Monthly Archives: February 2014

Illuminating art, design and health

ecoartscotland, news, , , , ,

This post comes to you from EcoArtScotland

Reblogged from CHRIS FREMANTLE:

Click to visit the original post
Two interesting trajectories across the need for light particularly in winter.  The one is a blog from the Wellcome Trust on research being undertaken by their Research Fellow, Dr Tania Woloshyn, on the history of phototherapy, and the other is an exhibition at Marres House for Contemporary Culture in the Netherlands entitled Winter Anti Depression where they have created an Art Resort, a sensory environment in response to the winter.The idea that the lack of sunlight affects those of us living in northern climates is not new, and research into the history of treatments highlights the complexity of the amount of sunlight that is healthy.

The exhibition demonstrates a number of art and design approaches to activating the senses.  Different works explore different senses from textured surfaces that you feel through your feet, to sounds to cocoon you in your bed, to light and colour.  The installation comprising a range of yellows is particularly evocative (see below).

Light and colour are increasingly significant in the design of healthcare contexts.  New technologies such as ‘Sky Ceilings’ and lightboxes can bring a feeling of daylight into rooms that lack windows.  The ‘temperature’ of light, especially with the increasing availability of LED bulbs, is enabling much more sophisticated design of environments.  But what is clear is that light and colour are not ‘universals’.  On the one hand their meaning is culturally informed, and as these examples highlight, also informed by seasonality.  We might want healthcare to be 24/7, but our bodies respond to seasonality just as they do to day and night.

2_katja-gruijters_wads_c2a9beeldontwerp

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

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Fourth Green Teas(e) Reflections

Creative Carbon Scotland,

This post comes from Creative Carbon Scotland

Last week Creative Carbon Scotland met for the fourth Green Teas(e) at GoMA for tea and biscuits and to build on the discussions had at the last meet, the aim of which was to identify some of the characteristics that might make up a sustainable Glasgow and cultural sector.  Once more the group had an exciting gathering of folk from across the arts and sustainability organisations in Glasgow including artist Nic Green, Steve Taylor, Festival 2014 Sustainability Manager, Ailsa Nazir and Claire Ferguson from CCA, and Fiona Sinclair from NHS and the Art in the Gart Programme.

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Four key characteristics identified previously were taken as the starting point:

  • Making sustainability the cultural norm through strong leadership, influencing audiences and supply chains;
  • Increasing the transparency of the trade-offs and complexity of decision making;
  • Education playing a key role not only in increasing awareness but engaging people in a way that does not ‘impose’ or ‘withhold’ the ability to live more sustainably;
  • Supporting/creating more local, closed loop economies.

This time Creative Carbon Scotland wanted to find out from the group what these characteristics would look like in concrete terms.

To set the cogs in motion artist Ellie Harrison told the group about how she has come to embed environmental sustainability within her artistic practice, not just in terms of content but also her approach to making work. She spoke about the conflict she experienced as being a maker of ‘stuff’ and sometimes ‘pointless objects’ and her desire to live more sustainably, but also the useful skills that artists have including the ‘ability to innovate and change’ and ‘arrogance and self-belief’. Much of her work now focuses on political activism and campaigning including projects such as ‘Bring Back British Rail’ which lobbies for public ownership and availability of cheap public transport.

The group also heard from Katie Bruce, Producer Curator at GoMA, about a new ‘Associate Artist’ project starting at GoMA this year in which an artist will be selected to work with gallery staff to challenge existing structures and explore new ways of working with the ambition of building stronger internal capacity for collaborative, participatory working practice, which make a difference to GoMA’s carbon footprint.

This model of the artist as researcher and catalyst of change within an organisation can be seen as a micro-level equivalent to our ambition of Green Teas(e) through which we aim to create new ways of working within the cultural sector which in turn influence a more sustainable Glasgow (and vice versa).

Looking backwards from 2020, the group asked what the above characteristics might look like in a sustainable Glasgow. We split off into groups and came up with the following points. (Note that the language and concepts and quite technical, complicated and sometimes difficult but that was the nature of the discussion.)

Some crosscutting themes which linked all of the characteristics were identified, including:

  • Nurturing non-material values and moving towards non-financial ways of measuring things
  • Encouraging agency (people’s capacity to take action and achieve things) and a shift away from dominant models
  • Creating a Glasgow in which space exists in everyone’s lives to develop their own agency

1. Making sustainability the cultural norm through strong leadership, influencing audiences and supply chains

The concept of ‘strong leadership’ was challenged here as adhering to dominant models which typically favour more ‘masculine characteristics’. However, it was also agreed that leadership is important in creating space for and empowering others to develop their own agency. Fiona Sinclair from Art in the Gart and NHSGGC Mental Health North Western spoke about the disempowerment of individuals that can exist in large organisations such as the NHS and the need to create spaciousness, whether in terms of staff time or the ability to be critical and reflective,  which might begin to instil a great ‘consciousness’ of sustainability. There was also concern around the term ‘norm’ in relation to cultural diversity in which different forms of and approaches to achieving a sustainable city was favoured.

2. Increasing the transparency of the trade-offs and complexity of decision making

Here it was discussed that the scale at which decisions are made needs to be appropriate to the scale of the issue, i.e. creating local and city-wide subsidiarity (the devolution to the lowest appropriate level of decision making) which the public have trust in through a transparency in the decision making process and why decisions have been made. This also links to the agency and empowerment at grassroots level up.

3. Education playing a key role not only in increasing awareness but engaging people in a way that does not ‘impose’ or ‘withhold’ the ability to live more sustainably

The group talked about creating a ‘new department’ within government, local authorities and other organisations which specifically deals with education and sustainability. In a broader sense, this concept of the ‘new department’, whether that’s new ways of working or new space given to embedding environmental sustainability into everyone’s consciousness, could provide a model for creating a more sustainable society. This links to Elinor Ostrum’s polycentric approach to environmental protection “where key management decisions should be made as close to the scene of events and the actors involved as possible” (relating back to subsidiarity and agency again). The same could be applied to education and decision-making, where diverse nodes of activity are enabled to grow across different areas of society and eventually link up with one another.

4. Supporting and creating more local, closed loop economies

The need to create local currencies which feed into more local economies as well as developing a cradle to cradle system of resource use were agreed on as important components of a closed loop economy. In order to reuse and recycle our resources we would also need to develop a varied skill set which enables us to re-make, adapt and mend the stuff around us, thus combating the obsolescence currently built into many of the things we own.

These quite technical descriptions aren’t particularly art-focused and so the job for the next Green Teas(e) is to think about how the arts help achieve these various characteristics of a sustainable city.

List of Attendees

Penny Anderson – Writer/artist

Michelle Emery Barker – Wasps

Kathryn Beckett – GSofA

Katie Bruce, GoMA

Rachel Duckhouse – Artist

Claire Ferguson – CCA

Nicola Godsal – Community & Volunteer Development Officer at NVA

Nic Green – Artist

Ellie Harrison – Artist

Andy MacAvoy – Edo Architecture

Ailsa Nazir – CCA

Eilidh Sinclair – GsofA

Fiona Sinclair – NHSGGC northwest sector

Elaine Slaven – Carbon Management Awareness Officer, Glasgow Life

Ben Spencer – Velocity

Steve Taylor – Festival 2014 Sustainability Manager

Image: Ellie Harrison, Early Warning Signs, http://www.ellieharrison.com/

– Gemma Lawrence, 29.01.14

The post Blog: Green Teas(e) Reflections appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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In Melbourne

ecoartscotland, news, ,

This post comes to you from EcoArtScotland

Ecoartscotland thought that Australasian subscribers might be interested to hear that Professor Anne Douglas, sometime contributor and longterm colleague and friend, is going to be in Melbourne for eight weeks from 1st Feb 2014 on a Mcgeorge Fellowship.  Also in the area at the same time is Sophie Hope, social practice researcher and author of ‘Participating the Wrong Way’.

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

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Changing the Climate Conversation

Artists and Climate Change, news, , ,

This post comes from Chantal Bilodeau’s Artists and Climate Change Blog

Not Listening

Living Green Magazine just published Changing the Climate Conversation, an article by Kassy Holmes that contains several examples of innovative people who are reframing the climate change issue using art and/or non-formal education techniques. Several of the organizations and individuals  mentioned are listed in the blogroll here or have appeared in previous posts, including Daniel Crawford, Climarte and Cape Farewell. Among works Holmes writes about that have not been covered in this blog, Greg Johnson’s illustrated haiku are definitely worth a look.

Filed under: Climate Communication

———-

Artists and Climate Change is a blog by playwright Chantal Bilodeau that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to Chantal Bilodeau’s Artists and Climate Change Blog

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Press Release: 5th Anniversary and Launch of NRDC Theatre Greening Advisor

Broadway Green Alliance,

This post comes to you from the Broadway Green Alliance

FOR IMMEDIATE RELEASE 

BROADWAY GREEN ALLIANCE

THE BROADWAY COMMUNITY’S ONGOING INITIATIVE

TO HELP BROADWAY BECOME GREENER

BroadwayGreen.com

CELEBRATES 5 YEARS

AND LAUNCHES NEW

NRDC THEATRE GREENING ADVISOR

BroadwayGreeningAdvisor.org

New York, NY – (January 27, 2014) – The Broadway Green Alliance (BGA) is proud to announce the celebration of its fifth year and the launch of a new online Theatre Greening Advisor. The BGA is an industry-wide initiative focused on enhancing Broadway’s environmental profile by adopting preferable practices and promoting awareness in the creation and presentation of Broadway shows.

In collaboration with the Natural Resources Defense Council (NRDC), the BGA’s early goal was to assess theatre production and disseminate information about environmentally preferable options to the Broadway theatre community including producers, theatre owners, designers, managers, design shops and others. Collectively, the Broadway community has achieved meaningful accomplishments during the first five years of this long-term initiative, including the shift to energy efficient lighting throughout the Great White Way. As a result of this work, Broadway is now a leader in environmental sustainability in the global theatre industry.

Taking this good environmental work to the rest of the country, the BGA and NRDC are now launching the NRDC Theatre Greening Advisor—an online guide to help theatres across the country implement environmentally intelligent practices. More than two years of work has gone into the creation of this unique online environmental resource for the theatre community, and it is arguably the most comprehensive theatre greening information database in existence. The BGA and NRDC are making the NRDC Theatre Greening Advisor available at no cost to all theatre production worldwide.

The new BGA Greener Lighting Guide, designed to help compare greener stage lighting instruments, will be linked to the NRDC Theatre Greening Advisor and both are scheduled to launch today, January 27th, 2014.

BROADWAY GREEN ALLIANCE ACHIEVEMENTS TO DATE:

BroadwayGreen.com

Broadway theatres have replaced all their marquee and outside lighting with energy-efficient bulbs (over 10,000 bulbs!), saving approximately 700 tons of carbon emissions per year; switched to more environmentally preferable cleaning products and appliances; and established recycling, water filtration and energy efficiency programs.

Broadway shows now have a BGA liaison, or Green Captain, at nearly all shows, bringing greener practices backstage.  Green Captains come from all aspects of productions, and sometimes even the star of the show participates in this important role. Bryan Cranston, Alan Cumming, Hugh Dancy, Montego Glover, Harriet Harris and Carol Kane have all served as BGA Green Captains.

Running shows are saving money through reduced waste.  Many shows now use rechargeable batteries in microphones and flashlights, keeping thousands of toxic disposable batteries from the waste stream every month.  Wicked went from using 38 batteries every performance to using only 96 rechargeable batteries in a year!   Many shows also print their own cast-change stuffers — on recycled paper — saving reams of paper as well as money.

Events and initiatives held by the BGA are now part of the fabric of Broadway, including  semi-annual electronic-waste and textile recycling events in Times Square and a free binder exchange (operated in partnership with Actors’ Equity Association) where anyone can pick-up or drop-off binders for use in readings and rehearsals. This keeps binders out of the waste stream and encourages re-use. Over the last five years, the BGA has collected over 15 tons (31,000 pounds!) of e-waste, and nearly 10,000 pounds of textiles.

Outreach programs have brought the BGA to theatres throughout the United States, at colleges, off-Broadway and regional and touring venues.  Internationally, the BGA is a founding member of the International Green Theatre Alliance.  The BGA reaches theatre professionals and audiences through its website filled with information and resources, and through social media such as Facebook and Twitter. Today, the BGA also launched the BGA Greener Lighting Guide, in partnership with PLASA.

NRDC THEATRE GREENING ADVISOR

BroadwayGreeningAdvisor.org

The NRDC Theatre Greening Advisor is a free online guide to help theatres across the country to implement eco-intelligent practices. The tool provides BGA members with valuable and detailed information on all elements of greener theatres and productions. The NRDC Theatre Greening Advisor supports the work of all six Broadway Green Alliance committees with extensive resources for greener efforts related to Pre/Post Production, Production, Venues, Touring, Education, and Outreach. This guide helps theatres continue to commit to energy efficiency, recycling programs, waste reduction, water conservation, smart paper purchasing and use, and other smart operations. In doing so, theatres and productions across the country are helping to keep our nation’s air and water clean, reduce their contribution to global warming, protect biodiversity, and reduce toxic chemicals use, while seeing cost saving benefits.

“In the past five years, the Broadway Green Alliance has become a part of nearly all Broadway productions, and now is working with Off-Broadway, regional theatres, colleges, and many other venues and shows in and outside of the United States,”  says Charlie Deull, co-chair of the Broadway Green Alliance.   “We are grateful to the NRDC for its work on the NRDC Theatre Greening Advisor, which will be a valuable tool for the many BGA participants and allies working to make theatre, and the planet, greener.”

“The single most important thing we can do to help save the planet is to change cultural assumptions and attitudes about how we should relate to Planet Earth,” says Dr. Allen Hershkowitz, Senior Scientist at the Natural Resources Defense Council who helped to co-found the BGA. “By promoting energy efficiency, recycling programs, waste reduction, water conservation and other smart operations, theatres and productions will help keep our nation’s air and water clean, reduce their contribution to global warming and achieve cost saving benefits at the same time.”

# # #

THE BROADWAY GREEN ALLIANCE (BGA) educates, motivates and inspires the entire theatre community and its patrons to implement environmentally friendlier practices.  The BGA (formerly Broadway Goes Green) was launched in 2008 as an ad hoc committee of The Broadway League and has become a program of Broadway Cares/Equity Fights AIDS. The BGA brings together all segments of the theatre community, including producers, Broadway and Off-Broadway theatres in New York and around the country, college drama programs, theatrical unions and their members, and related businesses. Working closely with the Natural Resources Defense Council (NRDC), the BGA identifies and disseminates better practices for theatre professionals and reaches out to theatre fans throughout the country, and through alliances, internationally. www.broadwaygreen.com.

facebook.com/BroadwayGreenAlliance, Twitter: @broadwaygreen.

THE NATURAL RESOURCES DEFENSE COUNCIL (NRDC) is an international nonprofit environmental organization with more than 1.4 million members and online activists. Since 1970, our lawyers, scientists, and other environmental specialists have worked to protect the world’s natural resources, public health, and the environment. NRDC has offices in New York City, Washington, D.C., Los Angeles, San Francisco, Chicago, Livingston, and Beijing. Since 2007, NRDC has been a world leader in entertainment and sports greening. NRDC is a principal environmental advisor to the Academy of Motion Picture Arts and Sciences and the Recording Academy, as well as a founding partner of the Broadway Green Alliance. www.nrdc.org

Contacts:

Broadway Green Alliance:

Rebekah Sale, rsale@broadwaygreen.com

Natural Resources Defense Council:

Jenny Powers, jpowers@nrdc.org

Broadway League:

Elisa Shevitz, eshevitz@broadway.org;

Erica Ryan, eryan@broadway.org

———-

The Broadway Green Alliance was founded in 2008 in collaboration with the Natural Resources Defense Council. The Broadway Green Alliance (BGA) is an ad hoc committee of The Broadway League and a fiscal program of Broadway Cares/Equity Fights Aids. Along with Julie’s Bicycle in the UK, the BGA is a founding member of the International Green Theatre Alliance. The BGA has reached tens of thousands of fans through Facebook, Twitter, YouTube and other media.

At the BGA, we recognize that it is impossible to be 100% “green” while continuing activity and – as there is no litmus test for green activity – we ask instead that our members commit to being greener and doing better each day. As climate change does not result from one large negative action, but rather from the cumulative effect of billions of small actions, progress comes from millions of us doing a bit better each day. To become a member of the Broadway Green Alliance we ask only that you commit to becoming greener, that you name a point person to be our liaison, and that you will tell us about your green-er journey.

The BGA is co-chaired by Susan Sampliner, Company Manager of the Broadway company of WICKED, and Charlie Deull, Executive Vice President at Clark Transfer<. Rebekah Sale is the BGA’s full-time Coordinator.

Go to the Broadway Green Alliance

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ESA Arts 2014. Arts and its contexts: cross-disciplinary dialogue

Cultura21, Open Calls, , ,

This post comes to you from Cultura21

The 8th midterm Conference of the European Research Network Sociology of the Arts will take place at „Babes-Bolyai” University in Cluj-Napoca from 4 to 6 September 2014, and will be conducted in English. The general theme of the conference is Art and its contexts: cross-disciplinary dialogue.

The Research Network Sociology of the Arts aims to provide the sociological context for understanding the multifaceted and interwoven social aspects which characterize the art worlds. A key aim of this conference is to promote collaboration and scholarly exchange between scholars of the arts, to support the presentation of new research projects and to offer inspiration for the further development of sociology of the arts; in other words sociological approaches to art and their tense but promising relations with other approaches by cultural studies, art history, philosophy and aesthetics.

Therefore, researchers from all social sciences disciplines, philosophy and humanities, as well as PhD students and artists who are interested in inter- and trans-disciplinary dialogue are welcome to participate in this conference and create special sessions. Papers on this theme are invited, with the expectation that they may include a broad nexus of sub-issues around alternative approaches to art and its contexts, the social and the aesthetic, willing to cross the divide between sociology and aesthetics. Proposal deadline will be Febuary 15th, 2014.

The programme will be thematically broad and open for presentations to all core areas of arts sociology.

Call for proposals.

Website and general information.

———-

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

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Welcome to the BGA Greener Lighting Guide

Broadway Green Alliance, ,

This post comes to you from the Broadway Green Alliance

Welcome to the BGA Greener Lighting Guide, a compilation of manufacturer provided information about live performance lighting instruments. This guide is designed to help you decide which lighting instruments are environmentally preferable.

Background

In recent years, many manufacturers have introduced new lighting instruments, promoting the environmental benefits of their products.  The nature of the “green” claims varies greatly, with no common basis for evaluating products or for comparing greener alternatives.  Developed in partnership with PLASA, the BGA Greener Lighting Guide is intended to serve as a source for high-level and detailed information about “greener” lighting instruments.

Broadways Green Alliance’s goal is to make comparing potential greener alternatives simpler and faster whether for a producer, a technical director, or a lighting designer. As live entertainment interest in greener alternatives increases, decision makers need access to clear and concise information about lighting instruments and environmental claims.

This guide will evolve as manufacturers populate it with more data. More than anything this reference will reflect the needs of you our readers. So tell us what you think by email.

Are you a manufacturer who wants to get involved? Sign-up your products here.

For information on how the Guide is organized and how to use it, click here.

———-

The Broadway Green Alliance was founded in 2008 in collaboration with the Natural Resources Defense Council. The Broadway Green Alliance (BGA) is an ad hoc committee of The Broadway League and a fiscal program of Broadway Cares/Equity Fights Aids. Along with Julie’s Bicycle in the UK, the BGA is a founding member of the International Green Theatre Alliance. The BGA has reached tens of thousands of fans through Facebook, Twitter, YouTube and other media.

At the BGA, we recognize that it is impossible to be 100% “green” while continuing activity and – as there is no litmus test for green activity – we ask instead that our members commit to being greener and doing better each day. As climate change does not result from one large negative action, but rather from the cumulative effect of billions of small actions, progress comes from millions of us doing a bit better each day. To become a member of the Broadway Green Alliance we ask only that you commit to becoming greener, that you name a point person to be our liaison, and that you will tell us about your green-er journey.

The BGA is co-chaired by Susan Sampliner, Company Manager of the Broadway company of WICKED, and Charlie Deull, Executive Vice President at Clark Transfer<. Rebekah Sale is the BGA’s full-time Coordinator.

Go to the Broadway Green Alliance

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Farm Tableaux

ecoartscotland, , , ,

This post comes to you from EcoArtScotland

Farmers have been a recurring subject in art, perhaps more often in the background of a religious painting, bringing an edifying moral to the scene.  Their everyday lives have been the subject of poetry, including of course that of Robert Burns.  The Impressionists must be one of the foremost groups of painters to have addressed farming, probably as a result of getting out of Cities and being interested in the everyday and the visible rather than the sublime.

Sylvia Grace Borda’s project Farm Tableaux is a collaboration with Google Streetview photographer John M Lynch.  We get a different view of farming because although the image presented to you is framed when you start, the ability to pan, zoom and move around the space enables to you explore the Turkey Shed at Medomist Farm, or the Farm Shop at Zaklan Heritage Farm in a very different way.  You start in the Farm Shop but you can move out into the market garden plot and then onto the street – it seems to integrate with Google Streetview so suddenly you’re moving house by house through suburban BC.  If you back track you can go back into the farm and back into the shop.  If you explore the market garden you can find Sylvia taking a (different) picture.  Her face is blurred out according to the Streetview conventions.

Check it out here. Give yourself time to explore.

Fascinating.

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

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Acting Woodend Barn Director

ecoartscotland, Open Calls, , , ,

This post comes to you from EcoArtScotland

Reblogged from On The Edge Research:

Click to visit the original post

Deadline  13.00 on Wednesday 12 February 2014 Salary to be agreed
Nine to 12 months’ maternity cover, 2 to 3 days per week plus some evening/weekend working at Barn events.

The Woodend Barn is seeking maternity cover for the Barn Director who is expected to take maternity leave from 21 March for nine to 12 months. The interim Barn Director will manage and supervise Woodend Barn staff (2 full-time, 5 part-time) in the operation of the Barn and the delivery of the Barn’s diverse programme.

During the maternity leave, the roles of some staff and volunteers will be extended to provide staff development opportunities and support the Acting Director in covering the role in 2 to 3 days a week. (The Barn Director post is a full-time post.)

Closing date for receipt of completed applications is 13.00 on 12 February 2014.

Interviews are expected to be held between 17 and 25 February 2014.

You can download an information pack and application form from Creative Scotland.

This opportunity is available in: Woodendbarn, Banchory, AB31 5QA

For further information, please visit the Woodend Barn website or contact Mark Hope (pmarkhope@gmail.com) or Tony Brown (tony.brown3@btinternet.com).

Brilliant opportunity to contribute to an outstanding organisation – Woodend Barn has a very distinctive operating model, very rooted in its community, very volunteer led, with an exciting cross art form programme and a deep engagement with environmental issues. EcoArtScotland highly recommends anyone interested in models for the future to apply for this.

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

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Opportunity: Carbon Reduction Project Manager

Creative Carbon Scotland, news, Open Calls, , , ,

This post comes from Creative Carbon Scotland

Creative Carbon Scotland is looking for a Carbon Reduction Project Manager to join its team. Up to £27,000 pa, with up to 3% pension contributions. Fixed term to 31 March 2015 with the potential for extension.

Deadline 5pm 17 February 2014. Interviews in Edinburgh 28 February 2014.

thislandtravellinggallery-e1372695381549

Creative Carbon Scotland works with arts and cultural organisations across Scotland to help them measure, report and reduce their carbon emissions and engage them in playing a full part in shaping a sustainable Scotland. We are looking for an experienced carbon manager to train and support arts organisations and individuals in carbon reporting and reduction and to maintain and develop our innovative web-based resource the Green Arts Portal. The CRPM will run training workshops and offer email, phone and face-to-face support. They may engage and manage freelancers to support them and will work as part of a small team based in Edinburgh, although remote working may be possible. Regular travel throughout Scotland will be required.

Click here to download the job description and application details.

Click here to download our Equal Opportunities Monitoring Form.

For more information please contact Ben Twist at ben@creativecarbonscotland.com or on 0131 529 7909

CCS is a Scottish Charitable Incorporated Organisation registered charity no SC042687

Image: This Land, courtesy of Edinburgh Art Festival http://www.edinburghartfestival.com/

The post Opportunity: Carbon Reduction Project Manager appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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