ARY-YUE HUANG黄 钺
Phalaenopsis and their Friends whisper their tales
兰花和它的朋友们悄悄地诉说着它们的秘密
2022
Multi-Species Theatre
Interactive system, Orchids, potatoes, coconuts, bananas
Multi-Species Theatre
Interactive system, Orchids, potatoes, coconuts, bananas
Phalaenopsis and their friends whisper their tales is an interactive narrative work composed of a scene of orchids and a materialized system of deep listening. It shows the bio-political of orchids as a modern commodity intertwined by the intervention of human biotechnology and the interaction of other species.
“ The potted orchids that are placed in modern living rooms tend to be perceived as creating a natural ambiance to an artificial environment. Despite this tendency in the senses, a look at the production process of potted orchids reveals that their lives are extensively involved in human technology and commodity production. Taking the production system in the Netherlands, the country with the largest share of sales in Europe, as an example (Bloemenbureau Holland 2016), the potted phalaenopsis goes from tissue culture in the laboratory, then developing into young plants handed over to the production company, to final transport to the market for sale (Chen 2020), exemplifying how the orchids are reproduced, managed, and sustained by artificial environments. Based on these factual realities, I intend to develop a narrative in which human technology, cross-species, and orchids are intertwined, with potted orchids as the central point. This framework is inspired by the zoe/geo/tech assemble proposed by Braidotti (Braidotti 2019). As a material analysis framework for posthuman subjects, the scope of its theoretical framework overlaps with the artificial environment of orchids in most places. I have also incorporated Lynn's cultural analysis of Victorian Britain and orchids - the massive plundering of the tropics by Britain in the 19th century is seen as the epitome of imperialism, but the cultivation and contemplation of orchids by British gardeners goes some way to mitigating the imperialist impulse (Lynn 2017). But it was also the gardener's research into orchids that opened up the possibility of creating artificial environments for orchids. I therefore take the Victorian 'Orchidelirium' as the starting point for tales. ” >> read more detail
“ The potted orchids that are placed in modern living rooms tend to be perceived as creating a natural ambiance to an artificial environment. Despite this tendency in the senses, a look at the production process of potted orchids reveals that their lives are extensively involved in human technology and commodity production. Taking the production system in the Netherlands, the country with the largest share of sales in Europe, as an example (Bloemenbureau Holland 2016), the potted phalaenopsis goes from tissue culture in the laboratory, then developing into young plants handed over to the production company, to final transport to the market for sale (Chen 2020), exemplifying how the orchids are reproduced, managed, and sustained by artificial environments. Based on these factual realities, I intend to develop a narrative in which human technology, cross-species, and orchids are intertwined, with potted orchids as the central point. This framework is inspired by the zoe/geo/tech assemble proposed by Braidotti (Braidotti 2019). As a material analysis framework for posthuman subjects, the scope of its theoretical framework overlaps with the artificial environment of orchids in most places. I have also incorporated Lynn's cultural analysis of Victorian Britain and orchids - the massive plundering of the tropics by Britain in the 19th century is seen as the epitome of imperialism, but the cultivation and contemplation of orchids by British gardeners goes some way to mitigating the imperialist impulse (Lynn 2017). But it was also the gardener's research into orchids that opened up the possibility of creating artificial environments for orchids. I therefore take the Victorian 'Orchidelirium' as the starting point for tales. ” >> read more detail
在维多利亚时代之前。
我们的祖先被安置在另一个温暖的大陆上。
猎人/从英国带着大砍刀进入我们的丛林。
痴迷和暴力/似乎总是同一个硬币的两面。
他们把我们放在透明的容器里/把我们带回到他们的土地上
我们原来的栖息地已经被烧成了废墟。
我们被重新安置在透明的大房子里。
那是我们的新家/在欧洲的领土上。
Before the Victorian era.Our ancestors were hosted on another warm continent.
Hunters / from Britain came into our jungle with machetes.
Obsession and violence / always seemed to be two sides of the same coin.They placed us in transparents containers / and brought us back to their landour original habitats have been burned to the groundWe were relocated to large transparent houses,That is our new home / on European territory.
不是机器粉碎了我的身体
是花盆干的
这个客厅的产物重新配置了我的身体
碎裂不仅改变了我的形状。
它也颠覆了我与兰花的关系。
兰花已经成为主角，它们已经登上了舞台
愿它们永远沐浴在阳光下
Machines didn't crush my bodym, flowerpot did it
This product of the living room reconfigures my body
The shattering has not only changed my shape.
It also reverses my relationship with the orchids.
They have become the main characters, they have taken the stageMay they always be bathed in sunshine
当我只有2毫米的时候。
真菌侵入了我的身体。
我长出了像章鱼一样的透明触角。
就像那部科幻电影中的外星人。
它们似乎是我的，实际上它们不仅属于我。
奇怪的祝福
我可以感觉到全部的能量涌入我的身体。
我的一些组织与它们结合，形成新的器官。
...对不起，我撒谎了。
这种老式的共生关系不适合我们这种在实验室里长大的孩子。
When I was only 2 mm,
Fungi invaded my body,
I grow transparent antennae like octopus.
Like that science fiction movie alien.
They seem to be mine and actually they not only belong to me.
blessing in disguise
I can feel the full energy pouring into my body.
Some of my tissues combined with them and formed new organs. Sorry, I lied.
This old-fashioned symbiosis is not suitable for children like us who grew up in the laboratory.
糖，甘蔗的提取物
它不仅使种子能够在没有真菌的情况下发芽
它还从单细胞生物中窃取了无性繁殖的技术
为兰花打开了自我繁殖的潘多拉盒子
芽尖不再只是兰花的一个部分。
它包含了一个完整的兰花的所有信息。
芽尖就是兰花本身
Sugar, extract of sugar cane
It not only allows seeds to germinate free of fungi
it also stole the technology of asexual reproduction from single-celled organisms
Opening the Pandora's Box for orchids to reproduce themselves
The bud tip is no longer just a part of the orchid.
It contains all the information of a complete orchid.
The bud tip is the orchid itself
我们被从同一个母体中剥离出来
种植在一个透明的媒介中
我们曾经在一起
我们是什么关系，兄弟姐妹？
三胞胎？
还是我们一开始就是一体的
但似乎我们的身体已经被分开
我们为了进化以外的目的而繁殖。
生命的多样性不需要存在
需要的是
在不同的客厅里培育出同样美丽的花朵
从一个已经稳定的杂交兰花母体中
We are stripped from the same parent body
Planted into a transparent medium
We were once together
What was our relationship, siblings?
Multiple births?
Or were we one in the first place
But it seems our bodies have been separated
That we were bred for a purpose other than evolution.
The chance of life need not exist
What is needed is that
To produce the same beautiful flowers in different living rooms
From an already stable hybrid orchid parent
爸爸似乎比妈妈有更多的权力
他的染色体对比她多一个。
红唇，那是他给我的。
My dad has more authority than my mom
He has one more chromosome pair than she does.
The red lips, that's what he gave me
透明的、钢制的支架，但又是温暖湿润的。
这个玻璃房子看起来很奇怪，但也很熟悉
比热带雨林更多样、更疯狂
隔壁的中国山茶花，和我们的一样迷人，人们说它的味道不错
南美洲的金鸡纳，从它们身上提取的物质/在热带地区拯救了许多英国士兵。
我们是宠物，我们是药品，我们是食物，我们是数据库
我们不可避免地被卷入人类生活中
Transparent, steel supports, yet warm and moistThis glass house looks strangely but also familiarMore diverse and crazy than a tropical rainforestChinese camellia, as fascinating as ours, and I hear it tastes goodthe Cinchona of South America, the substance drawn from their bodies / saved many British soldiers in the tropics.We are pets, we are medicine, we are food, we are a databasewe are unavoidable caught up in human life
自从那个巴西人把我加入了这个培养基后
我就经常被邀请参加兰花的发芽工作
科学无法解释我现在扮演的是什么角色。
有人猜测是某种激素或蛋白质的作用
但我想说的是
有时必须相信生命与生命之间的默契
Ever since the Brazilian added me to the medium
I've been invited to participate in the germination of orchids on a regular basis
Science can't explain what role I play now.
Some speculate that it's some kind of hormone or protein
But I would like to say this.
Sometimes it is necessary to believe in the tacit understanding between life and life
甘蔗并不直接参与兰花的种子发育。
但康奈尔大学的天才科学家Knudson将甘蔗提取物--蔗糖
进入他为卡特兰准备的培养基中。
结束了该兰花与真菌的暧昧关系
也重新塑造了兰花的童年
从原始环境到透明的玻璃容器中
Sugarcane is not directly involved in the seed development of orchids.
But Knudson, a gifted scientist at Cornell University, has taken sugarcane extract - sucrose
into the culture medium he had prepared for Cattleya.
This ended the orchid's ambiguous relationship with the fungus, and
also reshaped the orchid's childhood - from a primitive environment to a transparent glass vessel
Paphiopedilum White Knight , ice age 这是我父母的名字，我的紫色斑点和白色花瓣就是来自他们。
我是一个混血儿，甚至我的父母也是,
而我的唇瓣不再能吸引帮助我传播花粉的昆虫。
人类的技术已经取代了它们
它现在只负责美，人类称它为拖鞋。
美丽一直是一种冒犯。
人们很乐意在我们身上进行杂交实验。
就像乔治-布拉克在他的拼贴画上的工作。
Paphiopedilum White Knight , ice age ,
These are the names of my parents, from whom I derive my purple spots and white petals
I am a hybrid, even my parents are
And my labellum no longer serves to attract the insects that help me spread my pollen.
Human techniques have replaced them
It is now only responsible for beauty, what humans call it, slipper.
Beauty has always been a source of offence.
People are happy to experiment with hybridization on us.
just Like Georges Braque at work on his collages.
如果不是那个在印度尼西亚旅行的荷兰科学家，我就不会成为兰花的一员。
我也就不会成为兰花的一部分
谁会想到在丑陋的褐色纤维下面
包裹着神秘的液体。
兰花避开了自然繁殖的途径
自我复制成为一种选择
也许你可以看看黄兰花三姐妹
If it weren't for that Dutch scientist traveling in Indonesia.
I wouldn't have been part of the orchid
Who would have thought that underneath the ugly brown fibres
Contains Miracle Water.
Helping orchids to avoid the natural path of reproduction
Self-replication becomes an option.
Perhaps you could look at the three sisters of the yellow orchid
有些人可能不相信
我曾经间接地拯救了一株兰花的生命
它感染了马赛克病毒，叶片上爬满了白点。
我也受到病毒的困扰，一位兰花园丁把我的芽尖分离出来，使我长成了一个没有病毒的身体，他把同样的魔法用在了兰花上。
你看，无性繁殖不一定要像那三姐妹说的那样悲观。
有时候也很浪漫
Some people may not believe that
I once indirectly saved a orchid life
it had been infected with mosaic virus and its leaves were crawling with white spots
I was also plagued by the virus, an orchid gardener separated the tips of my shoots and made me grow into a virus free body, he applied the same magic to orchid
You see, asexual reproduction doesn't have to be as pessimistic as those three sisters make it out to be.
It can be romantic
Phalaenopsis and their friends
The potted orchids that are placed in modern living rooms tend to be perceived as creating a natural ambiance to an artificial environment. Despite this tendency in the senses, a look at the production process of potted orchids reveals that their lives are extensively involved in human technology and commodity production. Taking the production system in the Netherlands, the country with the largest share of sales in Europe, as an example (Bloemenbureau Holland 2016), the potted phalaenopsis goes from tissue culture in the laboratory, then developing into young plants handed over to the production company, to final transport to the market for sale (Chen 2020), exemplifying how the orchids are reproduced, managed, and sustained by artificial environments.
Based on these factual realities, I intend to develop a narrative in which human technology, cross-species, and orchids are intertwined, with potted orchids as the central point. This framework is inspired by the zoe/geo/tech assemble proposed by Braidotti (Braidotti 2019). As a material analysis framework for posthuman subjects, the scope of its theoretical framework overlaps with the artificial environment of orchids in most places. I have also incorporated Lynn's cultural analysis of Victorian Britain and orchids - the massive plundering of the tropics by Britain in the 19th century is seen as the epitome of imperialism, but the cultivation and contemplation of orchids by British gardeners goes some way to mitigating the imperialist impulse (Lynn 2017). But it was also the gardener's research into orchids that opened up the possibility of creating artificial environments for orchids. I therefore take the Victorian 'Orchidelirium' as the starting point for tales.
The history of orchid cultivation can be seen as the history of technology and other species involved in the life of orchids. Since the introduction of orchids to Europe in large numbers in the 19th century, a section of horticulturists and scientists in this region have been studying how to cultivate orchid seeds. In 1899, Bernard discovered that orchid seed germination is closely linked to fungus (Bernard N 1899). Because the orchid has no other means of drawing nutrients from the outside world at the seed stage, it must form mycorrhizae by combining with fungi a part that is not entirely fungal or orchid in order to draw nutrients from the outside world. This can be regarded as a kind of material flow and cooperation between species. In 1918, Knudson successfully germinated orchids under sterile conditions by adding sucrose to Cattleya's seed medium (Arditti J 1990)
The analysis of technology and other species served not only as a theoretical construct for the first part of my work but also as a way of writing orchid monologues. For example, in practice, one of the monologues of triplets, tissue-cultured Phalaenopsis orchids reads: "That we were bred for a purpose other than evolution. What is needed is that. To produce the same beautiful flowers in different living rooms." I analyzed the role played by asexual reproduction and hybridization in commercial orchid culture and its ethical implications: hybrid orchids are designed to provide a parents that the mass market perceives as beautiful, while asexual reproduction is not the aimless reproduction of life but the cloning of the same beautiful hybrid orchid as far as possible. In this process, hybridization and asexual reproduction is used as a production technique and not just a reproduction technique. I have explored this creative approach with other objects.
The potted orchids that are placed in modern living rooms tend to be perceived as creating a natural ambiance to an artificial environment. Despite this tendency in the senses, a look at the production process of potted orchids reveals that their lives are extensively involved in human technology and commodity production. Taking the production system in the Netherlands, the country with the largest share of sales in Europe, as an example (Bloemenbureau Holland 2016), the potted phalaenopsis goes from tissue culture in the laboratory, then developing into young plants handed over to the production company, to final transport to the market for sale (Chen 2020), exemplifying how the orchids are reproduced, managed, and sustained by artificial environments.
Based on these factual realities, I intend to develop a narrative in which human technology, cross-species, and orchids are intertwined, with potted orchids as the central point. This framework is inspired by the zoe/geo/tech assemble proposed by Braidotti (Braidotti 2019). As a material analysis framework for posthuman subjects, the scope of its theoretical framework overlaps with the artificial environment of orchids in most places. I have also incorporated Lynn's cultural analysis of Victorian Britain and orchids - the massive plundering of the tropics by Britain in the 19th century is seen as the epitome of imperialism, but the cultivation and contemplation of orchids by British gardeners goes some way to mitigating the imperialist impulse (Lynn 2017). But it was also the gardener's research into orchids that opened up the possibility of creating artificial environments for orchids. I therefore take the Victorian 'Orchidelirium' as the starting point for tales.
The history of orchid cultivation can be seen as the history of technology and other species involved in the life of orchids. Since the introduction of orchids to Europe in large numbers in the 19th century, a section of horticulturists and scientists in this region have been studying how to cultivate orchid seeds. In 1899, Bernard discovered that orchid seed germination is closely linked to fungus (Bernard N 1899). Because the orchid has no other means of drawing nutrients from the outside world at the seed stage, it must form mycorrhizae by combining with fungi a part that is not entirely fungal or orchid in order to draw nutrients from the outside world. This can be regarded as a kind of material flow and cooperation between species. In 1918, Knudson successfully germinated orchids under sterile conditions by adding sucrose to Cattleya's seed medium (Arditti J 1990)
The analysis of technology and other species served not only as a theoretical construct for the first part of my work but also as a way of writing orchid monologues. For example, in practice, one of the monologues of triplets, tissue-cultured Phalaenopsis orchids reads: "That we were bred for a purpose other than evolution. What is needed is that. To produce the same beautiful flowers in different living rooms." I analyzed the role played by asexual reproduction and hybridization in commercial orchid culture and its ethical implications: hybrid orchids are designed to provide a parents that the mass market perceives as beautiful, while asexual reproduction is not the aimless reproduction of life but the cloning of the same beautiful hybrid orchid as far as possible. In this process, hybridization and asexual reproduction is used as a production technique and not just a reproduction technique. I have explored this creative approach with other objects.
兰花和它的朋友们
摆放在现代起居室中的盆栽兰花往往被认为是为人工环境创造了一种自然氛围。尽管在感官上有这种倾向，但看一看盆栽兰花的生产过程就会发现，它们的生活广泛地涉及到人类技术和商品生产。以欧洲销售份额最大的国家荷兰的生产系统为例（Bloemenbureau Holland 2016），盆栽蝴蝶兰从实验室的组织培养，然后发育成幼苗交给生产公司，最后运输到市场上销售（Chen 2020），体现了兰花是如何通过人工环境进行繁殖、管理和维持的。
基于这些事实性的现实，我计划以盆栽兰花为中心，发展一个人类技术、跨物种和兰花交织的叙事。这个框架受到Braidotti（Braidotti 2019）提出的Zoe/geo/tech组合的启发。作为后人类主体的物质分析框架，其理论框架的范围与大多数地方的兰花的人工环境相重合。我还纳入了林恩对维多利亚时期英国和兰花的文化分析--19世纪英国对热带地区的大规模掠夺被视为帝国主义的缩影，但英国园丁对兰花的栽培和沉思在一定程度上缓解了帝国主义的冲动（林恩 2017）。但也正是园丁对兰花的研究，开启了为兰花创造人工环境的可能性。因此，我把维多利亚时期的 "兰花厅 "作为故事的起点。
兰花栽培的历史可以被看作是技术和其他物种参与兰花生活的历史。自从19世纪兰花被大量引进欧洲以来，这个地区的一部分园艺家和科学家一直在研究如何培育兰花种子。1899年，伯纳德发现，兰花种子的发芽与真菌密切相关（伯纳德N 1899）。因为兰花在种子阶段没有其他手段从外界吸取养分，它必须通过与真菌结合形成菌根，即不完全是真菌或兰花的部分，以便从外界吸取养分。这可以被看作是一种物种间的物质流动和合作。1918年，Knudson通过在Cattleya的种子培养基中加入蔗糖，在不育条件下成功地使兰花发芽(Arditti J 1990)
对技术和其他物种的分析不仅作为我工作的第一部分的理论构架，也作为写兰花独白的方式。例如，在实践中，三胞胎、组织培养的蝴蝶兰的独白之一是这样写的。"那我们被培育出来的目的是什么，而不是进化。需要的是,为了在不同的客厅里产生同样美丽的花朵"。我分析了无性繁殖和杂交在商业兰花文化中所扮演的角色及其伦理意义：杂交兰花是为了提供大众市场认为美丽的父母，而无性繁殖则不是无目的的生命繁殖，而是尽可能地克隆出同样美丽的杂交兰花。在这个过程中，杂交和无性繁殖被作为一种生产技术而不仅仅是一种繁殖技术。我已经用其他物体探索了这种创造性的方法。
摆放在现代起居室中的盆栽兰花往往被认为是为人工环境创造了一种自然氛围。尽管在感官上有这种倾向，但看一看盆栽兰花的生产过程就会发现，它们的生活广泛地涉及到人类技术和商品生产。以欧洲销售份额最大的国家荷兰的生产系统为例（Bloemenbureau Holland 2016），盆栽蝴蝶兰从实验室的组织培养，然后发育成幼苗交给生产公司，最后运输到市场上销售（Chen 2020），体现了兰花是如何通过人工环境进行繁殖、管理和维持的。
基于这些事实性的现实，我计划以盆栽兰花为中心，发展一个人类技术、跨物种和兰花交织的叙事。这个框架受到Braidotti（Braidotti 2019）提出的Zoe/geo/tech组合的启发。作为后人类主体的物质分析框架，其理论框架的范围与大多数地方的兰花的人工环境相重合。我还纳入了林恩对维多利亚时期英国和兰花的文化分析--19世纪英国对热带地区的大规模掠夺被视为帝国主义的缩影，但英国园丁对兰花的栽培和沉思在一定程度上缓解了帝国主义的冲动（林恩 2017）。但也正是园丁对兰花的研究，开启了为兰花创造人工环境的可能性。因此，我把维多利亚时期的 "兰花厅 "作为故事的起点。
兰花栽培的历史可以被看作是技术和其他物种参与兰花生活的历史。自从19世纪兰花被大量引进欧洲以来，这个地区的一部分园艺家和科学家一直在研究如何培育兰花种子。1899年，伯纳德发现，兰花种子的发芽与真菌密切相关（伯纳德N 1899）。因为兰花在种子阶段没有其他手段从外界吸取养分，它必须通过与真菌结合形成菌根，即不完全是真菌或兰花的部分，以便从外界吸取养分。这可以被看作是一种物种间的物质流动和合作。1918年，Knudson通过在Cattleya的种子培养基中加入蔗糖，在不育条件下成功地使兰花发芽(Arditti J 1990)
对技术和其他物种的分析不仅作为我工作的第一部分的理论构架，也作为写兰花独白的方式。例如，在实践中，三胞胎、组织培养的蝴蝶兰的独白之一是这样写的。"那我们被培育出来的目的是什么，而不是进化。需要的是,为了在不同的客厅里产生同样美丽的花朵"。我分析了无性繁殖和杂交在商业兰花文化中所扮演的角色及其伦理意义：杂交兰花是为了提供大众市场认为美丽的父母，而无性繁殖则不是无目的的生命繁殖，而是尽可能地克隆出同样美丽的杂交兰花。在这个过程中，杂交和无性繁殖被作为一种生产技术而不仅仅是一种繁殖技术。我已经用其他物体探索了这种创造性的方法。
Bibliography
Arditti J (1990) Lewis Knudson (1884–1958): his science, his times and his legacy. Lindleyana 5:1–79
Bernard N (1899) Sur la germination de Neottia nidus-avis. C R Hebd Seances Acad Sci Paris 128:1253–1255
Bloemenbureau Holland, 2016. Orchidee Floreert. [Online]
Available at: https://www.orchidsinfo.eu/#!/blog/orchideefloreert
Braidotti, R. (2019). Posthuman Subject. In Braidotti, R, Posthuman knowledge (p. 101). Cambridge: Polity Press.
Chen, C. (2020). The Fundamental Issue in the Phalaenopsis Industry in the Netherlands. Journal of Agriculture and Forestry, 89-100.
Voskuil, Lynn, 2017. Victorian Orchids and the Forms of Ecological Society. In: Lara Karpenko and Shalyn Claggett, ed. Strange Science: Investigating the Limits of Knowledge in the Victorian Age. Ann Arbor(Michigan): University of Michigan Press, p. 19-39.
Yam, T. W., & Arditti, J., 2009. History of orchid propagation: a mirror of the history of biotechnology. Plant Biotechnology Reports, p. 1-56.
Arditti J (1990) Lewis Knudson (1884–1958): his science, his times and his legacy. Lindleyana 5:1–79
Bernard N (1899) Sur la germination de Neottia nidus-avis. C R Hebd Seances Acad Sci Paris 128:1253–1255
Bloemenbureau Holland, 2016. Orchidee Floreert. [Online]
Available at: https://www.orchidsinfo.eu/#!/blog/orchideefloreert
Braidotti, R. (2019). Posthuman Subject. In Braidotti, R, Posthuman knowledge (p. 101). Cambridge: Polity Press.
Chen, C. (2020). The Fundamental Issue in the Phalaenopsis Industry in the Netherlands. Journal of Agriculture and Forestry, 89-100.
Voskuil, Lynn, 2017. Victorian Orchids and the Forms of Ecological Society. In: Lara Karpenko and Shalyn Claggett, ed. Strange Science: Investigating the Limits of Knowledge in the Victorian Age. Ann Arbor(Michigan): University of Michigan Press, p. 19-39.
Yam, T. W., & Arditti, J., 2009. History of orchid propagation: a mirror of the history of biotechnology. Plant Biotechnology Reports, p. 1-56.