I had the pleasure of attending a special TED event in 2014. TEDSalon Berlin was just a one day affair, yet it featured a number of compelling talks that served as examples of impactful stories on global issues. This post is an analysis of a talk given by Heather Barnett on a most unusual character – a slime mold.

Watch Heather Barnett’s TED Talk. From what seems to be an unusual subject we come to see our human experience differently. It’s not easy to take people on a journey from something unfamiliar to something universal, but Heather does so masterfully.

Transcript

(my notes in red)

I’d like to introduce you to an organism: a slime mold, Physarum polycephalum. It’s a mold with an identity crisis, because it’s not a mold, so let’s get that straight to start with. It is one of 700 known slime molds belonging to the kingdom of the amoeba. It is a single-celled organism, a cell, that joins together with other cells to form a mass super-cell to maximize its resources. So within a slime mold you might find thousands or millions of nuclei, all sharing a cell wall, all operating as one entity. In its natural habitat, you might find the slime mold foraging in woodlands, eating rotting vegetation, but you might equally find it in research laboratories, classrooms, and even artists’ studios.

Great opening lines capture the attention of an audience, and one of the most powerful ways to do this is by way of curiosity, which is what occurs when your topic is something that the listener or reader has never heard of. And while using technical jargon can be an impediment to curiosity when left to its own devices, Heather provides us with a vivid description of what ‘Physarum polycephalum’ is all about.

From a physicality standpoint, she holds up pinched fingers when mentioning ‘single-celled organism’, then spreads her arms shoulder width when stating ‘joins together with other cells’ and spreads her arms further when using the term ‘mass super-cell’.

These are subtle gestures, yet they reinforce the visual of how this organism operates. Watch her movements and gestures throughout the telling of this story. There’s much to learn here about stage presence that is both natural and impactful.

I first came across the slime mold about five years ago. A microbiologist friend of mine gave me a petri dish with a little yellow blob in it and told me to go home and play with it. The only instructions I was given, that it likes it dark and damp and its favorite food is porridge oats. I’m an artist who’s worked for many years with biology, with scientific processes, so living material is not uncommon for me.

I’ve worked with plants, bacteria, cuttlefish, fruit flies. So I was keen to get my new collaborator home to see what it could do. So I took it home and I watched. I fed it a varied diet. I observed as it networked. It formed a connection between food sources. I watched it leave a trail behind it, indicating where it had been. And I noticed that when it was fed up with one petri dish, it would escape and find a better home.

While we might have thought that Heather was a scientist – after all, who other than a scientist would talk about slime mold – we learn that she is, in fact, an artist, which tells our brain to shift gears and be ready for a different perspective on the topic.

Audiences want to know who you are, and why you’re so interested in the topic of your story. For experience-driven stories, those answers tend to be more obvious, but for idea-driven stories, you need to weave in those details.

I captured my observations through time-lapse photography. Slime mold grows at about one centimeter an hour, so it’s not really ideal for live viewing unless there’s some form of really extreme meditation, but through the time lapse, I could observe some really interesting behaviors. For instance, having fed on a nice pile of oats, the slime mold goes off to explore new territories in different directions simultaneously. When it meets itself, it knows it’s already there, it recognizes it’s there, and instead retreats back and grows in other directions. I was quite impressed by this feat, at how what was essentially just a bag of cellular slime could somehow map its territory, know itself, and move with seeming intention.

Imagine hearing this story without the benefit of Heather’s time-lapse photography. The story can be told, but the moving images make her description much more dramatic. Her use of images in the balance of her talk serve to increase impact. They say what can’t be easily described in full. Imagine how your words and images will play out in someone’s mind.

I found countless scientific studies, research papers, journal articles, all citing incredible work with this one organism, and I’m going to share a few of those with you.

For example, a team in Hokkaido University in Japan filled a maze with slime mold. It joined together and formed a mass cell. They introduced food at two points, oats of course, and it formed a connection between the food. It retracted from empty areas and dead ends. There are four possible routes through this maze, yet time and time again, the slime mold established the shortest and the most efficient route. Quite clever. The conclusion from their experiment was that the slime mold had a primitive form of intelligence.

Another study exposed cold air at regular intervals to the slime mold. It didn’t like it. It doesn’t like it cold. It doesn’t like it dry. They did this at repeat intervals, and each time, the slime mold slowed down its growth in response. However, at the next interval, the researchers didn’t put the cold air on, yet the slime mold slowed down in anticipation of it happening. It somehow knew that it was about the time for the cold air that it didn’t like. The conclusion from their experiment was that the slime mold was able to learn.

A third experiment: the slime mold was invited to explore a territory covered in oats. It fans out in a branching pattern. As it goes, each food node it finds, it forms a network, a connection to, and keeps foraging. After 26 hours, it established quite a firm network between the different oats. Now there’s nothing remarkable in this until you learn that the center oat that it started from represents the city of Tokyo, and the surrounding oats are suburban railway stations.

The slime mold had replicated the Tokyo transport network – a complex system developed over time by community dwellings, civil engineering, urban planning. What had taken us well over 100 years took the slime mold just over a day. The conclusion from their experiment was that the slime mold can form efficient networks and solve the traveling salesman problem.

It is a biological computer. As such, it has been mathematically modeled, algorithmically analyzed. It’s been sonified, replicated, simulated. World over, teams of researchers are decoding its biological principles to understand its computational rules and applying that learning to the fields of electronics, programming and robotics.

The best way to make a scientific point, especially when you’re not a scientist, is to reference published work from scientists who are subject matter experts in regards to your subject. Not citing bona fide evidence, and simply making claims as though they are facts, will often create doubt in the minds of the audience. You’re not an expert in the field, so why should they believe you? In this case, however, Heather cites three scientific studies that illustrate a central theme of her story – intelligence.

So the question is, how does this thing work? It doesn’t have a central nervous system. It doesn’t have a brain, yet it can perform behaviors that we associate with brain function. It can learn, it can remember, it can solve problems, it can make decisions. So where does that intelligence lie? So this is a microscopy, a video I shot, and it’s about 100 times magnification, sped up about 20 times, and inside the slime mold, there is a rhythmic pulsing flow, a vein-like structure carrying cellular material, nutrients and chemical information through the cell, streaming first in one direction and then back in another. And it is this continuous, synchronous oscillation within the cell that allows it to form quite a complex understanding of its environment, but without any large-scale control center. This is where its intelligence lies.

A classic shift in idea-driven narratives is moving from the ‘what’ to the ‘how’ – ‘what happens’ to ‘how it happens’. Other shifts may involve exploring the why, when and where aspects. This process of exploration is about moving the audience to ever deeper levels of their understanding. Taking someone on a journey is often related to space or time, but also applies to knowledge. Think about how you can unfold a complex topic, doing so in such a way that the listener can follow along. Each layer is a foundation for the next.

So it’s not just academic researchers in universities that are interested in this organism. A few years ago, I set up SliMoCo, the Slime Mould Collective. It’s an online, open, democratic network for slime mold researchers and enthusiasts to share knowledge and experimentation across disciplinary divides and across academic divides. The Slime Mould Collective membership is self-selecting. People have found the collective as the slime mold finds the oats. And it comprises of scientists and computer scientists and researchers but also artists like me, architects, designers, writers, activists, you name it. It’s a very interesting, eclectic membership.

Just a few examples: an artist who paints with fluorescent Physarum; a collaborative team who are combining biological and electronic design with 3D printing technologies in a workshop; another artist who is using the slime mold as a way of engaging a community to map their area. Here, the slime mold is being used directly as a biological tool, but metaphorically as a symbol for ways of talking about social cohesion, communication and cooperation.

From talking about the slime mold, the story comes back to Heather, and a collective that she created in order to further the understanding of this subject. The narrative then expands to include other people who are part of the collective and what they’ve done. Stories of other people is a Story Block which broadens the narrative beyond the speaker’s experience.

Other public engagement activities; I run lots of slime mold workshops, a creative way of engaging with the organism. So people are invited to come and learn about what amazing things it can do, and they design their own petri dish experiment, an environment for the slime mold to navigate so they can test its properties. Everybody takes home a new pet and is invited to post their results on the Slime Mould Collective. And the collective has enabled me to form collaborations with a whole array of interesting people. I’ve been working with filmmakers on a feature-length slime mold documentary, and I stress feature-length, which is in the final stages of edit and will be hitting your cinema screens very soon.

It’s also enabled me to conduct what I think is the world’s first human slime mold experiment. This is part of an exhibition in Rotterdam last year. We invited people to become slime mold for half an hour. So we essentially tied people together so they were a giant cell, and invited them to follow slime mold rules. You have to communicate through oscillations, no speaking. You have to operate as one entity, one mass cell, no egos, and the motivation for moving and then exploring the environment is in search of food. So a chaotic shuffle ensued as this bunch of strangers tied together with yellow ropes wearing “Being Slime Mold” t-shirts wandered through the museum park.

When they met trees, they had to reshape their connections and reform as a mass cell through not speaking. This is a ludicrous experiment in many, many ways. This isn’t hypothesis-driven. We’re not trying to prove, demonstrate anything. But what it did provide us was a way of engaging a broad section of the public with ideas of intelligence, agency, autonomy, and provide a playful platform for discussions about the things that ensued.

One of the most exciting things about this experiment was the conversation that happened afterwards. An entirely spontaneous symposium happened in the park. People talked about the human psychology, of how difficult it was to let go of their individual personalities and egos. Other people talked about bacterial communication. Each person brought in their own individual interpretation, and our conclusion from this experiment was that the people of Rotterdam were highly cooperative, especially when given beer. We didn’t just give them oats. We gave them beer as well.

How your idea and passion integrates into society can be an important part of your story. Outside of the laboratory, and beyond art or science, Heather engages people to learn in a very tangible way. They were involved, had to make decisions, but also had fun doing it. Is there a similar set of experiences that you can include in your story to demonstrate how your idea can affect the way people think and act?

But they weren’t as efficient as the slime mold, and the slime mold, for me, is a fascinating subject matter. It’s biologically fascinating, it’s computationally interesting, but it’s also a symbol, a way of engaging with ideas of community, collective behavior, cooperation. A lot of my work draws on the scientific research, so this pays homage to the maze experiment but in a different way. And the slime mold is also my working material. It’s a coproducer of photographs, prints, animations, participatory events.

Whilst the slime mold doesn’t choose to work with me, exactly, it is a collaboration of sorts. I can predict certain behaviors by understanding how it operates, but I can’t control it. The slime mold has the final say in the creative process. And after all, it has its own internal aesthetics. These branching patterns that we see we see across all forms, scales of nature, from river deltas to lightning strikes, from our own blood vessels to neural networks. There’s clearly significant rules at play in this simple yet complex organism, and no matter what our disciplinary perspective or our mode of inquiry, there’s a great deal that we can learn from observing and engaging with this beautiful, brainless blob.

I give you Physarum polycephalum.

It’s a powerful story that can begin with something we feel is insignificant – slime mold – and take us to a place where we are thinking about how humans interact with each other. After seeing this talk I began to view society differently. The chaos that occurs when we act too much as individuals, and the success that we can achieve when we work together.

There’s not any direct calls to action. Instead, this is a thought provoking narrative that offers a new perspective for the audience to do with as they wish.

[Note: all comments inserted into this transcript are my opinions, not those of the speaker, the TED organization, nor anyone else on the planet. In my view, each story is unique, as is every interpretation of that story. The sole purpose of these analytical posts is to inspire a storyteller to become a storylistener, and in doing so, make their stories more impactful.]

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