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Web(s) of Life
Spiders in Motion, Rainy Commotion
Aerocene Newspaper II
Oceans of Air
From Arachnophobia to Arachnophilia
Particular Matter(s)
Tomás Saraceno: Aria
Event Horizon
Songs for the Air
Aerocene — Movements for the Air, Munich Landing
PALAIS #28: ON AIR
Marble Breeze
How to Entangle the Universe in a Spider Web
Becoming Aerosolar
Aerographies
Our Interplanetary Bodies
Aerosolar Journeys
Notes on Aerocene
Aerocene
Flying Plaza Work Journal 2012 – 2016
Aerocene. Exhibition Road
Arachnid Orchestra. Jam Sessions
163,000 Light Years
Aerocene Newspaper I
Cloud Specific
Cosmic Jive: The Spider Sessions
Cloud Cities
14 Billions (Working Title)
CLOUD CITIES / AIR-PORT-CITY
Each of the converging nodes within Algo-r(h)i(y)thms refers to the different reverberation frequencies of micro- and macroscopic phenomena. Of the 3.4 kilometers of 1–2.5 millimeter black cord arranged in complex clusters, a 25 centimeter diameter net, 58-178 Hz (Argiope keyserlingi Courtship / Emitted Frequency), borrows its name from the peak frequencies of courtship signals produced by an orb weaving spider. Nets with broader diameters draw upon the vibrational rates of more monumental matter, such as the 140 centimeter diameter net 0.61 GHz (RXCJ2003.5-2323 / Radio Halo)—a halo generated by ultrarelativistic electrons surrounding this distant galaxy cloud.
“Organisms are not atomistic individuals but hybrid assemblages… each body is a ‘nested ecology’ linked to others in complex ways. By thinking like this, we might notice our interconnectedness with other beings, other elements; how we might cooperate across species boundaries and how we might live and thrive together on a shared planet.”
A first iteration of the work under the title Galaxies Forming along Filaments, like Droplets along the Strands of a Spider’s Web was presented in 2009 during the 53rd Biennale di Venezia, Fare Mondi – Making Worlds, Venezia, Italy, curated by Daniel Birnbaum. Bruno Latour described it as, “a potent attempt at shaping today’s political ecology—by extending former natural forces to address the human political problem of forming livable communities.” In 2018, the work was sonified as Algo-r(h)i(y)thms, conceived for the artist’s major solo exhibition, “ON AIR” a carte Blanche à Tomás Saraceno, curated by Rebecca Lamarche-Vadel at the Palais de Tokyo, Paris. This third iteration was an invitation to play the web as a spider might, gently touching, sliding and stridulating within a system of amplified strings: a proposal of practices of attunement to non-human worlds in the context of the Sixth Mass Extinction.
The vibrating world of spiders can be further explored at Arachnophilia.net, a living archive of coexistences developed by Studio Tomás Saraceno and the Arachnophilia team, as well as through an accompanying artwork: the Arachnomancy App.