I am a biologist in love with bees! My passion for these amazing insects has created in me a huge curiosity about the mysteries of their sensory systems. With the help of flashlights, cardboard, tape, plastic hoses, cameras, and some other common stuff, I’ll be creating bio-crafts to conduct olfaction experiments and to understand more about these cuties we call bees!
As part of the Dinacon Team, I’ll be helping and be your guide to find your way to creativity!
Hi, I am an artist originally from the subtropics (Sydney), now living in Berlin. I have been researching and making work on the subtropics, tropics, and rainforest ecosystems in recent years, as well as on global patterns and flows of food distribution and certain ubiquitous edible and inedible materials used in mass produced and niche products (plastics, rubber, palm oil, cocoa, gemstones). I make rhythmic objects with text, sound, sculptural assemblage and video, forming repeat patterned motifs for performances and installations, which I use to explore behavioural patterns and systems of labour, energy expenditure, depletion, and exchange. The work often has an absurd or humorous bent.
I plan to work on both a video and a sound work at Dinacon where I’ll make field recordings as well as voice recordings and additional post processed sound with rainforest flora as original sources for larger food crops as a focus. I am interested in the encroachments from the rainforest at Gamboa onto the human built settlements at its fringes where Dinacon takes place, (the Gamboa baseball field and playgrounds, for example) and the reverse process that took place historically, the Panama Canal as a massive human intervention that cut through the forest and landscape, as well as the changes that are taking place now. Human and non human interactions in urban and human made environments within subtropical and tropical landscapes is an area of interest and I will research these topics and seek feedback during the conference where I hope to talk to Dinacon’s field biologists and other local residents as well as Digital Naturalism’s neighbouring biologists at the Smithsonian Tropical Research Institute. I also wish to make on-site sculptural assemblages incorporating forest and local food packaging debris, and to use the wood workshop and 3D printer to make sculptural forms using found rainforest and fringe objects as a basis. I will also be researching for an experimental novel I am writing that takes place in various towns and cities in the shifting and expanding (as the globe warms) geographical bandings of the tropics and subtropics. Additionally, I am very interested in birdsong and will make field recordings of the Gamboa rainforest birds.
I am looking forward to meeting you all and finding out about your projects and potentially collaborating with you!
Studio portrait photo by Walker Esner at The Wassaic Project with a few leafy additions from me.
I am a writer, musician (Dezmediah), social worker, and amateur programmer. At Dinacon 2, I’ll be writing an electronic literature piece, which will write automatic poetry or prose using words said at Dinacon.
Project: I plan to research and write an ethnographic article about how the Digital Naturalists form a community, building “swift trust,” and then work together to accomplish various goals. What counts as sustainability for us? What aspects of a living environment should be conserved? What makes a technology instrumentally or morally good? What values characterize digital naturalism as a novel discipline? And what role does it play in global movements for planetary health and justice?
Bio: I’m a Ph.D. candidate in the anthropology of technology within Harvard University’s Department of the History of Science. Currently, I’m researching agricultural technology startups. My dissertation examines the rise of vertical farming in New York City.
I’m also a research associate regarding controlled environment agriculture at Cornell University, a research advisor to the nonprofit FarmTech Society, and a marketing advisor for the smart agriculture startup Grow Computer.
I’ll be playing with different ways to capture elusive and unusually quick moving bats in the jungle canopy. I have been using the powers of duct tape, cheapo dash cams and some ingenuity to capture bats attracted to their prey by use of sound or acoustic playback only… I would like to streamline this process and make longer running camera traps that don’t require constant maintenance and battery exchanges.
I’m also hoping to use the powers of intrigue and creativity to bring local residents attention to living in a national park and how going with the jungle is way funner than ignoring the principles of nature (ie: croc awareness; reducing waste; housing beneficial neighbors like insectivorous bats!)
Whilst at DiNaCon (August 14-20) I will collect unique fauna and water samples and take images of their microscopic biological structures. I will also record bio data, including audio, and the movement of gases and moisture, from inside trees and waterways. This data will be used to create PUL$E, a new digital art installation by PluginHUMAN (Betty Sargeant and Justin Dwyer).
PUL$E places audiences in the centre of a multi-sensory experience that’s controlled by the life force of trees. Through this project we aim to forge deep connections between people and our natural environment, raising questions around ecological conservation in the age of economic rationalism. The development of PUL$E is being fed by a wide range of field trips (to the Amazon, Panama, Taiwan, remote Australia etc) where PluginHUMAN are collecting data from significant local trees and waterways.
The PUL$E installation will feature the internal microscopic structure of significant international trees. This data will be enlarged and printed onto acrylic sculptural forms. The printed acrylic sculptures will be lit by full-colour programmable LED lights. The light show will be controlled by bio data collected from the significant international trees. This bio data will reflect the gas, movement, moisture and sounds from inside the trees. Audiences will be surrounded by environment-controlled audio, visuals and aromas in an immersive art encounter.
I’m an Australian visual artist, working with kinetic sculpture (cheap servos, Arduino, pretty low tech) , video, performance, photography etc. My practice deals with how people interact with both the environment and technology, especially at the intersections of these. I work a lot with simulations of nature.
Recent work has been documentary based, I hope to explore the jungle and speak with a lot of researchers, and build some kind of speculative narrative about interactions with the environment. Also keen on some en plain air electronics tinkering 🙂
Project: The Sustainable Zine: Being a zinester for many years I’ve noticed how unsustainable zines can be depending on how they are produced. At Dinacon I plan on using natural dyes and inks on natural materials to explore all the ways that Panama and it’s nature can create colour and story. The goal is to make a zine inspired by Dinacon and the experiences in Gamboa that will eventually fade and degrade until it doesn’t exist at all except in pictures, much like memories!
Sid Drmay is a nonbinary queer multidisciplinary artist based in Hamilton, ON. They use textile art to explore growing up online, nosebleeds, queerness and transness and all the weirdness that comes with that. They love weaving, embroidery, screenprinting, their two cats, and sour gummy candies.
I’ve recently finished my PhD on plant biomechanics. I studied physics and teach it, but find a lot of things fascinating, including plants, art, cats, humans and other sentient beings. I like making things, thinking about things, and things that make me think.
Life of Leaf: The project I have in mind is a structure made mostly out of what can be found in the woods and some connective tissue. It will include sub-structures at various scales, which change in time as the plant elements in it grow or decay. Plants dynamics have many timescales, from seconds to years, and I aim to find a way to incorporate plant motion and function into a cool and totally useless thing that will be fun to look at.
I’m also curious to see unique patterns in local plants, and collaborate with other people who work on projects I can relate to.