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[ELLEN GALLAGHER: "OSEDAX"]
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[MUSIC ECHOES THROUGH GALLERY]
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It seems like animation has always been implied in my work,
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and has always been moving towards that.
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[NEW MUSEUM, NEW YORK CITY]
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In the painting, the way that the form is abstracted is like early animation.
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I break them down into moving parts.
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[SOUND OF PROJECTOR MOTOR]
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["OSEDAX" (2010), EDGAR CLEIJNE & ELLEN GALLAGHER]
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Osedax is a bone-devouring worm that was recently discovered
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off of the coast of Monterey.
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What they thought they came upon was a cliff jutting out from an ocean canyon.
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They took off a chunk of it and brought it back into the lab.
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And they saw that it actually was a whale bone,
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and that there were all these plummy forms coming out of it.
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And as they looked at these plummy forms they saw they were a new worm
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that hadn't been categorized yet.
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I was really attracted to the way the scientists described finding the form.
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It was such a literary device.
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You think you're seeing one thing,
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and then it turns out to be something completely different.
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This idea of evolution--and evolutionary possibilities--
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quite often repeats in science fiction.
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For me, the protocols of science fiction
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and the protocols of science are not separate--
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they're woven together.
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Whale fall happens as whales descend through the depths of the ocean at their death.
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And it carries with it so much knowledge.
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So all those secret passages you hear about
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between the Atlantic and the Pacific...
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All of these routes then become lost.
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So I thought that the osedax worm
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inscribes these systems of travel into the bone.
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And it's a paper box inscribed on both sides
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to signify this kind of carving.
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Edgar Cleijne and I wanted to create these passageways in the film.
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For instance, we turned a blob of ink into a 3D model,
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and so this paper bird swims through this--literally--
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through what's a blob of ink is now a tunnel.
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Matter is not fixed and is always in motion.
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You're dealing with this idea of ecology, transformation, and evolution
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into something different.