Unproductive Ecologies is a transmedia artwork that provocatively addresses the aesthetics and politics of so-called weeds. In the installation, a spontaneous specimen of a tall weed [1] defiantly emerges from a concrete block. The plant struggles against a power strcuture represented by a neon cord that tries to bring it down. The weed “fights back” due to its natural negative geotropism, and as the tension between the two elements varies, an elastic conductive stretch sensor captures the weed’s “resistance”. The sensor is connected to the GPIOs of raspberry pi, triggering real-time modulation in the audio play back using Pure Data software. The audio consists of hypothetical AI-generated discourses critical of spontaneous weeds that gradually become distorted by the agency of the plant. By creating a narrative in which the plant modulates an oppressive discourse, the work presents a reflection on the persistence of spontaneous ecologies within political, economic, and cultural systems. Can weeds be a critical tool to examine the complex relationships of the Anthropocene? Can they inspire a more creative approach to nature-based solutions for urban sustainability [2]? Can they be vital ecological reserves “(…) holding the bruised parts of our planet from falling apart” [3]? In recent years, scientists have advocated for the benefit of weeds in urban ecosystems. They can prevent soil erosion, capture C02, and provide habitat for other species, among many other positive actions. These species grow in interstitial spaces, such as cracks on buildings and pavements [4] or large sections of abandoned territories that Gilles Clément calls Third Landscapes [5]. However, weeds in urban spaces conventionally mean a lack of care and neglect, as their appearance may not fit ornamental canons. We usually do not eat these plants (although most are edible and have medicinal properties), and the current economic system represents them as harmful, at best unproductive. Many city administrations still use pesticides or mechanically remove weeds that pose no threat to urban infrastructure. Through this artwork, we seek to question this negative approach, fostering an open practice of ecological coexistence, suggested by biologist Donna Haraway as "making kin" [6]. Our work challenges the traditional perception of weeds as unwanted urban ecologies. But ultimately, through an alternative representation, we invite the public to acknowledge their beauty by highlighting their power to resist and persist.

[1] Some of the species considered are redroot pigweed (Ambrosia artemisifolia), common ragweed (Amaranthus retroflexus), knotweed (ex.: Fallopia japonica).

[2] Sikorska, D. et al (2021) Intended wilderness as a Nature-based Solution: Status, identification and management of urban spontaneous vegetation in cities. Urban Forestry & Urban Greening. 62. doi: 10.1016/j.ufug.2021.127155.

[3] Mabey, R. (2010) Weeds: The Story of Outlaw Plants. New York: HarperCollins, p.22

[4] Bontoux, S. et al (2019) More than weeds: Spontaneous vegetation in streets as a neglected element of urban biodiversity. Landscape and Urban Planning. 185. p. 172. doi: 10.1016/j.landurbplan.2019.02.009

[5] Clément, G. (2004). Manifeste du Tiers Paysage. Paris: Editions Sujet Objet

[6] Haraway, D. (2016). Staying With the Trouble. Making Kin in The Chthulucene. Durham: Duke University Press.