2024
photos: Anna Mas / Fundació Mies van der Rohe
'Liquid Strata' is a digital and physical installation stemming from an art-science collaboration with the oceanographer Joan Llort, who has researched the aquatic phenomena of 'marine snow'. The phenomenon of marine snow is composed of the fall of organic matter, which largely originates from the digestive waste of zooplankton and other organisms, falling until reaching the ocean floor. Because this “snowfall” of tiny organic particles happens at a global scale, directly observing them in a meaningful manner is infeasible. Therefore, our understanding of it comes in fragmentary form: a collection of observations, sparse recordings, and more.
In order to convey both the rich biodiversity of this twilight zone phenomenon and the beauty of its complexities, the work attempts to create a "fly on the wall" experience through an a-life (artificial life)-type simulation. Modelled from the combination of different observational and data-based research, the resulting process of complex simulation is represented not as a cohesive whole, but as a patchwork of digital and physical fragments.
Alongside the sonic composition by Daphne Xanthopoulou, which incorporates sonified scientific data to create audible representations, the resulting piece aims to create an experiential "window" into the mesopelagic.
The phenomena of marine snow, whilst known for its important role in oceanic carbon sequestration mechanism remains frustratingly fragmentary in our understanding: whilst the phenomena and mechanism are global, its constituent parts are primarily microscopic phytoplankton, zooplankton, and tiny particles of organic matter (primarily faecal material as well as sediment particles, dead/dying/decomposing plankton(s) and microorganisms/bacteria, etc.).
As they sink, these sparse clump together forming visible falling clumps that appear "snow-like" to us. These snowflakes act as a carbon sequestration mechanism, transporting carbon from the surface to the depths wherein it may remain indefinitely. Furthermore, this phenomenon occurs in the context of the mesopelagic, a vertical "layer" of the ocean that begins at -200m below sea level and extends down to -1000m, a range of depth we cannot access without mediating technology. As we physically cannot observe these phenomena directly (a consequence of both the extreme pressure of the mesopelagic as well as the subject matter's microscopic nature) we can only draw upon the sparse, fragment-like sources of data available to us which span from the sporadic collection of particulate matter concentrations by Argo floats (autonomous diving buoys), to sediment traps, sonar, and more.
To further complicate matters, part of the phenomena is influenced by the Diel Vertical Migration, wherein organisms (small fish, crustaceans, molluscs and more) swim up from the depths below the mesopelagic to the surface waters under cover of darkness to feed upon the nutrient-rich waters there. When they return to the depths their process of defecation and death re-enforce the process of sequestration. Whilst consisting of tiny specimens, this process is the largest animal migration on the planet, one that occurs daily.
Due to the scale of the phenomena, we cannot hope to observe it directly in a manner we might consider natural to us, instead, we are required to piece together an understanding through instrument recordings, laboratory observations, simulations, etc. Despite these hinders, we can with certainty ascertain that the importance of the phenomena is not to be underestimated, not only do phytoplankton produce oxygen of which we are dependent upon, but they also are a vital part of the carbon sequestration system that is marine snow. Unfortunately, deep-sea mining, commercial fish-farming endeavours and the ongoing changes in climate risk severely impacting this system before we have the chance to underline properly how important it already is to what we assume is a baseline for our daily lives.
Snapshots from the lengthy process of creating a suitably accurate representation of marine snow and the diel vertical migration through simulation.
Combining the simulation output with scientific datasets of microscopic imagery (of marine snow component specimens) so as to more accurately represent also its visual qualities.
The final, fragmentary composition of the work unfolded: various forms of digital representation are combined with physical engravings that piece together the origins of the data, the means of their sampling and the lifeforms in question.
photos: Anna Mas / Fundació Mies van der Rohe
Joan Llort
Daphne Xanthopoulou
This work has been possible thanks to Ajuts Joan Oró of the Catalan Foundation for Research and Innovation, and the Fundació Mies van der Rohe.
With the collaboration of the Barcelona Supercomputing Center, Woods Hole Oceanographic Institution, AZTI Summer Project Horizon 2020 and Advanced Music, S.L. Sonar+D 2024.
Special thanks to curator Lluís Nacenta, producer Victoria Sacco, and technical producer Pense.
2024 Mies+Sonar+D (ES) (link)