Monthly Archives: June 2010

An accidental hero? BP, oil spills and innovation : RSA Projects

It’s been the story that has covered the financial press for weeks. BP’s involvement in the oil spill in the Gulf of Mexico has dominated the news, sent its share price plummeting, and erupted a row of diplomacy between the US and the UK over the treatment of the oil giant.

But in all the bad news perhaps there is one area of hope to come from all of this. And that’s in the area of green technology and innovation.

Vinod Khosla, of Khosla Ventures recently said that he believed the BP oil spill would spur innovation in the green technology market and provide a once in a lifetime window of opportunity to develop and build new and sustainable technologies as a result. Khosla, the co-founder of Sun Microsystems has a track record of investing in winners making his comments worth taking notice of. Could this be a turning point?

Perhaps we are entering a new age where it’s not warfare but the environment that will drive innovation

Evidence of new ideas spurred on by the disaster have been seen close to home. The BBC website asked readers to come up with novel ways to find a solution to plugging the gap. Ex-plumbers and would-be inventors all came up with a variety of solutions to deal with the problem from a giant umbrella to a larger version of the technology used to plug a leak in household plumbing. None would work, but what’s promising in all of this is that the oil spill has managed to capture the imagination of innovators and would be inventors.

Courtesy of Infrogmation of New Orleans

So the question that this raises is what fosters such innovation in the light of such adversity? In a world where technology has generally been spurred on through wars and subsequent technologies spun off from military hardware, perhaps we are entering a new age where it’s not warfare but the environment that will drive innovation. And why is the BP oil spill different from the many others corporate accidents that occur?

Firstly, the locality of the accident to the US and to Silicon Valley will play a big part in the regions industries and venture capitalists focusing on green technologies. When the problem is on your doorstep, and the environmental impact of the gulf spill certainly is on America’s, it makes the problem local, personal and the need to solve it becomes greater. America has long been criticised for not doing enough in terms of the environment but this will all have to change following these recent events if they are to continue to enjoy the landscape and ecosystems that many have taken for granted for so long.

The second reason is that things can’t actually get much worse, which leaves innovators with a golden opportunity to make mistakes. Sir Harold Evans, the legendary journalist and commentator on innovation discussed this very concept in his talk here at the RSA a few weeks ago.  He discussed that the myth of the “Eureka” moment has discouraged many would be innovators and inventors to consider themselves not good enough with their ideas. The process of innovation as described by Evans is one in which mistakes are allowed, if not essential, as part of the process of developing and bringing forward new inventive ideas. So in the Gulf of Mexico  things can hardly get worse. This gives a golden opportunity to try out new solutions and develop and innovate them. Entrepreneurs and would be inventors can work and trial the unthinkable, knowing that failure is only one of the steps to finding success. This will allow for more bolder and creative solutions to be tried which Kholsla and many others argue will be the place in which we find some of the great technologies that will change the environment and our society.

From an entrepreneur’s view, the green energy industry has just received a cash injection of £20 billion dollars and unrivalled government support

Thirdly, view this crisis from the eyes of on entrepreneur and it’s an industry that has just received a cash injection of £20 billion dollars and unrivalled government support to help technology – not bad conditions for any would be industry.  This opens up opportunities for the rate of change and rate of innovation in the green tech sector to develop far beyond what has been seen previously. If we look at the development and innovation of the internet, new entrepreneurs and new minds accelerated the use of technologies and changed the industry from dial-up to the super fast broadband we have today. This same pattern of development could be spurred on from the BP oil spill as a variety of new entrepreneurs who follow the mantra “that a crisis is a terrible thing to waste” enter the market supported by venture capitalists in Silicon Valley who have a personal interest in cleaning up the environment because it’s right on their doorstep.

So even in the face of one of the world’s most significant disasters, we can find hope for the future, and for our planet. Localised problems spur on localised innovation, and a space to make mistakes may well see the development of technologies that help combat climate change and ensure that we have the tools to deal with future environmental disasters. Let’s hope that one thing that comes from this is that we don’t waste this opportunity to change the face of the green technologies industry or even more importantly create a new wave of green entrepreneurs committed to developing technologies in this sector.

via An accidental hero? BP, oil spills and innovation : RSA Projects.

Arcola’s Top Ten Tips to produce a Sustainable Theatre Production

The Mayor’s Green Theatre Plan outlines how London theatres can and should reduce their CO2 emissions by 60% by 2025.

Arcola Theatre work with production companies to help them reduce their environmental impact without compromising artistic vision and here are our Top Ten Tips to producing a low impact theatre production.

There are three main areas where you can reduce your production’s environmental footprint: physical production, company activity and audience behaviour.

Physical

1. Re-use – decisions you make at the start of production will have a big impact on waste at the end. Can the materials be re-used, or at least recycled? – Careful handling and fitting of the set contributes its ease of re-use.www.scenerysalvage.com will collect your set & they also sell salvaged items – worth a look if you need cheap doors, furniture, casters, electrical equipment etc. Aim to avoid landfill as nothing is ever really ‘thrown away’.

2. Purchasing – key are timber and paint (see below) but the Mayors Green Procurement Code has useful resources for ensuring minimal environmental impact if buying new items: www.greenprocurementcode.co.uk

3. Timber – try to source timber that is recycled or, if new, FSC certified. Try Leaside Wood Recycling Project for cheap recycled timber – www.lwrp.org.uk

4. Paint – avoid harmful airborne chemicals called volatile organic compounds (VOCs) used in ordinary paint, a big contributor to climate change, and many of the chemicals are also highly toxic and linked with health problems such as respiratory disease, asthma, dizziness, headaches, nausea, fatigue, skin disorders, eye irritation, liver and kidney damage and cancer: www.sustainablebuild.co.uk/NonToxicPaint.html

5. Lighting – consider employing innovative low energy lighting technologies / setting an energy cap as per Arcola production of Living Unknown Soldier (2008). Visit Arcola Energy site for a wealth of information including kit lists: www.arcolaenergy.com/contribute/category/green-theatre/low-energy-lighting/

Switch the rig on as near to the performance as possible and promptly turn it off at the end of a performance. Also see White Light’s Green Guide to Lighting – www.whitelight.ltd.uk/greenguide

6. Recycling – Try to find a reuse for materials wherever possible, or implement recycling schemes for sets and props, batteries, lamps and costumes. Use www.freecycle.org to donate costumes, props etc. (also see point 1)

Company

7. Travel – encourage company members to cycle or use public transport. Plan meetings/rehearsals to minimize travel requirements where possible.

8. Electricity use – turn off lights when not in use / when vacating rehearsal space.

9. Waste – use the theatre recycling and composting facilities. Where appropriate report waste to a member of the Arcola Sustainability team who will support in its sustainable disposal.

Audience

10. Audience travel – publicise your sustainability efforts and encourage green travel methods on marketing materials. Market to, and engage, local audiences.

What do you think about our Top Ten Tips? Would you add or change anything? Let us know!

Add your comments…

Go to Arcola Energy

Hollywood Fringe Sustainable Production Award Announced

LOS ANGELES — The Center for Sustainable Practice in the Arts (CSPA) awarded the first CSPA Fringe Award for Sustainable Production to Presque Pret a Porter, produced by Dreams by Machine on Sunday night at the Hollywood Fringe Festival Awards Ceremony.  The award was designed to reward ecologically sustainable practice in the production of a fringe performance.

The award was adjudicated by the CSPA Directors, Ian Garrett and Miranda Wright, along with select CSPA affiliates. The recipient was chosen based on an online data form created by the CSPA, and informed by the Mo’olelo Green Theater Choices Toolkit.

“The CSPA is not just another ‘go green’ organization,” said Wright at the ceremony Sunday night.  “We hope to gather and distribute information that aids in the sustainability of the earth, the sustainability of our communities, and the sustainability of our art.  And so, the purpose of this award is not to recognize the greenest production.  Our objective in offering this award is to ask questions of ourselves, as theater artists, about the greater impact of our work on the world around us.  The winner of this year’s award not only limited material waste in production, but asked audience members to consider sustainability in their lives.”

Laura Brody, this year’s winner, stated the primary goal of her project as “to create awareness of and to encourage re-use through entertaining and participatory demonstration.”  In the performance, materials were re-purposed from thrift stores and cutting room floors.  Materials were donated by friends and colleagues of the project.  And, the musician’s set up was made of found objects strung together to create a percussion rig.

While debuting at the Hollywood Fringe, the CSPA Fringe Award for Sustainable Production will also be offered at the Edinburgh Fringe Festival this August, where the CSPA will be presenting a panel on sustainability in theater at Fringe Central in Edinburgh on Monday Morning, August the 16th.

“We’ve been working since we started the CSPA on how to provide resources and guidelines for sustainable production to the theatrical community. Both Miranda and myself come from theatrical backgrounds and it is important to us. The fringe festival model provides an ideal platform to introduce these ideas and the award due to the expectations and scale of the shows. It is easier to start the conversation at a fringe level of production than Broadway. By starting with the Hollywood Fringe, our local and the newest fringe festival, and immediately moving to the Edinburgh Fringe, the largest and oldest fringe in the world, we are looking to create the greatest visibility and excitement around the introduction of ideas of sustainability to the largest number of theater artists at home and away,” says Executive Director Ian Garrett.

“Even more so than we want someone to score perfectly on the questionnaire we use to evaluate shows, we want theater artists to look at the questions and think about how it helps to guide their thinking about sustainability in the their art. There may be questions asked in ways they hadn’t thought, and we hope they ask these questions of their next project and the project after that.”

The CSPA was founded by Ian Garrett and Miranda Wright in early 2008 after individually working on each of the programs that now make up the multi-faceted approach to sustainability separately. The organization provides a network of resources to arts organizations, which enables them to be ecologically and economically sustainable while maintaining artistic excellence. Past and Present partnerships have included the University of Oregon, Ashden Directory, Arcola Theater, Diverseworks Artspace, Indy Convergence, York University, LA Stage Alliance and others

Julie’s Bicycle launched Theatre Programme – via ashdenizen: pivotal role

Julie’s Bicycle launched its theatre programme last week for reducing carbon emissions. JB‘s chief executive Alison Tickell said the theatre sector had been ‘short on vision, long on doubt’. What needed to be done, she said, was ‘to find a few priorities’ and ‘to commit on a major scale’.  It was this thinking that lay behind the publication today of a new pamphlet Moving arts: managing the carbon impacts of our touring that gives the data on the most effective steps to take.

Nick Starr, executive director of the National Theatre, announced the names of the Theatre Group that he would chair. The list was impressive:

Nicholas Allott, managing director, Cameron Mackintosh; Gus Christie, executive chairman, Glyndebourne; Paule Constable, lighting designer; Vicky Featherstone, artistic director, National Theatre of Scotland; Vikki Heywood, executive director, Royal Shakespeare Company; Kate Horton, executive director, Royal Court Theatre; Judith Knight, director, Artsadmin; John McGrath, artistic director, National Theatre Wales; Andre Ptaszynski, managing director, Really Useful Group; Rosemary Squire, joint chief executive, Ambassador Theatre Group; Ben Todd, executive director, Arcola; Steve Tompkins director, Haworth Tompkins; and Erica Whyman, chief executive, Northern Stage

As the keynote speaker at the National this morning, Jonathan Porritt, applauded the practical well-researched approach that Julie’s Bicyclehad taken. He went on to widen the discussion, warning the audience against presenting climate change in apocalyptic terms. He thought the last government’s CO2 campaign that had used a bedtime story to convey the message was ‘shockingly awful’.

There were a number of good bits of news. He gave three examples. The new report that 98% of scientists concur with the science on climate change showed ‘Jeremy Clarkson is wrong’. He also couldn’t recall a time when ‘the innovation pipeline looked so good’. And the business case for an environmental strategy was something that ‘we had hardly started to understand’. His example was the huge advances made by Wal-Mart since its chief executive ‘got the green bug’.

But these upsides, Porritt said, left one thing missing, which was particularly relevant to today’s audience. Science was not enough. The Enlightenment idea that the truth would set us free has proved illusory. What’s needed is creative talent. ‘How can we fire up the sense of empathetic connectedness between people?’ he asked, ‘It makes the creative industries absolutely pivotal.’

via ashdenizen: pivotal role.

3rd Ring Out: Rehearsing the Future By Zoe Svendsen and Simon Daw

The temperature is rising, the Earth is changing and your city is threatened. How will you respond? This is a story in which YOU decide what happens next.

Imagining a world in which nature takes revenge on industrial humanity, 3rd Ring Out takes you forward in time to an emergency planning rehearsal set on your doorstep.

Metis uses live performance, video simulation and interactive computer systems to produce work which responds to contemporary concerns. The result has the immediacy of theatre combined with the thrill of a disaster movie; a fiction rooted in fact.

Check out the Booking section to find out where 3rd Ring Out takes place and for responses to the performances …

via About.

“Recycled Comedy” and the Ambassador Theatre Group

Reprinted from Broadway World: “Mark Rylance Visits Comedy Theatre’s “Recycled Comedy” Exhibit, Runs Through 9/4″ June 17, 2010

Actor Mark Rylance, who will be in the upcoming revival of David Hirson’s La Bête at the Comedy Theatre, visited the theatre’s current exhibition, “Recycled Comedy.” Rylance will be starring in La Bête alongside Joanna Lumley and David Hyde Pierce at the Comedy Theatre from 26 June until 4 September.

The “Recycled Comedy” Exhibition showcases replica costumes from past productions that have played at the theatre made entirely from recycled and recyclable materials. Each costume sits in its own ‘environment’ which is complemented with light and sound. For the past month front of house, management, crew and box office staff at the Comedy Theatre have been working hard to develop and realize the exhibition which promotes recycling and raises environmental awareness.

Rylance, who has a strong interest in environmental and recycling issues, won two Olivier Awards with his roles in MUCH ADO ABOUT NOTHIN and JERUSALEM. He was also honored with a Tony Award for BOEING BOEING. He served as the Artistic Director of the Shakespeare Globe Theatre from 1995-2005.

The Comedy Theatre is owned by the Ambassador Theatre Group (ATG). ATG is committed to achieving the highest standards of environmental performance, preventing pollution and minimising the impact of its operations on the environment.

ATG believes it is both good business practice and our duty to protect natural resources and therefore aim to conserve energy, water, wood, paper and other resources – particularly those which are scarce or non renewable. ATG also aims to reduce waste through re-use and recycling and by using refurbished and recycled products and materials where such alternatives are available.

ShareThis

Go to the Green Theater Initiative

A Silver Sheen to . . . well, you know.

Yes. So.

Garbage didn’t work. Natural fibers were rejected. Booming school has apparently been a failure. In the meantime, an ever-increasing parade of oil-soaked birds and the collapse of local industries.
What else can we do but laugh?

If there is a silver lining or sheen or gloss or whatever to the gulf spill, it’s that the insanely large catastrophe has spawned some of the best ecological humor in recent years.

Don’t EVEN try to take that the wrong way.

Pro comedy players like UCB Theater, The Daily Show and the Colbert Report have been defending ecosystems and decrying BP with their sharp and witty tools of trade. Most memorably, The Onion suggests a Massive Flow of Bullshit from BP Headquarters will drown us all.

It’s times like these that laughter literally heals. Which is not to say: it scrubs oily birds. Rather: it keeps ecological massacres such as these from driving you insane.

Go to the Green Museum

Independent Curators International – Experimental Geography

Experimental Geography

Curated by Nato Thompson

The manifestations of “experimental geography” (a term coined by geographer Trevor Paglen in 2002) run the gamut of contemporary art practice today: sewn cloth cities that spill out of suitcases, bus tours through water treatment centers, performers climbing up the sides of buildings, and sound works capturing the buzz of electric waves on the power grid. In the hands of contemporary artists, the study of humanity’s engagement with the earth’s surface becomes a riddle best solved in experimental fashion. The exhibition presents a panoptic view of this new practice, through a wide range of mediums including sound and video installations, photography, sculpture, and experimental cartography.

The approaches used by the artists featured in Experimental Geography range from the poetic to the empirical. The more pragmatic techniques include those used by the Center for Urban Pedagogy (CUP) in projects made with students and other non-art groups that aim to strengthen peoples’ roles as agents of change in their own environments. See, for example, their map intended to help longshoremen and truckers identify chokepoints in the cargo trade network. In their similarly empirical projects, the Center for Land Use Interpretation (CLUI), a research organization, examines the nature and extent of human interaction with the earth’s surface. CLUI embraces a multidisciplinary approach that forces a reading of the American landscape (such as the disfiguring effects of culling natural resources from the picturesque banks of the Hudson River), thereby refamiliarizing viewers with the overlooked details of their everyday experience.

Experimental Geography is curated by Nato Thompson, curator at Creative Time in New York. It is accompanied by an illustrated catalogue, co-published by ICI and Melville House, that includes essays by Thompson, Jeffrey Kastner, and Trevor Paglen.

ARTISTS

Francis Alÿs, AREA Chicago, The Center for Land Use Interpretation (CLUI), The Center for Urban Pedagogy (CUP), e-Xplo, Ilana Halperin, kanarinka (Catherine D’lgnazio), Julia Meltzer and David Thorne, Lize Mogel, Multiplicity, Trevor Paglen, Raqs Media Collective, Ellen Rothenberg, Spurse, Deborah Stratman, Daniel Tucker, Alex Villar, Yin Xiuzhen

TOURING SCHEDULE

AVAILABLE

Contact us to book this exhibition
April 22, 2011 – December 31, 2011

Freeman Art Gallery, Bishop’s University

Sherbrooke, Quebec, Canada
January 21, 2011 – April 1, 2011

Museum London

London, Ontario, Canada
October 9, 2010 – January 2, 2011

The James Gallery, The Graduate Center at CUNY

New York, New York
June 24, 2010 – August 27, 2010

The Colby College Museum of Art

Waterville, Maine
February 21, 2010 – May 30, 2010

Miller Gallery, Carnegie Mellon University

Pittsburgh, Pennsylvania
October 10, 2009 – January 30, 2010

The Albuquerque Museum

Albuquerque, New Mexico
June 28, 2009 – September 20, 2009

Rochester Art Center

Rochester, Minnesota
February 7, 2009 – April 18, 2009

Richard E. Peeler Art Center, DePauw University

Greencastle, Indiana
September 19, 2008 – December 2, 2008

TECHNICAL SPECS

via Independent Curators International – Experimental Geography.