In collaboration with faculty and students at the Chair of Media Environments, Bauhaus University Weimar
Ecosystems are under increasing pressure from human-induced activities such as pollution, dam construction, agricultural practices, and transportation infrastructure, as well as the impacts of climate change (CEPF 2017, HELCOM 2021). An ecosystem, often described as a system of interacting biological organisms, remains an abstract concept for many. The same applies to external impacts on ecosystems, such as pollution and climate change, which can be difficult to grasp. Life in an Aquatic Ecosystem: The Pond – or simply The Pond – is an attempt to localize an ecosystem and, through DIY tools and methods, invite audiences to explore mediated concepts that might otherwise seem intangible. In a broader sense, The Pond seeks to visualize complex networks of interactions – political, economic, and mental – that influence ecosystems. These networks range from universal to cellular organizations, from healthy to polluted systems, and from closed to open structures.
A pond could be considered an open system, though it remains defined by the rainwater it collects and eventually releases into the air or ground. Still, it serves as an ideal starting point for experimenting with natural ecosystems, which exist at the boundary between water and land. Observing such a system over time can help us understand how it evolves throughout its lifespan. The campus garden at Bauhaus University Weimar, managed by students, was selected as the site for these experiments. To establish the pond, we collaborated with environmental scientist Outi Wahlroos. To avoid artificially isolating water from its surroundings, we opted for bentonite – a clay-like material used for water isolation. Unlike plastic or glass containers, which create complete separation, bentonite allows some interaction with the environment, making the experiment more precise and avoiding an overly reductionist approach to studying ecosystems.
The goal is to observe and analyze the emergence of life forms within the pond. Initially, we considered starting from “scratch” by introducing random plants. However, we revised this approach and instead introduced organisms from a natural pond in Ilm Park, a more ecologically relevant source for the local climate zone. We collected water samples from two ponds in Ilm Park and transferred them into our newly established pond at the campus garden. Since the pond was updated in late autumn, we did not expect immediate biological activity. Instead, we anticipated that the ecosystem would naturally develop in spring, allowing the organisms to adapt more organically to the local conditions.
This approach enables us to explore the homeostatic behavior of an ecosystem, which we imagine as a semi-closed system – interacting with but still influenced by external environmental factors. The project also draws a parallel with computational systems based on binary logic (0s and 1s), prompting a critical reflection on our fascination with artificial intelligence and digital systems. The critique lies in the inability of computational models to account for the complexity and diversity of environmental interactions, which can lead to an oversimplified understanding of ecosystems and life itself.
This project references the work of Ross Ashby and Stafford Beer. Ashby’s concept of homeostasis attempts to create an artificial system that mirrors natural systems, while Beer’s “brain pond” integrates living organisms into computational processes. The rainwater garden pond functions as an interface for understanding both natural and artificial systems while providing a platform for critically assessing cybernetic models based on binary logic.
Beyond its scientific and conceptual implications, The Pond also serves as a space for artistic and scientific experimentation. It is available to art students and faculty as an open resource for creative exploration. Various artistic projects have emerged from this initiative, including poetic interpretations and scientific experiments that remain underexplored in artistic practice. Notable contributions include works by Cosmo Schüppel, Klaus Fritze, and Mindaugas Gapševičius.
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