speakers from the worlds of science, design, critical context of design decisions is key to our ethos, combining theory, craft and technology. social, political, scientific and economic inquiry and insights to help inform future design scenarios, Find out more about joining us here: speculations and artefacts. www.arts.ac.uk/csm/courses/postgraduate/ma-material-futures/ 6

News, Projects and Workshops

that involved hijacking a fin-tech We are delighted to announce that conference. Austin has a special we will be working with the Wes Lunn focus on researching alternative Design and Education Trust in 2017/18 monetary systems and has published to offer another scholarship to a MILAN FURNITURE MATERIAL EXPEDITION 2016 THE INTERNATIONAL numerous research papers on this student from the UK or the EU who FAIR 2017 BIODESIGN CHALLENGE subject. He is passionate about wishes to study Material Futures. These We believe in making, which is why, education and has already got stuck fully funded places enable students Each year we take our final on a cold October morning, we left Following on from the success of their into his role but has still managed to undertake our Masters course for graduating students to exhibit at London behind for the wild hills of Biodesign project, students Nina Cutler to find the time to welcome his two years and cover all fees. With the the Milan Furniture Fair. This year, in Cherry Wood, South Gloucestershire. and Olivia Bargman were selected daughter, Eleanor, into the world. increase in tuition fees making access the heart of the Lambrate design Over the two-day expedition, we to represent Central Saint Martins GOODBYE NELLY BEN HAYOUN Congratulations Austin on your to higher education increasingly district, we produced our largest introduced the students to the ancient at this year’s international Biodesign new arrival from us all at MAMF. difficult we believe this scholarship exhibition to date, 1,700 square feet crafts of shelter making, foraging and Challenge at the Museum of Modern It is with great sadness that we could not have come at a more at Ventura 14. This year saw in excess literally catching their own food. Art (MOMA), New York. We wish them say farewell to Nelly Ben Hayoun who pertinent and important time. of 100,000 visitors and almost every success in this highly regarded was Senior Lecturer and First Year 2,000 design journalists, many of international competition and hope Leader since 2013. Nelly is a world- whom featured our student’s work in they come home with something in renowned designer of experiences their various publications, sites and addition to a Quantum Worm. and has been called the “Willy blogs. We were also nominated as one Wonker” of design. She inspired her of the top 10 exhibitors out of the The Biodesign Challenge will take first year students and encouraged many hundreds of events and shows in place at the Museum of Modern Art them to push the boundaries of what Milan and gained significant exposure (MOMA), New York on the 22-23rd design could be. In 2016 she was and publicity. June 2017. awarded the University of the Arts Teaching Award, nominated by the WELCOME CHLOE GRIFFITH students. Nelly has left to pursue her own work at Nelly Ben Hayoun Studios We would also like to welcome Chloe CONGRATULATIONS BIODESIGN AND THE and also to launch her University of Griffith into the MAMF fold. She joins CAROLE COLLET ANTHROPOCENE the Underground in Holland. We wish us as the Material Futures Academic her the best of luck with everything Coordinator. Chloe spreads her Carole Collet, our Professor in Design Led by Professor Carole Collet, in the future! time between MAMF and Central for Sustainable Futures has now our students worked in collaboration Saint Martin’s Design against Crime also become the LVMH Director of with Heather Barnett and students department. Chloe’s background Sustainable Innovation at Central from the MA Art & Science course, is in fine art and she continues to Saint Martins. The role allows her supported by Imperial College London paint in her spare time. Chloe has to work across the whole college PhD candidates Glen Gowers and already proved herself an invaluable to research, design and implement 2017 PRACTITIONER Kenny Walker. Exploring how biodesign part of the team keeping us sane, programmes that promote innovative IN RESIDENCE could help respond to the critical CAMBER SAND-CASTING TRIP positive and dry during our first year sustainable practice. We are delighted WORLD FACTORY challenges of the Anthropocene epoch workshop at Pontins, Camber Sands. that she has been awarded this | METIS ARTS and help develop new sustainable Going back to basics we headed A considerable improvement to our position, which is a perfect match for design propositions, the students south to the long golden beaches previous overnight trip where we slept Carole who has dedicated her entire We are pleased to announce that developed collaborative projects to of Camber, near Rye, not only in on nothing but the Forest floor! career to developing a new and longer Metis Arts, the creatives behind push the potential of this field of admiration of the long uninterrupted WELCOME AUSTIN term vision for a more sustainable the immersive experience ‘World design. With 3 days of both theoretical stretches of natural coastline, but also HOULDSWORTH future. Carole’s key research area is Factory’ have agreed to become our and hands-on workshops, the students to learn the basic principles of sand- exploring the intersection of biology MATERIAL annual Practitioner in Residence. worked with Dr. Tom Ellis, Reader and casting. Collecting waste aluminium Designer Austin Houldswoth joins and design in order to develop World Factory is an interdisciplinary Group Leader for Synthetic Biology from the shore, we built our own MAMF this year as First Year tutor FUTURES speculative and disruptive sustainable performance project exploring at the Department of Bioengineering, metal furnace and smelted aluminum taking over the running of the first design proposals always operating NEW the relationship between China Imperial College London to decode cans into homemade moulds. year from Nelly. Austin completed within a long-term framework SCHOLARSHIPS and the UK through the lens of the the Komagataeibacter rhaeticus Uncharacteristically, all students an MA in Design Interactions at the targeting the year 2050 and beyond. global textile industry. Through their bacterial genome, worked with Prof. came back unscathed and with a Royal College of Art and runs his residency, they hope to challenge Carole Collet to sequence their own custom cast tool in hand. own studio creating projects such as THE WES LUNN SCHOLARSHIP students’ preconceptions around DNA, played with Heather Barnett’s ‘2million & 1AD’ a prototype 4 tonne PROGRAMME - A NEW sustainability as well as our wider Slime Mould, as well as got their hands fossilisation machine and ‘Crime SCHOLARSHIP FOR MATERIAL consumption habits and beliefs. on Philip Boing’s new DIY Bento Lab kits. Pays,’ an alternative currency system FUTURES STUDENTS 8 9

Graduate Successes

GIULIA TOMASELLO’S TINA GORJANC has had SINCE (QIAN) WANG has ‘Future Flora’ project has her ‘Pure Human’ project joined the London office of featured in Dezeen and feature on the BBC, in one of the biggest Chinese Elle Décor and she was also The New York Times, The fashion and textiles nominated for the Young Guardian, The Telegraph, manufacturing groups Talent Award at Dutch The Mirror, Dezeen and where she has assembled Design Week 2016. She is GQ, to name a few. This a fashion and textile SANNE VISSER exhibited at now a designer with the YESENIA THIBAULT-PICAZO MARLENE HUISSOULD ÉMILIE GRENIER received last year, she has also design team to provide Milan Design Week 2017 studio Ma-tt-er and a part undertook a residency at has exhibited as Studio the Phyllis Lambert Design given a presentation on INÊS MARQUES exhibited seasonal collections to and from Jun – Nov 2017 time Research Assistant at the LAB of Sustainable Marlene Huissould this year Montréal Grant to create bioengineering and design her ‘Post-fishing’ project at clients including Ted Baker, will be showing her ‘The New the Centre of Interactive Cultures of Domaine de at Selfridges, Future Arena a collection of urban at Biofabricate 2016 in Regeneration: Revitalise the House of Fraser, Brook Age of Trichology’ project Wearables Design at Chamarande (Fr). The LAB Barcelona, Jerusalem narrative objects that New York. The conference Ecology as part of Dutch Brothers and Debenhams. at the Earth Matters Nottingham Trent University. and the resulting exhibition Design Week, Milan Design will create a dialogue showcases leading Design Week 2016 - an In 2015 she founded the exhibition at the Textile ‘Soils Fictions’ was initiated Week, San Francisco between two UNESCO designers, engineers, exhibition dedicated to the Fashion Crossover London Museum in Tilburg, the by COAL, an organisation Museum of Craft + Design, Creative Cities, Montréal scientists and ventures regeneration of our current platform which is an Netherlands. Earth Matters mobilising artists on social the Textile Museum in and Reykjavik, Iceland. who are at the forefront ecosystems. The exhibition online concept store and displays textiles and and environmental issues, Tilburg, the Netherlands The Phyllis Lambert Design of making potential future delved into questions such marketing platform to materials by internationally with the support of the and Chamber in New York. Montréal Grant rewards industrial and consumer as how to deal with issues introduce, promote and renowned designers and European programme the talent of a Montréal products that are grown of extreme drought, rising engage emerging designers young talent in search of Creative Europe and designer (or design from living systems. water levels, pollution, and with the fashion industry environmentally conscious the European network collective) with less than waste and what tools can on the other side of the ideas. Imagine2020. 10 years’ professional be used to regenerate our world. Slow Fashion, hand practice who has ecosystems? craftsmanship, individuality demonstrated exceptional and green production are quality in studies and work reflected in the ethos of as well as a particular the platform. interest in the city.

DIANA KOVACHEVA has been working as a Colour & KATY SHAND, CHARLOTTE SABRINA KRAUS LÓPEZ, Materials Designer at Ford NORDMOEN & ANNE fascinated by craft, worked NATSAI CHIEZA is exhibiting Motor Company since 2014 HÉLÈNE COMBAL-WEISS will VAANDRAGER were with a remote Peruvian at ‘Craft Becomes Modern: and her first project, the be leading an ‘Augmented LUCIE LIBOTTE, since Designers in Residence at weaving community for her The Bauhaus in the Ford Fiesta (especially the Ear Reality’ workshop with SOPHY STOENNER is graduating, has given a talk ArtEZ Academy of the Arts final MA project before Making’ at the Bauhaus Active and the ST series), PAMM HONG has been sound artist Antoine Bertin a designer at Fablab on ‘Shaping the Future’ in the Netherlands from undertaking the Common Dessau Foundation from was officially launched at named ‘one to watch’ at the School of Machines, Aachen – Germany’s first at the London Festival of Jan - Apr 2017. This was Thread residency for the Apr 2017 – Jan 2018 and the Geneva Motor Show this by the Future Laboratory Making & Make Believe in Fab Lab. It’s a non-profit Architecture 2015 and won the first venture for them British Council. With a also spoke at SynBioBeta year. The Ford Fiesta is the and was chosen to exhibit Berlin this summer. Their small workshop at RWTH the Global Irish Design as (Un)Known Collective. strong interest in traditional 2017 at Imperial College best-selling car in Europe, ‘Watermelon Sugar’ at the hybrid creations merge Aachen University with Challenge 2016 for her During the residency they crafts she joined forces London. SynBioBeta is with the all-new Fiesta Global Futures Forum 2016 auditory and tactile senses computer-controlled tools project ‘Dust Matters’ developed their research with the designer Noëlle the premiere synthetic going on sale across Europe where she was listed as one in the completion of and machines to make which examines discarded project on the UK housing Maxine Tierito to start their biology conference for this summer. of the ‘Top 20 Disruptors’ objects, installation and almost anything. She is matter – domestic dust – crisis and the rise of tiny own label, ODE TO A, which the industry – bringing the - the next generation of participative experiment. also just about to embark with the aim of sharing a living spaces and also collaborates with artisan global community together names that have been on a Human Computer new insight of value making exhibited at Milan Design communities to create to share best practices tipped as tomorrow’s Uber, Interaction PhD at the in the field of material Week 2017. limited - edition collections. and learn Airbnb or Google. university. innovation. 10 11

From all of the team here at Material A space to collaborate and research. Futures, we would like to thank everyone in 2016/17 who has contributed and Our aim is to actively re-think the future, collaborated with the course to support encouraging a wholly multi-disciplinary approach to design in which research is at the very heart this years’ graduating students: of the design process. We believe that it is only by observing and analysing how we live today that we can even begin to consider and explore how we can help shape a better, more sustainable future.

Adam Thorpe, Agi Haines, Alex Yardley, Alexander Rose, Alexandra Murray-Leslie, Amy Congdon, Andy Miah, Attua Aparicio, Aubrey de Grey, Bart Hess, Burton Nitta, Carole Collet, Caroline Till, Clemens Winkler, Daisy Ginsberg, David Benque, We teach our students to question the world around them. MAMF Emile De Visscher, Frederik De Wilde, works with a whole host of academics, designers, scientists, researchers Hannah Cheesbrough, Heather Dewey-Hagborg, and practitioners – all experts in their particular fields. We believe in Hefin Jones, Jamie Brassett, Jean-Cesar Minoru the value of knowledge, of research, of cross-collaboration and of Harada, Jonathan Chapman, Jonathan Chippindale, hands-on making. Julia Lohmann, Kate Goldsworthy, Kevin Warwick, Laura Gordon, Lauren Bowker, Lola Lely, Lorraine That is why for the first time we have invited some of our collaborators Gamman, Lucy McRae, Margaret Wagstaff, Matt and contributing tutors to highlight some of the critical issues that Malpass, Michael Saunby, Neil Harbisson, Nelly they believe are informing and shaping their own discipline. We hope Ben Hayoun, Nicolas Myers, Oliver Wainwright, this gives you a flavour of the types of questions and areas of design Patrick Stevenson-Keating, Paul Haywood, Philippa our students are exploring and responding to in their work. Finding Wagner, Stephen Hayward, The Long Now Foundation, answers is never simple or straightforward but at Material Futures we Tom Ellis, Tom Mannion, Tony Dunne, (Un)Known believe that we have an obligation to never stop trying. Collective, Yesenia Thibault-Picazo, Yuri Suzuki We would like to take this opportunity to thank our authors: Dr. Stephen Hayward, Prof. Carole Collet, Prof. Paul Haywood, Thank you. Agi Haines and Prof. Kevin Warwick. 12 13

Post-Truth

After studying archaeology and anthropology, then the history of art, Stephen Hayward completed a PhD at the Royal College of Art in the history of design. He subsequently taught at the University of Teesside and Southampton Institute while curating exhibitions and writing articles that applied an historical perspective to contemporary design. He has worked at Central Saint Martins since around 2000 and is now responsible for tutoring on MA Industrial Design and MA Material The designer of fictions Futures, while co-ordinating cultivates the natural. The aspects of the contextual studies moss garden attached to provision across the BA and MA Saiho-ji Temple, Ukyo-ku, Kyoto. design programmes. 14 15

Dr. Stephen Hayward schools; but it is interesting to reflect on how But how does this differ from a well- Post-Truth the imprimatur of the scientific method might researched science fiction film; what are have shaped the self-image of the so-called the distinctive characteristics of the creative professions. To what extent has it Material Futures’ construction of reality? been necessary to aspire to absolute truth in In the first place the speculation is order to be respected? This is a reference to grounded in professional knowledge. It has ‘We all know that art is not truth. both the 20th century Modern Movement’s been developed in collaboration with experts Art is a lie that makes us realise truth, predilection for slogans, like ‘form follows and user groups. The filmmaker often relies function’ or ‘truth to materials’, and more on technical consultants, but their input at least the truth that is given to us recent imperatives like sustainability, social is generally secondary to the emotional to understand. The artist must know the innovation, inclusiveness and agorism. The demands of the plot. manner whereby to convince others of the key point is how in the designer’s version of Then there is the fact that the majority the truth; technical and commercial priorities of materials explored in these projects are truthfulness of his lies. If he only mingle with aesthetic, moral, and even subjected to actual experiment. They are shows in his work that he has searched, political drivers. not simply props, or concept models, or A case in point is the best-selling copies of something that already exists. and re-searched, for the way to put over text book Universal principles of design. This leads to the core proposition of lies, he would never accomplish anything.’ 125 ways to enhance usability, influence Material Futures; as a practice it involves perception, increase appeal, make better not just the exploration of matter, but (Picasso, 1923) design decisions, and teach through design the communication of ideas through the (Lidwell, Holden, Butler, Elam 2010). The experience and the presence of the material. title reveals the behaviourist emphasis, Finally, there is the tone of the work. This is Picasso talking about the hard-won This is the situation described in the and many of the 125 principles are grounded While some projects are primarily concerned truthfulness of art. A painting or a sculpture current media panic over ‘post-truth’. In an in psychological research. And yet these with problems and others are by their nature may start with a personal conviction, but then age of infotainment, docudrama, reality TV ‘facts’ are interspersed with cultural ‘cautionary tales’, there is a wariness of the maker is obliged to conceal the handiwork. and celebrity culture, the idea of objectivity conventions, like the Golden Ratio; as well simple answers. Each project acknowledges The specific must become the universal, so is under attack. The slogan seems to be that as modernist polemic, like Modularity and a multiplicity of stakeholders and the need that the experience is able to live again, as the if it looks real, and feels real, then it doesn’t Ockham’s Razor (sic), which is a sort of for personal interpretation and action in the work is remade, or reinterpreted in the mind really matter that it is fake. mediaeval version of ‘less is more’. Perhaps realisation of change. They leave space for of the viewer. In Picasso’s own career this led So there is a blurring of boundaries, and the discrepancy lies in the effort to reconcile the imagination. They represent a world that to images that seem visceral and immediate, while the truth of ‘public affairs’ may have the many areas of design practice; from is familiar enough to be credible, but strange, but also iconic; portraits that transform an been lampooned since at least the days of those focussing on a technical concept or playful enough to trigger a conversation. individual into an archetype, or an historical the 18th century satirist, new technology is of problem-solving to those concerned with moment, like the bombing of Guernica in 1937, amplifying the doubt. What is the difference interpretation and storytelling. into something epic and legendary. between the real truth and a constructed In so far as the work of Material REFERENCES The idea that a work of art creates reality when anyone can edit an online persona Futures involves personas, communication, Lidwell,W. Holden,K. Butler, its own truth, and exists in a special time and exist in a community of his or her making? and speculation, it probably owes more to J. Elam, K (2010). Universal and space, lies behind the words of Samuel And yet some truths are more valued Picasso’s sense of an artful truth than the principles of design. 125 ways to enhance usability, influence Coleridge, the 19th century poet best known than others. Consider the different levels of sort of quantitative evidence typical of a perception, increase appeal, make for Kubla Khan. A vision in a dream (1816). investment in government funded research. scientific paper. And yet a number of the better design decisions, and teach through design. Beverly Mass, To fully appreciate the poem there must be Thanks to the internet, the medium that is projects are specifically concerned with Rockport Publishers. a ‘willing suspension of disbelief’. doing so much to challenge the hegemony emergent scientific concepts, while the Picasso (1923). Picasso Speaks The principle is central to most kinds of the expert, we can readily see how the effectiveness of the storytelling necessitates reprinted in Picasso: Fifty Years of theatre, music, film, etc., even when the annual budget of Research Councils UK an acceptance that we do indeed live by of His Art by Alfred H. Barr Jr., published for The Museum of Modern theme lacks the universal ambition of Picasso stands at £3 billion. It is arranged into seven common norms and codes. For without a Art by Arno Press, New York, 1980. or Shakespeare. It becomes controversial categories with medical research, biotech mastery of institutional conventions, like the (1) Research Council UK when the seductive power of what seems and engineering at the top of the agenda, museum vitrine, the archetypical laboratory, Strategic Priorities and emotionally true is abused, as in propaganda and the arts and humanities at the bottom (1). the ‘look’ of an official report etc., it would Spending Plan 2016-20, available at www.rcuk.ac.uk/documents/ or covert advertising, and when feelings Hardly surprising perhaps, when there are be impossible to place the audience in a documentsstrategicpriorities become muddled with empirical facts. many more votes in new hospitals than new art receptive frame of mind. andspendingplan2016/ 16

Re-Calibrating Design for the Bioeconomy

Prof. Carole Collet has dedicated her career to developing a new vision for design, and pioneered the discipline of Textile Futures at Central Saint Martins in 2000. She is now Professor in Design for Sustainable Futures and Director of the Design & Living Systems Lab at Central Saint Martins, University of the Arts. Her research focuses on exploring the intersection of biology and design to develop disruptive sustainable design proposals. Her recent curation of ‘Alive, New Design Frontiers’ (www.thisisalive.com) questions the emerging role of the designer when working with living materials and technologies such as synthetic biology, and establishes an original framework for designing with the living via the lens of sustainability. One of Collet’s characteristics is that she takes on different research roles, from designer, to curator and educator. This enables her to develop an informed critique of both the design outputs and the design contexts, from making knowledge to framing knowledge. Her work has been featured in international exhibitions {Fig.2} Self-patterned and she regularly contributes to conferences mycelium rubber © Carole Collet 2016. on the subject of textile futures, biodesign, Created as part of the biomimicry, synthetic biology, future design research project manufacturing and bio-materiality, sustainable ‘Mycelium Textiles’ which explores the design and climate change. Collet has potential of mycelium recently been appointed Director of CSM LVMH to grow bio-circular Sustainable Innovation to lead a R&D programme materials and new biodegradable finishing that can foster the development of sustainable processes for textiles. propositions for the luxury industry. 18 19

our Earth’s crust to mine precious metals and design methods to co-work with organisms to Prof. Carole Collet vacuum-suck finite oil resources. It seems generate new materials and finishings(Fig.2) . Re-Calibrating Design that paradoxically, as our environmental Yet, the bioeconomy is growing fast, and many consciousness has risen, our exponential and countries are putting in place formal and for the Bioeconomy unconstrained consumption model blatantly official bioeconomy strategies. According to undermines our progress. So what does the the European Union, ‘recent and continuing future of sustainable design look like? What progress in the life sciences now makes the can design do next to help transition towards bioeconomy one of the most dynamic sectors a mindful, interconnected, environmentally- of the European economy and it is also one restorative and resilient society? of the largest employers’ . It is now time Designing for the ‘bioeconomy’ may for designers to expand their practice and well hold that promise. The OECD defines contribute to imagine this new bio-based the bioeconomy as referring to ‘the set of regenerative economy to help transition Material-led, critical, speculative, reflective, design-hungry communities, but for the economic activities relating to the invention, towards a more sustainable future. industrial, craft-based, bio-inspired…whatever citizens of a planet threatened more than development, production and use of biological However, we need to remain critical of we choose to individually qualify our design ever by over-exploitation? products and processes’ . Mainstream design the promises of the bioeconomy. Even if we expertise, it is informed by our studies, I am an ecologist. When that’s your currently relies on working with the natural, succeed in shifting from conventional linear influenced by our times and anchored within starting point for design, you also have to the chemical, the artificial and the synthetic manufacturing systems to more sustainable our respective cultures and personal journeys. be on the optimistic side to be able to face material worlds, and until now has mostly fed circular bio-based production models, we are What matters to me is what difference design the harsh realities of the world at large. 2017 into an energy-hungry linear manufacturing still at risk of endorsing further our current can make, in what realms, and for whom. marks twenty years of my teaching role at system that largely relies on the toxic overconsumption mindset. The bioeconomy However, these fundamental traits are often Central Saint Martins where I first embarked exploitation of non-renewable resources. can only succeed if we alter our consumption misguided by the pace of technological on creating a disobedient curriculum with With the emergence of the bioeconomy, behaviours and fundamentally rethink the emergence and the quest for obsolescence- sustainability at its core. Inevitably, I ask design stands a chance to reinvent itself notion of progress to create a new bio- driven marketing models. We seem to evolve myself, how has that made a difference? and to influence the shaping of bio-circular modernity that is inclusive, interconnected on a trajectory of ‘progress’ defined by What has changed in twenty years? How do production systems that demand a thorough and mindful. material wealth, high-tech knowledge and we ensure our students can remain ready to understanding of renewable biodegradable a brave new world of apps. Within this face evolving future challenges and make a materials and circular supply chains. The context, I believe designers should take a positive impact on the world? What are the field of biomimicry, the emulation of nature’s step back and evaluate their roles in relation emergent ideas that design can empower? principles, has already permeated through to the ‘global versus local’ discourse, the And indeed, what are the most pertinent architectural and design practices, but North-South divide and the ever-increasing design questions? Twenty years ago, embracing remains a niche concept. It allows for design environmental pressures. But easier said sustainable principles was somewhat on strategies to manifest expanded sustainable than done. How do we reconcile intrinsic the periphery of design, an optional ‘plug- propositions inspired by how nature fabricates creative playfulness, genuine invention in’, ignored by most. Today, designers materials and engineers solutions at an and original thinking with the ability to understand, consider and evolve new ways ambient temperature, and without toxic address pressing societal and environmental to embed ecological values in their design by-products. In this emerging design challenges? This is where design education propositions. Sustainability is ubiquitous, at landscape, biology is taking centre stage and can make a difference by providing a space the risk of becoming mainstream, and even, new relationships with the natural world can {Fig.2} to experiment, explore, critique, imagine dare I say, a ‘predictable’ topic. So quite a be established (Fig.1). Design for ‘biofacturing’ and inspire. It creates a fifth dimension of lot has happened in twenty years. A clear (versus design for manufacturing) will require possibilities, where the future meets the awakening that we are interconnected with an expanded set of skills and methodologies present, the past re-awakens the forgotten, our environment, and as such dependent on and designers will need to re-calibrate their REFERENCES and new paradigms are carefully composed. its resilience and ability to regenerate. But at practice to engage with twenty-first century {1} www.greenpeace.org/ It lives on the tangent between industry the same time our global world population is biofabrication tools. Embracing biomimicry international/Global/international/ briefings/toxics/2016/Fact-Sheet- and research, design follies and pragmatism, promising to fast reach unprecedented levels principles, together with incorporating bio- Timeout-for-fast-fashion.pdf the real and the virtual world, re-inventing and our material consumption has become technological emergent processes arising from {2} www.oecd.org/futures/long-term manifestos and growing new design toolkits - rampant. According to Greenpeace, in a recent advances in the biological sciences technologicalsocietalchallengesthe these are the stuff of our everyday. But will report published in 2016, ‘clothing production (such as synthetic biology), will stretch most bioeconomyto2030designingapolicyag it last? And how does that help us create a doubled from 2000 to 2014’ - a staggering designers out of their comfort zone. Designing enda.htm better future, not just for the elitist fact. We are digging deeper and deeper into living systems for instance will require adaptive {3} www.epsoweb.org/file/560, p.4. 20

The Trouble Today

Professor Paul Haywood is Dean of Paul Haywood’s main activities as Programmes for Art, Culture and an arts practitioner are focused on Enterprise, Graphic Communication a small group of cultural enterprise Design, and Drama and Performance at projects relating to processes of Central Saint Martins, University co-creation that prompt artistic of the Arts London. He is Chair of outputs. He has a long-term and PARADOX, the Fine Art European Forum, ongoing collaboration with designer and Co-Chair of NAFAE, the National Maxine Kennedy (www.colourground. Association for Fine Art Education in com) concerned with enquiries into the UK. He is Visiting Professor for landscape colour and place identity. Creative Community Engagement at the He has worked with sculptor Karen University of Salford in the Faculty of Lyons and with Kelly Burgess over a Health and Social Care; this research number of years to establish and prove connects with Universities and adult a project framework for recycling learning networks across Europe and is metal for weapons into design outputs concerned with the design of open tools and sculpture (www.gunstogoods.com). for the recognition of learning from He maintains a studio in Rochdale, experience. He is currently engaged East Lancashire, where he continues with research and academic communities to explore a painting practice. within UAL where is collaborating on the design of curriculum frameworks to support open mutual learning in distinct areas of cultural production. 22 23

Prof. Paul Haywood The Trouble Today

“Could you write eight hundred words for our catalogue, please?” Creativity is common; it is as innate as the air. “Respond to an area of society, culture, technology or material.” Cultural production is a normal human function, habit and need. My immediate impulse is to search for a helpful system. It is not a privilege, neither an exclusive natural gift. How can I manufacture 800 words into one cogent response. It is our personal right of reply constructed from within. How can I design and articulate an answer from nothing. Let’s not preserve a conservative model of public resource distribution. A structure will give me form for reference and rules. Let’s foster optimism and build towards improving mutuality and respect. Deploying a decimal framework, I can write in manageable sentences. Guarantee the means of cultural production for all in society. It should become possible to shepherd random thoughts into alignment. Guarantee the free movement of culture between and beyond communities. Writing ten words per sentence means eighty sentences in total. Assume an ambition for equality, enjoy the ecology of difference? Ten sentences per paragraph means eight paragraphs in logical order. Nurture belonging for all across society and harvest rhizomatic diversity.

I like systems; regularity, order, solidity, solidarity, form and unity. The trouble with today is that fear is actual currency. Foundations to support the construction of my thoughts and beliefs. The powerful play with our anxieties and profit from division. Then I can deviate and create difference or differently create. Potential impacts from the ridiculously named Brexit are provoking uncertainty. Sensible foundations give us permission to breathe out of rhythm. Negotiating new terms with European nations and nationals assumes enmity. To see around corners or from behind doors and walls. Confused and confusing national policy initiatives divert the expert eye. To resist resolution and know that there is always more. The post-truth political era is recasting democrats into ideologues. Pragmatically, personal invention and adventure requires a degree of certainty. Trump’s narcissism is enforcing a collective state of not knowing. A sense of the earth beneath our feet, of belonging. Partisanship and conflicts disrupt our cosmopolitan local and global communities. Creative freedoms are most sincere when rooted in secured footings. Diminished and diminishing civic ownership is segregating our social communities. To be of society, each cultural contribution must have value. Design thinking for society has to combat power and privilege.

I choose to respond to one pressing and paradoxical dilemma. My roots are in Manchester and that post-industrial conurbation. It concerns our general assumption of civic and equal rights. By the moorland ridge out east of the Salford 100. A squandered democratic vision in an era of privileged participation. In the foothills that roll west from the Pennine edge. A notional concept of public good polluted by principled sovereignty. Where the threads of Calder and Roche are spun together. An aspiration that remains elusive and ill-fitting within capitalism. Looking over the Irwell Basin from the pallatine of Lancashire. Despite the packaging, our cultural democratic processes are uncommonly private. The bombing of May 22nd momentarily clarified our collective vision. Comprehensive access to public resources are constantly pirated for profit. It offered proof of our natural sense of common community. Despite our humanity, despite our protestations, we preserve selective privilege. It validated our reputation for ‘northern’ togetherness and resilience. There is no democracy without fair access to cultural resources. And, for the moment, solidarity prevails and it has a voice. Without means of nurturing personal wisdom, knowledge, and cultural production. In many ways it is strengthened by this recent horror.

This is a contemporary dilemma and challenge with serious history. Of course, we cannot know the pain of the victims. A chronic condition with ancient linage and new century character. We cannot really experience the suffering of their loved ones. How to orientate the disorientated, the displaced, and the disavowed. These are individuals who must be allowed their personal grief. What does inclusion mean in a caste world promoting exclusivity. Inevitably, Mancunians will all know someone who suffered that day. Those who cannot access nutrition, may not grow towards illumination. It is two connected cities largely comprised of family networks. And this source of disadvantage is the genesis of privilege. What is notable and obvious is deep sadness but determination. Where we become separated, we also become remote and detached. United in peace but proud of our differences and diversity. Producing some with too little and some with too much. What happened was human tragedy, annotated by a global media. And so, society becomes and remains unbalanced, unequal and unjust. Resonating the pain of countless others suffering through modern conflict. Whilst some cultural contributions become devalued and then not recognised. Our only answer is unity. Our system is each other.

24 25

What’s Next? The Future of Design and the Body

Agi Haines’ work is focused on the design of the human body. How might people respond to the possibilities of our body as another everyday material and how far can we push our malleable bodies while still being accepted by society? Currently she is undertaking PhD research at Transtechnology Research, funded by Plymouth University. This research sits within a transdisciplinary department called Cognovo - a large scale Marie Curie funded ITN exploring cognitive innovation. Working amongst various artists and scientists who are all focused on creativity and cognition, her inspiration comes from the weird and wonderful things that exist inside us. Questioning how our morbid curiosity for the viscera of life might affect the future of design, not only for the environment but also for us as sentient sacks of flesh within it? 26 27

Agi Haines What’s Next? The Future of Design and the Body

The interaction between the body and endless possibility. Yet as Stan Lee suggests involved. Another shift in design thinking a number of insights, firstly to pre-empt technology has always been a concern of “with great power there must also come great has encouraged the move away from design potential issues and responses to these the designer. With the ongoing integration of responsibility” (2) and more thought will need as product driven to be inclusive of inward futures. Secondly to aid further understanding new biological technologies into the design to be put into using material that we have a looking critique. The role of design is now in of the processes in science as well as art toolbox, the instruments of design now have biological connection with. itself often questioned as part of the design and design practice. And finally to help us softness or moistness, and a potentially fluid The shift in design from a historically thinking process. Paradigm shifts such as consider what kind of research may be worthy and developing plasticity. The body is now a solution driven discipline to encompass the ones mentioned above become part of of our future creative and scientific efforts. fabric, pervious to design intervention. Yet counterfactuals, criticisms and imaginaries a trajectory of shifting focus that is guided “Technological innovation is part and parcel what gives the designer license to deal with has revealed it can be a platform for by inputs and ideas, yet their crossovers can of that development, of exploring humanity this sensitive biological fabric, especially provoking thought through methods that offer fertile ground for artists and designers and exploring the world around us.” (3) This when the present or even future of the body inhabit the fringes of design practice. Design to make work that can dent this trajectory, type of exploratory design is therefore a is not yet visible to us? may then be used to raise questions regarding leaving a permanent cognitive imprint. An vehicle for ideas exchange across disciplinary Initial fears that human alteration may the use and distribution of knowledge and intervention in the way we understand a boundaries, it is the saliva of the disciplinary compromise our sense of identity and essence its subsequent effect. Highlighting questions particular topic, in this case the interaction world; it can lubricate a concept or topic are dispelled through the understanding about the body and technology through between the body and technology. that may otherwise be difficult to digest. that perhaps the innermost desire to alter design may in turn impact our comprehension Throughout the history of biomedicine ourselves is characteristic of human-ness. of the interaction between the two. and healthcare the human body has been Since Frankenstein was published in 1818 both The future of design is dependant viewed and represented as manoeuvrable confidence in and caution of science has on the interplay between a number of and modifiable by technology. The more maintained, as Shelley writes “none but those paradigm shifts. These shifts are not new widely accepted the soft and moist tools of who have experienced them can conceive abrupt ruptures but rather have a history of design become, the more chance they might of the enticements of science.” (1) Scientific development and resurfacing, they are not make us, as humans, the product. A choice anxiety is not necessarily wholly due to the the result of a specific trigger but rather they to accept or reject the future of biological emergence of a new technology, it may be are fluid shifts in focus or attention. A current technologies can be probed through design REFERENCES a more deep-seated concern about the shift in research methodology includes sharing research. It is no longer a question of general use of knowledge. The acquiring ideas, approaches and working processes technological possibility but rather one of (1) Shelley, M. (2013). of knowledge does not necessarily have between seemingly divergent disciplines and human character that will push us forward Frankenstein. London, e-artnow. to invoke the use of it. After a substantial includes the integration of alternative insights into the new stage of biotechnology. It (2) Lee, S. (1962). Amazing amount of time, growth and evolution it seems to highlight new enquiries and concerns. The is imperative to continue reflecting on Fantasy 15, USA, Marvel Comics. there is a lot more potential for humans to enquiries and concerns are formulated from and imagining the developing plasticity of (3) Sargent, E. (2012). Superhuman – Exploring Human change. The opportunity of introducing new an exchange of ideas, which can unravel technological futures. Simulating biomedical Enhancement from 600 BCE to 2050. modifiable material opens up the gates for topics that are shared between all parties and technological imaginaries may offer London, Welcome Collection. 28 Photography by David Vintiner A Revolution in the Body as an Art Form

Kevin Warwick is Emeritus Professor at Reading and Coventry Universities. His research areas are artificial intelligence, biomedical systems, robotics and cyborgs. Kevin is a Chartered Engineer who has published over 600 research papers. His experiments into implant technology led to him being the cover story on the US magazine, ‘Wired’. He achieved the world’s first direct electronic communication between two human nervous systems, the basis for thought communication. He has been awarded higher doctorates (DSc) by Imperial College and the Czech Academy of Sciences and Honorary Doctorates by 9 Universities. He received the IET Mountbatten Medal, the Ellison- Cliffe Medal from the Royal Society of Medicine and presented the Royal Institution Christmas Lectures. 30 31

Prof. Kevin Warwick A Revolution in the Body as an Art Form

The human body has long been used as a form expression can also have a practical purpose. So of expressive art, indeed it may well have been identification implants allow a computer to know the first canvas with regard to painting and where you are and in response switch on lights jewellery. In some countries this has included and operate doors without you lifting a finger. deformations of the body, particularly the neck, You and your building become an immersive work feet and face. In particular, African body art of system art, a cybernetic whole. has included scarification, shaving and body But it really gets exciting because no painting. Even body piercing has been popular, longer does an individual’s body modification especially with regard to the lips, ears and nose. need to be a visual alteration to the outer All of these aspects have involved side of the person (e.g. skin) but instead can modifications to the physical appearance of be implanted and have no immediate visual an individual usually for its visual effect. This effect at all. Indeed it does not need to be an is epitomised by, in the present day, moving individual implantation but rather a collection from the body beautiful in Michelangelo’s of implantations that have an external effect David or Titian’s Venus of Urbino towards body under circumstances. Thereby realising a truly imperfections. Visual interpretation of this comes cooperative, social work of art. in the form of pseudo-abstractions such as For one person it may mean that they can Antonio Mora Diaz’ “Sad”. Body perfection is not sense the world in new ways, not before open the ultimate artistic expression that it once was. to ordinary humans, and their brain signals can Interestingly, as some of the older African operate interactively with the internet. But artistic traditions are in decline as the society when linking with the implants of others this becomes more westernised, so they have found rapidly becomes a collaborative effort. And a new form of existence in the western world. to experience the output of a collaborative Tattoos, once the stable of the working classes work of art a person may well need an implant have become a fashion item, something sought themselves. It rapidly becomes a must have, not after and what the middle classes simply must only to exhibit but also to experience. have along with their BMW, satellite TV and So you have to ask yourself this. Do you wish designer kitchen. to remain in an antiquated art world of painting But in this upsurge in recent years has sprung on two dimensional canvases (do people still a whole new genre of body piercing due to the do that?). Or do you wish to be part of the ready availability and adaptability of technology. new avant garde and look on art as part of the You name the body part, it can be pierced. But technological/biological revolution? This means in reality no longer is it strange or shocking to impinging on your body beautiful not with some Material witness nipple or genital piercings, arguably as an external indicator such as a tattoo but instead individual’s effort to stand out from the crowd. with a little implant that sits in your body. Nowadays what gives someone the edge is to Such an implant possibly merely interacts have a technological piercing or even an implant with the external world or maybe you will have Futures – not to regain a body function (such as hearing) one that sits in your nervous system and has that is no longer functional or to overcome a the ability to relate your immediate excitement neurological problem (e.g. Parkinson’s Disease) or shock to a globally encompassing intelligent but rather as an expressive art form. network. In return you will be able to experience It is quite possible now that your piercing the excitement and shock of others. You will Class also tells you the direction of magnetic north have become part of a global, interactive, or causes LEDs to light up under your skin when bi-directional art form in which the participants you are in the proximity of something magnetic. are also the benefactors. You will be part of Essentially what might be considered as artistic the Techno In-Crowd. of 2017 32 [email protected] 33

Agusta Arnardottir Agusta Arnardottir Future Farming

Democratising the emerging and advanced technologies usually only available to the world’s mega-farms.

Family farms provide 80% of the world’s food on only 24% of the world’s farmland, however, with increasing competition from commercial mega-farms, how will they continue to feed and support our rising population as well as preserve their way of life?

Industrial agricultural plants employ advanced automation technologies in order to increase efficiency and drive profits which a small-scale family farm is often unable to invest in or take full advantage of. All too often this results in them being completely left behind technologically and unable to compete in the world’s marketplace as they can’t fulfil society’s expectation of low-cost high-yield food crops.

However, unlike commercial mega-farms, small-scale farms and their traditional way of life are far more beneficial for our environment as they maintain healthy soil - a depleting future resource, ensure crop variety as well as provide protection for our more fragile and more holistic natural eco-systems.

Through this project, I spent time living, working and observing several small-scale farms and worked with the families to create a range of open-source, more accessible artefacts that not only would enable them to take full advantage of the latest scientific and technological developments within the agri- tech industry - which ordinarily would be far out of their reach economically, but would also allow them to continue with their more environmentally friendly, traditional farming practices and way of life.

‘Globally 33% of agricultural soil ‘The world is currently producing – fully a third – is classified 4600 kilocalories of food per degraded.’ [SOURCE: UN Food and person per day’ (SOURCE: Tudge Agriculture Organization 2015] 2016 p. 18] Agusta Arnardottir 34 EXPERTS 35

Dr Jonathan Menary, PhD candidate Jake Eldridge, Organic Farmer and in Sources of Innovation in the Forest Keeper, Oxton Organics Fresh Produce Industry, Warwick Crop Center Laura Marner, Area Manager and Horticulturalist, Vitacress Jayne Eldridge, Organic Farmer and Horticulturalist, Oxton Sigurdur Sigurdsson, former Organics Sheep Farmer in Iceland, special advisor on various farming techniques, both traditional and modern.

COLLABORATORS

Signy Thorhallsdottir, Graphics

Birgir Orn Jonsson, Bookbinding

Karen Douglas, Proofreading 36 angela-mathis.com 37 [email protected] Angela Mathis Angela Mathis Ectosymbiont

Exploring the technique of decellularisation on plant tissue and its application for the human body.

‘Natures materials carry a quality insurance of 3 billion years.’ Oded Shoseyov [SOURCE: www.ted.com/talks/oded_ shoseyov_how_we_re_harnessing_ nature_s_hidden_superpowers]

Engineering plant tissue for the human body.

Every day 22 people die because they did not receive a transplant organ on time, and this is only in the US. That makes over 8000 preventable deaths a year. Because of the surprising similarities between human and plant scaffold, this project explores the use of plant tissue for transplantation into the human body. My material experiment with plant tissue has resulted in an archive of 100 different decellularised species and a collaboration with scientists to use tissue engineering to evolve us, the human species, into the Homo Ectosymbiont.

‘It is not the strongest of ‘The problem of organ shortage the species that survive, nor lead to an illegal million the most intelligent, but the dollar business.’ [SOURCE: www. one most responsive to change.’ economist.com/node/12380981] Charles Darwin

‘After decellularization, plant scaffolds remained in its shape and are able to transport microparticles.’ Joshua Gershlak Angela Mathis 38 EXPERTS 39

Joshua Geshlak, leads the Dr David C.K.Cooper, Pioneer and research on decellularised expert in xenotransplantation. spinach for cardiac muscle. Professor of Surgery, Pittsburgh PhD candidate, Life Sciences & University Bioengineering Center, Department of Biomedical Engineering, Mr Florin Feneru, advised Worcester Polytechnic Institute on plant species and their taxonomy and showed me the Dr Giuseppe Mazza, the first plant collection in the cellar scientist worldwide to of the Natural History Museum. decellularise a liver. CEO at Identification and Advisory Engitix, Post-doc Fellow at UCL Officer, Angela Marmont Centre and Director R&D at Promethera for UK Biodiversity, Natural Bioscience, Royal Free Hospital History Museum, London

COLLABORATORS

Tom Mannion, Photographer 40 [email protected] 41

Annya Mutia Suhardi Annya Mutia Suhardi Phantaspalma

An exploration of the palm oil industry and the controversy that surrounds it.

Should we prioritise environmental protection over the livelihoods of others who are more vulnerable and dependant in society?

From snacks to shampoo, palm oil is present in over half of all the products we consume. Given the extent to which we, in the most developed countries of the world, depend and consume this product, it naturally has a huge environmental footprint. Yet at the same time, it is often the only opportunity for some of the world’s most vulnerable and least developed communities to earn a decent living, often providing them with basic amenities such as fresh water, sanitation, education and basic infrastructure such as roads, schools and housing. Given the environmental consequences of palm oil, coupled with its ability to transform the lives of the poorest communities in the world, it is no surprise that it has therefore become one of the most debated commodities of the century.

Through my project, I hope to expose the impact, both good and bad, that surrounds palm oil and unearth the whole picture that we often don’t get to see through the mainstream media. By creating an arcade machine that explores the complexities that surround the commodity, I invite people to put their previous assumptions aside and instead step into the shoes of a palm oil factory owner and try their luck in making “better” decisions for both the industry as well as the environment.

The project aims to deconstruct what we think we know about the issues surrounding palm oil by allowing us to better reflect on the choices we make individually, as well as how as a society we should balance issues around sustainability and ethics.

Palm oil is in around half of [SOURCE: www.theguardian. all packaged items found in com/sustainable-business/ng- supermarkets, from biscuits to interactive/2014/nov/10/palm-oil- detergents. It is the most widely rainforest-cupboard-interactive] used vegetable oil on the planet, accounting for 65% of all vegetable oil traded internationally. Annya Mutia 42 EXPERTS 43 Suhardi Bambang Notonegoro, owner of Ashley Gorst, has been studying the palm oil plantation which I how to apply environmental visited for my field research. He economics to corporations and has been involved in the business systems. He helped me make sense for nearly thirty years. CEO, PT. of whether the case for change Swadaya Sapta Putra in the palm oil industry would suit being tackled through Rauf Prasodjo, involved in the more environmental economics or regulatory part of the palm ecological economics routes. oil industry since his time PhD candidate in Environmental working for the United Nations Economics, London School of Development Programme and World Economics Resources Institute. He is now trying to make a “change from the inside” by working with Unilever who purchases 3% of the total palm oil production. Sustainability Sourcing Manager, Unilever Indonesia

COLLABORATORS

Muhammad Vilhamy, Artist

Lutfiadi Rahmanto, Programmer and electronics expert

Tom Mannion, Photographer

Helen Ingham, Signwriter 44 anoushkacole.com 45 [email protected] Anoushka Cole Anoushka Cole Project Fish

With declining fish stocks, a struggling fishing industry and the cultural landscape of our coasts under threat, I aim to celebrate such communities and their associated crafts whilst at the same time caretaking for the environment.

A poetic response to a marginalised community and a forgotten resource.

The UK fishing industry has been forgotten and left to decay on the coastlines. Many of these traditional communities are now left marginalised with a lack of prosperity as well as opportunity, and without much to offer in the way of enticing rejuvenation or regeneration.

Exploring this forgotten and discarded resource, my project aims to celebrate the primitive relationship between humanity and the sea, crafting meaningful and valued artefacts that cement our bond with the surrounding environment.

This project acts as a poetic response to a complex and multifaceted problem. The project is not meant to propose a solution to fix these issues, but instead acts as a catalyst to promote and inspire change.

57% of the total UK fish and shellfish are classified as waste.

Forest Worm predicted collapsed fish stock decline by 2048

Small scale fishermen make up 77% of the British fishing fleet but net just 4% of the total quota. Anoushka Cole 46 EXPERTS 47

Martin Fuller, a small-scale Ken Thomas, a retired Fisherman Fisherman from Newhaven with who’s family have fished from a 16ft open boat. His fishing Dungeness for decades. He now practice is sustainable, working runs the fish hut on the beach with static gear and hand lines, selling the day’s catch from the causing very little impact to boats run by his son and brother. the environment. Self-employed Self-employed Fisherman Fisherman. Andy Kenny, Marine Benthic Sam, a Fishmonger who buy Ecologist whose work looks at fish directly from small-scale the effects of human activity fishermen around the British on the seabed. He has worked coast daily. Sam has been with the EU on the management of collecting their waste fish deep sea fisheries. Principal skin for me throughout the year Marine Biologist, Centre for Fishmonger, Moxon’s Islington Environment, Fisheries and Aquaculture Science (CEFAS) Rose Choules, hand makes moccasins and clogs inspired by Oliver Cross & Lucy Lloyd, make ancient styles in her studio in footwear inspired by contemporary Bude, Cornwall. Her traditional design whilst maintaining techniques and understanding of traditional techniques and a the material whilst working with respect for the leather they fellow craftspeople celebrates work with. Shoemakers, Ottowin the past whilst creating Handmade Footwear sustainable lasting products. Shoemaker, Rose Choules Atelier

COLLABORATORS

Tom Mannion, Photographer

Ricky Lee Brawn, Metal Technician, Central Saint Martins 48 [email protected] 49

Bolor Amgalan Bolor Amgalan Match Clinic

Science says love is just chemicals in the brain and sequences of genes. This project explores the consequences of this definition on the future of human relationships.

Globally, 1 in 3 relationships begin online; 1 in 5 new marriages are a result of an online dating site. [SOURCE: match.com]

What is your scientific compatibility to the rest of the world?

In a world where hacking into a dating site to increase your compatibility with other profiles is becoming more and more common, how will the increasingly scientific understanding of love impact the way we see ourselves and form relationships with others? Science says our immune system genes play a significant role in how we feel attracted to others; and labs all around the world are offering DNA compatibility tests to both singles and couples. Based on my own attempt at profiling my most scientifically compatible match through collaboration with geneticists, psychologists and a neuroscientist, I present to you Match Clinic. Using cutting edge scientific instruments, Match Clinic will find the best match for you from our database, backed by existing scientific research. We will test your genetic and psychological compatibility across a broad spectrum, which could also reveal useful information to you about your personality and health. Our goal is to increase your chances of achieving a high compatibility score with your future partner.

There is now strong scientific Researchers are now able to evidence that genetically pinpoint the exact parts of the compatible partners enjoy brain that get activated when greater attraction to one we feel love as well as the another and have superior chemicals in the brain that are relationship stability.(SOURCE: responsible for the feeling of Instant Chemistry referencing love – namely dopamine, serotonin the Dr. Claus Wedekind study and oxytocin. (SOURCE: Helen on genetic compatibility, Fisher 2009, Why Him? Why Her?) www.instantchemistry.com/ relationship-compatibility) Bolor Amgalan 50 EXPERTS 51

Anar Amgalan, Neuroscientist Jacqueline Olds, respected currently developing algorithms Psychiatrist, Author, and the that predict the dynamic Inventor of SunSprite light evolution of networks (from tracker and Consultant in neurons to populations) in Psychiatry, MGH/McLean Adult response to energy constraints Psychiatry Residency Training and perturbation. PhD candidate Programme in Physics, Laufer Center for Physical & Quantitative Biology, Heidi Kuivaniemi-Smith, Stony Brook University specialising in facial identification and is involved Dr Tamara Brown, expert in research in the field of in molecular genetics and investigative interviewing. neurobiology. The Gene Partner Forensic Artist, Facial Depiction matchmaking algorithm was developed based on Brown’s Dr Sharrona Pearl, Theorist of PhD research. Chief Scientific the face and body with particular Officer, Gene Partner focus on physiognomy and its communicative role throughout Dr Sara Seabrooke, an expert in history. Assistant Professor genetics and neurotherapeutic of Communication, University of drug development, Sara is in Pennsylvania charge of developing the Instant Chemistry DNA compatibility test. Chief Scientific Officer, Instant Chemistry

COLLABORATORS

Tom Mannion, Photographer

Caitlin Young, Videographer

Phill, Sound Designer, Plane Audio 52 brittberden.com 53 [email protected] Britt Berden Britt Berden PLAN B?

Design as a communicative tool to inform the public about climate engineering, a risky but realistic future.

How to critically engage the public around the issues of climate engineering?

We are living in the Anthropocene, a geological era shaped and controlled by humanity. It makes us aware of the global impact and responsibility we have to deal with human-induced climate change. One proposed controversial method of dealing with our impact is a highly man-driven technological approach: climate engineering. Climate engineering is the deliberate intervention in the climate system to cool down the Earth. One way of doing this is reflecting sunlight back into space. Scientists see this as ‘Plan B’ when other attempts of fighting global warming have failed.

My project aims to look at the way culture has created an over positioned attitude towards the natural world. We often assume that we can accomplish and abstract the systems of the Earth, expecting them to be simpler than they actually are. The emphasis of my project is on the way we perceive the Earth as a machine and how we are playing God.

The objective in my design is to simulate the scientific complexity of tinkering with the climate as a communicative tool. I use an educational approach to explain brightening the clouds, artificially mimicking the way natural clouds form to reflect sunlight. I also explain Stratosphere Aerosol Injection, spraying tiny particles into the sky to reduce the amount of sunlight reaching the Earth.

Both are realistic but highly dangerous proposals to fix the planet. Let’s not make this future a reality...

‘Tests must begin in earnest, ‘As the Arctic warms, interest time to stage trials of in geoengineering increases engineering the atmosphere to (…) China has been suggested cool Earth’ Watson Matthew 2016 as likely to initiate climate [SOURCE: www.newscientist.com/ engineering’ [SOURCE: www. article/2113880-time-to-stage- arcticnow.com/scien-ce/2017/01/10/ trials-of-engineering-the- as-arctic-warms-interest-in- atmosphere-to-cool-earth/] geoengineering-increases] Britt Berden 54 EXPERTS 55

Markus Kalberer, part of the Peter Irvine, conducts research SPICE project, he investigated on the broader impacts and the effectiveness of Solar implications of solar climate Radiation Management and engineering as a potential means particularly focused on the to reduce the risks of climate chemical composition of organic change. Postdoctoral Research aerosols and the corresponding Fellow, The Keith Group, Harvard changes to the climate. University Professor in Physical Chemistry, University of Cambridge Jack Stilgoe, works on science and technology policy, Tony Cox, his contribution to the particularly the governance of SPICE project involved specialist science and emerging technologies advice on the potential impact as well as public engagement of particles used for Solar with science. Senior Lecturer, Radiation Management on the Department of Science and stratospheric ozone. Doctor in Technology Studies, University Physical Chemistry, University College London of Cambridge Jan Zalasiewicz, involved in Jeroen Oomen, trained in helping develop ideas on the philosophy, sociology and Anthropocene and chair of the political science, he has a Anthropocene Working Group of particular interest in questions the International Commission of equality and fairness, the on Stratigraphy. Professor of environment and climate change. Paleobiology, University of PhD student and Visiting Leicester Fellow, The Keith Group, Harvard University Matt Edgeworth, archaeologist and cultural anthropologist has a special interest in the Anthropocene. Archaeologist and Anthropologist, School of Archaeology and Ancient History, University of Leicester

COLLABORATORS

Tom Mannion, Photographer 56 [email protected] 57

Candyce Dryburgh Candyce Dryburgh Carnicultures

The current meat industry is unsustainable. With the promise of in-vitro meat on the horizon, how will our relationship with meat evolve when we no longer have to kill an animal for it?

Is in-vitro meat the answer to a more moral and sustainable meat supply?

This project sets out to investigate alternative methods of culturing your own meat when in-vitro has become commonplace and is available in local supermarkets. As this becomes more domesticated and people begin to culture at home, how will we start to tell the difference between what is ethical and what is socially wrong?

Through exploring systems set up to enable users at home to culture their own muscle tissue I aim to investigate what good meat is - just because we didn’t have to kill the animal to eat it, does that make the meat more moral?

Livestock pose a significant A study out of Oxford University disease risk to humans. showed clean meat could Around 60% of all known human potentially be produced with 96% diseases and 75% of the most less greenhouse gas emissions, damaging emerging diseases are 45% less energy, 99% less land animal-transmitted in origin. use, and 96% less water use [SOURCE: www.sentience-politics. than meat made through animal org/de/positionspapiere/ agriculture. [SOURCE: www. kultiviertes-fleisch/] medium.com/@sethbannon/cleaning- the-record-on-clean-meat- There is scientific consensus 4888815a8614] regarding animal sentience and their capacity to suffer and this is officially recognised in EU legislation. [SOURCE: www.ec.europa.eu/food/animals/ welfare_en] Candyce Dryburgh 58 EXPERTS 59

Chloe Hurling, is investigating Andy Miah, with a focus on Bardet-Biedl Syndrome using technology and posthumanism, induced pluripotent stem cells. his research considers the many She is also an advocate for ethical issues we are confronted public engagement in scientific with as a result of these research. PhD student, Centre innovations. English Bioethicist, for Stem Cells & Regenerative Academic and Journalist. Also Medicine, Guy’s Hospital, London Chair in Science Communication and King’s College London & Future Media, University of Salford, Manchester Jess Krieger, for the past three years Jess has optimised a culture system that improves tissue organisation and muscle fibre development in tissue engineered skeletal muscle. PhD student, Kent State University and New Harvest

COLLABORATORS

Jonny Garrill, Graphic Designer, Hattie Hunter King, Common Works Model and location for film

Tom Mannion, Photographer Terrence, Model Gurtie, Model 60 lewchristine.com 61 [email protected] Christine Lew Christine Lew The Galactic Everyday

Exploring the overlooked everyday aspects of future life in space.

’I think the human race has no future if it doesn’t go to space.’ Stephen Hawking [SOURCE: www.dailymail.co.uk/sciencetech/ article-4468700/Stephen-Hawking- says-leave-Earth-100-years]

Scott Kelly, the NASA astronaut who recently finished his one- year mission in space stated “Personally, I’ve learned that nothing feels as amazing as water…” This comment struck me that there is a real longing and desire for sensorial and tactile experiences in space, where it is sterile and inhospitable. The subject of humanness and achieving human comfort in space has been overlooked by science. Humanising space needs to be addressed and given attention and research in order for humans to live well in long-term space colonisation and deep space exploration. My position on space travel is neither the picture painted by NASA and SPACE X, nor is it the adventures of Barbarella, it is the grey area of space, the overlooked day- to-day life of humanity that I believe to be of importance. Why can’t living in space be purposeful and fulfilling but also enjoyable, pleasurable and sensuous?

‘We will stay on Earth forever, ‘The seven wonders of TRAPPIST-1 and eventually there will be are the first Earth-size an extinction event…and the planets that have been found alternative is to become a orbiting this kind of star.’ spacefaring and multiplanetary Michael Gillon [SOURCE: Gillon, species — that’s what we want.’ lead author of the paper and Elon Musk [SOURCE: www.futurism. the principal investigator of com/elon-musk-has-a-new-timeline- theTRAPPIST exoplanet survey for-humans-living-on-mars] at the University of Liege, Belgium.] Christine Lew 62 EXPERTS 63

Cameron M. Smith, combines his Dr Nelly Ben Hayoun, designs archaeological interests in the extreme experiences and human past with an evolutionary challenges society today. She interest in the human future, is the founder of NBH Studios, including settlement of space. has released a feature film, and He also developed his own low- is now starting a new creative cost spacesuit. Professor, education system, University of Portland State University and the Underground. Founder, Nelly Founder, Pacific Spaceflight Ben Hayoun Studios

Dr Colin Wilson, an Inter- Disciplinary Scientist for ESA’s ExoMars 2016 mission, Operation Co-ordinator for ESA’s Venus Express satellite and supplied the wind sensors for the 2003 Beagle 2 and 2016 ExMars EDM Mars landers. Researcher, Atmospheric Physics Clarendon Laboratory, University of Oxford

COLLABORATORS

Tom Mannion, Photographer 64 [email protected] 65

Dohee Lee Dohee Lee A Common Thread

Can textiles help mitigate against social isolation in an increasingly aged society and bring about positive social cohesion?

The world is facing an unprecedented situation, we will soon have more older people than children. To capture the full benefits of a longer life we must rethink the value and purpose of that time and understand how important a strong social structure is in making people achieve a longer life and encourage a more age-friendly society.

My project uses a textile workshop as a communication bridge. It helps the elderly generation to show their identity by translating their vast experiences, stories and precious knowledge by making their own poetic garments.

People over 65 will outnumber In European countries, more than children under five and they are 40% of women aged 65 and older approaching 16% of the global now live alone. population in 2050. 66 EXPERTS Dohee67 Lee

Andrea Sinclair, art tutor who Bridget Walsh, Debbie Umdally, leads creative classes at the Khoi-Lai Tang and Lillian Brett Drovers Centre. Activities Members of the Third Age Project, and Partnerships Co-ordinator, Crypt Centre Drovers Centre, Age UK Islington Carmen Roberts, Cathy Daniels, Tony Bloor, responsible for Karen Holden, Laura Wilson, the overall management and co- Rosamund Thunder and Sheona ordination of activities and Josiah, participated in workshops services. Manager, Third Age for the project and gave their Project, Crypt Centre clothes for final artefacts. Members, Drovers Centre, Age UK Anne Teoh, Brian Sheppard, Carol Islington Straker, Nanci Rasmussen and Robert Manaley

COLLABORATORS

Francesco Manocchio, Freelance Videographer

Sinae Kim, Photographer 68 [email protected] 69 Gamia

Dewanggamanik Gamia Dewanggamanik (IM) Measurable Fo otprint

An exploration of “the cloud”: its abstract notion, its ambiguous environmental impact and the precariousness of the industry.

How can a physical visualisation of our personal energy consumption help us better understand its wider impact?

Despite its widespread use, the system that exists behind “the cloud” is still largely unknown or understood by those who frequently access and use it.

This technology has been designed to be as seamless and as invisible as possible. Efficient, digital and physically intangible, we trust it and think nothing about the physical consequences of accessing or using it, and we as a society are completely unaware that behind the interface lies a very real physical material presence.

Inside, an elaborate system of industries are working interdep- endently. Fuel and minerals are extracted to support its vast infrastructures, substantial amounts of electricity are consumed to keep network servers running, massive quantities of data are travelling throughout the globe at any given second — yet it all remains hidden and abstract to us. Acknowledging the physical materiality of “the cloud” is necessary in order to understand its real impact, in particularly how the industry works and the very physical consequences that it has on our environment.

Given the sheer scale of how much digital content is generated every single millisecond in “the cloud”, one has to wonder about its longer-term sustainability and huge environmental impact. 70 EXPERTS DewanggamanikGamia71

Mike Berners-Lee, expert in Duncan Clark, edited How greenhouse gas footprinting Bad are Bananas? The Carbon and author of How Bad Are Footprint of Everything and Bananas? The Carbon Footprint co-wrote The Burning Question. of Everything and co-author of Consultant Editor for Guardian The Burning Question. Mike is (environment), Visiting also a Professor at Lancaster Researcher at the UCL Energy University and Director and Institute and Co-Founder of Kiln, Principal Consultant, Small World a digital journalism company Consulting, Lancaster Environment Centre, Lancaster University Sara Muir, Head of Energy and Environment, Imperial College London

Gunnar Kreitz, Senior Technology Advisor, Spotify

COLLABORATORS

Ardha P. Rahardjo, MSc in Sustainable Energy Futures, Imperial College London

Daniel Budiono, BSc in Computer Science, Imperial College London

Tom Mannion, Photographer 72 [email protected] 73

Hannah Brooks Hannah Brooks Humankind

This project looks at the potential for harvesting the water content of the human body as a valued natural resource in the face of future scarcity.

The average 72 kg body contains 38 litres of water. (SOURCE: Sea Metrics)

How could recycling the human body for its materials lead to a more holistic re-evaluation of our role and consumption of natural resources?

With our population set to boom by almost 3 billion by 2050, complete exacerbation of resources is a very real threat that we are already facing. The human body contains a vast wealth of raw materials and natural resources that are largely not utilised as it is seen as taboo. With a focus on the fresh water crisis, this project seeks to reposition the human body into the resource cycle from which we consume by proposing a system where people can choose to donate their body’s water after death, in turn questioning how this scenario might become socially acceptable and honouring the rituals that surround the body after death.

If the entire world’s water A leaky tap that drips at were fitted into a 4 litre jug, the rate of 1 drip per second the fresh water available for can waste more than 11,356 us would equal only about 1 litres every year. tablespoon. (SOURCE: Sea Metrics) (SOURCE: Sea Metrics)

There have been 265 recorded incidents of water conflicts from 3000 BC to 2012. (SOURCE: Sea Metrics) Hannah Brooks 74 EXPERTS 75

Cameron Robinson, provides high Brody Condon and Christine quality frozen specimens for Borland, using human body dissection to the educational donation as a tool for artistic sector. The specimens are all research and practice. Borland food grade as they are sourced as and Condon imagine a contemporary byproducts of the expansive meat approach to death and dying by industry. Director, Samples for suggesting the anonymous body Schools after death could be a site of ambiguity and expression. Reverend Gray Featherstone, Artists, Circles of Focus recently retired Vicar, Holy Trinity Church Richard Wingate, Head of Anatomy and Senior Lecturer, King’s David Banks, consultant in College London Thermology, Hydrogeology and Geochemistry. Director and Philip Blower, Professor of Hydrogeologist, Holymoor Imaging Chemistry, King’s College Consultancy Ltd London

COLLABORATORS

Richiiro, Model/Cadaver

Tom Mannion, Photographer 76 [email protected] 77 Inge Sluijs Inge Sluijs Plasma Rock

How might Plasma Rock and the associated technology help us mine historic landfill sites and also prevent an ecological crisis?

Plasma gasification is a pioneering new technology whereby any known material from landfill can be heated to such a temperature that it renders all known substances to (Plasma) rock and gas. Within the industry they are primarily concerned with the utilisation of the waste gas for use in the energy industry, converting it from something highly toxic to something that could be a viable (and valuable) alternative to fossil fuels and natural gas. However, I am interested in the waste Plasma Rock that is produced as a result. This Plasma Rock currently has no real viable commercial value or application, despite it being completely non-toxic and the potential for it being produced on a mass scale in the future.

Through my project, I looked at historical coastal landfill sites, and specifically the one in East Tilbury. These sites are viewed by scientists as ticking time bombs. With the land being eroded away and the sea levels rising quickly, we have no idea what is in these landfills and are currently doing nothing to stop them from eroding and eventually leaching into the sea.

By finding ways of utilising this prolific future raw material, I hope to not only divert these potentially dangerous materials from polluting the sea, but also to develop a new localised craft process that in itself could become a viable alternative to other more environmentally un-friendly processes/materials.

Through my objects, I hope to not only communicate the rich historical, industrial and cultural heritage of these specific areas, but also raise awareness of the devastating effects that ignoring these landfills could have in the future.

In Europe there is 5 million [SOURCE: Yves Tieleman 2015 dutch tons of waste - enough to cover television programm Black light] London, Paris, Brussels and Madrid with 1 metre of waste. 78 EXPERTS Inge Sluijs79

Chris Chapman, Chief Technical Yiannis Pontikes, has published Officer, Advanced Plasma Power research papers about geopolymer made out of Plasma Rock. Associate Professor, University of Leuven, Belgium

COLLABORATORS

Lisanne van Ingen, Filmmaker

Imke Meeusen, Illustrator

Ružena Vakulenko, Photographer 80 [email protected] 81

Jenny Banks Jenny Banks #sustainable fast-fashion

Can we use 3D-printing technology to recycle waste textile fibres into fast-fashion garments?

3D-printed fashion has the potential to revolutionise how we experience and interact with our garments. This project brings together the additive manufacturing and textile design disciplines to develop a process which, in contrast to conventional 3D-printing processes, can produce tactile and wearable novelty garments. More importantly, they are also affordable and therefore accessible to the mainstream consumer.

The 3D-printer uses post-consumer textile fibres as its raw material and layers and binds them in a way that produces highly textural and versatile results. It also allows for 100% recoverability of these fibres to ensure a closed-loop life-cycle for garments manufactured in this manner.

#sustainablefast-fashion becomes a service that offers a quick fix for our wardrobes. Traditionally manufactured, durable basics protect us whilst 3D-printed fast-fashion lets us wear what the big names are wearing on Saturday night. No waste, no bad investment, no guilt.

‘Of the estimated 1.14 million ‘In these short life-cycle markets, tonnes of clothing supplied onto being able to spot trends quickly the UK market each year, 1.13 and to translate them into products million tonnes are discarded.’ [...] in the shortest possible [Valuing our clothes’ online report time becomes a pre-requisite for 2012 by WRAP] [a successful fast-fashion retailer]’ [Christoper et al. 2004] ‘Previously fashion trends trickled down from the high-end catwalks, ‘To design for sustainability is to but now we are also bombarded with develop techniques and methods that endless fashion ideas directly allow us to reach forwards through from popular culture, social media time and embrace the unpredictable, ‘influencers’, and our peers.’ unformed, ambiguous ‘life world’ [Barnes & Lea-Greenwood 2006: 260] of people and clothing’ (Fletcher 2016: 116) Jenny Banks 82 EXPERTS 83

Fab Lab London team (special Lizzie Harrison, works with thanks to Ande Gregson, Josh reclaimed materials and has Bannerman and Josue Vivas). Fab extensive experience of working Lab London and Green Lab are with communities and developing creative spaces providing open localised fashion production. access to rapid prototyping tools Creative Director & Research and shared knowledge from a Assistant, AntiForm, Fashion community of innovative makers. Ecologies project at the Centre Fab Lab London and Green Lab for Sustainable Fashion

Laura Coppen, investigates how innovations in the circular economy can converge with the emerging Industrial Revolution. 4.0. Global Creative Lab and Research Manager, H&M 84 [email protected] 85

Lena Saleh Lena Saleh Future Sleep

An exploration of technology’s impact on human behaviour and health through sleep.

How can we optimise our future sleep?

In recent years, the link between the brain and sleep has become increasingly evident. Researchers have coined the “glymphatic system” as the brain’s garbage disposal, removing all the toxins that have built up throughout the day. When sleep is deprived or even disturbed, the glymphatic system does not have time to perform its function, and toxins build up which could lead to neurodegenerative diseases. With these health implications realised, the rise of technology and ease of travel across different time zones, what does this mean for our body’s natural rhythms as well as our longer term health?

In this project, I have created a series of artefacts that encourage mindful breathing rituals that I hope will become a viable alternative to staring at our phones and laptops before going to sleep. These objects are designed to be as functional as they are sculptural, encouraging you to wind down through simple and short sensory experiences and to change our night- time routines.

These objects are also able to technologically track our sleeping patterns and adapt the environment in the room around us to suit our unconscious needs, lowering the radiator temperature, changing the light levels as well as emitting specific scents that all encourage us to practice mindfulness and optimise our sleep.

‘Nearly half of us are getting ‘A loss of circadian control just six hours sleep or less will increase rates of a night. And an alarming four neurodegeneration. This will out of five people complain of feed back and further disrupt disturbed or inadequate – or circadian control, which will ‘toxic’ – sleep.’ (SOURCE: in turn promote age-related Sleep Council ‘Toxic Sleep’ physiological decline.’ [SOURCE: survey, January 2011, www. Dr. Russell Foster Circadian sleepcouncil.org.uk/sleep_ Rhythms: A Very media/key-facts-and-figures] Short Introduction] 86 EXPERTS Lena Saleh87

Dr Russell Foster, his research Dr Omar Matar, Professor of Fluid spans basic and applied circadian Mechanics, Imperial College and photoreceptor biology. Head London of the Nuffield Laboratory of Ophthalmology and Director of the Dr Holly Clemens, a total Sleep and Circadian Neuroscience wellness physician who is a Institute, University of Oxford member of the Wellness Advisory Council for USA athletes, both Dr Giorgio Gilestro, his local and professional. Owner, work is aimed at elucidating Queen City Health Center the enigmatic function(s) of sleep using a combination of Dr Paul Luckham, his principle neurobiology, genetics and area of research is to try to bioinformatics. Lecturer in control the bulk properties Systems Biology, Imperial College of suspensions by controlling London the interactions between the particles in a suspension. Professor in Particle Technology, Imperial College London

COLLABORATORS

Anita Zaman, Model, Central Saint Martins

Tom Mannion, Photographer 88 [email protected] 89 Lu Zhang Lu Zhang Human Frequency

Improving the lives of animals and humans through future urban soundscape management.

‘Very few species like what we like. In fact, very few can even survive in the habitats we like’ Michael L. Rosenzweig

Sound plays a positive role in people’s lives. Whilst providing us with a rich culture, on a purely pragmatic level it also means that we are able to live our lives more safely and efficiently.

However, the noise created by humans can be torturous for many animal species that we share our environments with, disrupting their biological and physical patterns of behaviour and longer term health.

Through bone conduction technology, I propose the possibility of creating a completely separate sound “channel” which can communicate essential auditory data to humans, but which bypasses animals completely, therefore creating a far safer and healthier natural urban soundscape. It would also contribute to a general “clearing up” of sound pollution within cities and could lead to a calmer, more natural environment for us humans also.

Can humans choose to build cities that are homes for both them and wildlife? BBC EarthII Cities

‘Sound plays many positive roles in people’s lives. Big cities have buzz, but they also need balance.’ [SOURCE: The Greater London authority, www. theguardian.com/cities/2014/ mar/13/sounds-city-technology- urban-centres-peaceful] 90 EXPERTS Lu Zhang91

Kevin Moody, leader of the Robert John Young, his research Human and Natural Ecosystems has always been focused on team. He is responsible for the understanding animal behaviour measurement of traffic noise and how it can be used to improve and its effect on wildlife. Team animal conservation and animal Leader, U.S. Federal Highway welfare. Much of his research is Administration applied and some of it addresses fundamental questions about how Tuomo George-Tolonen, has been at animals communicate. Chair in the forefront of the discussions Wildlife Conservation, University and developments with Ofcom to of Salford secure a future for wireless equipment in the professional audio industry in the UK. Pro Audio Group Manager, Shure UK

COLLABORATORS

Denis Bada, Musician, Model

Adam Degay, Technician 92 [email protected] 93

Lucinda Pender Lucinda Pender The Entomophagy Welfare Act 2017 : Regulation 1100/17

The ethical slaughter and processing of mealworms for human consumption.

‘The Entomophagy Welfare Act 2017’ explores the processing system and legislation that would have to be created to support the mass consumption of mealworms as an acceptable and ethical food source for western diets.

Lacking development and regulations has meant that the introduction of mainstream entomophagy has stalled. Currently, there is no law or legislation around the farming, slaughter or preparation of an insect for human consumption in the UK, meaning that even if a commercial company or kitchen wanted to utilise them, they may not be working completely within UK law.

Working with leading entomologists, I have researched, explored and proposed the cleanest, most humane and ethically efficient method of killing a mealworm for human consumption commercially or at home.

Through this project I hope to not only propose future legislation around the preparation and slaughter of mealworms commercially, but to also help make entomophagy more culturally, socially and ethically acceptable to a western society.

There are 40 tonnes of insects The Food Standards Agency to each human on the planet. currently has no specific hygiene [SOURCE: Can eating insects advice for food businesses save the world? BBC} concerning the farming or handling of insects / insect products. Mealworms need only 10% of the [SOURCE: Novel Foods Regulation] land used for the production of beef. [SOURCE: de Boer, Oonincx 2012] Lucinda Pender 94 EXPERTS 95

Collin Willson, Field Veterinary Jonas House, explores the Lead responsible for the consumer attitude of western welfare of animals during the culture towards eating insects. time of slaughter, as well as Based in the Netherlands, Jonas the development and approval has explored on an academic of abattoirs in Wales. Food level the theories that would Standards Agency allow insect-based foods to be more accepted. PhD candidate, Andy Grist, Andy’s interests University of Sheffield lie in animal welfare issues particularly at the points of Dr Sarah Beynon, Farmer, stunning and slaughter. Teaching Entomologist, TV Presenter and Fellow in Veterinary Public Founder of ‘The Bug Farm’, Health, University of Bristol Pembrokeshire - the location of ‘The Grub Kitchen’, the UK’s Alexandra Sexton, researches first insect focused restaurant. the ethical and bio-political implications of cultured meat, plant-based proteins and edible insects as solutions to food security. PhD candidate, King’s College London

COLLABORATORS

Tom Mannion, Photographer 96 [email protected] 97 Margaux Hendriksen Margaux Hendriksen Scramble for the Moon

What could be the long-term impact of mining space?

Space mining is now a reality that we may face, not within decades, but within years. In 2015, the USA created the 2015 Spurring Private Aerospace Competitiveness and Entrepreneurship (SPACE) Act that permitted private companies based in the USA to access, process, and commercialise any material resources that they are able to extract from space. The Moon is to date the first target of interest because of its close proximity to Earth. New data of its material composition reveals that some places are far more valuable than others, for instance, ‘The Peaks of Eternal Light’ whereby you are guaranteed light and therefore eternal solar energy. The first to settle down and secure this area will obviously have a huge monoploy, both economically and politically over their space rivals.

Scramble for the Moon is a speculative and critical design project that questions the ethical and moral implications of space mining more generally. The project depicts a fictional private company, Moon Origin, who over-extracts the Moon’s resources for the markets sake.

Following 60 years of over exploitation, Moon Origin starts running out of the most lucrative and highly-prized extracted materials. The last samples of fresh water, oxygen-enriched air and Helium3 - a powerful yet stable source of nuclear energy, become not just everyday commodities for all of society to consume, but instead highly lucrative and expensive luxuries for the very few.

Through this project, I want to question and debate the ethics of creating such laws and acts that permit private bodies to own space material . I question whether such acts really are for the benefit of science and research or are simply putting short-term profits and prosperity over the longer term good of humanity?

‘More venture capital was [SOURCE: The Tauri Group 2016 invested in space in 2015 than Start-Up Space: Rising Investment in all of the previous 15 years.’ in Commercial Space Ventures.] 98 EXPERTS Margaux99 Hendriksen Dr Tony Milligan, co-author of Ian Crawford, author of Lunar The Peaks of Eternal Light: a Resources: a Review published in Near-term Property Issue on the Progress in Physical Geography Moon, a paper that considers the about the Moon’s resources and issue from scientific, technical, potential values for space ethical and policy viewpoints. economy. Professor of Planetary Teaching Fellow in Ethics and the Science and Astrobiology, Philosophy of Religion, King’s Birkbeck, University of London College London

COLLABORATORS

Tom Mannion, Photographer 100 [email protected] 101

MariaKurian Idicula Maria Idicula Kurian Super-Synthetics

Re-engineering existing ecological materials to provide a more sustainable alternative to single use synthetic ones.

Packaging materials like plastic, thermocol moulds and foams are extremely harmful for the environment. Most of these materials are derived out of petrochemicals. Their manufacturing, processing and disposal often releases toxic pollutants like ethyl benzene, xylene, carbon monoxide, hydrogen sulphide, sulphur dioxide and volatile organic compounds that are all highly unsustainable and dangerous for us and the wider environment.

Ironically, most of the synthetic objects that we use for the shortest amount of time, such as plastic drinking cups, are often made from these very materials. Objects that we use sometimes for just seconds can take many thousands of years to break down and can leach dangerous chemicals into the environment.

Through my project I hope to find natural alternatives to short-lived synthetic everyday objects which, rather than taking several thousands of years to degrade, take just minutes. Re-designing a plastic drinking cup for instance so that it degrades in less than an hour would not only divert thousands of tons of plastic from going to landfill every year, but also be far more efficient and friendly to both the environment and our long term health.

In the North Pacific Ocean, there 10% of the plastic we use yearly are 6x more plastic debris than end up in the ocean. That’s plankton. They are killing marine equivalent to 700 billion plastic animals who mistake them for food. bottles!

We have an island in the middle of At point of publication, 4,243,088 the North Pacific Gyre, the Great Tons of plastic have already been Pacific Garbage Patch – which is dumped in our oceans this year mostly composed of plastic. It’s alone. {SOURCE: TheWorldCounts.com] the size of India, Europe and Mexico combined. Maria Idicula 102 EXPERTS 103 Kurian Dr Deepak Kalaskar, Heads Msc Rodrigo García González, course in Burns, Plastic and Inventor, Designer, Architect Reconstructive Surgery at and Engineer, he also lectures University College London. His in Product Design at Kingston group is actively involved in University. One of his key research on Nanotechnology and projects includes ‘Ooho’, the Tissue Engineering solutions for edible water bottle. Co-founder medical implants and devices. & Co-CEO, Skipping Rocks Lab Lecturer in Cellular Engineering, University College London 105 104 [email protected]

Marta Giralt Dunjó Marta Giralt Dunjó Virtual X

One of the first industries to adopt Virtual Reality (VR) was the porn industry. As the technology rapidly advances, in a near future users will be able to fulfil their sexual fantasies by accessing hyper-realistic environments and experiences.

How could Virtual Reality impact the future of sex?

This project was developed to investigate the future of virtual pornographic experiences and the impact they could have in the physical world. Early research in VR has proven that there is a link between virtual experiences and behaviours or attitudes in the physical world. If pornography were to move into a virtual domain tomorrow, would deviant sexual behaviour be encouraged or would it simply just become a mechanism to elude the legal and moral constraints of the physical world?

Virtual X is a design project that investigates the possible legitimisation of the illegal sexual practice of rape if it were to be made available in VR and how this may impact our society. It means to interrogate the existing legal and ethical systems and propose a future scenario that questions the lack of existing regulation in the coming virtual world.

‘Porn is often a key driver during ‘With laptops, high-speed WI-FI, the fledging, emergent periods of cell phones and newer technology, new media technologies. All the we can pretty much get porn porn out there in cyberspace, the anytime, anywhere. For better and soft core and hard core (...), worse, technology has arguably helped to make the internet grow, democratized access to pornography. and made it sexy.’ O’Toole 1998 In 1989 Linda Williams (author of book Porn Studies), predicted ‘Pornography makes up to 12% of that virtual reality would one all Internet sites which attracts day become a new permutation of 30% of al Internet traffic. Every pornography.’ Shia Tarrant 2016 39 minutes a new pornography site is created.’ [SOURCE: David Yerle The Future of Porn: A Disturbing Possibility, available at www. davidyerle.com/the-future-of-porn- a-disturbing-possibility] Marta Giralt Dunjó 106 EXPERTS 107

Ethan Zuckerman, Media Scholar, Mel Slater, specialises in the Blogger, Internet Activist and use of VR to create social Author of the book Rewire: scenarios. Research Professor in Digital Cosmopolitans in the VR, University of Barcelona Age of Connection. He was also chair at the Forbidden Research Sylvia Xueni Pan, worked in Conference 2016 at MIT. Director, VR for more than 10 years and MIT Center for Civic Media combines the fields of VR and social neuroscience in her Kate Darling, leading expert practice. Lecturer in VR, in Robot Ethics who researches Goldsmiths, University of London social robotics. Her interest lies in how technology intersects Matthew Wood, background in with society. Researcher, MIT psychology and health psychology Media Lab with a critical and social approach. PhD student in Digital Civics, Newcastle University

COLLABORATORS

Joan Ros, Model, Central Saint Martins

Bentagai Umpiérrez, Graphic Designer, Studio Bentagai 109 108 [email protected]

Martina Rocca Martina Rocca Emovos

A post-material consumer experience: are we ready?

What are the potential ethical implications of a future in which consumers are able to consume commercially available emotional experiences?

An additional 2.6 billion people are projected to attain at least middle-income levels by 2050. This growth will mainly be driven by increasing consumption in the developing countries that aspire to obtain a similar lifestyle to the ones enjoyed in the richest parts of the globe. But many non-renewable raw materials have already reached peak extraction. Growing global demand for resources on this limited planet will therefore increase competition and the possibility of conflicts over the access to scarce resources.

Through my work, I engineered a new post-material experience that offers us a viable alternative to the unsustainable practice of physical material consumption.

Recently, techniques for direct brain stimulation have made it possible to not only read but also write information into single neurons. This project proposes a potentially very real future in which fast-fashion high street stores, rather than sell us physical stuff, instead sell us deep, emotional, commercial experiences.

12 percent of the world’s population lives in North America and Western Europe and accounts for 60 percent of private consumption spending, but a third of humanity who live in South Asia and sub-Saharan Africa account for only 3.2 percent. [SOURCE: WorldWatch Institute] Martina Rocca 110 EXPERTS 111

Dr Mario Campana, recently Dr Michael Hausser, educated at completed his PhD in Consumer the University of Oxford where he Research at Cass Business School, was awarded a DPhil for research City University, London. His on neurons in the substantia main research interests lie in nigra. His research interests the fields of social innovation are in neuroscience, biological and alternative economies. neural networks and artificial Course Leader and Lecturer on MA neural networks. Professor of Marketing and Consumer Behaviour, Neuroscience, Wolfson Institute Goldsmiths, University of London for Biomedical Research, University College London. Dr Patrick Degenaar, at the heart of his interests is his pioneering use of CMOS-micro-LED optoelectronics in combination with optogenetic gene therapy solutions. These will lead to highly advanced forms of prosthetic intervention not previously possible. Biomedical Engineer, Researcher, Lecturer, School of Electrical and Electronic Engineering, Newcastle University

COLLABORATORS

Tom Mannion, Photographer 112 [email protected] 113

Montana Feiger Montana Feiger Humix

Using the principles of biomimicry to better understand air pollution.

Humix is a collection of mechanically controlled frames that combine sensors, motors and sound generators to emulate a human sneeze when the air quality is below the safe levels as recommended by scientists and the World Health Organisation.

This machine can be embedded into walls, corners and entryways of buildings in order to very simply communicate this information to an everyday public who would otherwise have no idea of this potentially lethal environmental disaster.

London broke its annual limit In London, the main pollutants for air pollution in the first of concern are Nitrogen Oxides five days of 2017, compared to (NOx)2, Volatile Organic the first 8 days the previous Compounds (VOCs) and fine year. particles (PMs) that are emitted mainly from road transport but The estimated annual economic also arise from fossil fuel, costs of health impacts power generation and domestic attributed to Nitrous Dioxide and industrial sources. (SOURCE: (NO2) and fine particles (PM2.5) Parliamentary Office of Science has reached up to £3.7 billion. and Technology – Air Quality in (SOURCE: Draft Economic the UK 2002) Evidence Base 2016)

Compared to other major cities of its size, London’s air quality is poorer than that of Singapore and Paris, but better than New York, Hong Kong and Shanghai. (SOURCE: Draft Economic Evidence Base 2016) Montana Feiger 114 EXPERTS 115

Jeremy Keenan, helps students Rachel Armstrong, focuses with coding and bespoke on establishing alternative electronics. Physical Computing approaches to sustainability by Expert, Central Saint Martins coupling them with computational properties of the natural world. Dr Alexandra Porter, works in She has been promoting a 21st correlative electron microscopy century production platform techniques analysing interfaces that she describes as ‘living’ between synthetic biology, architecture. Professor of nanomaterials and tissues. Reader Experimental Architecture, in Bioimaging and Analysis, Newcastle University Imperial College London Nicolas Myers, investigates the implications of digital technology through the filter of design. Disruptive Thinker, Royal College of Art

COLLABORATORS

Tom Mannion, Photographer 116 nicole-perez.com 117 [email protected] Nicole Pérez Nicole Pérez Misbehaving (ro)bots

Can misbehaving robots replace the need for intimate human relationships?

With the rapid investment and development of Virtual Reality, Augmented Reality and Artificial Intelligence, what we perceive as ‘real’ is becoming increasingly difficult to quantify and takes us a step closer to the virtual and real world becoming inseparable and intertwined.

In the future, experts in the field, as well as myself, believe that even the most primitive and basic of human needs, such as love and intimacy, could take place with non-human partners. However, much of the current research into these still very young fields of research often neglects the importance of the “unnecessary” and “irrelevant” aspects of human relationships, instead, they tend to prioritise physical efficiency and physical wellbeing.

As a response to this, I have engineered a collection of mis- behaving robots that mimic and emulate the often overlooked frustrating, annoying and not always entirely pleasurable aspects of everyday human interactions. Their purpose is not to be efficient but unnecessary, fulfilling the non-practical, useless actions that we feel in a relationship. After all, being in an intimate relationship is not only about dealing with pleasure and fun – it is also about dealing with the rest.

‘Long-term relations could be ‘With intimate robotics, we possible between human and are referring to systems that robot if the robots shows typical actively foster attachment human – like imperfect behaviours and, yes, even love in the in interactions.’ Biswas and user that is directed toward Murray 2015 the intelligent artefact. With respect to intimate robotics ‘Domestic robots will be a $3 we are not really engaged at billion market by 2020. These all in the necessary ethical will include cleaner robots, discussions that will guide our security robots, 3d printers, acceptance or rejection of the family friendliy robots that technology’ Arkin 2016 offer interaction for children and elderly and sex robots.’ McGuirk 2016 Nicole Pérez 118 EXPERTS 119

Cabby Laffy, trains counsellors, Caroline Yan Zheng, has psychotherapists and other health been working with creative professionals in the Homeodynamic quantification of emotion and Model for Psychosexual Health: manifesting the data in tangible an integrative view of human form since 2013. Caroline sexuality and relationships explores through the design of that encompasses the social and interfaces between body and cultural environment, as well space, and conversely through as the physical, mental and relations with machines endowed emotional. Founder, Centre for with emotional intelligence, new Psychosexual Health means of communications. Doctoral Researcher in Information Dr Kate Devlin, works in Experience Design and Fashion, the fields of Human Computer Royal College of Art Interaction (HCI) and Artificial Intelligence (AI), investigating Dr Ronald Arkin, research how people interact with interests include behaviour- and react to technology to based reactive control and understand how emerging and action-oriented perception for future technologies will affect mobile robots and unmanned aerial us and the society in which we vehicles, hybrid deliberative/ live. She is currently focusing reactive software architectures, on cognition, sex, gender and robot survivability, multiagent sexuality and how these might robotic systems, biorobotics, be incorporated into cognitive human-robot interaction, robot systems such as sexual companion ethics and learning in autonomous robots. Senior Lecturer, systems. Regent`s Professor, Department of Computing, Associate Dean for Research Goldsmiths, University of London and Space Planning, School of Interactive Computing, College of Dr Helge Wurdemann, lead Computing, Georgia Tech Researcher of the #SoftHabitcsLab creating (medical) devices made of soft material to ensure safe human-robot interaction. Department of Mechanical Engineering, University College London

COLLABORATORS

Nick Shackleton, Model

Elphège Barthe, Model 120 [email protected] 121

Pauline Roques Pauline Roques Anthropoceae

How might plants evolve in order to survive the Anthropocene and what mutations might develop as a result?

This project aims to forecast plant evolution in a polluted, post-human and post-Anthropocene world.

Human activities are critically endangering our natural eco- systems and biological way of life. Through my project, I want to observe, understand and imagine how nature will react to a post-human existence.

From the mass production of plastics to a potential nuclear war, this project aims to predict the most significant actions of humans in the future and the associated impact that such actions would have on the evolution of the living world around us.

The project, much like an early evolutionary botanical study of plants in the past, is meant as a way of communicating how real plant species will adapt, survive and flourish in a more toxic and extreme environment in the future.

‘The far reaching biological ‘In a matter of years or decades, changes that will inevitably researchers believe, animals take place in the distant future andplants already are adapting will be heralded by a change in to life in a warmer world. the evolution of plants.’ Some species will be unable to [SOURCE: Dougal Dixon, After change quickly enough and will man a zoology of the future, go extinct, but others will Granada 1982] evolve, as natural selection enables them to carry on in an ‘In the past new forms of animal altered environment.’ [SOURCE: life has corresponded with the Carl Zimmer, First comes global development of new plant life’ warming, then an evolutionary [SOURCE: Dougal Dixon, After explosion 2009] man a zoology of the future, Granada 1982]

‘Britain, […] has gained 1,875 non-native species without yet losing anything to the invaders’ [SOURCE: Phil Roberts, The Anthropocene could raise biological diversity, www.nature.com 2013] Pauline Roques 122 EXPERTS 123

Dr Andrew Tye, his work looks at Max Fancourt, works on the IUCN erosion and the degradation of Red List platform, ensuring data soil. Process Geochemist, British is up-to-date and answers all Geological Survey (BGS) requests related to endangered species. Junior Professional Jacqueline O’Donovan, runs the Associate, IUCN - Red List Unit family business which takes care of industrial waste. Director, Florin Feneru, Identification and O’Donovan Waste Disposal Advisory Officer, Angela Marmont Centre for UK Biodiversity, Natural History Museum 124 [email protected] 125

Sandra Pihlak Sandra Pihlak Blacklight Mirror

Harnessing black light to help us better understand the health of our skin.

Overexposure to ultraviolet (UV) light from the sun or sunbeds is the main cause of skin cancer.

[SOURCE: www.cancerresearchuk.org/ about-cancer/causes-of-cancer/sun- uv-and-cancer]

The older we get, the more chance we have of developing certain skin cancers caused by UV radiation. Despite these cancers being treatable if caught early on, most people aren’t always aware of the situation until it is too late. Through this project I propose to raise awareness of these conditions by creating a mirror that lets you see the true extent of UV light damage to your skin in real time. In the future, mirrors such as this one could also provide us with all the information we need to know about our individual skin types, as well as the potential sun damage that could occur through over-exposure to UV and sunlight.

I propose placing these mirrors in cities and beach areas for the public to check themselves on a regular basis. These mirrors will also let you know the temperature and the UV index outside. They are designed to be a public service as common as an ATM.

You can’t feel UV rays – the ‘Among 12-year-old children, we heat from the sun comes from found that the severity of sun infrared rays, which can’t burn damage in UV photographs correlates you. This is why people can still well with phenotypic melanoma risk burn on cool days. [SOURCE: www. factors and that freckling and cancerresearchuk.org/about-cancer/ other melanoma risk factors are causes-of-cancer/sun-uv-and-cancer/ important predictors of the amount how-the-sun-and-uv-cause-cancer] of sun damage in the photographs.’ [SOURCE:Published online March 12, 2012 by the American Academy of Dermatology] Sandra Pihlak 126 EXPERTS 127

Dr Rille Pihlak, qualified Jeremy Keenan, background medical Oncologist doing a PhD in audio engineering – the focusing on pancreatic cancer. conventional recording of bands Clinical Research PhD Fellow, and music. Works in the Physical Medical Education Officer and Computing Lab with students that European Junior Doctors PWG, The need bespoke electronics, or Christie NHS Foundation Trust, code, or both. Physical Computing University of Manchester and Specialist, Central Saint Martins Board Member, Estonian Junior Doctors Association Stephen Daniel Dabor, builds computers and gives technical Dr Avinash Gupta, currently doing advice. Photographer and an MRes in Experimental Cancer Freelance Videographer Medicine at the University of Manchester and Senior Clinical Fellow in Medical Oncology, Christie NHS Foundation Trust, University of Manchester

COLLABORATORS

Dr Melissa Frizziero, PhD Medical Oncologist, Christie NHS Foundation Trust, University of Manchester

Dr Zoe Kordatou, PhD Medical Oncologist, Christie NHS Foundation Trust, University of Manchester 128 tamarahoogeweegen.com 129 Tamara [email protected] Hoogeweegen Tamara Hoogeweegen The Healthy Human Project

If we were to modify babies before birth to make them the healthiest and most resilient humans possible, should we and how far are we really willing to go?

Genetically manipulating babies before birth to avoid and prevent diseases is closer than you think. Thanks to the recent development of CRISPR, genetic engineering DNA has become much cheaper, faster and more precise than ever before. If we can save a life, prevent suffering and improve health, why wouldn’t we genetically modify babies?

What makes this a difficult discussion is the ambiguity of what ‘healthy’ is. How far are we willing to go to create the healthiest babies?

Currently, over 90% of people when informed that their child has Down Syndrome choose to terminate their pregnancy. But would this also be the case for something such as eye colour, as there is clear scientific evidence suggesting that people with blue coloured irises are ten times more likely to develop eyesight problems and have a greater risk of developing eye cancer in later life.

My aim is to create a dialogue around such decisions and encourage public debate as to how far as a society we really want, or should, go.

‘Now for the first time scientist [SOURCE: Specter, M. (2016) DNA can quickly and precisely revolution. National Geographic, alter, delete, and rearrange August 2016, p. 30 – 55] the DNA of nearly any living organism, including us. In the past three years, the technology has transformed biology.’ 131 130 EXPERTS HoogeweegenTamara

Dr Daniel Gaffney, focuses on Patrick Short, focuses on the identifying genetic changes role of non-coding mutations in that alter cell phenotypes and developmental disorders. His functions. The long term goal of research group also studies how his research is to understand DNA mutates as it is passed the molecular and cellular on from one generation to the consequences of genetic changes next, and the factors that in gene regulatory regions. influence the number and type of Evolutionary Geneticist, Wellcome mutations that arise. PhD student Trust, Sanger Institute in Mathematical Genomics and Medicine, Wellcome Trust Sanger Kaustubh Adhikari, holds a PhD Institute in Biostatistics at Harvard University. He studies the Dr Shanade Dunn, uses CRISPR-cas9 phenotypic and genetic diversity to screen the whole genome on the in Latin America to identify efficiency of cancer drugs in the genes behind our physical breast cancer cells. She’s highly appearance traits. Statistical enthusiastic on CRISPR-cas9 Geneticist, Stern Lab, University technology as it enables her to College London generate very specific knowledge at a fast pace. Postdoctoral Fellow, Wellcome Trust Sanger Institute

COLLABORATORS

Tom Mannion, Photographer 132 [email protected] 133

Victoria Adams Victoria Adams Cheese 2.0

How will we preserve the culture, provenance and craft of traditional cheesemaking in a future where dairy farming is no longer sustainable?

How will we maintain the culture of cheesemaking in a post-dairy world?

Experts warn us of the importance of reducing our dependence on livestock to curb climate change. Currently, over 1,000 gallons of fresh water are required to produce 1 gallon of milk and almost 900 gallons of water are needed for 1lb of cheese.

We are already seeing consumer movements and it is predicted there will be fewer than 5,000 dairy farmers by 2025 compared to 13,000 just 10 years ago.

Many artisan cheesemakers are conscious of the issues surrounding livestock greenhouse gas emissions, however when asked about a post-dairy cheese, all would allow the disintegration of their practice instead of a plant based cheese alternative.

Cheese 2.0 considers balancing the wider environmental issues with cheesemaking’s rich cultural heritage. How might we maintain the romanticism of artisanal cheesemaking whilst at the same time curbing future climate change?

‘Only 2 %of the worlds water is ‘46% of people aged 16-24 drink fresh, and of that most of it some form of milk alternative. goes to the agriculture industry. 76% of these claim to have 1,000 gallons of water are ‘adverse reactions to milk’ required to produce 1 gallon of despite not being clinically milk, and 900 gallons of water diagnosed. Whereas ‘fewer than are needed for 1lb. of cheese.’ one in ten older people had any [SOURCE: FAO. ‘Livestock & Climate problem with dairy.’ [SOURCE: Food Change’ Food and Agriculture and You, www.food.gov.uk/sites/ Organization of the United Nations default/files/food- and-you-w4- (FAO), Rome 2016} combined-report.pdf) Victoria Adams 134 EXPERTS 135

William Oglethorpe, artisan Richard Betts, leads the Climate Cheesemaker in Bermondsey arches Impacts area specialising in specialising in Swiss Gruyere, ecosystem-hydrology-climate Kappacasein Dairy interactions but also oversees work on urban, health, industry Charles Ffloukes, agri-food and and finance, Met Office Climate Change Consultant in the Sustainable Food & Farming team. Mike Ambrose, manager of the Agribusiness and Climate Change Germplasm Resources Unit (GRU) Consultant, ADAS and its development as a National Capability supported by the Lucy Menter, artisan Cheesemaker BBSRC. This centres around from Wales specialising in the long term curation and Caerphilly cheese, Trethowan distribution of strategically Dairy important germplasm for a range of crops, associated wild Mike Lyburn, artisan Cheesemaker relatives and specialist genetic from Sailsbury specialising in stocks and their utilisation by cheese with vegetarian rennet, the wider bioscience community Lyburn Dairy and related industries. Senior Scientist/Crop Genetics, John Robert Kesseler, Botanical Innes Centre Artist, Professor at Central Saint Martins and Chair of Arts, Jim Dimmock, Resource Management Design & Science at University of Scientist in Soils & Precision the Arts, London Technology, AHDB

Jeff Price, coordinator of the Pete Falloon, leads the Climate Wallace Initiative - a multi- Impacts Modelling (CIM) group institutional partnership working on agriculture, water examining the projected impacts resources, drought, flooding, of climate change on terrestrial health and their interactions biodiversity. Senior Researcher with the changing climate, Met in Biodiversity, University of Office East Anglia/Tyndall Centre COLLABORATORS Gilonne d’Origny of New Harvest who strategically William Oglethorpe, Model fund and conduct open, public, collaborative research that Jacob Chabeaux, Freelance reinvents the way we make animal Photographer products - without animals. Development Director, New Harvest Tom Mannion, Photographer 136 137

Course Leader Kieren Jones

First Year Tutor Austin Houldsworth

Research Leader Carole Collet

Contextual Studies Tutor Stephen Hayward

Lead Administrator Hannah Cheesbrough

Academic Coordinator Chloe Griffith

Visting Tutors Philippa Wagner David Benque Attua Aparicio

External Liaison Coordinator Alex Yardley 138 Typefaces

Raisonné by Benjamin Critton for Colophon Foundry

T-Star Mono by Die Gestalten Design Laura Gordon

Photography Tom Mannion

Printed by Pureprint technologies which allow these bigger farms to monopolise the market. commercial mega farms, then we must find ways of democratizing the If traditional farmers have any chance of competing against the larger WE USE A SLEEP IS PLASTIC CRITICAL CUP JUST FOR OUR MINUTES, HEALTH AND YET IT WELL-BEING. TAKES ISN’T IT THOUSANDS TIME WE Given the future possibility of growing meat harvesting cells from our pets for dinner! at home, we must consider the morality of OF YEARS GAVE IT THE TO DEGRADE. ATTENTION HOW IS THIS IT NEEDS? ACCEPTABLE?

It’s about time we compatible partner, and long term happiness. your chances of finding most biologically genetic and psychological testing will increase biological database, scientific expertise, Let Match Clinic help you find the one. Our properly care for the elderly in society. According to Age UK, the health impact on your body and health is the equivalent of smoking 15 cigarettes each day. Let’s stop killing people through loneliness. SHOULD CODE SHAPE OUR HUMAN CONSCIOUSNESS AND FUTURE CULTURE? we must reduce its environmental impact. fashion is here to stay, at very least ways of ensuring that if cheap fast- fashion practice, instead, we must find less’ paradigm dominating sustainable It’s time to step outside the ‘consume- RATHER THAN Our Air quality FEAR THE is a scandal and ANTHROPOCENE, disgrace, killing WE SHOULD20 an estimated EMBRACE IT 40,000 people IN ORDER each year. TO FULLY UNDERSTAND FOLLOWING THE LACK OF RESPECT, ITS IMPACT. EXPLOITATION AND ULTIMATE DESTRUCTION OF OUR OWN PLANET’S RESOURCES, INHABITANTS, SPECIES AND ECO-SYSTEMS, WE CANNOT ALLOW UNREGULATED, COMMERCIALLY MOTIVATED PRIVATE INSTITUTIONS TO TRAVEL BEYOND OUR OWN ATMOSPHERE & REPEAT THE MISTAKES OF THE PAST IN THE WIDER UNIVERSE. THESE DECISIONS SHOULD AND MUST NOT BE LEFT TO SINGLE INDIVIDUALS OR PROFIT- DRIVEN COMMERCIAL ENTERPRISES. ‘That the default meaning of ‘cloud’ Given the rapid development has become ‘server- and precision of CRISPR based data storage’ is a Technology, a process symptom of nature being that allows the permanent absorbed by technology modification of genes within and technology becoming organisms, which could lead second nature. It is to us very soon being able remarkable how casually to modify human prior to we accept this monstrous birth, isn’t it about time hybrid of atmospheric we considered collectively aerosols and computing as a society what we do infrastructure without a Peters, 2015) Britain’s fishing communities are on their last legs. Quotas and competition from commercial off- shore trawlers mean that traditional fisherman struggle to make a living. Rather than ignoring 17these communities, we should be better utilizing their traditional skills, crafts and way of life. and do not want to permit? second thought.’