RWRM interview session

DRAFT 1 - INTERVIEW NOSH NENEH

The past months I used the ‘lens’ of Google Ocean (Google Street View underwater) to search for a phenomenon called color bleaching. For already a long time I’m interested in the eco-system of coral reefs, with the focus on the vanishing of coral reefs. You probably know about the bleaching events of coral reefs where they become white. But more and more cases are popping up, especially around the Great Barrier Reef, that dying coral reefs turn vibrant neon colors. Recent studies found out that some corals were producing a ‘sunscreen layer’ in the form of a colorful neon display to protect themselves against warmer ocean temperatures. It’s like the corals are screaming for help. We’d witnessed the ultimate warning that the ocean is in trouble. In this new project Neon Warning I used the ‘lens’ of Google Ocean to search for corals that glow these bright neon colors in a last-ditch effort to survive.

https://www.noshneneh.com/neon-warning

I’m inspired by Morten’s concept of ‘Hyperobjects’, entities that are huge — global warming, plastic in the ocean, nuclear waste — and seemingly incomprehensible. Morton argues that hyperobjects create an ecological awareness far beyond normal human comprehension. To understand a hyperobject, we must transform the way we see and experience the universe. In line with this idea, I’m exploring ways in which non-traditional photographic tools can be used to give different perspectives on environmental issues. So, next to Google Ocean I worked with photographic tools such as CCTV, Thermal Imaging Camera’s and the NASA Image Library. One example is the series ‘Heat Up’, in which I used infra-red heat photography by following a group of children in The Hague who skipped school to demand action on climate change on the 7th of February 2019. One of the world's largest climate protests, where millions of children around the world took part in a global climate change protest. The infrared pictures accentuate the heat of their gathering rage and literally show that our world is on ‘fire’ (https://www.noshneneh.com/heat-up).

For the project Neon Warning I will for the first time collaborate with scientists in the field. By visualizing the beauty of scientific research, my aim is to contribute to already ongoing environmental debates.

Raw material / Interview by Aitana

So I'm asking you, what are you making right now, or these weeks?

I will talk a bit about my interest of the last months. I was, maybe you know already, quite interested in the ecosystems of coral reefs and especially in the finishing of coral reefs. So the last month I used Google Ocean few, the lens of Google Ocean to search for a phenomenon called color bleaching, the color bleaching of corals.

So on on the Google Ocean view, I went to different islands in the sea, so on the water to search for this phenomenon. M And, um, I will explain a little bit about the phenomenon. It's, um, Like you have the, you know, the, the, the bleaching of corals, where corals become white.

after a while, so they, they're dying. Okay. But, um, like now some studies found out, um, and a couple, um, a couple of years ago, I think two years ago I found out they did some studies, , they saw like big corals became vibrant, gave. Turned into Fribant neon colors like really weird So everybody was going there and was searching for it, what the fuck is going on?

So they did a lot of research on it. What part in the world is that in? Especially in a great barrier reef. Okay. It is, That's a great barrier in, is in, um, is in Australia. Okay. Okay. Is the one of the zoos there. Okay. The great barrier of dare it was first found or dare. The research is now.

I'm not sure if it's also in other places, um, but um, Yeah, the, um, they found out that a colorful pigment, pigment, the neon color, um, acts as a protective sunscreen layer for the corals mm-hmm. to protect themselves against the warmer osher temperatures. Okay. Wow. So when the, the temperature is rising, uh, some of the corals, um, turn into new colors.

Okay. So that's, um, . Um, it's a really, um, uh, um, um, how do you say it? Um, uh, sorry. Monza, I have it here. Sorry. , um, moment.

Are we, sorry. Um, Yeah. Um, they grow these neon colors in a less effort to survive. It's like the corals are screaming for help. Okay. Um, with their colors. They're screaming for help because they're so vibrant and it's their last effort to survive because after those, um, because ocean temperature is warming mm-hmm.

so that's why they. Um, but so, and after that, they're mostly gonna die. Okay. So, and it's like really weird phenomenon because like, it's beautiful, but at the same time, alarming and heartbreaking. But, uh, the, the reason why they are making these colors is, um, is scientific or is scientific. Okay. Okay. It's really scientific.

Okay. It's a kind of. , like normally they become white immediately they lose their colors. Mm-hmm. . Um, but I can also tell a little bit about scientific way, but I'm not sure if you want to hear that. Yeah, yeah, yeah. If it talk about your, your work. Of course. Yes. It would be interesting. Sorry. Um, and see, it's also the first, sorry.

Yeah, they call it optical feedback loop. Oh, wow. So maybe one sec, but for, I cannot, I can't explain this in English, you know what I mean?

Yeah, you have it here as well. Sorry. Yeah, I can tell like two sentences about it. Yeah. Like color bleaching is a recurring phenomenon, um, in coral reefs around the globe and can be indicated, um, um, uh, can indicate or of brief or milled heat stress. So about, uh, warmer, uh, ocean temperatures. Um, um, so it's a brief, uh, it's heat. Or underlying a nutrient stress.

Mm-hmm. , so mostly is really about the warmer of mm-hmm. . Mm-hmm. . It's really focused on the warmer temperatures, the changes in a coloration. Are cast by an optical feedback loop. Uhhuh in full thing coral host and all goal ent. So symbio, Symb. Mm-hmm. . Um, and in full, a blue light driven up regulation of host pigments following bleaching.

Mm-hmm. . Mm-hmm. . Uh, the photo protective host pigments in reaching tissues can aid or recognize recolonization by symbian A. So, um, it's really about a how they, uh, they, uh, they give, put and give back. Uhhuh, Uhhuh, um, um, Um, but maybe I can write it down for you like the mm-hmm. when the, when, when we have the transcription.

I think in the text we can, Yeah, we can, you can edit it because I have toum, but I'm not sure where exactly. Okay, that's perfect. Once I put it in English. Nice. More nicely. Sorry. Yeah. Um, so this is your, your. Interest in the, in the last month, uh, this is my last interest and I'm also, um, um, I found it quite interesting to do this by, uh, Google Ocean View.

Mm-hmm. , Um, to search for those, uh, neon colors of coral reefs. Um, to search for the phenomenon, um, because I think digital, uh, technologies changed our way also to experiment nature. Um, um, so that's why I'm using, um, Google Ocean as well. Mm-hmm. , um, Um, yeah, and I think, uh, maybe that's already the next question.

I don't know. Mm-hmm. . Yeah. Maybe, uh, yes, it's a good, uh, question. Like, why are you making it? Yeah. I think the, like the Google lens, um, the Google Ocean View, um, um, it's one of the examples, um, how I work because, um, in my work, um, Um, I'm, I'm searching, um, um, I'm searching for alternatives, way, ways to use, um, photographic tools to give different perspectives on environmental issues.

Mm-hmm. , so this is one of them. Mm-hmm. . Mm-hmm. . And, um, um, so I, uh, for example, I also used, uh, for example, the, um, Um, the heat photography. Yeah, yeah. Uh, the thermal, uh, photo, uh, photo instruments to, uh, also to, to highlight environmental issues. Uhhuh. But this was more, uh, like the first steps of it. So I captured, um, uh, uh, a big climate march.

Mm-hmm. of March. Mm-hmm. of Children protesting like one of the biggest ones in ue then in 2019. Um, and with the heat camera, you could show their gathering rage, um, um, and literally show that there was on fire, if you know what I mean. Mm-hmm. , because they like, they're, they're, they're . They're red, like the, the cheeks.

The cheeks became red of the, like protesting and running around all those children. So it was red. Literally they show like, cuz there were so many people mm-hmm. , it was one of the biggest ones. So you like, suddenly it became all like rad reds. Mm-hmm. all over. So that was quite so mm-hmm. , I hoped that that was the thing that it communicates and also maybe other instruments, um, I used.

Where, for example, um, uh, CCT fees in lava, um, and yeah, and I used also different ones, but now, um, um, uh, yeah, that's the thing I do like mm-hmm. . Mm-hmm. . Yes. So you are trying to, to get an approach from a different lens, like Yes. Different few finders. Yeah, Yeah, yeah, yeah. Different few finders to.

Environmental issues. Mm-hmm. . And because like to show environmental issues, it, it sounds quite big, so, um, and like warming ocean temperatures for example and stuff, it's like really big issues. Yeah. The anthrop scene, like talking also about anthrop scene. So that's, um, why I'm the last, uh, weeks I'm quite interested in, inspired by Morton's concepts of hyper objects.

And um, it's also a book. So I'm quite interested in, in that, in that concepts and hyper objects. Entities that are huge, really huge and, um, seemingly, seemingly uhhe. So like lo warming, like plastic pollution, nuclear waste and stuff. Okay. And he argues that hyper objects create an ecological awareness far beyond normal human comprehen.

Yeah, so to understand a hyperobject, we mis transform the way we see and experience the universe. So in line with this id, I'm exploring the ways in which non-traditional photographic tools, uh, can be used to give different perspectives. On environmental issues. Um, so to make it smaller and I, I also would like to, uh, combine, uh, more, um, um, how do we say like the, um, uh, um, Uh, yeah.

To, to scientif. Like to, to combine scientific work like science with art. Mm-hmm. . Mm-hmm. . So that's something I want to go in more deeply because I'm, I'm not sure, like, the next question is what you do different or No, not yet. Right. I d. Uh, let's see. I, I, No, no, no, But, but you, but explain. Yeah. Yeah, because I think it's, it's, it's, um, uh, uh, it's, this is now one of the first times I.

I, I use data of the utn, or I, I use some data of research. Mm-hmm. researches, but mostly like really broad. I use some like pinpoints, like really small ones or only like, amounts, like, uh, numbers or something. Mm-hmm. . Mm-hmm. . Um, for example, with the, with the sea animals, I only use like their clarification of endangered.

Endangered, for example. And. Um, and now with this neon colors, I'm really, um, Reading, um, the, like the really big as essays, Right. What is writing about, like the really research part of it and really dive into it. Okay. And, um, searching contact with, uh, di Cn about this mm-hmm. . And, um, also I contacted the, the woman who made chasing Carls is a movie.

Mm-hmm. . Mm-hmm. . So in, in this project for the first time, I'm really, Enthusiastic to work, um, to work together with, um, scientists. Mm-hmm. . Um, but that's also something for like the next upcoming months. Okay. Because I'm also going to the, uh, the Burger Zoo Aquarium where they, um, What is this? Um, it's like in one sec.

Aquarium? Um, yeah. Oh, sorry. Yeah, it's, it's the one in rm. Okay. And it's the one I download. I, I search for the English word about like, they have the biggest, um, place where you can make, um, uh, where they bake corals. Okay. Where they bake and make. , uh, grow. Yeah. Yeah. Corals, Yeah. Like cultivate or Cultivate, Yes.

Yeah. Even if not the Correct. But they also make the corals to put back in the sea to Oh, okay. Yeah, yeah, yeah. Cover like, like a hospital of the corals. Yes. And also there are, um, They're working on innovative ways to, uh, to make like in installations to put in the sea where like it can grow again. Mm-hmm.

Mm-hmm. . It's a really nice institution and they know a lot about the neo color bridging, so I'm, Yeah. I'm now contacting them. So this, those are the next tab, like working together maybe with scientists. That's something I dreamed on. Okay. Dreamed of to. That, uh, the visualization, that the visualization, um, um, helps people to get a little bit of an understanding of like, the big research behind it.

Yeah, Yeah, yeah. Yeah. I, I see the connection also with what you told me about this book, The Hyperobject, which I think it's very, very interesting. I, I didn't know and. It's really interesting, but, okay. Related to all of this, uh, how does it relate this project to other things that you have done before?

Mm-hmm. , I think we don't have, I think a lot of time, but I think already Talk a little bit about how it's connect with like, um, would there, there relation with the, with the pro, the, the heating camera maybe? Yeah. Like how like, It like it's, it's, it's, it's it linked because of like the, how I used the, like the non-traditional photographic tools.

Yes. Okay. Uh, to give a different perspective if I, That's, so I think we already thought about that and also, and also with all the interest in like in Yeah. Um, In, uh, I'm like, I'm in my work. I explore, uh, the complex relationship between men and nature. Mm-hmm. . Mm-hmm. . So their independence, um, uh, but also the way in which the human being transforms nature, um, and is transformed by nature.

Mm-hmm. . Mm-hmm. . Um, but I think, um, , Um, I, I'm more and more interested in, in like the, the scientific park as part as well. So how to combine those. Mm-hmm. . Mm-hmm. . But like, yeah, that's something. But I was always interested in this area. Yeah. But also about like the vanishing of stuff happening in the ocean or how stuff is changing in the ocean because it's also related to my project, uh, the living monuments of the deep.

Where I make like sculptures about, um, um, uh, sea creatures mm-hmm. that are, um, , Endangered. Mm-hmm. . Um, so I think there's also quite a, a link to that. Mm-hmm. . Mm-hmm. . And how is it different to others? I think it's different because of the, like what I just told about the, um, uh, um, the, the, the combination of, um, um, the combination of, um, uh, art and scientific research mm-hmm.

like, and that I want to like, Have collaborations in that world. Okay. And then maybe have eventually like a real collaboration or use their. Research or informations to translate it to, to a more visual approach to, to art. So yeah. Okay. I think that's the difference. Okay. Okay. Um, well, uh, I don't know if it is the last question of the most open one, but what are the most significant choices have you made recently?

About this project? Maybe? Uh, it seems an interesting question actually. It's really interesting. Yeah. I first thought, Okay. It's, um, it was enough to show, um, uh, to show the images from Google Ocean View. Mm-hmm. , you know, But then I thought it was not enough. I want to research, I want to be like part of the research or really talk with them and what's more behind it was too easy.

You know what I mean? Mm-hmm. . Mm-hmm. . Um, I want to dive in or collaborate. I think that's something different and that's also why I started this masters. Hmm. . Mm-hmm. . Um, to dive in and to learn and to be open for collaboration. Yeah. Or also when we talked about like the I project, that's the first time I thought, okay, sometimes you let have to let things go.

Um, not only go to the stuff you want to tell, but sometimes you, like, for example, I, I. Uh, for the, for the film assignment, I was thinking about how to use the, um, uh, how to use like, film material, the new neon leaching, uh, event. Um, uh, can I find those footage or can I maybe shoot it at myself? Mm-hmm.

Mm-hmm. . Um, What ways of shooting are already used to capture those stuff. And then I thought, Okay, but what stuff did we use or are using to capture stuff on the wire? And then I, I find out like that, I found it quite interesting to, uh, to search for the first, um, um, motion picture of mo moving material on the water.

Mm. And then I found an all weird weird movies, and I was, I, uh, and, and, and, and also like the dead horse and the, the slaughter of a shark was such a weird thing to hear that this was the first thing that was like shown and does it tell something? And I want to really dive, I wanted to dive in that and explore that in the water world from the mm-hmm.

Mm-hmm. years in the forties or the thirties or twenties. . Um, because I let things go, I thought, Okay, sometimes you don't need to have like the specific end in your mind. Mm-hmm. . Mm-hmm. . Yeah. Um, also with the collaboration, you don't, the collaboration I may want to do with like, uh, the people of the per zoo for the neo unleashing event or a collaboration, really ucn, um, There can be.

That's, it's, it's, it's maybe more experimental, like you don't know the outcome yet. Yeah, yeah. Yeah. Because maybe you hear stuff and you're gonna use that in your, uh, for your art. Mm-hmm. . Mm-hmm. or you get, get a different perspective. Mm-hmm. . Mm-hmm. or, Yeah. I think, uh, The thing I learned last days be more open and not thinking too much about the outcome.

Yeah. Um, it's also, it gives like a relaxing time just to create, isn't it? Like, uh, you don't Yeah. Barron said that very well yesterday. I think that. Uh, don't, don't expect to have something, but just tell yourself that you are, that you're not having that thing, but you are doing things. Yeah. So that's not too good thing walls Yeah.

Yeah. To your thing, but break them open. And sometimes stuff came in like Yeah. To produce material like this as well, so you can find and discover things. Yeah. I think this is te same with collaborations. Thanks you for the interview.