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1 METAGARDEN:SEGMENTS, 2018 Tanja Vujinović In “MetaGarden”, we actively engage in the post-digital panorama and our expanded nature, contemplating and recreating various technological amalgams of ourselves and our worlds. Vilém Flusser wrote about how futile the attempts are to artificially construct a dichotomy between nature and culture. His stance towards the nature, which we always comprehend through the lens of culture, contradicts the ideas of returning to the long forgotten, primordial “nature” or “source”, and undermines the prospects of objectively analysing the amalgams of nature-culture that we continually create. Simulations are important for our understanding of the world in philosophical, scientific, and everyday sense, for they describe how models and maps stretch out over the layers of reality and explain the workings of the world. Without them, we would have a hard time understanding how mathematical formulas, laws of physics, anatomies of living organism or engineering structures function. In science, philosophy, and religion, there have always been different world ontologies and simulation paradigms that try to chart and explain how systems and networks of the world work. According to the Božidar Kante, what we now loosely call “nature” has long ago become an “organic machine”, but it still does not mean the complete transference of nature into “artifact”. Our physical environment is increasingly shaped by the capital, technology, and geopolitics, and these processes are being reflected in the so-called nature that we ingest or reproduce as lawns, gardens, and land or theme parks. The majority of domesticated animals, fruits, vegetables, and herbs grown in agriculturally advanced areas of the world are the fruit of planned manipulations of human resources, even if we exclude the work on genetically engineered species. Such cultivation highlights “non-reproduced nature”, which becomes a more important expression of value, representing something yet nonaffected by pollution or climate change. This process is part of the dramatisation of violence and excesses of technical reshaping that highlights the importance of nonhuman world for the maintenance of life. Different cultures give advantage to environments that, according to their opinion, contain important “natural” elements, not only for being aesthetically pleasing, but also for having a therapeutic role because they contribute to our healing faster than artificial environments do. The MetaGarden addresses the questions of recreation and recycling. It deals with the construction of technological “other” by employing various anthropomorphic and abstract agents. The conceptual Objects A and B appearing in the project are inspired by the history of anthropomorphization and are, as Sherry Turkle would say, “objects- to-think-with”. Object A represents our striving towards the creation of a synthetic being, while Object B stands for the human being in transition – a robomorphic being, a cyborg-becoming-a-thing.

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Page 1: METAGARDEN:SEGMENTS, 2018media.virbcdn.com/files/03/ef9927bf0c095b0b-MetaGarden... · 2018-12-12 · METAGARDEN:SEGMENTS, 2018 Tanja Vujinović In “MetaGarden”, we actively engage

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METAGARDEN:SEGMENTS, 2018 Tanja Vujinović In “MetaGarden”, we actively engage in the post-digital panorama and our expanded nature, contemplating and recreating various technological amalgams of ourselves and our worlds. Vilém Flusser wrote about how futile the attempts are to artificially construct a dichotomy between nature and culture. His stance towards the nature, which we always comprehend through the lens of culture, contradicts the ideas of returning to the long forgotten, primordial “nature” or “source”, and undermines the prospects of objectively analysing the amalgams of nature-culture that we continually create. Simulations are important for our understanding of the world in philosophical, scientific, and everyday sense, for they describe how models and maps stretch out over the layers of reality and explain the workings of the world. Without them, we would have a hard time understanding how mathematical formulas, laws of physics, anatomies of living organism or engineering structures function. In science, philosophy, and religion, there have always been different world ontologies and simulation paradigms that try to chart and explain how systems and networks of the world work. According to the Božidar Kante, what we now loosely call “nature” has long ago become an “organic machine”, but it still does not mean the complete transference of nature into “artifact”. Our physical environment is increasingly shaped by the capital, technology, and geopolitics, and these processes are being reflected in the so-called nature that we ingest or reproduce as lawns, gardens, and land or theme parks. The majority of domesticated animals, fruits, vegetables, and herbs grown in agriculturally advanced areas of the world are the fruit of planned manipulations of human resources, even if we exclude the work on genetically engineered species. Such cultivation highlights “non-reproduced nature”, which becomes a more important expression of value, representing something yet nonaffected by pollution or climate change. This process is part of the dramatisation of violence and excesses of technical reshaping that highlights the importance of nonhuman world for the maintenance of life. Different cultures give advantage to environments that, according to their opinion, contain important “natural” elements, not only for being aesthetically pleasing, but also for having a therapeutic role because they contribute to our healing faster than artificial environments do. The MetaGarden addresses the questions of recreation and recycling. It deals with the construction of technological “other” by employing various anthropomorphic and abstract agents. The conceptual Objects A and B appearing in the project are inspired by the history of anthropomorphization and are, as Sherry Turkle would say, “objects-to-think-with”. Object A represents our striving towards the creation of a synthetic being, while Object B stands for the human being in transition – a robomorphic being, a cyborg-becoming-a-thing.

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Water, as another important agent in this project, was used as a multipurpose medium: as the carrier of the medicament in the MetaGarden:Machine, as the “water of life” together with Ethanol in the MetaGarden:Ethanol, and as the mineral (philosophical) water in the process of becoming in the MetaGarden:Tree. In MetaGarden:Station, various objects called the Collectors were used as vehicles for collecting atmospheric waters, rainwater, and other airborne particles. MetaGarden:Bots The Bots installation is presented in the form of cognitive map for understanding the state of things, for understanding our lifeworld of “ecotechnics”, to use Jean-Luc Nancy’s term. The emergence of elements, whether in systems theory, science or natural world, is a phenomenon in which large entities or complex systems arise from the process of interaction and self-organisation of smaller, simpler elements. Examples of such structures are the living systems of ant colonies or bird flocks, but they also include technological structures of individual elements having a certain amount of freedom of action, such as city traffic or the organisational phenomena in computer simulations and cellular automata that apply the concept of Boids, Swarm Intelligence (SI) and Cellular robotic systems. The Bots is a mix of Zen garden, sandbox, robot combat, and social involvement of non-human and human agents. The installation employs artificial units in cosmogonic maps in order to create an outlook of the past, present, and future constructions of the world. The installation MetaGarden:Bots entails corresponding elements that make up a small universe inspired by Chinese “scholar’s gardens” and Zen gardens. Animism, widely present in eastern mythologies and popular cultures, offers an alternative understanding of artificial intelligence agents as autonomous beings and potential carriers of assigned consciousness. Inspired by the notion of frequencies that affect the elements in cosmos, three instances of bots generate frequencies that slowly fluctuate from two predetermined frequency points using pseudo-random algorithm and, by doing so, they gently affect the silica sand placed beneath them. The smaller bots, whose electronic circuits are partially made from the material they crawl on, the silica sand, move by the means of vibration and leave trail marks in the sand. The three bigger ones, which generate frequency vibrations, rearrange the sand underneath by gently emitting their own vibrations. The third level of the installation, the projected stage where virtual instances of bots exist, is the stage of simulation. Here, they act or appear in a remediating role. They try to explain the workings of the universe to themselves and to us, the audience, as well as to decipher the philosophical book Tao Te Ching, which has had numerous interpretations and contextualisations throughout history. Bots are regenerating Tao Te Ching using Markov Chain algorithm, continuously displaying different, reformed statements. The algorithm calculates probabilities of appearances of particular words from the original text or, more precisely, the appearance of words after the N word (the number for N chosen in this work is 2). It then generates new text by starting from random words from the original text and ending when it calculates that it has reached the end of a sentence.

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This action opens many questions regarding the construction of meaning in general, and especially regarding the efforts to create artificial agents capable of processing and displaying meaningful content that goes beyond mere calculations and statistical outcomes. The setup of MetaGarden:Bots installation for the exhibition in MMC KIBLA, KIBELA in September 2018 was similar to its setup for the exhibition in Kapelica Gallery in October 2018. In Kibla, the installation additionally had glass capsules with packed substances (quicksilver, active charcoal, epsom salt, minerals) and the moving mountain-like element. MetaGarden:Machine MetaGarden:Machine is inspired by machines in the Avant-garde art of Surrealism and Dada, in which different elements of reality are mixed with transcendental twists, thus commenting the complex state of increasing industrialisation and mechanisation of the time. MetaGarden:Machine resembles a laboratory, indicating a connection to my other installations that are always related to the idea of an apparatus for understanding the reality and contemporary societies. The premise for all MetaGarden installations I made in 2018 was the usage of two conceptual objects, the agents A and B, where A always represents the unattainable, the fleeting other, while B is the representation of us inside the contemporary world of “ecotechnics”. Object A, as a research tool that continually appears in my works in different shapes and roles, emerges in this installation in the shape of many substances, including water. The initial idea was to make a machine that will, on a conceptual level, cover the complex relationship we nowadays have with nature and especially with its role in our health and wellbeing. Over the course of months, I worked on the generative segment of the installation that should transpose the exhibition visitors into the virtual world of seemingly untouched or primordial nature. Simultaneously, I worked on collecting numerous substances that have a loose or direct reference to being “natural”, ranging from everyday herbal teas, minerals, and vitamins, to even more extreme examples such as homeopathic remedies. Most of the substances were recommended to me by different people I interviewed, while I discovered other substances in online testimonials. Some substances were directly recommended to me in pharmacies, homeopathic remedy being one of them. The core question I asked was whether they themselves use the remedies in order to improve their wellbeing. What struck me the most while I was working on this research was that poetics and misconceptualisation surround some of these substances. While reading about historical examples of amalgam medications, I was inspired by Theriak and Mithridatium, which are both examples of cumulative and random mixtures of what was believed to be highly successful medicaments in the past. Similarly to these historical examples, a lot of people nowadays admit that they take big amounts of supplements without actually knowing what they do, how they interact with each other, and whether they are truly beneficial or merely a placebo. On top of that, they also take pleasure in the ritual and the idea of gaining control over their health and bodies. While some of these preparations, herbal supplements, and

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teas definitely have scientifically proven active properties, others have no definite proof of effect other than that of placebo. Besides placebo, which is a scientifically approved agent for feeling better, there is also a strong ideology of “Do It Yourself”, counter-government, and anti-corporation, creating a general atmosphere instilled with such narratives that some companies try to abuse in order to sell their products. Nowadays, we are being sold the idea of nature in the form of a product, as a detached, remote, imaginative concept, and the only way for these products to potentially have any positive effect might be within the line of a placebo or a “nocebo” (no medication applied and body left to naturally recover) effect. During the first presentation of the installation, MetaGarden:Machine had a multi-sensor camera for transporting the visitors into the virtual segment of the installation resembling an untouched meadow. Besides the camera, pieces of objects A and B were attached to the construction. The objects together purified the previously prepared liquid substance, which was dispersed into the air of the exhibition space. Application for this installation was developed in Unity 3D software, a game engine for building three-dimensional environments. The moment the camera recognises a human shape, it mirrors it within the application. At first, the shape is recognisable by the visitor standing in front of the camera mirroring the visitor’s movements within the projection. At that point, the avatar looks like a loose outline of human shape, defined by the particles resembling herbs. Gradually, the human shape transforms into a mixture of geometric shapes that change form and finally stabilise into a unique shape that is stored in the work’s database. Geometric shapes are generated from the group of ten objects consisting of random number of cubes, lines, and plates. Positions and rotations are also randomly generated but with some restrictions in terms of the lines being parallel to one another. The order of geometric elements is determined by Bridson's algorithm, which is an approximation of Poisson-disc distribution. Animations of floating elements are based on Perlin noise, a technique developed by Ken Perlin. Previously prepared substance used here is an alcohol extraction of more than 60 ingredients (a complete list is in Appendix 2 below). Few drops of this substance are added to the distilled water, purified through active charcoal within objects A and B, and dispersed into the gallery space. The first presentation in KID KIBLA entailed the projection of the virtual world on top of the base construction, while the second, in Kapelica Gallery, presented the work in three segments: the shelf with samples of all ingredients used for making the initial liquid substance, the physical construction of the installation, and the projection. MetaGarden:Tree As all the other installations from this cycle, this installation relates to nature, recreation, wellbeing, and our striving to make sense of the world. During the first presentation in 2018, the artificial tree had a vertical stream for the creation of medicament. It passed drops of rainwater from one vessel to a pre-made mixture of clay and Ganoderma Lucidum powder, and to a sea sponge placed at the bottom. During the second installment of this work, in addition to vertical process that

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this time included berries from European Black Nightshade plant, the installation had the vertical line of glass vessels hanging from branches attached to the tree. The vessels included rainwater and minerals Cinnabarit and Realgar, Boswellia Sacra essential oil, and Lead. These elements refer to historical examples of medicaments, like Spongia Somnifera as the sponge used to deliver analgesic and anesthetic medication in the past, while others were widely used in cultures all over the world for disinfection (Boswelia), protection and eventually minor health benefits (Cinnabarit), and purification rituals. The obvious potential of some of these elements to become poison relates to many properties of natural elements and medication, but it is the dose itself that determines the effectiveness of a substance. All of the elements used in this specific setting are employed to help us think about our complex entanglement with nature. MetaGarden:Station As a supporting installation, the MetaGarden:Station is meant to bring forth the elements used in the field while collecting particular substances. It contains the objects called Collectors, and it also expands on particular elements of other installation in the exhibition. Placed inside, the Collectors and other related objects serve to explain the details of the overall project. The Collectors as “objects-to-think-with” help us negotiate our relationship with nature, its many streams and fluxes, and enable us to think about measuring and tracking ourselves and our environment, as well as getting into homeostatic balances with our environment. The first installment of MetaGarden:Station in KID KIBLA showed many elements used in the making of MetaGarden:Machine installation: supplements, herbal extracts, vials and vessels for extractions, and other smaller equipment. The second MetaGarden:Station presentation included two examples of the Collectors objects – the glass vials inserted in the ground of a field and the glass bowls hanging from the branches of trees, both collecting rainwater for the installations. Prior to the second presentation, three actions were executed involving the attachment of glass collectors to kites in order to collect aerosol particles and waters. In Kapelica Gallery, the glass vials with steel frames, inspired by the shape of Typha plant, were placed in the gallery inside the two containers containing three types of plants (Arundo Donax, Typha, and Miscanthus sinensis). Arundo Donax and Typha were harvested from one of the locations where Collectors were placed to gather water samples. Inside the vials, I tried to make an open process of creating a (philosophical) medicament by inserting rods for measuring conductivity of electricity into the mixture of Ethanol, distilled water, and a piece of Arundo Donax reed together with a seed of Cannabis Sativa acquired in a regular health food store. The process was sonified, and the future versions of such installments will be developed in the direction of higher level sensitivity to minimise changes. MetaGarden:Ethanol The MetaGarden:Ethanol is about our close connections with Ethanol and its numerous versions. Contemporary world, hygiene, and our wellbeing are unimaginable without it.

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There are many scientific findings proving that a minimal daily consumption of alcohol wards off some of the age related detriments to health. The circuit made within the installation continually processes diluted alcohol through ative charcoal. In MetaGarden:Ethanol, diluted alcohol runs through Object A, which contains charcoal particles, and then drops into the container that preserves the Object B, which is immersed in the processed alcoholic “quintessence”. Using Morse code, Object B emits "a signal of life", in the form of the statement “I am still alive”, borrowed from famous conceptual artist On Kawara, who used this maxim as part of his art practice. Aqua vita, or the water of life, an archaic and generic name for all types of alcohol distillates, originated in the Middle Ages when it was used as treatment for the bubonic plague. Nowadays, alcohol is synthesised in various forms and used in the food industry, medicine, and various fields of research. So far, ”MetaGarden” raised the questions of recreation and of different immaterial and transitory objects of both low and high technology. The future of wellbeing lies in the development of contemporary science and technology, as well as in our readiness to understand them and debate their many elements and implications. We often deal with the Pharmakon, fluctuating between poison and remedy, but also between the notions of clean and dirty, having in mind that the substances in our environment are the pointers of our homeostatic balances. The key questions regarding cleanliness and sterility are closely related to ecology and health and, as Mary Douglas states, they are transitory and culturally dependent questions. Conclusions arising from the project so far are that various activities such as daily routines, usage of substances, and meditation were and still are used as methods of affecting and transforming one’s perception of the world and wellbeing. We are inspired by historical and contemporary examples of DIY biohacking and immersions into the rhythms of nature. By interacting with and incorporating various abstract and anthropomorphic agents, we try to recreate ourselves and intervene in our daily lives in order to find meaning and security. After two public presentations of the installations (exhibitions "Elixir Agens", MMC KIBLA, KIBELA, Maribor, September 2018, and "Elixir Distillers", Kapelica Gallery, October 2018), and due to the nature of their development, I have decided to include them into a new, larger series of works entitled “MetaGarden”, which will be expanded in the future. The ‘Garden’ is a metaphor for the transitory outlined areas where installations envelope, while prefix ‘meta’ denotes the modular nature of the general concept and its ability to connect and include minor installations into the network. Bibliography Bostock, Mike. Visualizing Algorithms, https://bost.ocks.org/mike/algorithms/, accessed 1.12.2018. Douglas, Mary. Purity and Danger. Routledge, 1966. Flusser, Vilém. The Shape of Things: a Philosophy of Design. Reaktion, 1999. Flusser, Vilém. Towards a Philosophy of Photography. Reaktion Books, 2000.

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Flusser, Vilém. Writings. University of Minnesota Press, 2002. Rinella, Michael A. Pharmakon: Plato, Drug Culture, and Identity in Ancient Times. Lexington Books, 2010. Kante, Božidar. Estetika Narave. Paideia, 2009. Shifmann, Daniel. GitHub, Markov Chain, https://github.com/shiffman/A2Z-F17/tree/master/week8-markov-lstm/03_markov_byword, accessed 1.12.2018. Nancy, Jean-Luc. The Sense of the World. University of Minnesota Press, 1997. James, Ian. The Fragmentary Demand: An Introduction to the Philosophy of Jean-Luc Nancy, Stanford University Press, 2006. Turkle, Sherry. Life on the Screen: Identity in the Age of the Internet. Reprint, Simon & Schuster, 1997. Turkle, Sherry, editor. Evocative Objects: Things We Think With. Reprint, The MIT Press, 2011. Appendix 1: Credits of the project MetaGarden MetaGarden* Author: Tanja Vujinović Production: Ultramono, 2018 Executive producers: Tanja Vujinović, Jan Kušej (Ultramono) Production and PR assistance: Urška Comino Software, electronics, objects: Tanja Vujinović, Milos Roglić, Borut Savski, Stefan Doepner, Pero Kolobarić, Roman Bevc, Bevec d.o.o. The project was realised with the help of the Cultural Department of the City Municipality of Ljubljana Project consultants: Jan Kušej, Lenart Krajnc, Derek Snyder, Urška Dremelj, Stefan Doepner, Borut Savski, Jelena Guga, Milos Roglić, Maja Kodre, Aleksander Rečnik, Aleš Rode, Maja Berločnik, KAP Jasa (Saša Iskrić, Janez Vizjak) MetaGarden:Machine*, Installation (objects, generative software application, electronics, e-book) MetaGarden: Bots*, Installation (objects, generative software application, electronics) MetaGarden:Ethanol*, Installation (objects, electronics) MetaGarden:Tree*, Installation (objects, electronics) * First exhibited under working titles Elixir Machine / Garden of the Elixir Pill / Spiritus Agens / Elixir Station in exhibitions "Elixir Agens", MMC KIBLA, KIBELA, Maribor, September 2018, and "Elixir Distillers", Kapelica Gallery, October 2018 Appendix 2: Substances for the installation MetaGarden:Machine Substances used in making the mixture for the installation MetaGarden:Machine are: Silver, Vanilla bean powder, Common Walnut, Bamboo Leaf, Elderberry, Blueberry, Common Hop, Chamomile, European ash, Lavender, Sage, Yellow Mustard, Marsh

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mallow, Bay laurel, Woundwort, Rosemary, Industrial hemp, seed, Shungite, Semiprecious Stones, Sea Salt, Gold, Chestnut, Nameko, Shiitake, Bach Flower Remedies N39, Industrial Hemp, dried leaf Juice, Ginseng, Vitamin C, Common Mallow, Melatonin, Pot Marigold, Hemp, Immortelle, WheatGrass, Common Dandelion, root, Multivitamin, Ox-eye Daisy, Epsom Salt, Flaxseeds, Plantago, Homeopatic remedies (Hepar Sulf, Bryonia, Pulsatila, Acidium Arsenicum, Lachesis), Boswellia Serata, Quince Leaf, Birch Leaf, Activated Charcoal, Wild lettuce, Couch Grass, Rose Hip, Magnesium Citrate, Barley Grass, Common Yarrow, Dandelion Flower and Leaf, Liquorice, root, Rose, Lotus seed, Lingzhi mushroom, White Clay, Giant Cane, Cattail, Linden, Cherry plum, European Black Nightshade, Goji berries, Peppermint Leaves, Acorn, Jasmine Green Tea, Ethanol.

Appendix 3: Research References for the project METAGARDEN 2018 2045 Initiative. http://2045.com/. Accessed 16 Aug. 2018. “Achillea Millefolium.” Wikipedia, 5 July 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Achillea_millefolium&oldid=848957536. “Akvavit.” Wikipedia, 2 Aug. 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Akvavit&oldid=853080622. “Alcohol.” Wikipedia, 21 July 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Alcohol&oldid=851327653. Alexander, Brian. “Don’t Die, Stay Pretty.” Wired, Jan. 2000. www.wired.com, https://www.wired.com/2000/01/forever/. “Ambronite.” Wikipedia, 16 Apr. 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Ambronite&oldid=836743870. “Ambrosia.” Wikipedia, 14 Aug. 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Ambrosia&oldid=854916096. “Aqua Vitae.” Wikipedia, 14 May 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Aqua_vitae&oldid=841115811. “Arundo Donax.” Wikipedia, 7 July 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Arundo_donax&oldid=849168593. “Astragalus.” Wikipedia, 6 Aug. 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Astragalus&oldid=853719577. ASU Origins Project. Great Debate - Artificial Intelligence: Who Is in Control? (OFFICIAL) (Part 01). YouTube, https://www.youtube.com/watch?v=rZe-A2aDOgA. Accessed 16 Aug. 2018. Matthew Seal and Julie Bruton-Seal. Wayside Medicine: Forgotten Plants to Make Your Own Herbal Remedies 2017. MERLIN UNWIN, 2017. “Bach Flower Remedies.” Wikipedia, 20 July 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Bach_flower_remedies&oldid=851148426. Barrat, James. Our Final Invention: Artificial Intelligence and the End of the Human Era. Griffin; Reprint edition (17 Feb 2015), 2013. BBC Click. Can Technology Help You Live Longer? - BBC Click. YouTube, https://www.youtube.com/watch?v=8HwOrFzHePA. Accessed 16 Aug. 2018.

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BBC News. Can Ageing Be Delayed, Stopped or Even Reversed? BBC News. YouTube, https://www.youtube.com/watch?v=p_4UPdFqgIQ&t=338s. Accessed 16 Aug. 2018. “Beecham’s Pills.” Wikipedia, 14 July 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Beecham%27s_Pills&oldid=850270906. “Bigu (Grain Avoidance).” Wikipedia, 3 July 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Bigu_(grain_avoidance)&oldid=848703211. “Birch Tar.” Wikipedia, 18 Oct. 2017. Wikipedia, https://en.wikipedia.org/w/index.php?title=Birch_tar&oldid=805858396. “Black Drink.” Wikipedia, 14 Aug. 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Black_drink&oldid=854871854. “Blue Mass.” Wikipedia, 21 June 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Blue_mass&oldid=846872684. “Boids.” Wikipedia, 31 May 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Boids&oldid=843845920. Bornhöft, Gudrun, and Peter F. Matthiessen. Homeopathy in Healthcare – Effectiveness, Appropriateness, Safety, Costs. Springer, 2011. Bridget Davis ~ The Internet Chef. How to Make Liposomal Encapsulated Vitamin C at Home! YouTube, https://www.youtube.com/watch?v=ynhRoyQYIQ8. Accessed 16 Aug. 2018. “Bristlecone Pine.” Wikipedia, 6 Aug. 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Bristlecone_pine&oldid=853744537. “Brownian Motion.” Wikipedia, 13 Aug. 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Brownian_motion&oldid=854810922. “Bruce Ames.” Wikipedia, 15 May 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Bruce_Ames&oldid=841431798. Bruton-Seal, Julie, and Matthew Seal. The Herbalist Bible. Merlin Unwin Books Limited, 2014. Bruton-Seal, Julie, and Matthew Seal. Hedgerow Medicine. First edition, Merlin Unwin Books, 2008. “Can Technology Help You Live Longer?” BBC Click, BBC, https://www.youtube.com/watch?v=8HwOrFzHePA. “Carbonated Water.” Wikipedia, 25 July 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Carbonated_water&oldid=851927480. Cavallasca, Julie. “Aspirin: Your Oldest Anti-Aging Medicine!” Work for Human Longevity, 16 Mar. 2018, http://www.longlonglife.org/en/longevity/anti-aging-treatments/aspirin-oldest-anti-aging-medicine/. ---. “Superfoods: Longevity and Healthspan’s Allies.” Work for Human Longevity, 30 Apr. 2018, http://www.longlonglife.org/en/longevity/anti-aging-treatments/superfoods-longevity-and-healthspans-allies/. “Chinese Alchemical Elixir Poisoning.” Wikipedia, 9 Aug. 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Chinese_alchemical_elixir_poisoning&oldid=854238349. “Chinese Alchemy.” Wikipedia, 26 July 2018. Wikipedia, https://en.wikipedia.org/w/index.php?title=Chinese_alchemy&oldid=852068999.

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Zolfagharifard, Ellie. “Could Gene Therapy Help You Live Forever?” Mail Online, 26 Apr. 2016, http://www.dailymail.co.uk/sciencetech/article-3559947/Could-gene-therapy-help-live-forever-CEO-controversial-firm-claims-successfully-carried-anti-ageing-treatment-herself.html. Appendix 4: Illustrations - Circuit Design of Custom Electronic Components, and Screenshots of Code within Unity 3D Environment

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