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。
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.
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.