Human Entities Podcast

• Human Entities 2023: Mark Leckey

  Human Entities 2023: culture in the age of artificial intelligenceSeventh edition, Wednesday 19 April 2023Artist talkMark LeckeyMark Leckey is one of the most influential artists working today. Since the late 1990s, his work has looked at the relationship between popular culture and technology as well as exploring the subjects of youth, class and nostalgia. He works with sculpture, film, sound and performance⁠ – and sometimes all four at once. In particular, he is known for Fiorucci Made Me Hardcore (1999) and Industrial Light and Magic (2008), for which he won the Turner Prize.His work has been widely exhibited internationally, including solo exhibitions at Tate Britain, in 2019, Serpentine Gallery, in 2011, Kölnischer Kunstverein, Cologne, in 2008 and at Le Consortium, Dijon, in 2007. His performances have been presented in New York City at the Museum of Modern Art, Abrons Arts Center; at the Institute of Contemporary Arts, London, both in 2009; and at the Solomon R. Guggenheim Museum, New York City, in 2008. His works are held in the collections of the Tate and the Centre Pompidou.https://markleckey.comhttps://www.cabinet.uk.com/mark-leckeyhttps://www.tate.org.uk/art/artists/mark-leckey-6877/introducing-mark-leckeyhttps://www.youtube.com/@MrLeckeyhttps://www.instagram.com/mark.leckeyhttps://twitter.com/MarkLeckeyhttps://www.nts.live/shows/mark-leckey

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• Human Entities 2024: Monica Gagliano

  Human Entities 2024: culture in the age of artificial intelligenceEighth edition, 15 May 2024 Plant consciousnessMonica GaglianoEvolutionary ecologist, Research Associate Professor (Adjunct) at Southern Cross University, Australia Monica Gagliano PhD is an internationally award-winning research scientist, selected by Biohabitats as one of the 24 most Inspiring Women of Ecology, together with Jane Goodall, Rachel Carson, Sylvia Earl, and Terry Tempest Williams. She has been an invited lecturer at the most prestigious universities, including UC Berkeley, Stanford, Harvard, Dartmouth and Georgetown. Monica’s pioneering work has been widely featured by prominent media, such as The New York Times, Forbes, The New Yorker, The Guardian, National Geographic, and many others. Monica is Research Associate Professor (Adjunct) of evolutionary ecology based in Australia. She is currently Chief Scientist at Kaiāulu|Coherence Lab in Hawaii, and Research Associate at the Takiwasi Centre in Perú. Monica has pioneered the brand-new research field of plant bioacoustics, which for the first time, experimentally demonstrates that plants emit voices and detect and respond to the sounds of their environments. Her work has extended the concept of cognition in plants. By demonstrating experimentally that learning and memory are not the exclusive province of animals, Monica has reignited the discourse of plant subjectivity, as well as ethical and legal standing. Inspired by encounters with nature and indigenous elders from around the world, Monica applies an innovative and holistic approach to science, one that is comfortable engaging at the interface between areas as diverse as ecology, physics, law, anthropology, philosophy, literature, music, the arts, and spirituality. By re-kindling a sense of wonder for the beautiful place we call home, she is helping to create a new ecology of mind that inspires the emergence of revolutionary solutions toward human interactions with the world we co-inhabit. Monica’s studies have led her to author numerous ground-breaking scientific articles and books, including Thus Spoke the Plant (2018) and The Mind of Plants (2021). https://www.monicagagliano.comhttps://www.instagram.com/_monicagagliano_https://en.wikipedia.org/wiki/Monica_Gaglianohttps://researchportal.scu.edu.au/esploro/profile/monica_gagliano/overview CreditsOrganised by CADA in partnership with Lisbon Architecture Triennale and Faculty of Fine Arts, University of Lisbon Programmed by Jared Hawkey/Sofia Oliveira with guest programmers: Andrea Pavoni, Justin Jaeckle, Lavínia Pereira and Olivia Bina. Funded by: República Portuguesa – Cultura / Direção-Geral das ArtesSupport: Câmara Municipal de Lisboa; Universidade NOVA de Lisboa, Faculdade de Ciências e Tecnologia – NOVA LINCS; Instituto Ciências Sociais, Urban Transitions Hub, Universidade de Lisboa; DINAMIA’CET (ISCTE-IUL) and Faculdade Belas Artes, Universidade de Lisboa, Departamentos de Design de Comunicação e Arte MultimédiaDesign: Pedro LoureiroPhotography: Joana LindaSound: Diogo Melo

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• Human Entities 2024: Jay Springett (Solarpunk)

  Human Entities 2024: culture in the age of artificial intelligenceEighth edition, 5 June 2024 Solarpunk means dreaming greenJay SpringettStrategist and writer Solarpunk is a movement in speculative fiction, art, fashion, and activism that seeks to answer and embody the question “what does a sustainable civilization look like, and how can we get there?” In our current age of popular dystopia, climate grief, and biosphere collapse, Solarpunk has become a ‘creative container‘ for more fertile futures. Not one future singular, but many. Solarpunk encourages everyone to re-imagine what life might be like en-route to a better world. Our collective future will not be imposed upon us from above, but instead created bottom up by individuals in polyphony. A texture consisting of multiple simultaneous lines of independent melody. The future never passively arrives fully formed, instead, it must be dreamed. Solarpunk is one such dream. In this talk Jay will cover the story of how solarpunk came to be and its attempts at inspiring people to ‘remake our present and future history’. Jay SpringettJay Springett is a strategist and writer from London. He is known as a leading voice in the speculative genre of Solarpunk, which described in 2019 as a ‘memetic engine’ – a tool to power the ‘refuturing’ of our collective imagination. In 2020 his Solarpunk short story ‘In The Storm, A Fire’ was long listed for the BSFA Award for Short Fiction.  Jay is a Fellow of Royal Society of Arts in London and was selected as one of WeAreEurope’s 64 Faces of Europe in 2019. He is currently an instructor at The New Centre and speaks regularly about the future, technology and culture at events around the world. He currently hosts two podcasts: PermanentlyMoved.Online, a 301 second long personal journal and Experience.Computer, an interview show about aphantasia, creativity, and the imagination. Jay has been writing online at http://www.thejaymo.net since 2010. Credits Organised by ⁠CADA⁠ in partnership with ⁠Lisbon Architecture Triennale ⁠and ⁠Faculty of Fine Arts⁠, University of Lisbon Programmed by Jared Hawkey/Sofia Oliveira with guest programmers: Andrea Pavoni, Justin Jaeckle, Lavínia Pereira and Olivia Bina. Funded by: República Portuguesa – Cultura / ⁠Direção-Geral das Artes⁠Support: ⁠Câmara Municipal de Lisboa⁠; Universidade NOVA de Lisboa, Faculdade de Ciências e Tecnologia – ⁠NOVA LINCS⁠; Instituto Ciências Sociais, ⁠Urban Transitions Hub⁠, Universidade de Lisboa; ⁠DINAMIA’CET⁠ (ISCTE-IUL) and ⁠Faculdade Belas Artes⁠, Universidade de Lisboa, Departamentos de Design de Comunicação e Arte Multimédia Design: ⁠Pedro Loureiro⁠ Photography: ⁠Joana Linda⁠ Sound: ⁠Diogo Melo⁠

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• Human Entities 2024: Matteo Pasquinelli

  Human Entities 2024: culture in the age of artificial intelligenceEighth edition, 29 May 2024 Artificial Intelligence Design and the Logic of Social CooperationMatteo PasquinelliAssociate Professor in Philosophy of Science, Ca’ Foscari University, Venice A conversation around the book “The Eye of the Master: A Social History of Artificial Intelligence” with the author Matteo Pasquinelli. What is AI? A dominant view describes it as the quest “to solve intelligence” – a solution supposedly to be found in the secret logic of the mind or in the deep physiology of the brain, such as in its complex neural networks. Pasquinelli’s book The Eye of the Master argues, to the contrary, that the inner code of AI is shaped not by the imitation of biological intelligence, but the intelligence of labour and social relations, as it is found in Babbage’s “calculating engines” of the industrial age as well as in the recent Large Language Models such as ChatGPT. Matteo PasquinelliAssociate Professor in Philosophy of Science at the Department of Philosophy and Cultural Heritage of Ca’ Foscari University in Venice where he is coordinating the ERC project AI MODELS. http://matteopasquinelli.comhttps://pric.unive.it/projects/ai-models/homehttps://www.versobooks.com/products/735-the-eye-of-the-master Credits Organised by ⁠CADA⁠ in partnership with ⁠Lisbon Architecture Triennale ⁠and ⁠Faculty of Fine Arts⁠, University of Lisbon Programmed by Jared Hawkey/Sofia Oliveira with guest programmers: Andrea Pavoni, Justin Jaeckle, Lavínia Pereira and Olivia Bina. Funded by: República Portuguesa – Cultura / ⁠Direção-Geral das Artes⁠ Support: ⁠Câmara Municipal de Lisboa⁠; Universidade NOVA de Lisboa, Faculdade de Ciências e Tecnologia – ⁠NOVA LINCS⁠; Instituto Ciências Sociais, ⁠Urban Transitions Hub⁠, Universidade de Lisboa; ⁠DINAMIA’CET⁠ (ISCTE-IUL) and ⁠Faculdade Belas Artes⁠, Universidade de Lisboa, Departamentos de Design de Comunicação e Arte Multimédia Design: ⁠Pedro Loureiro⁠ Photography: ⁠Joana Linda⁠ Sound: ⁠Diogo Melo⁠

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  1:15:42
• Human Entities 2024: Giorgio Gristina

  Human Entities 2024: culture in the age of artificial intelligenceEighth edition, 22 May 2024 Pluralizing psychedelic experiencesGiorgio GristinaPhD candidate, DANT (ICS-ULisboa), Systems Neuroscience Lab (Champalimaud Centre for the Unknown) Potential groundbreaking therapeutic applications are fuelling a resurgence of scientific and clinical interest towards psychedelic compounds. Growing media coverage is popularizing concepts such as “mystical experience” and “ego-dissolution”. Such terms are used in most scientific studies to describe the complex subjective experiences elicited by these substances, possibly playing a role in their therapeutic outcomes. But what’s the history behind these categories? And are there other ways of interpreting the peculiar effects of these substances? The mystical framework has been dominant in western scientific approaches to altered states of consciousness, and was thus adopted by psychedelic research since its inception. However, I argue that it is not the only possible interpretation of psychedelics’ effects. Ethnographic data and anecdotal evidence show that other communities have approached psychedelics through other epistemologies, and that their effects vary considerably across different settings. To widen our understanding of these substances’ effects and their therapeutic applications, scientific approaches to psychedelics should attempt to include a broader diversity of experiences, contexts and methods. Giorgio GristinaGiorgio Gristina holds a BA in Intercultural Communication and a MA in Social and Cultural Anthropology, both from the University of Torino (Italy). He also got a diploma in Sound Engineering from the school APM (Italy), having collaborated to numerous artistic / audiovisual projects along the years. He is currently PhD candidate in Medical Anthropology at the Institute of Social Sciences (ULisboa), with a research project co-hosted by the System Neuroscience Laboratory (Champalimaud Centre for the Unknown). His PhD investigation employs qualitative methods to unravel the historical and cultural frameworks underlying contemporary scientific research and clinical practice with psychedelic drugs, with focus on the Portuguese scenario and its role in the context of the “psychedelic renaissance”. His work explores the socialities emerging around the use and circulation of drugs, and the way scientific discourses shape western conceptions of self, mind and mental health. He has conducted fieldwork in Israel and in different sites in Europe. https://doutoramento.antropologia.ulisboa.pt/estudantes/giorgio-gristina Credits Organised by ⁠CADA⁠ in partnership with ⁠Lisbon Architecture Triennale ⁠and ⁠Faculty of Fine Arts⁠, University of Lisbon Programmed by Jared Hawkey/Sofia Oliveira with guest programmers: Andrea Pavoni, Justin Jaeckle, Lavínia Pereira and Olivia Bina. Funded by: República Portuguesa – Cultura / ⁠Direção-Geral das Artes⁠ Support: ⁠Câmara Municipal de Lisboa⁠; Universidade NOVA de Lisboa, Faculdade de Ciências e Tecnologia – ⁠NOVA LINCS⁠; Instituto Ciências Sociais, ⁠Urban Transitions Hub⁠, Universidade de Lisboa; ⁠DINAMIA’CET⁠ (ISCTE-IUL) and ⁠Faculdade Belas Artes⁠, Universidade de Lisboa, Departamentos de Design de Comunicação e Arte Multimédia Design: ⁠Pedro Loureiro⁠ Photography: ⁠Joana Linda⁠ Sound: ⁠Diogo Melo⁠

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