PARADIGM OF THE POST NATURAL CRITIQUING CAPITALIST IDEALS THROUGH ENVIRONMENTAL DEGRADATION
ARC 505 - THESIS PREPARATION - FALL 2022 ANDREA DE HARO + CHARLOTTE BASCOMBE
RESEARCH
MUTANT ORGANISMS
MUTANT LANDSCAPES
MUTANT ECOSYSTEMS
SUBLIME
THE ANTHROPOCENE HAS BECOME AN ERA WHERE HUMAN CENTERED DESIGN APPROACHES HAVE CONTROLLED AND MANIPULATED THE ENVIRONMENT WE INHABIT. WITHIN THE ANTHROPOCENE WE HAVE COMMODIFIED EVERYTHING FROM NATURAL RESOURCES TO ORGANISMS FOR OUR OWN PLEASURE AND SUCCESS. IT IS WITHIN THIS TENDENCY TO CONTROL AND MANIPULATE THAT WE BEGIN TO CRITIQUE HUMANS’ AESTHETIC RELATIONSHIP WITH THE ENVIRONMENT. AS WE CONTINUE DESTROYING LANDSCAPES FOR ECONOMIC GAIN, WE IMAGINE THE AESTHETIC SUBLIME, ONE THAT SIMULTANEOUSLY HAS THE POWER TO COMPEL AND DESTROY US. COLOMINA AND WIGLEY, AUTHORS OF “ARE WE HUMAN”, MAKE IT EVIDENT THAT ‘THE HUMAN IS PERMANENTLY SUSPENDED BETWEEN BEING THE CAUSE AND THE EFFECT, BETWEEN DESIGNING LIVING SYSTEMS AND BEING DESIGNED BY THEM.’ EMPHASIZING THE ANTHROPOCENE IS IN FACT A SYSTEM THAT WE DESIGNED BUT WE ARE ALSO DESIGNED BY.
THERE IS AN UNSPOKEN VALUE IN THE DESTRUCTIVENESS CAUSED BY DESIGN THAT IS EXPOSED THROUGH THE EXPLOITATION OF NATURAL RESOURCES. THIS THESIS SEEKS TO EXEMPLIFY THE AESTHETIC VALUE INHERENT WITHIN THESE NEWLY DEFINED ENVIRONMENTS. NATURE IS A SOURCE FOR HUMAN CONSUMPTION, AND AS SUCH IT HAS DEVELOPED INTO A COMMODITY. BY NOW IT SHOULD BE MADE EVIDENT THAT HUMANITY’S PRESENCE IS EVERYWHERE, THERE IS NO ECOSYSTEM LEFT UNTURNED BY HUMAN MANIPULATION, IN THIS RESPECT, NATURE IS DEAD. DEFORESTED SITES OF OIL FRACKING LEAVE MILE LONG TOXIC PONDS HIGHLIGHTING THE DESTRUCTIVE PURSUITS THAT CAPITALISM CREATES. CHERNOBYL SHOWCASES HOW HUMAN ERRORS IN DESIGN CAN LEAD TO CATASTROPHIC CHANGES TO AN ECOSYSTEM, CHANGING THE WAY ANIMALS AND HUMANS INHABIT THESE SPACES FOR DECADES TO COME. MONOCULTURES AND FACTORY FARMS EXPLOIT NATURE, AND WITH TECHNOLOGICAL ADVANCEMENTS, HAVE TAKEN OVER, CREATING A LOSS OF BIODIVERSITY THAT UPSETS THE ECOLOGICAL BALANCE. THIS EXPLOITATION IS ALSO EVIDENT WITHIN OUR TREATMENT OF THE NON-HUMAN, GOING SO FAR AS TO DESIGN ANIMALS FOR HUMAN PLEASURE AND ECONOMIC GAIN.
ULTIMATELY, THIS EXPLOITATION ALLOWS FOR THE CREATION OF NEW INTERPRETATIONS OF DESIGN. ALTHOUGH DESIGN IS HIGHLY VALUED AND OVEREMPHASIZED FOR ITS POSITIVE QUALITIES, THERE BEGINS TO BE A WAY IN WHICH THE NEGATIVE QUALITIES OF LAND ARE ROMANTICIZED. THIS DECONSTRUCTS AESTHETICS AND PUSHES DESIGN ENDEAVORS CLOSER TO THE SUBLIME, AWAY FROM POSITIVE AND TRANQUIL ENVIRONMENTS, AND CLOSER TO A HORRIFIC BEAUTY. ARCHITECTURE AND DESIGN ARE BOTH BIASED TOWARD SUPERFICIAL AND FORMALIST APPROACHES OF AESTHETICS, ONE THAT’S EITHER BEAUTIFIED OR UGLY. DESIGNERS HAVE A TENDENCY TO ASSOCIATE GOOD DESIGN AND AESTHETICS WITH BEAUTIFUL, ALLURING AND FORMAL APPROACHES. THIS DOES NOT CONSIDER DISCOMFORT, DISTURBANCE, AND DREADFULNESS. REDEFINING AND BLURRING THESE LINES CREATES A NEW TERRITORY OF AESTHETICS THAT CAN EVOLVE WITHIN A POST NATURAL TO CREATE BEAUTIFULLY TOXIC ENVIRONMENTS.
OUR DESIGN REFLECTS ON WHAT WE HUMANS AND OUR COMPANION SPECIES HAVE BECOME AND ENCOURAGES US TO FACE THE REALITY OF HOW DESIGN DEVELOPMENT INTRODUCED BY HUMANS HAS CREATED A POSITIVE FEEDBACK LOOP THAT IN TURN HAS SHAPED OUR OWN LIVES. THE ACT OF DESIGNING IS A PARADOXICAL GESTURE THAT TRANSFORMS HUMANS FOR THE PURPOSE OF PROTECTING THEM. WASTE IS IRREDUCIBLY DISASSOCIATED FROM THESE IDEALS, CAUSING NEGLECT IN DESIGN. CONFRONTING THIS NEGLECT FORCES A CHAIN REACTION THAT ULTIMATELY TRANSFORMS OUR SOCIETY. WHAT WE CONSIDERED TO BE THE LEFTOVERS FROM DESIGN IS IN FACT ACCIDENTALLY THE PRIMARY DESIGNER OF OUR URBAN ENVIRONMENTS.
WE USE ARTIFICIAL INTELLIGENCE TO BEGIN GENERATING THE UNIMAGINABLE ENVIRONMENTS THAT DESTRUCTION CAN CAUSE. BY USING TEXT-TO-IMAGE AI GENERATORS, SPECIFICALLY MID JOURNEY, WE BEGIN TO DESIGN WHAT THESE RADICALLY TRANSFORMED ENVIRONMENTS CAN BE PERCEIVED AS. AI IS MANIPULATED IN ORDER TO SUCCESSFULLY DEPICT THESE ENVIRONMENTS. FOR A CONSISTENT FLOW OF OUTCOMES TEXT CONSTRAINTS AND PARAMETERS WERE PUT IN PLACE IN ORDER FOR ALL OUR IMAGES TO FOLLOW THE SAME AESTHETIC PRINCIPLES. BY USING ARTIFICIAL INTELLIGENCE WE CONTINUE TO USE TECHNOLOGY TO ENVISION HOW SPECIES CAN EVOLVE TO DEPICT ALTERNATIVE FUTURES.
WE BEGIN TO UNDERSTAND THE INTERRELATIONSHIPS BETWEEN HUMAN BEINGS, ANIMALS AND THE ENVIRONMENT. SPECIES ARE BEING RADICALLY ALTERED IN THEIR BIOLOGY TO INHABIT AND CO-LIVE WITHIN THESE EXTREME ECOLOGICAL CONDITIONS. ALL ORGANISMS BECOME HOMOGENIZED WITH THE LANDSCAPE CAUSING A SENSE OF AMBIGUITY IN DISTINGUISHING EACH ONE FROM ANOTHER AND EVEN FROM THE ENVIRONMENT DUE TO THE CONTINUOUS CHEMICAL FUSION BETWEEN SPECIES AND THEIR SURROUNDINGS. IN AIMS TO UNDERSTAND HOW AND WHERE THESE SPECIES MAY BEGIN TO APPEAR, WE CHOSE TWO EXISTING MUTANT HOTSPOTS, CHERNOBYL AND THE ALBERTA OIL SANDS. IN RESEARCHING THE WAY THESE NON-HUMAN ORGANISMS LIVE AND COHABIT WITH EACH OTHER AND THE TOXICITY AROUND THEM WE ARE ABLE TO UNDERSTAND HOW THEIR MUTATIONAL BIOLOGY HAS ALTERED GIVEN THE SITE CONDITIONS.
THE UNCONTROLLED RELEASE OF RADIOACTIVE MATERIAL CAUSED BY THE CHERNOBYL DISASTER CREATED A PERIMETER FOR A RADIOACTIVE WILDLIFE REFUGE. THE EXPLOSION OF IODINE AND CESIUM ARE THE MAIN CAUSE FOR THE MALFORMATIONS OF NON-HUMAN ORGANISMS. HUMANS WERE EVACUATED FROM THESE AREAS, HOWEVER NON-HUMAN ORGANISMS WERE LEFT BEHIND TO ABSORB THE TOXICITY REMAINING IN THE CONTAMINATED AREAS. ALTHOUGH INVESTIGATIONS HAVE SHOWN THAT WILDLIFE IS FLOURISHING IN THESE AREAS, THE REALITY IS THAT THESE ORGANISMS ARE FLOURISHING IN WAYS THAT ARE INHUMANE AND CONSIDERED OUT OF THE NORM IN TODAY’S ECOSYSTEMS. THE EFFECTS OF THE RADIOACTIVE MATERIALS INCLUDE, BUT ARE NOT LIMITED TO ANIMAL TO ANIMAL MUTATIONS AND GENETIC ABNORMALITIES SUCH AS BODY MALFORMATIONS AND DEFORMITIES.
EMPHASIZING THE EFFECTS OF THE CHERNOBYL NUCLEAR DISASTER, WE ARE ABLE TO DEPICT THE WAYS IN WHICH THESE ORGANISMS ARE GRADUALLY ADAPTING TO LIVING IN THESE CONDITIONS. AMONG THESE ORGANISMS ARE BEARS, WILD BOARS, ROE DEERS, ELKS, LYNX, BISON, PRZEWALSKI HORSES, COWS, FOXES, MOOSES, CATFISH, MONKEYS, AND FROGS, ALL OF WHICH ARE CURRENTLY INHABITING THE PERIMETER OF CHERNOBYL. TWELVE SPECIES OF WHICH ALIGN TO THE SERIES OF PERCEIVED HABITAT TRANSFORMATIONS. AS REPRESENTED BY THE SERIES, THE ORGANISMS BEGIN TO HOMOGENIZE THEMSELVES WITH THEIR SURROUNDINGS AS ANIMALS TEND TO DO TODAY WITH HUMAN DEBRIS. IN THE INSTANCE OF THE DEER, THE SPECIES BEGINS TO DEVELOP ITS HABITAT WITH THE IODINE TOXICITY THAT HAS BEEN ABSORBED BY THE COOLING PONDS. THE WILD BOARDS WHO ROAMED THE ENVIRONMENT FREELY ARE NOW HOMOGENIZED WITH THE AGGREGATED TAR SEALED ASPHALT THAT WAS EXPLODED DUE TO THE IGNITION OF THE NUCLEAR PLANT. THE CATFISH ARE NOW LARGER THAN THEIR SIZE WAS EVER EXPECTED TO BE, LIVING IN INFILTRATED CONDITIONS THAT HAVE CAUSED THE ABNORMALITIES AND DEFORMITIES IN THEIR BIOLOGICAL SYSTEMS. THE MONKEYS ARE NOW ENCRUSTED WITH VINES THAT HAVE BECOME ENTANGLED DUE TO THEIR ABSORBED TOXICITY OF CHEMICALS.
THE CURATION OF THESE LANDSCAPES AND HABITATS ARE NOT LIMITED TO DESTRUCTION BUT ARE ALSO USED TO AESTHETICIZE THESE EXTREME CONDITIONS POSED BY DEGRADED LANDSCAPES. THERE IS A GIVEN AESTHETIC BEAUTY WITHIN THESE ZOOMED IN HABITATS THAT CAN BE OBSERVED THROUGH THE RHYTHM AND HARMONY WITHIN THE IMAGES. ALTHOUGH THE HABITATS SEEM DESTRUCTIVE AND CATASTROPHIC, THE REALITY IS THAT THESE ANIMALS HAVE EVOLVED BIOLOGICALLY TO ADAPT TO THESE LIVING CONDITIONS, UNLIKE HUMANS WHO HAVE REQUIRED THE USE OF TECHNOLOGY TO ADAPT TO THE NEW LIVING CONDITIONS THAT WERE CAUSED BY THEIR OWN CREATIONS. ALL SERIES OF IMAGES ARE USED TO EMPHASIZE THAT DESTRUCTIVE CONDITIONS CAN IN FACT HAVE BEAUTY. IN GENERATING THESE IMAGES WE PERCEIVE THE CONDITIONS IN WHICH THESE DESOLATE AND GROTESQUE LANDSCAPES MAY BEGIN TO FORM A LIFE OF THEIR OWN.
THIS SERIES FOCUSES ON THE FUTURE LANDSCAPES OF THE TAR SANDS, IN ALBERTA. THE TAR SANDS ARE THE LARGEST DEPOSIT OF CRUDE OIL IN THE WORLD WITH SPRAWLING WASTE PONDS THAT LEACH HEAVY METALS INTO GROUNDWATER AND POLLUTE NEARBY RIVERS AND STREAMS. THESE POLLUTANTS ARE CURRENTLY CAUSING DEFORMITIES IN SPECIFIC SPECIES IN THE ATHABASCA RIVER, SUCH AS THE WALLEYE FISH. OTHER SPECIES ARE ALSO CURRENTLY THREATENED BY THE OIL SANDS CONDITIONS, INCLUDING BEAVERS, DEER, AND BIGHORN SHEEP, ALONG WITH AN ARRAY BIRDS. THESE DESTRUCTIONS ARE PERCEIVED AS DESIGNED LANDSCAPES THAT WILL EVENTUALLY BE LEFT DESOLATE ONCE HUMANS HAVE EXTRACTED ALL THE OIL THEY HAVE AVAILABLE. WHAT REMAINS IS TOXIC WASTE POOLS THAT HAVE LEACHED INTO EXISTING ENVIRONMENTS WITH PROFOUND EFFECTS ON THE SURVIVING SPECIES. THIS CREATES A MUTANT LANDSCAPE PERPETRATING THE SUBLIME,WHICH IS SOMEWHAT BEAUTIFUL IN ITS DESTRUCTION.
WITHIN THIS FIRST SERIES TOXINS LEFT OVER FROM WASTE POOLS ARE SPECIFICALLY EXPLORED AND PERCEIVED WITHIN A NEW AESTHETIC REGIME. THESE IMAGINED HABITATS, SEEN IN THE BOTTOM, ARE ABSTRACT DEPICTIONS OF THE AESTHETICS OF DESTRUCTION, AND THE INHERENTLY BEAUTIFUL CONDITIONS THAT EXIST, EVEN IF THEY HAVE THE POWER TO DESTROY. WITH THE HELP OF AI WE CAN IMAGINE FOR EXAMPLE, YELLOW TOXIC WATER THAT SEEPS INTO ERODED SOIL, AND HOW THIS COULD BECOME A HABITAT FOR THESE DERANGED MUTATED SPECIES, SUCH WALLEYE FISH, BEAVERS, GARTER SNAKES AND DUCKS. HERE THE SPECULATED QUALITIES OF A DUCK ARE DEPICTED TO IMAGINE HOW THEY COULD BEGIN EVOLVING TO SURVIVE IN THESE YELLOW TOXIC WASTE POND ENVIRONMENTS.
THE SECOND SERIES WAS INFLUENCED BY THE CREATION OF ANOTHER PRESUMED OIL SANDS ENVIRONMENT. IT FOCUSSES MORE STRICTLY ON THE LAND ANIMALS THAT WILL FACE MUTATIONS, AS THE GROUND CONDITION OF THIS SITE IS MORE PROMINENT. HERE DEER, LONG HORNED SHEEP, BLUE HERONS AND BLACK BEAR BECOME CAPTIVATED AND ENGULFED WITHIN THE AFTERMATHS OF ECOCIDES THAT CAUSE MASS DESTRUCTION TO THE ENVIRONMENT. FOR EXAMPLE, HERE WE SEE DEER MUTATING WITH TOXIC POLYCYCLIC HYDROCARBONS DEPICTING HOW THESE DEER MAY SURVIVE IN THESE CONCEPTUALIZED TOXIC ENVIRONMENTS.
DESIGN IS THE DEFENSE MECHANISM OF HUMANS, DEFENDING ONLY WHAT IS IN FAVOR AND NEGLECTING WHAT SURROUNDS US. DESIGNERS ARE DIRECTED TO SOLVE PROBLEMS WHILE INTELLECTUALS AND WRITERS ARE EXPECTED TO HESITATE, QUESTION AND ANALYZE EVERY FACET OF LIFE. THROUGH THIS THESIS WE AIM TO MERGE THESE CONCEPTS AND TRANSFORM DESIGN INTO A PARADIGM THAT ALLOWS FOR THOUGHT-PROVOKING QUESTIONING OF THE REGIME OF HUMAN LIFE RATHER THAN SIMPLY DESIGNING FOR THE SERVICING OF THOSE REGIMES.
DERIVING FROM THE IDEAS OF THE AESTHETIC SUBLIME, IT SHOULD BE EMPHASIZED THAT THE SUBLIME IS NOT AN IDEA BUT RATHER AN EXPERIENCE. THIS DEFINITION CAN PERTAIN TO THE EVOLUTION OF OUR THESIS, IN WHICH IT IS NOT ONLY NECESSARY TO ALLUDE TO THE SUBLIME, BUT IT IS ALSO IMPORTANT TO EXPERIENCE IT. TO ENCOUNTER THIS WE COULD IMAGINE AN IMMERSIVE EXPERIENCE THAT EVOKES AND DESIGNS THE SPECIFIC SENSES ONE MIGHT FEEL IF THEY WERE CAPTIVATED BY THIS ENVIRONMENT. FROM THE IMAGINED ODORS, COLORS, AND TEXTURES THAT ARE PRESENT WE CAN EVOLVE OUR PERCEPTION OF THE REAL AND ARTIFICIAL AS A HARMONIOUS ENDEAVOR. THIS IMMERSIVE EXPERIENCE COULD BE USED TO FURTHER DESIGN AND MANIPULATE OUR GENERATED LANDSCAPES AND CONTINUE TO DISRUPT RATIONALITY AND FORM AS THE ULTIMATE AESTHETIC. ACKNOWLEDGING AND EMBRACING THE IRRATIONAL WOULD ALLOW THE AUDIENCE TO INCORPORATE THEIR EMOTIONS AS THEY EXPERIENCE THE OBSCURITY THAT DESIGNERS INCORPORATE IN THEIR DESIGN PROCESSES. IT SERVES TO AWAKEN THE SENSES OF THOSE WHO CHOSE TO NEGLECT THE REALITY OF ARCHITECTURE AND THE WAY IN WHICH WE DISCRIMINATORILY DESIGN THROUGH HUMAN-CENTERED APPROACHES.
FURTHER OBSERVING THE WAY IN WHICH ONE COULD TRANSFORM THE ENVIRONMENT THROUGH THEIR MOVEMENTS, ADDING ANOTHER LAYER OF DESTRUCTION. THIS EXPLORES THE CONTRADICTIONS OF DESIGN AESTHETICS THAT ARE SET FORTH THROUGH THE USE OF OUR INITIAL VISUALS. DEVELOPING ONCE AGAIN A FEEDBACK LOOP WHERE FURTHER DESIGNING THESE LANDSCAPES WOULD IN TURN DESIGN THE RATIONALE OF THE USER. ULTIMATELY WE AIM TO CREATE THIS IMMERSIVE EXPERIENCE IN ORDER TO EMPHASIZE THE AESTHETICS OF DESTRUCTION. THE EXPERIENCE AS A WHOLE REPRESENTS THE SUBLIME, MAKING THE VIEWER QUESTION WHAT THE ROLE OF DESIGN AND AESTHETICS HAS ON ENVIRONMENTAL DEGRADATION.
MCKITTRICK OIL SEEPS
DEFORESTED OIL PALM PLANTATIONS
POLLUTED BAYOU IN PEARL RIVER
OFFERING A LAYERED APPROACH TO THE RELATION BETWEEN HUMAN AND DESIGN, ‘ARE WE HUMAN’ GLANCES AT THE VIRALNESS OF DESIGN AND HOW IT HAS BECOME BIGGER THAN THE WORLD. IT ALSO TOUCHES ON THE DESIGN OF NEGLECT, IN WHICH WE FALL INTO WATCHING EVERYTHING, AND YET DOING NOTHING. THIS FEEDS INTO A LACK OF ACTION PROMPTING NEW DESIGNS.
“AMBIGUOUS TERRITORY” DISCUSSES WHAT TERRITORY MIGHT BE AND HOW IT OPERATES. THE PROJECTS IN THIS BOOK REFLECT ON HOW TO PROCEED WITHIN THE POST NATURE, OFFERING SOLUTIONS, OR A LACK THEREOF, WITHIN THE SPHERE OF DESIGN. THE ESSAYS AND PROJECTS WITHIN THIS BOOK TOUCH ON TOXIC SUBLIME AND DISPERSED PERCEPTIONS OF AESTHETIC DOMAINS; ULTIMATELY ALTERING CONCEPTIONS OF TERRITORY AND THE ASSUMPTIONS ABOUT THE MEANINGFUL WITHIN THE REALM OF DESIGN.
SUBNATURES ARE THE NATURES WE INHERENTLY SEE AS LESS VALUABLE, THE DIRTIER UNCONTROLLABLE NATURES THAT WE HAVE CONDITIONED OURSELVES TO BELIEVE ARE HARMFUL TO ARCHITECTURAL PRACTICES. THE IDEA OF SUBNATURE IS USUALLY THE CONDITIONS THAT ARE HARD TO MANAGE. DAVID GISEEN ARGUES THAT RIDING CITIES OF THESE SUBNATURES IS DENYING KEY ASPECTS OF URBAN LIFE. ARCHITECTURE USUALLY CORRESPONDS TO NATURE WITH PRISTINE CONDITIONS, AND IT IS IN OUR BENEFIT TO DESIGN WITH THESE SUBNATURES IN MIND.
MCKITTRICK OIL SEEPS
SEWAGE POLLUTION
MALFORMED SHRIMP IN GULF OF MEXICO
DEFORMED WHITE FISH IN LAKE ATHABASCA
ABNORMAL LESIONS ON FISH IN LAKE ATHABASCA
THE BIOTECH CENTURY TOUCHES ON THE TROUBLING QUESTIONS OF POST NATURE IN ITS RESPECT TO THE ARTIFICIAL CREATION OF GENETIC TECHNOLOGIES. HE REVELS WITH THE CONSEQUENCES FOR THE GLOBAL ECONOMY AND FOR SOCIETY AT LARGE.
‘THE SUBLIME’ DEFINES SUBLIME THROUGH VARIOUS DISCOURSES OF STUDY, FROM ARCHITECTURE TO THE ENVIRONMENT. WITHIN ITS DEFINITION IT’S IMPERATIVE TO UNDERSTAND THEORIES OF AESTHETICS THROUGH PHILOSOPHICAL THEORIES SUCH AS KANT’S, IN WHICH THE SUBLIME IS VIEWED AS A CAPACITY OF MEASURING OURSELVES IN RELATION TO NATURE. THE ENVIRONMENTAL SUBLIME IS INTERPRETED AS AN ACT OF EXPERIENCE RATHER THAN A MERE IDEA. THIS FOSTERS INTO THE IDEA THAT SUBLIME IS INVOLVED WITH SIMULTANEOUS FEELINGS OF DELIGHT AND TERROR.
DESIGN BY DEFICIT REVEALS NEGLECT’S IMPACTS, INCLUDING ACCIDENTAL URBAN NATURE, CRUMBLING INFRASTRUCTURE, AND ABANDONED SPACES BEYOND RULES. IT ILLUSTRATES HOW OUR NEGLECT TO THE ENVIRONMENT, IN RESPECT, SHAPES OUR CITIES. AS WE INTERACT WITH THESE ENVIRONMENTS, WE ARE ALSO UNITENDLY BEING DESIGNED BY THESE CONSEQUENCES, PROVING NEGLECT CAN ACT AS A PRIMARY DESIGNER WITHIN OUR URBAN ENVIRONMENTS.
MATIAS DEL CAMPO, FORMATIONS
MATIAS DEL CAMPO, THE CHURCH OF AI
CHERNOBYL DISASTER
YOUR DISAPPEARING GARDEN
THE MEDIATED MOTION OLAFUR ELIASSON
RESURRECTING THE SUBLIME, DR. ALEXANDRA DAISY GINSBERG + SISSEL TOLAAS
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