Using a microscope camera and audio/visualization techniques, we are tracking a population of springtails inside a custom-made terrarium. Springtails (collembola) are abundant arthropods, found in soils throughout the world. They are important to soil health, as they graze on bacteria and fungi, disperse spores, and keep the nutrients cycling throughout soil.

To help humans notice their individual interactions, we projected them large and programmed colored dots to share their varying speeds; with blue dots showing their slower movements and red dots showing the fastest. 

The sounds are also changing live, based on their movements. We don’t know what the sounds of this soil, or these springtails, are actually like, so we have developed a kind of speculative sonification based on the sounds of a forest. Like forest sounds and like ambient music, soil is present but fades from our notice most of the time. When we do pay attention to the complex life in soil ecosystems, we can be rewarded with a sense of wonder.

Viewers can interact with this system by moving the computer mouse to experience an altered soundscape – and perhaps imagine themselves as a tiny cursor in the world of the springtails.

This project is a collaboration with artists Alena Sun, Brian Trelegan, and David King. We were fortunate to be able to work with David’s amazing glass art crew: Gayle Van Martel, David Foster, Su Fan and Max Kleinmann, in the glass art facility at the Ohio State University.

The work was exhibited in, Those Who Feed Us, an art show celebrating Ohio Soil Health Week, which included Marcia Armstrong, Ken Rinaldo, Mandy Darrington, Adelaine Muth, Eve Warnock, Pelham Johnston, Kim Landsbergen, Janette Knowles, Raman Ebrahimi, Thomas Ellsworth, Daniel Gingerich, Parinaz Naghizadeh, Kyoung Swearingen, Scott Swearingen, and Robyn Wilson.

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INSPIRATIONS:

• Springtails
• Shadrick Addy and Jian Chen, my co-principal investigators of the Nonhuman Storytellers Generating Impressionistic Story Ecologies project, an interdisciplinary grant project funded by the College of Arts and Humanities and Computer Science Engineering, which gave rise to this offshoot artwork.
• The student researchers who worked on the Nonhuman Storytellers Generating Impressionistic Story Ecologies project: Nate Garthwaite, Alena Sun, Ashim Dhakal, Shuning Jiang, Isabel Nixon, and Chenzhuo Tong.
• Artists: Julie Freeman, Ken Rinaldo, and Laura Beloff
• A Chaos of Delight, informative website featuring soil mesofauna, by macro photographer and writer Andy Murray.

This virtual reality experience is based on an important ecological reality. The intricately interwoven ecosystem of soil contains billions of tiny creatures that our lives depend upon. How can we meet our friends who are doing the important work of absorbing waste and transforming it into healthy fertilizer that feeds the plants, which feed animals, like us?  How can we see and experience these fascinating creatures who have complex, symbiotic relationships with each other?

Belonging to Soil is a simulation of the world of a springtail, a tiny creature living in soil ecosystems throughout the world. You inhabit the body of this arthropod avatar so you can travel as it does; riding on a flying ant to find new territory, leaping through the air to escape predators, swimming in a pond to catch and eat water bears, crawling underground to see the beauty there, exploring tunnels made by worms, eating sporulating soil bacteria, feeding on plant roots, and dancing with friends.

The world inside the headset may look and feel like fantasy, but it is based on scientific knowledge. The research for this project involved reading scientific papers about springtails and their interactions with others in the soil ecosystem, as well as the observation of live springtails over three years, which I have cultivated in a variety of terrariums. The cartoonish avatar does not even come close to capturing the complexity of the actual springtails I observed. Their quick movements, their air-sensitive hairs, and acrobatics were not technically possible to include in a virtual reality system that assumes a human is controlling it.

How would a human use their body to control six legs, plus two antennae, plus a furcula, which is the spring-loaded “tail” that activates their high-speed jumping? We don’t have enough limbs or even buttons on the virtual reality controllers to map to the actions of an actual springtail. It is humbling to attempt to simulate the operation of their bodies. It was also frustrating to working with a game engine that privileges two-legged, two-armed, upright-walking avatars. Our current avatar is a compromised in many ways: it walks upright, has only four legs, and its antennas are simply automated, not controllable. Nevertheless, we found ways to program the system so that users could experience jumping, eating, and “soil-making” (pooping) through particular body movements.

About Springtails

• They are arthropods, who have a spring-loaded jumping organ that allows them to “hyperspace jump” – up and away from predators.
• They help build healthy soils by grazing on fungi, bacteria, and decaying matter, and by turning these into nutrients that plants can eat through their roots.
• The “earthy scent” that often occurs after it rains is due to a symbiotic relationship that a type of bacteria (streptomyces) have formed with springtails. The bacteria creates the scent to attract springtails, who help the bacteria by spreading their spores (kind of like seeds) throughout the soil where new colonies can grow. The springtails are rewarded by a meal of bacteria, who are in the last stages of their lives when they are producing their spores.
• Fossilized springtails have been discovered in amber, clinging to the bodies of flying insects, causing scientists to believe that this is one method they used to travel and populate most types of terrestrial environments.
• They come in many types and colors, but they are so small and are often underground, so you might never see them.

This is a collaborative project, with Shadrick Addy (Designer), Mayen McClain (3D Environment Artist), Luke Stephens (3D Character Designer), JT Thrash (Lead Programmer), Andrew Sanchez (Programmer), Josh Rodenberg (Musician), Megan Wright (Designer), and William Yuan (3D Artist).

This project is supported by a grant from the College of Arts & Sciences, The Ohio State University.

Special thanks to the Emerging Technology Studio

This virtual reality installation invites viewers to interact with images by grasping them with the controllers in hand. There is a spatial simulation made out of photographs I took at Flushing Meadows Corona Park in New York City. The experience is designed to alter the viewer’s sense of self in relation to the hollow virtual skins – the surface representations of place. The ring of phragmites plants provide a semi-permeable layer that can be touched by real and virtual hands.

• How can a place that is not here show itself? 
• Can a landscape include me as a part of it?

These are the questions I asked as an artist in residence at Flushing Meadows Corona Park in New York City. This urban, freshwater wetland was once a saltwater marsh whose history includes layers of trash dumping, landfilling, water re-engineering, and paving to accommodate two worlds fairs. I focused on one area in this park undergoing restoration, called Willow Lake Preserve. Resting upon anthropogenic soil and ringed by auto expressways that add harmful effluents, this wetland area hosts a variety of birds, small mammals, fish, and a tangle of fungi and plants. Many “invasive” species such as common reed (phragmites australis) thrive, due to the conditions humans have provided there. After driving to the site, I could see the effects of my own actions on the place as I saw the shimmering petroleum floating on the water. A tiny snail moves through it anyway, like me, filtering some through her porous body.

Wetlands Skins are real material representations of Flushing Meadows Corona Park and companions to the virtual experience. They were created by dipping paper into the colorful – often iridescent –  water that emerges from the wetlands.

Related Project: Becoming Biodiversity

Becoming Biodiversity is an augmented reality application that encourages participants to explore and experience local, ecological networks present in an urban park site. Cell phones and headphones are used to experience this artwork, which includes mixed-reality animations and storytelling as an overlay to the actual park. The experience is an embodied one, designed to connect humans empathetically with the biodiversity, symbioses, and unseen worlds in public park spaces.

Fantastic ecologies exist everywhere on earth and at many scales, many of which are invisible to us. Though we mostly ignore and disrespect the non-humans in these networks, our lives depend upon them. This artwork is a guided tour which will allow us to inhabit the worlds of multiple species along the network, allowing them to become visible and “sense-able” to us. The viewer re-enacts stories from the perspectives of non-humans; playing the part of a plant calling out to a bird to help with pest control, an ant planting spring flowers while simultaneously feeding her babies, an underground fungal network delivering goods to struggling trees, and a cormorant searching for a meal in a man-made lake in New York City.

There are 8 scenes, each takes place at Willow Lake, on the South end of Flushing Meadows Corona Park. The starting point for the app tour is the East entrance of the Pat Dolan Trail, right after walking over the Van Wyck Expressway pedestrian bridge. This is near the Mauro Playground. The tour takes about 26 minutes and the one-way walk down the trail is less than a mile.

“We are therefore called into gratitude for the fact that in the midst of terrible destruction, life finds ways to flourish, and that the shimmer of life does indeed include us.”  – Deborah Rose Bird

This freshwater wetlands park in the middle of Queens, New York, was originally a saltwater marsh, then a dumping ground full of ash and trash, then reconstructed as 2 freshwater lakes for the 1938 World’s Fair. The area also hosted the 1964 World’s Fair and soon after that it was designated as an official park. For a short history of Flushing Meadows Corona Park visit the New York City Department of Parks & Recreation webpage.  Additional sources included in the bibliography page for this project.

Team
This project was made in collaboration with 3 important team members. Each are artists who have offered valuable advice in addition to brilliant skills: Josh Rodenberg is the audio artist, Danielle McPhatter provided programming (and teaching), and Jayne Kennedy created 3D Animations.

Supporters
The production was made possible through a commission of Harvestworks, with residency and research support of the New York Urban Field Station, and time made possible by a sabbatical granted by the Ohio State University.

Tools
Unity3D, Vuforia, Maya, Sketchbook, After Effects, Photoshop, Audacity, Ableton, iNaturalist

Bibliography
Conceptual influences for this project include books by Donna Haraway, David Abram, Robin Wall Kimmerer, and artworks by Janet Cardiff and George Bures Miller, Mel Chin, Tamiko Thiel, plus various scientific articles, and so much more. After a year of research, this list grew too big for one page. Now listed and linked in the project bibliography page.

Experience
The augmented reality art app was published for free in the Apple and Android app stores from 2019 – 2024. While the visual portion is no longer available, there are 2 versions of the audio tour experience.

• Audio version with map published by (Re) Verb. It is free and available in a web browser.
• Audio also available on Soundcloud

Related Project: Grasping Permeability: Flushing Meadows Corona Park

Dead Bird Map

 
I would like to thank Stephanie Malinich of the Tetrapod collection at the Museum of Biological Diversity for the loan of these birds. I would also like to thank artist Allison Blair, whose dead bird project at Hopkins Hall inspired me.

A public Flickr page hosts the photos that are taken by the camera in the photo booth. They are uploaded via an automated wifi camera card and searchable via hashtag #WormSelfie on Flickr and Twitter.

Catalog text

How can our human connection to, and reliance upon, the non-human be sensed?

I “know” that the collection of cells that comprises my body depends on inputs and outputs to the world outside my body, but that relationship is often invisible and unfelt. If I am thirsty I might sense the rain or a river in an more potent way, but, it is more likely that I will feel immediately interconnected with the money in my pocket and the corner store that enables the purchase of a bottle of water. The human-constructed interfaces to the non-human world are convenient, yet distancing. Packaging, stores, trashcans and toilets allow me to fantasize that I am an independent being, as long as I have the ability to purchase food, water, and services. But I am not independent from the ecosystem.

A handshake is a ritual of greeting, an acknowledgement of equality, a sealing of an agreement and a demonstration of respect. With this in mind, I created a situation where I could publicly shake hands with a group of composting worms. A worm bin with a live network webcam attached to the top was a way to broadcast the event. The red wiggler worms were collected from another worm bin in my home. I held them in my hand and felt the gentle movement of their fleshy, moist bodies fed by waste generated from my own household –newspaper, wilted lettuce, apple cores, coffee grounds, and leftover toast. These worms are the continuation of a colony of worms that have been with me for twenty years. We have shared many meals. They have transformed my waste products into fertilizer that I have fed to my houseplants, tomato plants, basil and strawberry plants. Once in awhile, when I bite into the juiciest strawberry, I remember to thank the worms for their part.

Of course the worms are just one small part of the cycle that transforms waste material into soil nutrients and back to human-ingestible food. There are also invisible forces, such as microbes and photosynthesis that I have not figured out how to shake hands with yet. Even the worms are difficult to apprehend. It is in their nature to hide away from visible light, which can harm them. To keep them safe, I staged the handshake inside a dark box. An infra-red light placed inside was invisible to my eye and to the light detectors of the worms, but sensed by the camera documenting the event. This extrasensory, technological agent allows us to see beyond our biological senses and it provides a view into the interconnected system that we participate in. The networked camera revealed the event as it unfolded in a three-hour timespan, but the span of human attention does not easily match this scale. I chose to time-lapse and color-enhance the documentation as a way to shift it towards human perception. I endeavor to employ technology in this way; as a means of highlighting the interdependent systems that include all of us – worms, people, dirt, cameras and ecosystems.

This project premiered in Lüedenscheid, Germany at LichtRouten 2013, an International Forum of Light in Art and Design. September 27 – 6 October 2013. Artistic directors: Bettina Pelz and Tom Groll. The theme was “The Art of Projection” as the citywide installations took place throughout areas of urban redevelopment.

Artists in the show: Jürgen Albrecht, Refik Anadol, Atsara, Catherine Berndt, Cuppetelli + Mendoza, Christoph Girardet, Hartung + Trenz, Joseph O. Homes, Dieter Kiessling, Jakob Mattner, László Moholy-Nagy, Klaus Obermaier, Rainer Plum, Quayola, Diana Ramaekers, Nicolas Schöffer, Robert Sochacki, Max Sudhues and Amy Youngs.

Thanks to the LichtRouten Lüedenscheid directors, technicians and staff for their support and assistance with my project. Thanks to the Ohio State University faculty research enhancement grant for additional support to help create this work.

I built a miniature museum space and used telepresent technologies to re-scale the situation and to provide methods for interaction that do not harm the crickets. Technological interfaces were integrated as organs of a system that attempted to change human viewpoints, disrupt a sense of self-certainty and approach a sense of empathy. An interactive webcam installed in the miniature museum offered remote viewers an intimate way to get to know the crickets. Humans entered the space only through internet-enabled devices that activated lights, a cricket puppet, and chirping sounds. After I built it, I took on the role of museum director and invited 4 separate exhibitions: 1) Trans-Species, by artist, Ken Rinaldo, 2) The Telepresent Animal Hall of Fame, curated by Doo-Sung Yoo, 3) Interspecies Housing, a landscape architecture student competition 4) Engineering Mini Utopia. Each exhibition taught us about the preferences and habits of House Crickets; for example, the Cricket Cloud piece created by the architecture students showed us the ways that crickets experience space through touch.

Visitors to the hosting museum, are able to see the physical Museum for Insects on display, but they can not see everything visible on the webcam and they cannot control the functions available to the remote viewers. The altering of roles – human, insect, viewers, producers, curators, students – within the space of a miniature museum, was a way to explore value, empathy, power, and aesthetics.

The Peabody Essex Museum in Salem, MA first hosted the project as part of Beyond Human: Artist–Animal Collaborations, curated by Janey Winchell. This exhibition featured many artists who have been leaders in artmaking that rethinks ways humans interact with animals. Exhibiting artists: Julie Andreyev, Hilary Berseth, Catherine Chalmers, Emil Fiore, Mark Fischer, Ryan Hackett, Komar and Melamid, Steven Kutcher, Mary Jo McConnell, Jim Nollman, Julia Oldham, Christine Peter, Daniel Ranalli, Corinna Schnitt, William Wegman, Yukinori Yanagi and Amy Youngs.

A new iteration of this project is realized for the Urban Arts Space in Columbus, Ohio for the exhibition, Engineering Utopia, curated by Kris Paulsen.

Special thanks to supporters: The Ohio State University College of Arts and Sciences, Janey Winchell, the tech team at the Peabody Essex Museum, Kris Paulsen, the Urban Arts Space, the College of Engineering and the Ohio State University College of Arts and Sciences Tech Services and the contributing artists.

In our Home Version (Farm Fountain 3) we have grown and eaten Tilapia fish, swiss chard, bok choi, lettuce, basil, chives, parsley, water cress, cilantro, tyme, oregano, rosemary, and tomatoes at home year-round. We built a large-scale Museum Version (Farm Fountain 4) for an exhibition at the Te Papa Museum in New Zealand. Tilapia are considered a pest species there, so we were not allowed to have them, so we included only goldfish in that system.

Farm Fountain is a collaborative, open-source project by artists Ken Rinaldo and Amy Youngs. We hope you will be inspired to create one yourself. Please visit our illustrated “How-To” pages posted on our Farm Fountain project webpage to see how we made our home version.