Monthly Archives: May 2010

SEEDS|Earthdance 2010 – NOURISHMENT: A crop’s environment

SEEDS|Earthdance is a unique festival dedicated to Somatic Experiments in Earth, Dance, + Science. We are very excited about the festival in its third year, 2010 – this summer will be quite an adventure! I hope you can join us for a workshop, for the whole event, for the research projects, or the public events. Please come and be a part of this experiment in interdisciplinary arts and ecology. Get in touch if you have any questions, or go right to the site and sign up.

Thank you

Olive Bieringa, SEEDS co-curator

The theme of this year’s 10-day long SEEDS festival is NOURISHMENT: A crop’s environment—including soil, topography, and climate—imparts a characteristic taste and flavor and must be taken into consideration in cultivation. With care, through interaction we hope to create an ultra-lush, enriching, and regenerative culture in which to grow our art.

Come for a performance or a film, a workshop, a jam, or the whole festival!

You are also invited to sign up for workshops, for the whole festival, for research projects, in addition to evening  performances, discussions, jams, and films as well as the Saturday Community Day as part of your participation.

SEEDS workshops:

  • Diego Piñon/Butoh Ritual Mexicano Dance<
  • Benoît Lachambre/Extending the Comfort Zone<
  • K.J. Holmes/Weathering<
  • & PineCones <(an overnight event)
  • Pedro Alejandro/Soft Body/Soft Terrain, Open Artist’s Projec<
  • Dave Jacke/Eden Arising: Ecological Design as a Spiritual Practice<
  • Plus performances, an ECO jam, disucssions, films, artists-in-residence, green m-Art, and more.

WWW.EARTHDANCE.NET/seeds

Quantum Poetics: A Science Experiment for the Stage

Stolen Chair launches its 8th season with a workshop presentation of its 13th original work, developed in conjunction with America’s first Community Supported Theatre:

Quantum Poetics: A Science Experiment for the Stage

June 11-13, 2010

“Scrappy”-American Theatre “Endearingly eclectic” -Village Voice “Inventive” -TimeOut NY “Smashes genres in an aesthetic supercollider” -NY Press

Laboratory theatre meets laboratory science in Kiran Rikhye’s latest “unholy hybrid,” Quantum Poetics: A Science Experiment for the Stage. Directed by Jon Stancato, the one-weekend workshop production runs June 11-13 at the Connelly Theatre.

Quantum Poetics is a mind-bending science experiment for the stage. Setting out to prove the existence of his creations, God, a god, enlists the support of a quantum physicist, a 19th century children’s book author, a 13th century mystic nun, a 16th century alchemist, a 7-year old girl, and, stepping straight from the pages of a storybook (or movie musical), Lancelot and Guinevere, taking the audience on a time-travelling adventure through the multiverse. Impossible paradoxes and cognitive dissonance abound in this Escher-esque philosophical romp.

The production stars returning Stolen Chair veterans David Berent, Liz Eckert, Liza Wade Green (Gemini Collisionworks’ George Bataille’s Bathrobe), Chris Hale, Timothy McCown Reynolds (Untiled Theatre #61’s Rudolf II), and Noah Schultz, welcoming Sarah Engelke (Banana Bag & Bodice’s Sandwich) and Miriam Lipner, with production design by David Bengali. The production was made possible, in part, by the Nancy Quinn Fund and public funds from the New York State Council on the Arts. It was created in Stolen Chair’s Community Supported Theatre (CST). Drawing inspiration from Community Supported Agriculture (CSA), Stolen Chair’s pilot CST brought theatre-goers into the studio with theatre-makers each month for the entire development process, offering work-in-progress sharings of Quantum Poetics paired with thematically linked cultural activities, like an intimate talk with quantum physicist Gabriel Cwilich, a screening with science cartoonist Odd Todd, and the science-themed Atoms & Eves Valentine’s party. The CST is made possible by The Field’s Economic Revitalization for Performing Artists (ERPA) program, supported by the Rockefeller Foundation’s 2008 Cultural Innovation Fund

Named “Best Genre-Bending Theatre” by New York Press, Stolen Chair is a theatre laboratory dedicated to the creation of playfully intellectual, wickedly irreverent, and exuberantly athletic original works. Since its inception in 2002, Stolen Chair has created 13 critically-acclaimed original works including the absurdist noir Kill Me Like You Mean It, the Weimar child’s-play cabaret Kinderspiel, and the vaudevillian memento-mori, Theatre is Dead and So Are You.

Quantum Poetics runs Jun 11-13, Friday & Saturday at 8pm and Sunday at 6pm, with a free post- show panel with the company, science journalists, and physicists following the Saturday performance. The Connelly Theater is located at 220 East 4th Street, accessible from the F at 2nd Ave-Houston St or the 6 at Bleeker. Free wine at all performances.

Tickets are $12, available at 1-800-838-3006 or www.stolenchair.org

The 13th conference of the International Association for the Study of Forced Migration CFP

CALL FOR PAPERS

The 13th conference of the International Association for the Study of Forced Migration (IASFM) will be hosted by the Refugee Law Project, Kampala, Uganda from June 26 to 30, 2011.  Abstracts are due by October 31, 2010.

IASFM 13: Governing Migration

Introduction

This conference aims to explore key dimensions of the relationship between forms and tools of governance on the one hand and patterns and experiences of forced migration on the other.  To what extent is lack of ‘good governance’ a factor in generating forced migration?  Are some rights violations and particular types of ‘weak state’ more intimately related to forced migration than others?  How does the governance of migration intersect with other areas of governance, such as identity, gender, sexuality, and ethnicity?  What can be said about the international refugee rights regime and the more recent IDP Guiding Principles as forms of international and/or global governance which both contribute to and detract from the protection of forced migrants?  Does the gradual emergence of regional blocs such as the EU, OAS, SADC, ECOWAS and the East African Community create another layer of governance with particular beneficial or negative impacts on forced migration?  Do discourses and policies of ‘Good Governance’ help to stabilize situations and thereby contribute towards ‘durable solutions’ and a reduction in forced migration, or can they be better understood as a direct or indirect cause of it?  How is the relatively new field of Transitional Justice related to that of Good Governance, and do the fields of Transitional Justice and Forced Migration have anything to offer each other and the broader discussion of Good Governance?

In summary, the conference, under the title ‘Governing Migration’, will enable a wide-ranging exploration of both the direct and indirect relationships between conflict, governance and forced migration and transitional justice.  While relevant to forced migration situations around the globe, the theme has particular resonance in Uganda (the host country for IASFM 13) and the Great Lakes region of which it is part, Latin America and some Asian countries.   The Great Lakes region has seen some of the most extensive forced migration in recent times, including but not limited to the ongoing cycles of violence and forced migration in eastern Democratic Republic of the Congo (DRC), the exodus of Rwandans following the 1994 Genocide, the mass internal displacement of people in northern Uganda as a result of interminable ‘war’ between the Government of Uganda and the Lord’s Resistance Army, and an influx of Kenyans in the wake of rigged elections in early 2008.  The tabling of Uganda’s Anti-Homosexuality Bill in late 2009 has also foregrounded the intimate relationship between attempts at governing sexuality and people being forced to move.  Whereas such dynamics are clearly emerging in the Great Lakes region of Africa and in Asia (e.g. in Sri Lanka, Burma and Indonesia), Latin American countries were among the first to experience internal forced migration caused by political conflict while in Central America lack of labour and post-conflict contexts force people to travel within countries and from country to country.

To enable broad involvement while at the same time seeking to significantly inform key policy discussions, we propose to structure IASFM 13 around the following three major themes and one cross-cutting theme, each of which has multiple strands:

  1. Governance and Patterns of Forced Migration
    Strands within this should include causes, perpetuation and solutions, meanings and practices of citizenship as part of the experience of forced migration, and the potential of citizenship policies to alter the relationship between forced migrants and the state.
  2. Governance and Protection
    Sub-themes may include regimes of rights, entitlements, and social protection, in addition to other related issues such as the linkages between transitional justice, displacement and reparations; transitional justice and property restitution; identities and citizenship (as a means of accessing certain rights, an indicator of or an antidote to migration); and governance & sexuality.
  3. Conflict, Forced Migration, and Transitional Justice
    Key themes within this strand include: to understand how forced migration may be a focus of, and challenge for, post-conflict reconstruction and transitional justice; Transitional Justice as an instrument of good governance; to consider the trauma associated with forced displacement, and the extent to which transitional justice remedies may be used to address this trauma.  Should therapy be at the individual, household, or state level?  At what point in processes of displacement and return can transitional justice mechanisms best serve to address the traumas involved?  When is justice (or the lack thereof) a cause of forced migration? Could it serve to consolidate durable solutions?
  4. Relating domestic (and local), international and global governance,
    whether in respect to climate change, which, understandably, is not limited to state responsibility, but also as a wider global responsibility to protect as causes of destabilization, factors in (lack of) protection, or help and hindrance to domestic post-conflict recovery.

Specific objectives of IASFM 13

  • To juxtapose a number of discourses and areas of policy within the overall theme of governance (e.g. transitional justice & forced migration, sexuality and forced migration, justice & durable solutions) in order to prompt greater recognition of their mutual significance and the need to address them holistically;
  • To thereby widen and deepen the field of forced migration studies while at the same time promoting the importance of democratic citizenship as an anti-dote to forced migration;
  • To examine the extent to which existing international instruments and adjudicative institutions adequately address forced displacement (e.g. UNHCR, IOM, ICC, ICTR, ICTY, Special Court in Sierra Leone, CAVR in East Timor, etc.);
  • To examine the key variables affecting the number of refugees and IDPs and the variables affecting emergence of new legal instruments, such as the African convention on the Protection and Assistance of Refugees, Returnees and Internally Displaced Persons.  Alongside this is the related topic of how refugees and internally displaced people face and rebuild their lives after forced migration.

Structure of Conference

The Conference will create a space in which academic rigour engages with the compromises inherent in policy, as well as the challenges of practical work in the field. As such, while presentations of academic research will continue to provide the intellectual backbone of the conference, these will go hand in hand with round-tables engaging policy makers and governmental stakeholders, as well as presentations and discussions around practical approaches to dealing with forced migration from a range of practitioners.  Furthermore, the conference will draw on non-academic analyses, interpretations and representations of forced migration(e.g., portrayals of displacement using art & crafts, music and dance, fictional literature) in order to diversify the entry points into discussion of the major themes identified.
Alongside traditional panel presentations, the conference will also consist of plenaries, round-table discussions, public dialogues, film shows and cultural events. While the core of IASFM membership is academic, and academic contributions will be at the heart of the conference, there will also be a strong presence of policy-makers and activists, as the conference seeks to influence the relevant policy discussions and civil society interventions.

All participants, whether academic, policy-makers, donors, activists or forced migrants themselves, will present from their particular perspectives, but with an emphasis on stimulating live debate and pushing the boundaries of the discussion about the relationship between forced migration, key areas of governance, and justice (including transitional justice), as well as the boundaries of these respective fields. RLP, for example, is particularly concerned to continue our dialogue on gender, sexuality, masculinity, and their connections to violence, and the extent to which these can and should be accommodated in transitional justice thinking, as well as being factored into our understanding of forced migration. In relation to this, conference participants are encouraged to identify and establish panels examining comparative experiences, for example on Latin America and the Great Lakes.

Perhaps most importantly, the conference will include direct participation from refugees, asylum seekers and deportees. It is essential that refugees and asylum seekers—across a wide range of sex, class, national, and educational backgrounds—can participate directly in these debates which concern their very livelihoods and well-being. As the host organisation, and with a client base representing all the countries in the region, Refugee Law Project will ensure refugee representation in the conference as well as interpretation where possible. In this regard, the Conference methodologies will be adjusted to accommodate the presence of affected persons and therefore the Conference shall also consider ethical issues and psychological needs of people as it progresses.

Outcomes of the Conference

The conference is expected to be agenda-setting, and to produce tangible outcomes, including but not limited to press releases, an edited collection summarising key debates and discussion, and the publication of a book and a short documentary. Most importantly, however, the conference intends to insert the linkage between forced migration and governance into the larger policy debate, thus setting an agenda that is better able to address the human rights of forced migrants in the Great Lakes Region and elsewhere.

SUBMISSION OF ABSTRACTS

We invite submissions of abstracts of 250 words from academics, graduate students, practitioners, policy makers, individuals working with forced migrants and forced migrants themselves.  Submissions from all disciplines are welcome.  We wish to encourage practice-based presentations and other non-traditional means of exploring forced migration and its study, including film screenings, installations, and exhibitions.

Submissions may be of two types: (i) individual paper presentations, (ii) proposals to organize a panel of up to four individuals on a particular theme or topic.

The submission deadline for abstracts is October 31, 2010.  Submissions will be reviewed by the Programme Committee.  Presenters should expect to receive confirmation by 15 January 2011 if their submissions have been accepted.

Conference participants are responsible for their own expenses for attendance at the conference.  Some financial assistance may be available to assist those who might be otherwise unable to attend the conference.  Priority will be given to graduate students and individuals from the Global South.

Financial assistance will generally only be available to individuals presenting at the conference.  Details of this assistance will be posted on the IASFM website in the second half of 2010.  Further details about the conference and the online submission form can be found on the IASFM conference website: www.iasfmconference.org

Requests for further information can be made to the following email address: iasfm13@iasfm.org.

The Last-Hurrah Malibu Public Beaches SafarisSun. May 23 — 9am, 11:30pm, and 2pm

We’re wrapping up our 3-year Malibu project, and to celebrate our public beaches one last time, we’re offering 3 (yes, three!) free mini-safaris. No sign-up required. All welcome!

What: Are you tired of Zuma and Surfrider? Want to find and use the the 20 miles of public beaches that are lined with private development? Our safaris will equip you with the advanced skills necessary to find and use the Malibu public beaches legally and safely. Activities include signwatching, trailblazing the public-private boundary, and a public easement potluck.

When: Choose 1 of the 3 start times (each lasts ~1 3/4 hrs). Please do not plan to join mid-safari.

Where: Come to the public beach accessway between 22140-22126 Pacific Coast Highway (~.5 mis west of Carbon Canyon Rd. and ~1 mi. east of Malibu pier). Park on either side of the PCH (cross with caution), and walk through the accessway to the beach.  (Or take the 534 PCH bus!–nearest stop is Carbon Canyon Rd.– www.metro.net.)

Please allow for plenty of time to find a parking spot, since availability of beach parking is unpredictable.

Tip:  Want the easiest parking?–Try the 9am safari.

Rangers should arrive at the base of the accessway (on the beach–look for the uniform) to assemble each safari at least 15 minutes in advance of each start time. If you arrive early, you can walk on the wet sand anywhere, and on the dry sand (at least 10 ft. from the houses) on the FIRST 4 PROPERTIES TO THE LEFT (downcoast).  Please do not use the dry sand upcoast or elsewhere.

Bring: Snack for the potluck (just for you), water if you need it, sun protection, and extra layer for warmth.

Please note: No bathroom available at meeting point–Try the fast-food restaurants just upcoast on the PCH.
Dogs, sadly, are not allowed on the beaches.

Hope to see you at the beach!
Check out our new website!
www.laurbanrangers.org
A downloadable “Malibu Public Beaches” guide is available on our website.

If you’d like to be removed from our mailing list, please kindly email us to that effect.

Childsplay Theater’s Sustainability Survey Notes & an invitation

Thank you to the 40 theatres that participated in Childsplay’s sustainable materials survey. Here are the results:

  • The majority of respondents (20 theatres) purchase 100-500 sheets of luan plywood per year…that’s roughly 75,000 linear feet of wood that is sourced primarily from tropical rain forests.  If only 20 theatres are using 75,000 linear feet, imagine how much our entire industry consumes on an annual basis!
  • 58% of participants throw away most or all of their scenic material at strike.  At our summit, most shops estimated filling at least one large container per strike…added together, that’s quite a landfill.
  • Not surprisingly, the most common reasons for not saving materials are lack of storage space and the labor costs associated with dismantling/moving materials.
  • Of those theatres that send materials to external recyclers, steel and aluminum are far and away the most common choices.  Steel and wood are the materials most frequently saved for re-use.
  • 30% of participants are already researching or implementing “green” material alternatives: using MDF in place of luan wherever possible, looking for less toxic materials, etc.
  • 66% of participants report re-using at least some stock pieces.
  • 50% of participants would be willing to budget 5-10% more to purchase sustainable materials.
  • 55% of participants would partner with other theatres for bulk purchasing of sustainable materials; another 42% would consider it for specific projects.
  • Less than 20% of participants recycle wood during a strike.  There is a common mis-perception that the wood and steel from flats or other structures cannot be recycled unless they are dismantled and stripped of hardware.  We learned from a regional recycler that not only could we recycle our flats without completely dismantling them. Paint and fasteners were also not an issue for recycling. These are new developments (at least in AZ) that have occurred within the last three years. Many recyclers will actually send a container to your site, reducing both labor and transportation costs.

Since sending you the survey, we have made a contact at a bamboo product manufacturer who is willing to take a look at our needs for the luan replacement.

On February 26th, we held our first sustainability summit. You can read about our first meeting at the TCG blog:http://aha.tcg.org/2010/03/welcome-to-first-sustainable-stagecraft.html
Childsplay will be recycling or keeping the majority (if not all) of the scenery from our final show of the season. I’ll report back to you all about how stage-to-recycling goes at the end of May.
And finally, we have two more days of sustainability meetings coming up in May. We will explore the production process from the initial idea stage through opening night. The focus will be on opportunities for open and synergistic communication between production staff and designers.
anthony runfola
production manager | childsplay
480.921.5721 (o) | 480.921.5777 (f)
Sybil B. Harrington Campus for Imagination and Wonder at Mitchell Park
900 S. Mitchell Dr., Tempe, Arizona 85281

Eneropa | Art and design | The Observer

Rem Koolhaass architectural practice OMA has created an audacious design for an Europe-wide power network tapping into the different regions various renewable energy capabilities. Commissioned by the European Climate Foundation, the proposal claims it would cut carbon emissions in Europe by 80% by 2050. OMAs proposal also cheekily redraws the map of Europe as Eneropa, with countries forming new regions according to what type of energy they would supply to the grid

via Eneropa | Art and design | The Observer.

red, black and GREEN: a blues by Marc Bamuthi Joseph

red, black and GREEN: a blues (rbGb), is a full-length, multimedia theater work that lands at the intersection of green economics and black psychology, written by USA Rockefeller Fellow Marc Bamuthi Joseph. Through a collaboration with installation artist Theaster Gates (Whitney Biennial 2010), Joseph uses music, movement, poetry, and gallery performance to jumpstart a conversation about collective responsibility in a climactic era of climate change.

They are currently seeking resources to support a rehearsal residency at Theater Artaud in San Francisco that will produce the first 20 minutes of the piece. The full debut of rbGb is tentatively scheduled for June 2011 at REDCAT in Los Angeles with additional performances confirmed in Houston, San Francisco, Massachusetts, Chapel Hill, and New York through 2012.

red, black and GREEN: a blues uses performance to document the process of creating single day, eco-themed hip hop festivals in Black neighborhoods across the country. The festivals, called LIFE IS LIVING, are co-organized by Joseph’s Living Word Project and local partners with the specific intention of re-framing environmentalism in underused parks in underserved communities.

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Support the project here:

red, black and GREEN: a blues by Marc Bamuthi Joseph – Project Site – Where Great Art Starts – from United States Artists.

ECO ART: Solar-Powered Speakers Sing Volumes for Renewable Energy | Inhabitat

A piece on Inhabitat from Moe Beitiks. We’ll have some news from Nick Vida and Brent Heyning’s talk at CalArts on designing the Solar Array and Lighting from the Crimson Collective’s Acension Soon!

Solely reliant on the sun for its power, the piece changes in synch with nature, offering visitors clear auditory cues into the cycles that occur over a normal day. Each individual is strongly encouraged to wander the field and experience the evolution of music in relation to their position within the space, as well as the intensity of the sunlight – the Sun Boxes will adjust to the light accordingly, and stop playing music when the sun sets. Given the variation in volume and sound, each person is able to create their own experience specific to the path they take within the space.

Original Here: ECO ART: Solar-Powered Speakers Sing Volumes for Renewable Energy | Inhabitat – Green Design Will Save the World.

Women Environmental Artists Directory

MISSION STATEMENT

Focusing on women’s unique perspectives we collaborate internationally to further the field and understanding of ecological and social justice art.

PURPOSE

  • To provide information regarding the ecoart and social justice art fields to artists, curators, writers, art and public art administrators, educators in art and ecology, cross-disciplinary professionals and others.
  • To facilitate international networking among artists working with ecological and social justice issues.
  • To further the fields of, and the understanding of environmental and social justice art.

OPEN TO ALL WOMEN ARTS PROFESSIONALS, REGARDLESS OF MEDIA, WHOSE WORK EXPLORES, EDUCATES &/OR COMMENTS ON ECOLOGICAL & SOCIAL JUSTICE ISSUES.

WEAD is not juried. Our goal is to be inclusive of the broadest spectrum of women’s contemporary eco and social justice art. The Wead website provides a place for women arts professionals to define themselves and their work. Each writes her own entry, describing interests, intents, materials, philosophy, and aesthetics.

ECOFEMINIST ART

WEAD does not proscribe to a single definition for ecofeminism or ecoart, nor one set of cultural, political, or social beliefs. Instead, WEAD celebrates a spectrum of differences under the colorful collective umbrella called ecofeminist art. WEAD women speak in their own voices, definite their own work and map its place in the world. Together we work toward a just, sane, healthy world for all.

HISTORY

In 1996 Jo Hanson, Susan Leibovitz Steinman and Estelle Akamine created WEAD in response to increasing requests for artist referrals and for designing ecoart exhibits and programs. Rather than create one static program, they decided it was best to develop a programming tool that others could continue to use to develop more programs. Word-of-mouth networking started in January, by WEAD’s presentation in March at the Regional N. CA. Women’s Caucus for the Arts, there were more than 100 listing artists. From 1996 to 2004, with more than 200 listees, editions were labor intensive cut-and-paste, xerox editions. In 1998 Estelle retired, and Jo and Susan were joined by a brilliant new group of 10 activist women artists, creating the WEAD Board of Directors, a collective volunteer creative force that continues to produce and direct all WEAD publications and outreach programs. In 2004-2006 editions were digitally mastered, a slick step up in the publishing world. But our website, begun in 1999 was our most successful form of communication, reaching by far the largest audience with the smallest carbon footprint and cost. In 2008 we suspended printing on paper. Now in 2010, at the ripe age of 15, WEAD launches this newly expanded and greatly improved interactive website. Please join us, spread the word, and use the site well and often.

EDITORS’ RESERVATION RE LISTINGS

WEAD reserves the right to refuse listings that are inappropriate in any way, and/or commercial in intent.

We are a member of INTERSECTION INCUBATOR

Intersection Incubator connects artists with funding resources, management consultants, discount classes, networking events, and collaboration opportunities. This is a program of Intersection for the Arts, San Francisco’s oldest alternative arts space, presenting ground-breaking work in the literary, performing, visual and interdisciplinary arts.
Info & applications are available online www.theintersection.org Or call (415) 626-2787

About Us « Women Environmental Artists Directory.

Ãœber Lebenskunst. Initiative for Culture and Sustainability

The “Ãœber Lebenskunst” project is turning the city of Berlin into a showcase for initiatives that bring together culture and sustainability and examine new models for action.

Whether neighborhood gardens, urban beekeepers, carrot mobs, Wiki woods, sewing cafés or climate pirates on the Berlin’s Spree River – around the world, new forms of ecologically sustainable living models are being put to the test.
The Call for Future is directed at everyone who wants to come up with ideas both in and for Berlin. We are looking for art projects and social initiatives conceived to go beyond what we think is possible. That make the impossible a reality. The art of sustainable living in the 21st century needs not only global expertise, it needs the dedication and the innovative spirit of local initiatives.

Application deadine: May 24, 2010

“Everyone’s a part” – the trailer for the Call for Future.

See the movie in large scale

HOW TO BECOME AN ARTIST FOR SUSTAINABLE LIVING

It’s easy. Please fill out our form (making sure it’s legible) and submit it in either German or English by May 24, 2010.

Please download the form here:

Deutsch | English | Français | Srpski/Hrvatski/Bosanski |  Polski | Español | Türkçe | Tiêng Viêt

In a two-phase selection process, applicants who are selected in the initial round will be asked to submit supplementary material (business plan, information about relevant previous projects, project planning, etc.) at the beginning of June 2010. An international jury made up of representatives from the realms of art, culture, media, politics, science and civil society will confer on which projects should receive funding by the the end of June 2010. The successful participants will be invited to present their projects at a kick-off workshop September 7-9 at the House of World Cultures in Berlin. The chosen projects will be given conceptual and financial support up through the theme festival to be held in June 2011.

How to submit your application
The application deadline is May 24, 2010 (postmark date/date of e-mail)
# by e-mail to call@ueber-lebenskunst.org
# by mail to

House of World Cultures
The “Ãœber Lebenskunst” project
John-Foster-Dulles-Allee 10
10557 Berlin

… or submit your application in person at the reception.

The House of World Cultures at

Google Maps

If you have questions about the Call for Future, you can contact the Ãœber Lebenskunst team.

Just send an e-mail to Info@ueber-lebenskunst.org or call us:

Mon-Fri from 2 p.m. to 4 p.m.

Tel. 030 397 872-20
FAQ

Frequently asked questions about the Call For Future

Application

1. Who can apply?
Anyone can apply. Individuals, groups, families, residential communities, citizens’ initiatives, associations or organizations from the realms of art, culture, media, architecture and urban development, science and research. Applicants who are NOT residents of Berlin have to work together with a local partner. Because the idea is to focus on model artistic projects and social initiatives that build on models from elsewhere both in and for Berlin, we are expressly seeking these types of partnerships.

2. Which application documents have to be submitted?
For the pre-selection process, it is sufficient to submit the form (in German or English) which you have personally filled out and signed. Supplementary materials such as drawing, photos, manuscripts, recordings, audio files or DVDs can also be submitted. These materials will not be sent back. They will remain in the House of World Cultures.

3. How are projects selected?
As part of a two-phase selection process, a pre-selection will be made on the basis of the application documents submitted. The preselected applicants will be informed in writing at the beginning of June and asked to submit additional information about the planned project (résumé, business plan, information about previous projects, etc.). The Über Lebenskunst jury will confer on project funding at the end of June 2010.

4. What kind of funding can I expect?
In addition to financial funding of up to €20,000 per project, initiatives may receive both technical and/or conception all advice for project implementation from the Über Lebenskunst team. The participants selected by the jury will present their concepts at an (internal) kick-off workshop to be held September 7-9, 2010.
All participants that make the second round will be invited to a dinner the day before the kick-off workshop. The focus here will be getting to know each other in person and networking among the relevant actors in Berlin.

5. Can third-party resources be incorporated into the project?
Co-funding is possible.

6. Why is the call limited to Berlin?
In the 21st century, local ideas always have to be applied globally. Which is why we are primarily directing our call to local initiatives or to people who will implement their ideas and projects together with partners in Berlin, focusing (implicitly or explicitly) on global issues.
In addition, the future of humanity lies in the urban realm. Already today, more people live in urban regions than in rural regions around the world. Global urban co-existence must be conceptualized in a way that gives new value to living and is continuously reinvented. Today, people from roughly 190 different countries live together in Berlin. This is just one more reason that Berlin is a model city for ecologically sustainable living models for the 21st century.

via Ãœber Lebenskunst. Initiative for Culture and Sustainability.