Monthly Archives: October 2011

We need hope through art

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I posted this to comment Facebook yesterday, and wanted to connect it to Alastair McIntosh’s piece in the Guardian on Saturday,

I was in Glorious Govan yesterday for Alastair McIntosh‘s Kandinsky and Spirituality event. What a difficult subject to tackle in the here and now. Ran into many friends and colleagues. I suppose I wanted more politics (constructivism), more discussion of the idea of art as service with a spiritual dimension (Mierle Laderman Ukeles), more in depth on I and Thou Martin Buber and the idea that there are two possible ways to think about the other – as ‘it’ or as ‘thou’. ‘It’ is objectification. ‘Thou’ is another being with agency with whom one can have a meaningful relationship.

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
Go to EcoArtScotland

New Metaphors for Sustainability: A matter of time

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Nick Robins’ metaphor suggests a profound shift in our perceptions of time. Nick works in the policy, operational and financial dimensions of corporate accountability and sustainability. He is author of The Corporation that Changed the World: How the East India Company Shaped the Modern Multinational (2006) and in 2011 was rated as the leading analyst for climate change research in the ThomsonExtel survey.

In the end, sustainability is all about the allocation of the scarcest resource: time. How much time do we devote to what in the present, and how do we balance the imperatives of time past, time present and time future?

The task, then, is to defeat the ravages of geological time and transfer those things of value from one civilisation to the next, particularly now that we have passed during our lifetimes from the Holocene to the Anthropocene.

Nearly all of what we consider to be valuable in human society occupies a tiny fraction of our existence as a species (some 2 million years).

For me, Homer’s Iliad is the archetype of human value across time. As the poet Christopher Logue discusses in the introduction to his recent interpretation, War Music, the Iliad is already a work that has survived the collapse of a number of civilisations through luck, persistence and care. But will it survive ours?

The Iliad was written perhaps in the 8th century BCE, some 2,800 years ago. For me, sustainability means enabling those in the future to have an equivalent chance to benefit from this fundamental text, constructing an arc into the future 2,800 years long. This means that my time horizon is (or should be) 4811 AD, far further out that the 2050 timelines of the climate negotiations or the ‘seventh generation’ thinking of the counter-culture.

The consequences of this shift in perspective are profound: we need to conceive sustainability as beyond culture and indeed language, as the transmission of value beyond time.

All the metaphors in our series so far are collected here.

“ashdenizen blog and twitter are consistently among the best sources for information and reflection on developments in the field of arts and climate change in the UK” (2020 Network)

ashdenizen is edited by Robert Butler, and is the blog associated with the Ashden Directory, a website focusing on environment and performance.
The Ashden Directory is edited by Robert Butler and Wallace Heim, with associate editor Kellie Gutman. The Directory includes features, interviews, news, a timeline and a database of ecologically – themed productions since 1893 in the United Kingdom. Our own projects include ‘New Metaphors for Sustainability’, ‘Flowers Onstage’ and ‘Six ways to look at climate change and theatre’.

The Directory has been live since 2000.

Go to The Ashden Directory

100 posts on art and ecology resource site grows alongside a slow art-forest project

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Post image for 100 posts on art and ecology resource site grows alongside a slow art-forest project

Museum of Nature, 2004 by photographer Ilkka Halso

This is my 100th post on my art & ecology notebook site – amazing! I’m as shocked as probably you are and its made me realise that I have created quite an archive of the different means where arts and ecology intersect.

new ecoartfilm site

What started out in 2008 as a small personal notebook has grown – it initially was a place to put inspiring art & ecology projects and resources that I came across in one place and also a means to house the beginnings of my own long term art & ecology project. From a small rural location the site has allowed me to gather and make visible projects that often fall outside the mainstream agendas of many galleries and it has allowed my own practice to travel to many unexpected destinations.  For newer readers my artistic work is about creating small audiovisual works that touch on the small forest that surrounds our house that we are transforming from a monoculture conifer plantation into a permanent mixed species forest. Mostly my own work is about how we engage with ‘nature’ in general and its led me to pursue the idea of whether audiovisual video works can be used in a  more ecocentric way, if that is possible (if you are interested my  research on this topic can be found here).  My art & ecology site been quite an odd jumble of  things and early posts were a bit random, but my readership has steadily grown even though my posts can appear a bit infrequently. Thank you for all the comments along the way too – you have no idea how this small site has enabled my work to develop and connect with others!

new archive page

Anyway, to mark this blogging milestone I’ve spent a little bit of time and created an illustrated Archive page  and  a new dropdown Category section on the home page where you can easily see all the art

disciplines for instance that I have written about; from film to dance, to music to policy papers on culture and sustainability. You are more than welcome to share any of these posts along.

Some of you might also be aware that I wrote a research paper on networking the arts to save the earth earlier this year. It was a whopping 8,000 words, designed to reach out and comment on how cultural practitioners of all types could best use online social media networks. Social media is something I’ve worked with for several years in a past job where I helped develop a  large online arts community.  A lot of the paper was me trying to figure out the potential or not of social media, amongst all the hype and suddenness in which these

a new article

technologies have now appeared in our lives, and examine their value for art & ecology practitioners. The paper seemed to have struck a nerve – I expect it was probably the  fact that many working in this field are both isolated geographically but also isolated on the fringes of contemporary art practice.  A much shortened form of the article was printed in the Aug 2011 Irish Visual Arts Newsheet. It was then picked up by one of the editors as a feature article on the international

site HerCircleEzine.com -  an online site that for the last 6 years has been dedicated to women’s socially engaged practice. I was surprised and delighted -  to tell the truth the research paper had been turned down originally for an academic journal (not that I was too surprised about this as it was my first attempt) but of course, a paper on social media, should be circulating on social media not stuck in some academic journal. I’ve created a resource page of the many various art & ecology networks too – please feel free to tell me about other networks not listed. There’s more too, I’ve also been asked to write a regular column on the HerCircleEzine site about art & ecology and my research practice, starting in November which I must say is a bit daunting as if you examine the site you’ll see the articles written are of a very high standard. 

holly dog looking proud

Hollywood - smallest close-to-nature forest in Ireland (pictured: Holly at the forest entrance)

You might have also noticed the blue forest image above – the Museum of Nature created by Finnish photographer Ilkka Halso. I found this image intriguing; its from a larger body of works by Ilkka called Restoration (2004). While I don’t like the idea of putting a forest in a cage I could identify with this artist’s interest with forests. I have also come across a  number of artists who describe their art & ecology works as ‘restoration’ environmental projects. It’s not a term I use for my own forest project; while restoration of sites is obviously important I think much more needs to be addressed. Undoubtedly we can learn much from restoring sites/habitats, but for me,  I think there is something more interesting in transformation; transforming the ideas and practices of how we relate to nature (a tricky area when one begins to examine it though) and hence, transforming how we behave on this one finite earth. You might be wondering why I’ve added this paragraph at the end of this post – I was saving the best for last :-) . My tiny forest, nick-named ‘Hollywood’ has been getting some attention. ‘Hollywood’ is now listed on the new Irish database for forests that are being managed in a permanent way – its the smallest plantation undergoing ‘transformation’ to become a forest, in Ireland. We manage the forest following close-to-nature principles ( a low impact management system that follows nature’s own dynamics). As it is an ecological type of forest management it means that the forest is sustainable not only for our use (we get firewood, birdsong, oxygen, sanity etc from it) but as it will never be clear-felled; the overall biodiversity, soil fertility and carbon-sink values on the site will only ever increase.

Funny, how this writing about transformation has slipped into this post, as I often have a lot of difficulty in talking about my creative work – in fact, I think its much better presented by the forest itself (click on the image below if you can’t see the film).

If you have any comments, do write in!

transformation 2011

 

An Arts & Ecology Notebook, by Cathy Fitzgerald, whose work exists as ongoing research and is continually inspired to create short films, photographic documentation, and writings. While she interacts with foresters, scientists, and communities, she aims to create a sense of a personal possibility, responsibility and engagement in her local environment that also connects to global environmental concerns.
Go to An Arts and Ecology Notebook

New metaphors for sustainability: the Kelo

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We resume our series finding new metaphors for sustainability with the Kelo suggested by artist and researcher Amanda Thomson. 

For a few years now I have been spending a lot of time in some of the remnant Caledonia pine forests of Scotland, learning about their ecology, and making an ongoing piece of work called Dead Amongst the Living, which is ostensibly about the dead trees of these woodlands. Scots pines can live to be up to 300 years old, and even after they die, can stand for years before falling. In the middle of these woods, they sometimes stand pale like spectres amongst the greens, reds and browns of the living forest, and sometimes on the hills and moorlands of the north an occasional single tree reminds us of forests now long gone or the tenaciousness it has often taken to have survived.

There’s a Finnish word a ranger told me, Kelo, which describes a standing tree which has died, dried out in the wind and yet remains standing, often for decades, only quietly and imperceptibly decaying. Like the shells of old croft houses in the far north west and on the islands, such trees stand to remind us of a different past, and are testament to earlier times.

Dead wood supports a huge amount of biodiversity when still standing, and once they have fallen they continue to form a crucial part of the living ecosystems of a pinewood; indeed, it is said they support more species when dead than they do when alive. These dead trees contain microhabitats for species which are not found elsewhere but which are vital to the ongoing health of the forest. They are havens for invertebrates, hold rare mosses, provide nutrients for lichens, fungi and liverworts. At each stage of their decay, they give something back to their surroundings and support different species at different stages of decomposition. When standing, they provide viewpoints for raptors and their holes and cavities provide nest sites for a range of woodland birds, including crested tits. Their rot holes are used by the larvae of rare hoverflies, green shield-moss grows on old stumps and capercaillie use the upturned root plates of the fallen for cover and for dust baths. Eventually, over a period of years, and by being broken down in a variety of ways, all of the nutrients which have been stored in the tree will make their way back in to the earth and replenish it.

For me, these dead trees contain an essential reminder about how in both physical and in psychic terms, things that seem no longer with us, things that might appear to be useless and redundant, and things that becomes invisible can continue to influence, support and nourish the present, and the living, in ways that we might not yet know, but will perhaps, in time, come to realise.

 

“ashdenizen blog and twitter are consistently among the best sources for information and reflection on developments in the field of arts and climate change in the UK” (2020 Network)

ashdenizen is edited by Robert Butler, and is the blog associated with the Ashden Directory, a website focusing on environment and performance.
The Ashden Directory is edited by Robert Butler and Wallace Heim, with associate editor Kellie Gutman. The Directory includes features, interviews, news, a timeline and a database of ecologically – themed productions since 1893 in the United Kingdom. Our own projects include ‘New Metaphors for Sustainability’, ‘Flowers Onstage’ and ‘Six ways to look at climate change and theatre’.

The Directory has been live since 2000.

Go to The Ashden Directory

“MIT japan 3/11 initiative”

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This post comes to you from Cultura21

By Benjamin Smith

November 14th, 2011
MIT (USA)

“In the aftermath of the disaster suffered in Japan, MIT launched the MIT Japan 3/11 Initiative, a multi-year collaborative project focused on disaster-resilient planning, design and reconstruction. Back from the first MIT Japan 3/11 workshop which took place this summer, Shun Kanda and Jim Wescoat will discuss the process and challenges in planning and implementing alternative strategies for disaster-preparedness. Shun Kanda is a Tokyo native and the Director of Architectural Studies for the MIT-Japan Program. James L. Wescoat, Jr. is Aga Khan Professor in the School of Architecture and Planning at MIT.”

MIT Japan 3/11 Initiative:   http://web.mit.edu/japan3-11/home.html

The “Zones of Emergency: Artistic Interventions – Creative Responses to Conflict & Crisis” Fall 2011 lecture series investigates initiatives and modes of intervention in contested spaces, zones of conflict, or areas affected by environmental disasters. The intention is to explore whether artistic interventions can transform, disrupt or subvert current environmental, urban, political, and social conditions in critical ways. A crucial question is how can such interventions propose ideas, while at the same time respecting the local history and culture.

More information at the Zones of Emergency Blog: http://zonesofemergency.mit.edu/

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

Ploughshares from Swords – Social Sculpture and Cultural Agency

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November 07th, 2011 MIT (USA)

“How does creative activism contribute to society? How do we moderate crises through individual and collective art practice? How do we reconcile the arts, activism, and pedagogy? Stella McGregor, Founder and Director of Urbano Project, will share her experience of working with inner city youth and introduce projects such as Violence Transformed, and Pedro Reyes’ Palas por Pistolas. Stella McGregor has been an artist and a cultural worker for over 25 years, working on projects in Boston, New Orleans, Macedonia, and Taiwan.”

Urbano Project:  http://urbanoproject.org

The “Zones of Emergency: Artistic Interventions – Creative Responses to Conflict & Crisis” Fall 2011 lecture series investigates initiatives and modes of intervention in contested spaces, zones of conflict, or areas affected by environmental disasters. The intention is to explore whether artistic interventions can transform, disrupt or subvert current environmental, urban, political, and social conditions in critical ways. A crucial question is how can such interventions propose ideas, while at the same time respecting the local history and culture.

More information at the Zones of Emergency Blog: http://zonesofemergency.mit.edu/

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

New fables for the woods

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Why does the ash tree have black buds? Why does the yew tree live so long? Why does the chestnut tree have white candles? In a series of new fables about woods, 19 writers started with a question of this sort and found their way to an answer by writing a short story.The collection, Why Willows Weep is published by the Woodland Trust. According to the editors, some fables are like fairy tales, others like Greek myths, and some are completely off-the-wall.

The writers are William Fiennes, James Robertson, Richard Mabey, Tracy Chevalier (who edits the collection), Susan Elderkin, Rachel Billington, Blake Morrison, Maria McCann, Terence Blacker, Joanne Harris, Philippa Gregory, Catherine O’Flynn, Tahmima Anam, Maggie O’Farrell, Amanda Craig, Ali Smith, Philip Hensher, Salley Vickers and Kate Mosse.

 

“ashdenizen blog and twitter are consistently among the best sources for information and reflection on developments in the field of arts and climate change in the UK” (2020 Network)

ashdenizen is edited by Robert Butler, and is the blog associated with the Ashden Directory, a website focusing on environment and performance.
The Ashden Directory is edited by Robert Butler and Wallace Heim, with associate editor Kellie Gutman. The Directory includes features, interviews, news, a timeline and a database of ecologically – themed productions since 1893 in the United Kingdom. Our own projects include ‘New Metaphors for Sustainability’, ‘Flowers Onstage’ and ‘Six ways to look at climate change and theatre’.

The Directory has been live since 2000.

Go to The Ashden Directory

Leuphana Sustainability Summit – Call for Papers

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29th February – 2nd March 2012 – Leuphana University Lueneburg, Germany

The conference focuses on three leading questions:

1. What insights about the role of transdisciplinarity for sustainability transitions have we gained over the last 10 years?

2. What gaps in research still remain?

3. How can we fill these gaps?

The deadline for abstract submission is 31 October, 2011. More information on the conference, and full call for papers are available at this website: www.leuphana.de/sustainability-summit

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

COAL Prize 2012 – Rural

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Call for entries – Open to January 15th 2012

The COAL PRIZE Art&Environment reward each year a project about the environment by a contemporary artist. The winner is chosen by a jury of personalities from the worlds of contemporary art, research, ecology and sustainable development, out of 10 finalists selected from an international call for entries.

The COAL Prize supports the vital role of culture and creation for taking stock and then rolling out concrete solutions. COAL Prize is helping to foster a culture of ecology.

SPECIAL EDITION : in 2012, the COAL Prize will reward entries that focus on rural issues and agriculture.

The COAL Prize, worth 10 000 euros, was launched in 2010 by the French association COAL, the coalition for art and sustainable development

All details on www.projetcoal.fr

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

The National Circus – a gathering, Berlin

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Berlin

27th of October

On the 27th of October The National Circus takes place in the Gartenstudio in Berlin. On this occasion poets and storytellers of all kind meet in order to celebrate the  ‘being in the moment’ and the beauty of the ephemeral. In this way you are able to find the foundation of the evolution and sustainability of life and of every interaction between ecosystems: It all emerges from a moment. The project’s aim is to generate a change of thought: We should see ourselves as part of the environment and not distinct from it. Following this, the perceivers are supposed to be part of the Natural Circus rather than only witnesses.

The event starts on the 27th of October at 20.30 in the Naunynstraße 53 in Berlin.
The initiator of the project is poet and artist Lars Schmidt, who deals with ecological thinking and sustainable living. He facilitates ways of thought and expression that work with nature instead of destroying it.
The musician and composer David Rothenberg accompanies him in the project. His work includes music with whales, birds and artists like Glen Velez. Furthermore he is a philosopher-naturalist and the author of several books, including „Why birds sing“.

For further information see: http://naturalcircus.org/

This post is also available in: German

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21