Monthly Archives: November 2016

Embracing the Vulnerability of Others

This post comes from the Artists and Climate Change Blog

Feature: Storyboard from the animated film pilot for “Next to Now,” by Annette Mohr.

Marte Røyeng is a singer/songwriter based in Oslo, Norway. I met her on a trip to Norway a few years ago where, at the time, she had just finished creating a musical with at-risk youth that dealt with aspects climate change. I have been following her work from a distance since then, always delighted to listen to her haunting and richly textured songs. A gifted musician who plays mandolin, piano, guitar and banjo, Marte has performed in concert venues, cafés and smaller festivals in Oslo and as far north as Lofoten. Here, she tells us what drives her, why urgency must be accompanied with compassion, and why embracing the vulnerability of others is a source of hope.

Marte Røyeng© John Nordahl

What inspires you?

I often find inspiration in descriptions of a life that is different and more extreme than mine. When I feel like a stranger to what I am listening to, reading, or seeing, I feel the need to respond, and that response is usually a piece of music, or a song. For a while now I have been really drawn to dystopian and post-apocalyptic fiction and films. I think what inspires me in these stories is that they often contain some kind of search for compassion. Cormac McCarthy’s The Road is the strongest example I know of that kind of story. It is beautiful and horrible, and has become a point of reference for me. I want to bring some of that sense of human strength and vulnerability into what I do.

What can music do for climate change that other art forms cannot?

Music has a lot in common with other art forms, of course, but one defining feature is that it happens in time. It gives you something to react to, and then moves on. So what lingers, what resonates, what you find interesting or important is deeply personal. Music has many layers and it interacts with a complex mix of “materials” inside your mind: emotions, knowledge, memory, self-image, and culture. You pick up the song’s message, but you bring a lot of yourself, a lot of your own “material” to it. Music can be abstract and very open. In terms of climate change, it gives the opportunity to have a personal experience. I’ve written a song called “While You Can” which could bring to mind images of islands slowly being washed away by rising oceans. Or it could just as well be heard as a description of a relationship withering away – or even carry both meanings at the same time.

I really appreciate how music offers a mild and non-judgmental space for people to explore their own emotions. I like it when I listen to music and think “this is so important, I need to remember this.” And it is in part the music itself and in part my own personal “material” that brings out this sense of importance. The music and art project “Next to Now” is all about that. The words I sing can be direct and desperate, but the music softens them, or adds a question mark to them. When I make music and write lyrics about climate change, I try to balance the sense of urgency with the understanding that it is difficult and takes time. I don’t want to point fingers too much. My hope is that the songs become more open to many different listeners that way.

I know you often work with kids… Does your work with them influence your music?

The last time I worked with kids was on a theatre project called Black Sea / White Foam: The Little Mermaid, a collaboration between Scenelusa, America-based Experimental Theater Lab and Myers-Bowman Productions. Five teenage girls created and performed several versions of the fairy tale The Little Mermaid using experimental theatre techniques. Incorporating their thoughts on climate change into the performance was part of the project. In addition to making music for the pieces based on recordings of the girls’ own voices, my role was to give a few talks during rehearsals about different aspects of climate change. In these talks, I tried to stay close to the teenagers’ lives. I avoided exploring the issues from a too specific or political point of view, trying instead to give the girls a chance to check in on their own feelings and thoughts about climate change. We talked about things like responsibility, perception of time, and the relationship between us and nature. Listening to the discussions that followed the talks, and watching the performance itself (which was very emotional), I was struck by the blunt seriousness with which the teenagers treated the issue. It was sobering. I even felt a bit guilty as if I’m not serious enough about climate change myself. It still feels far away and unreal. But to them, it’s all very true. My impression is that young people look at their future with more stark realism than many adults do. Even though I’m less than ten years their senior, I haven’t grown up in the same way they have, listening to news that are becoming more and more dire.

What is the single most important thing artists can do to address climate change?

Artists are in a position to create works that act as reminders of something we perhaps already know: Every human being is part of a network that can make big things happen. Artists are really good at making hidden or forgotten connections visible, and at helping us overcome our feeling of being anonymous or insignificant by presenting alternative ways to view ourselves in the middle of our ongoing stories. They challenge our sense of responsibility. They hear and respond to our sense of being useless, of disappearing in the crowd, of being drowned out by stronger voices.

Speaking of making connections, I really support the idea that there is a lot of potential in collaborating with researchers and others working outside the art world. I am inspired by people like Heike Vester, who I met this summer in Lofoten, in Northern Norway. Heike is a biologist and the founder of a fantastic project called Ocean Sounds. She studies the vocal communication of whales and dolphins, using that knowledge to protect the marine ecosystem from harmful human impacts. Ocean Sounds lists Art Projects as one of their project aims, with the explanation that art can help bridge the gap between “dry” science and its audience and create deeper understanding. I admire Heike’s approach. Maybe artists need to be more actively on the lookout for collaboration opportunities?

What gives you hope?

Climate change is about equality and fairness and everyone having the right to a good life on a healthy planet. The fact that we can consciously choose between connection to, and rejection of, others gives me hope. It means that we can choose to care about people beyond those in our closest networks. It is so good to see growing movements of people who believe in the importance of looking after each other, not just one’s own interests. I am hopeful that more and more people will choose to embrace the vulnerability of others as well as their own.

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Artists and Climate Change is a blog 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 the Artists and Climate Change Blog

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Opportunity: Workshops on the ‘Environment Connecting Theme’ for your RFO Application

This post comes from Creative Carbon Scotland

Workshop dates will soon be announced for exploring Creative Scotland’s ‘Environment Connecting Theme’ in their upcoming RFO Applications.

Every applicant for Regular Funding will be required to show how they will address the Environment Connecting Theme. The best applications will apply innovative and creative approaches to environmental sustainability. With the Scottish Government poised to bring in a more ambitious Climate Change Act in early 2017, this is a great opportunity to strengthen your application, imaginatively develop your environmental sustainability work and show how the arts, screen and creative industries are helping to deliver Scotland’s world-leading climate change commitments.

Early in the new year, we will be holding workshops on the Environment Connecting Theme and encourage all RFO applicants to come along and learn more.

What is the Environment Connecting Theme?

Creative Scotland believes that RFOs are expected to embed each of the four connecting themes across their organisation and work. They have provided the following guidance:

Across the network of organisations that we will fund, the key outcomes in relation to Environment are:

  • Reduce the direct environmental impacts of our work
  • Influence others on issues relating to the environment

What is the criterion for Environment?

How well is Environment embedded across all aspects of your organisation and its work?

How will we assess this?

We will particularly look for:

  • Any systems in place to measure your carbon emissions, any policies or plans for environmental sustainability including reducing your emissions.
  • A Board or staff member who has responsibility for or actively champions environmental issues within the organisation and that there is a clear structure to address any issues.
  • Any opportunities where you are taking the opportunity to influence others with whom you engage

How Creative Carbon Scotland can help

The current group of Regular Funded Organisations (RFOs) were required to measure and report their carbon emissions from April 2015, and did so for the first time this September.  We’ll continue to provide support in this area and new applicants or current RFOs wanting further help should contact Fiona MacLennan, our Carbon Reduction Project Manager to discuss their needs.

Early in the new year, we are hoping to run free workshops in Edinburgh and Glasgow to help applicants consider how they can strengthen their applications in these areas:

  • Communicating their own work on environmental sustainability to audiences, suppliers, staff, freelancers and artists
  • Programming work that touches upon or explores environmental sustainability and climate change, both within and outwith the organisations’ usual programme
  • Engaging staff with climate change and environmental sustainability more widely

We’ll discuss the areas you might think about and provide examples of interesting work from around the world. The workshops will last about 2 hours and refreshments will be provided.

Please check back next month for updates on workshop dates and locations.

We will offer further workshops in different areas around the country if there is demand – please get in touch with Ben on ben.twist@creativecarbonscotland.com if you’d like us to arrange a session near you. And in January we will be running our first webinar to enable people who find it difficult to attend a meeting to participate. Again, please contact Ben if you want further information.

The post Opportunity: Workshops on the ‘Environment Connecting Theme’ for your RFO Application appeared first on Creative Carbon Scotland.

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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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51 Shades of Green Report Published!

This post comes from Creative Carbon Scotland

Our second annual conference for Green Arts organisations look place on Thursday 27th October 2016. Read our report on the day to find out about all the topics, ideas and knowledge discussed!

Read the 51 Shades of Green: Action in the Arts conference report.

The Green Arts Initiative 3

During the day, we heard from 17 different speakers across two spaces, with 9 sustainable suppliers and support organisations hosting stalls throughout the event. Talks concentrated on everything from energy reduction to transport policy; staff engagement to the UN’s Sustainable Development Goals: all of which you can read about in the report, which aims to give detail to the day!

Now focusing on the aims, ambitions and currently actions of the 170-strong Green Arts Initiative membership, we’re already thinking about next year! If you wish to participate in our annual conference, as a speaker, stallholder, or participant, or have ideas about content, location or structure, please get in touch by emailing:  Catriona.Patterson@creativecarbonscotland.com


Our annual conference is an event for (and by!) the Green Arts Initiative community: an interactive, free-to-join, community of practice for all Scottish arts organisations aiming to reduce their environmental impact. We are supported by PR Print and Design and an Arts & Business Scotland New Arts Sponsorship grant. 

To find out more about the GAI, or to become a member, go to our Green Arts Initiative project page.

The post 51 Shades of Green Report Published! appeared first on Creative Carbon Scotland.

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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

Powered by WPeMatico

The Nature of Man

This post comes from the Artists and Climate Change Blog

by Guest Blogger Mark A. Durstewitz

Featured Image: The Nature of Man poster

Madmen and Dreamers is a progressive rock band who writes, records, and performs original rock operas. Our first project, The Children of Children, enjoyed a limited run at the Bleecker Street Theater in New York City following its regional tour. The band, founded by Christine Hull and me, is raising funds for the tour of its new project, a climate change rock opera called The Nature of Man, written by Mario Renes, Christine, and me.

While we were touring The Children of Children, Mario, Chris and I began to talk about the next project. The environment was the obvious choice, but which aspect of climate change should we focus on? As writers are universally cruel to their characters we started tossing around worst case scenarios.

It didn’t take long to settle on water: the lynchpin of climate change and flash point of fracking and pollution. But… how to make this huge issue accessible to the audience?

While pondering that, Chris and I were invited to a WhyHunger fundraiser in New York City. We accepted to help a good cause. At the event, we found ourselves sitting with WhyHunger’s International Coordinator, Peter Mann and Aldous Huxley’s granddaughter, Tessa. I was seated at the right of Peter next to Ms. Huxley, and Chris was seated on Peter’s left.

While Ms. Huxley and I were talking, Chris told Peter about the project. He tapped me for the when of the story. I told him we’d set it 25 or so years in the future. He shook his head and said no, these problems were already underway. He invited us to meet in his office one night.

Mario and I met with Peter and a hydrological engineer named Greg. They laid out how much trouble we were in and supported it with a stack of data.

Basically, we’ve upset the planet’s hydrological cycle. Freshwater is evaporating as we raise the air temperature, leaving little for agriculture, animals, and humans. This causes conflicts and failed states. It’s a real mess.

And a number of large corporations are taking advantage of it. 

After the meeting we drove in silence, trying to take it in. The horror of the situation preempted any discussion of our story.

Being the one with some scientific training, I took the data and spread it out on the coffee table, highlighter in hand, and started to read. When Chris got up in the morning I was still there. She looked at the pile of data and asked how bad it was. I told her it was very bad and refused to comment further. I secreted the data in my office and began to ponder.

Any reasonable human being, carrying such knowledge about the survival of his species, is morally compelled to act. It would be monstrous to trash it all and party while waiting for the inevitable collapse. We all deserve a better fate than that meted out by the world’s industrial elite. This story must be told and it must be successful.

Our first attempt was released as the concept album Remembrance while we were running The Children of Children in NYC. We weren’t happy with it and we were torn between reworking it and moving on. Reworking it was a mammoth undertaking. The only way to get it right would be a series of readings with actors reading the lyrics (libretto) as characters. The reading isn’t the hard part, it’s the rewriting . . .

We talked seriously about dropping it, but . . . I have this friend with a lofty title at the United Nations and he would give me no peace. Every time we saw each other, he subjected me to an excruciatingly polite harangue about the importance of the story. He was seeing it play out on a global scale.

Then, on a certain night, I got home and Chris recounted a conversation she’d had with her acting coach. She’d brought her songs into class so they could work on the necessary emotions for each recording session. Maggie was of the same opinion as my friend at the UN. We both sighed and agreed that it was a story that desperately wanted to be told.

It’s about the last, clean freshwater aquifer in North America lying deep beneath the ground of Woodstock, NY., the farms that sit on top of it and use its water for agriculture, and the company who wants the water.

Could be happening anywhere in the world right now and, according to my friend at the UN, it is. But we added a few twists to the story (sorry, no spoilers). For starters, the woman who runs the farms (Sophia) and the man who owns the company (Geier) have history and it gets ugly quick.

When Sophia’s daughter, Demi, and her husband, Will, return from the desert west after The Great Los Angeles Fire, Sophia’s farm is a beautiful refuge from their dangerous and painful journey east. Green hills and rolling fields of crops greet them as Sophia tells them that her home is now their home.

What she doesn’t tell them however, is that Geier has his sights set on her land and the water beneath it. And he’ll stop at nothing to get it.

We are raising funds for the first leg of a college tour of The Nature of Man. Our aim is to involve the students in the production and bring in environmental groups to help get them organized and moving in defense of their future. If we leave every school with a dedicated group working on local problems, we can change our trajectory and move toward a future filled with hope.

Mark & ChrisMark & Chris

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Mark A. Durstewitz lives in both the creative and technological worlds; the digital studio is his domain. He’s played keyboards for southern and progressive rock bands and has collaborated with fellow musicians, writing keyboard parts and lyrics during studio sessions. A published novelist who has also won awards for short stories, the nexus of music and storytelling is his home. His first rock opera; The Children of Children, garnered rave reviews and world-wide radio play.

Madmen and Dreamers’ blog can be found here.

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Artists and Climate Change is a blog 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 the Artists and Climate Change Blog

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CIWEM Award for LAGI Glasgow Project

This post comes to you from EcoArtScotland

ecoartscotland is thrilled that the Land Art Generator Glasgow project has been awarded the 2016 Chartered Institution of Water and Environment Management (CIWEM) Arts, Water and Environment Award.

This award acknowledges the major commitment of all the partners, including Glasgow City Council, Scottish Canals and igloo Regeneration whose effective collaboration has made the project possible. And it celebrates the innovative work of the multidisciplinary design teams who participated, including the winning team (Dalziel + Scullion, Qmulus Ltd., Yeadon Space Agency, and ZM Architecture).

The combination of a Council committed to strategic planning and innovation with a land owner and a developer both committed to sustainability at the heart of regeneration has been crucial for the development of LAGI Glasgow.

CIWEM’s Arts and the Environment Network citation highlights the collaboration on the LAGI Glasgow project. The citation says,

The Nick Reeves AWEinspiring Award is presented annually by CIWEM’s Arts and the Environment Network in association with the Centre for Contemporary Art and the Natural World (CCANW). The award celebrates projects or practitioners who have contributed innovatively to CIWEM’s vision of “putting creativity at the heart of environmental policy and action”.

Dave Pritchard, Chair of CIWEM’s Arts and Environment Network, said: “The quality of nominations for this year’s Award was wonderful. LAGI and ecoartscotland’s work is a superb example of our belief that arts-based approaches offer massive potential for more intelligent ways of responding to environmental challenges”.

Clive Adams, Director of CCANW, said: “Such new forms of collaboration across disciplines are increasingly needed if we are to reach a more harmonious relationship with the rest of nature”.

CIWEM’s Press Release is here.

 

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 ResearchGray’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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Extending Practice: Choreography & Sustainability Workshop Reflections

This post comes from Creative Carbon Scotland

In September CCS co-hosted a one day workshop with choreographers, Claire Pencak and Saffy Setohy, and writer/researcher Wallace Heim. One month on, we collectively reflect on learning points for further development.

The initial aim of the workshop was to explore how choreographic practices might contribute to environmental movements and sustainability. We organised the day through a series of exercises, creating a number of in-roads into the subject:

  • Initial discussion of the terms sustainability and choreography
  • A movement session led by Saffy and Claire in the North Kelvin Meadow: a contested community green space in North/West Glasgow
  • Group discussion shaped by propositions by Wallace
  • A short choreographic score-writing exercise

Movement Session

Claire described how the use of the session outside in the North Kelvin Meadow brought the group into more familiar territory as movement practitioners.

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Group discussions

We held short group discussions in response to four key propositions set by Wallace to consider the ways in which choreographic practices specifically operate and how they intersect with questions of sustainability.

Propositions:

Questions about the body: how do ideas about sustainability affect or change perceptions and ideas about the human body, the body in motion, and the body as inter-related with the living and non-living others, inter-related with ideas, technologies, and human social systems. How do practices do this, without proposing a pre-cultural, isolated or essential view of the human body.

Questions about sense: how do we ‘sense’ sustainability, sense being both with the senses, and to make sense of something, to make it make sense collectively. What is touched, what are the surfaces of our relations? How can we make sense of that experience? How does this relate to choreographic practice?

Questions about friction: sustainability isn’t a smoothly managed plan, or something that only exists for the comfort and endurance of humans. There are fragmentations, gaps, frustrations, imbalances of power and justice, conflicts. How can choreographic practices work with these tensions? Or hold the tensions that arise?

Questions about how to ‘place’ the human in relation to a world of other beings and entities which are not simply there to be perceived, but themselves have agencies, motivations and force? How might these placings relate to sustainability?

Initial responses to Wallace’s provocations included:

  • The body can be used as a proxy for sustainability, as a system with finite capacities. Conversely, dance offers plenty of examples of non-sustainable practice, it can be about ‘pushing the body to its limit’ which creates a particular aesthetic.
  • The employment of multiple senses within choreographic practices have the potential to ‘embody’ and bring to the fore of our perception the often abstract or distant seeming realities of sustainability and climate change;
  • The forms of cooperative leadership that are used within choreographic work could be applied to and explored within other, non-arts contexts.

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Wallace provided some further reflections on the movement session and following group discussions:

As a side note, see Chris Fremantle’s recent blog on Tim Ingold’s lecture ‘The Sustainability of Everything’ for further consideration of how the arts are ideally placed to work with the complexity of questions concerning sustainability.

Score-writing exercise

We gave the last part of the day over to making individual scores that in some way reflected on some of the themes and thinking over the day. Claire highlighted the value of the score in the way it suggests ways to proceed:

Sadly there wasn’t time to try out the scores, that will be for future development.

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Saffy provided some final reflections on the day:

Thank you to everyone who participated in the workshop and to the Work Room for supporting the event. If you would like to get involved in our continued work in this area please email Gemma.lawrence@creativecarbonscotland.com.

Find out more about our regular events connecting arts and sustainability on our Green Tease page.

The post Extending Practice: Choreography & Sustainability Workshop Reflections appeared first on Creative Carbon Scotland.

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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

Powered by WPeMatico

Sánchez-León and Douglas: There is a work in the interpretation of the Work* – A Report

This post comes to you from EcoArtScotland

John Latham facing the Niddrie Woman. Photo Murdo Macdonald

An interdisciplinary “bing”** seminar and public discussion in four parts.

Nuria Sánchez-León and Professor Anne Douglas have very kindly provided ecoartscotland with a detailed report on the recent seminar, “There is a work in the interpretation of the Work”, organised in conjunction with the exhibition “Context is Half the Work: A partial history of the Artist Placement Group” at Summerhall Arts Centre in Edinburgh.  The seminar particularly focused on the contemporary relevance of John Latham‘s Placement in the Scottish Office and his work reimagining the bings of West Lothian.  The seminar was organised by Tim Collins, Reiko Goto and Ross Maclean, respectively two artists and a landscape architect.

On Saturday 1st October, Summerhall, Edinburgh, between 60-70 people met in the former Royal School of Veterinary Studies, now a creative hub for the arts with studio and workshop spaces. It is curious that a building previously used by scientists was now revived through the arts.  The seminar set out to revisit another example of an artist re-imagining something apparently redundant. The Cairn Lecture Theatre was almost full with students, artists, curators, researchers from different disciplines as well as philosophers, engineers, historians, social and natural scientists. Although only 10-15 people acknowledged ever having visited the bings, the focus of the event, in person, all of them were concerned with what early 20th Century spoil heaps could mean to 21st century understandings of art and environment. In fact an underpinning question of the entire event was this, ‘why is John Latham and Artist Placement Group (APG)’s  conceptual art under-recognized in Scotland?’ How would the valuing of this kind of work prompt a very different set of institutional policies and practices? The audience interaction, questions and activities revealed the resonance of such questions across the five or so hours of the event.

The symposium addressed the West Lothian bings as a context for exploring ecology from three interdisciplinary perspectives: art & aesthetics, landscape & ecology and heritage & community. The objective was to question if John Latham´s approach to the bings as a “process sculpture”, a “cumulative unconscious act”, provided a precedent for a different aesthetic/ethical relationship to post-industrial land. As part of this exploration was a possible paradox: while the Greendyke Bing has been recognized as a scheduled national monument since 1995, other bings are currently being mined as a source of aggregate. A clear objective of the seminar was to propose interdisciplinary ways of evaluating the bings, in part to prevent their removal altogether.

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Tim Collins opened the discussion asking about the aesthetic and social values that define these spaces.  Collins briefly reviewed their history in parallel with the history of art in public spaces from Alan Sonfist, Robert Morris and Land Art to Charles Jencks’ recent work at Crawick by Sanquhar in Dumfries.  He laid out a list of competing meanings of the bings such as ecological niche, public space, landform akin to earth art, and a veritable mountain of industrial waste.

The first panel included Prof Craig Richardson, Prof Emily Brady and artists David Harding and Barbara Steveni.

Craig Richardson offered an historical overview pivoting on the APG actions taken by John Latham during the period of three months he spent at the Scottish Office in 1975-76. Latham had opened up questions such as – Was removing them the only solution? -and in response he proposed a re-conceptualization of the bings. He viewed them as monuments to Scotland´s bygone industrial era. He suggested that we needed to accept the bings for what they were, or might become in a post-industrial culture. Re-naming them as ‘sculpture’ would be a way of redeeming the shame associated with this massive volume of inert material resulting from an industrial process. As a sculptor Latham could understand the bings as a process of movement of materials on a significant scale. As an artist he could read the aerial view of the bings figuratively: he renamed the cluster of Greendykes Bings as The Niddrie Woman, a dismembered figure reminiscent of pre-historic art.

Emily Brady, as a philosopher, presented an aesthetic overview based in David Hume´s ideas of the Sublime and Aldo Leopold´s holistic ethics regarding land, where humans are citizens in the land and part of a biological community that includes soils, water, animals and plants. She pointed out that, in the environmental discussion, thinking in the next generation is crucial to developing an intergenerational aesthetic in dialogue with environmental aesthetics. Environmental aesthetics, in her construction, goes beyond the visual and picturesque into the temporal. Cases like Fair Park Lagoon by Patricia Johansson and Spiral Jetty by Robert Smithson could in her view, inform the bings in a new set of relations between art, land and ecology. Art is currently reconceptualising land and ecology just as John Latham reconceptualised the bings as a sculptural process layering time. The challenge now is how to imagine this place for future generations of humans and other beings in a complex way, a mixing of ecology and recreation, of an industrial past connecting a quite different present and future, in which people are embedded in place and part of its co-production.

Tim Collins raised the question of whether the bings were stuck in time? He asked whether the institutions of the museum and gallery in Scotland were open to accepting these as forms of art.

For Barbara Steveni this placement was one of the most exemplary from APG even though ironically, neither  the bings nor John Latham´s other proposals (the addition of pathways around The Five Sisters and additional sculptures on the high points of The Niddrie Woman) were recognized, let alone realised.

To value the bings Latham had proposed some sculptures on several summits to make the link between ‘just a bing’ or something with more meaning.

David Harding disagreed with this potentially tourist sense of sculpture. He also recognized that many were still reticent to accept this kind of public art even in the archives and collections of UK museums. Both agreed than just being in this symposium 40 years later discussing this work was already a major achievement.

For the second panel the scientist Barbra Harvie presented rigorous arguments based in an exhaustive study of the bings from the perspective of the science of ecology, stressing biodiversity and the scientific importance of the site. She revealed through her study how after 100 years of evolution, vegetation is now present in every habitat of the bings. The bings now support 350 different species in which we can find succession, colonization, transitory and rare species of flora, local rare insects and local rare birds. She pointed out the scientific interest of the bings in terms of the study of processes of ecosystem reconstruction in derelict land without human assistance.

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Reiko Goto on Empathy. Photo: Holly Knox-Yeoman

Harvie’s way of valuing the site from a classical scientific perspective was complimented and expanded by the perspective offered by Reiko Goto, artist and researcher who explored a ‘more than human’ perspective in relation to ecology. Starting from past projects such as Nine Mile Run(1996) developed with her partner Tim Collins in Pittsburgh, US, Goto realised that dialogue and the scientific study of biodiversity was not enough to understand nature. Her approach to ecology through the concept of empathy alongside scientific information, created a wider and more universal understanding of our relations with nature. In this construction nature is not something external as an object of study based on information, but a way of knowing through emotions and imagination, as part of ourselves. That wider vision motivates the artist to take action in an everyday context. She exemplified this by circulating vivid, very beautiful samples of the flora that she had collected at the bings, giving us an immediate sense of their extraordinary diversity.

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Reiko Goto’s examples of different plants from the Bings. Photo Holly Knox Yeoman

Ross Maclean in response to the presentations, raised the question: What happens if we don’t do anything (i.e. intervene in nature)?

This triggered two important observations by the respondents, Simon Burton and Wallace Heim, specialists in ecology and philosophy respectively. Burton noted the irony that the bings, effectively man–made waste, now have evolved naturally to be islands of high biodiversity within an otherwise impoverished countryside of intensive industrial farming. He illustrated this by pointing out that within the UK the richest biodiversity was 100 species in a 10 km site compared with 350 species in total within the site of the bings. He made a further point that when human beings intervene in the landscape such as through farming practices, they tend to produce low biodiversity landscapes.

Wallace Heim drew out of this discussion a further point. Before re-conceptualising the landscape, we need to re-conceptualise our understandings of waste. The waste of the bings happens not to be toxic and radioactive. It does not leach. It is waste that we can deal with in this way just as Goto and Collins’ work in Pittsburgh was a site that had the potential to regenerate itself. By implication Heim was suggesting that not all waste sites are amenable to this kind of intervention.

It would have been useful in the discussion to have developed Heim’s important point particularly in the light of the current retrospective of Mierle Laderman Ukeles at the Queens Museum, New York http://www.queensmuseum.org/2016/04/mierle-laderman-ukeles-maintenance-art. Ukeles’ practice is formed around a manifesto she wrote claiming that maintenance was art which in turn led to her 30 year position as artist in residence with the New York City Sanitation Department.  The opportunity to do so perhaps lies through this ecoartscotlandblog.

For the last panel about Heritage and Community Tim Collins revisited Ross Maclean’s question about leaving nature alone by provocatively equating the bings with a sick member of one’s family who is suffering. He asked, “Would we just let them suffer?”

For artist Peter McCaughey the solution lay in dialogue with the community who inhabit the area of bings. He juxtaposed human contact, listening, subjectivity to the accelerated processes he had witnessed as artist in residence in a new housing development in Winchburgh. The development company CALA was planning to build 3500 new homes in the area, effectively doubling the population. As resident artist McCaughey followed the processes of APG. As the incidental person, he was able to work across different interests, of developers as well as the community council effectively connecting these groups. Winchburgh would become a commuting rather than mining community. McCaughey’s work resulted in a feasibility study. In the final outcome and in an accelerated design process, newly appointed developers selected Dallas, Pierce and Quintero within a rapacious building process that did not, in McCaughey’s view, integrate the bings in the design. Without wishing to be critical of the outcome, these public artists as architects have ignored the bings instead of adopting a rhizomatic point of view involving all the stakeholders in a conversation and dialogue.

Prof Pauline Phemister concurred that dialogue is an important part of the answer. In recognizing the competing interests of ethics, art, biodiversity and people it was important to look at the problem from the perspective of what is shared, rather than what divides. She drew on the philosopher Leibnitz, his observation that the perception of beauty is key to a work of art. Beauty, ethical ways, pleasure are positive feelings which provoke love and care at the source. These are shared by the non-art world but perhaps what art, like maths, does is draw immense variety and diversity into a simplicity of form and order. Particular situations demand particular solutions as in the case of the bings, where accelerated construction appears to be counter to biodiversity, but where the energies of both forces shape the identity of individuals and their collective histories. Knowledge is essential to this process. The bings should not be ignored as they are part of a process through which we learn to live with love, just as attending to the individual plants that now grow there is to see beauty, to see the ecodependence between human and biodiverse species.

Finally David Edwards, a social scientist at Forestry Research working on environmental policy, suggested he would add economic interest and recreation values to the dimensions discussed in the seminar (art and aesthetics, ecology, heritage and community). Each represents a number of narratives that either impose meaning or build on context. The question that emerges therefore is – Who has the power? How can we mediate between the different groups to sustain the complexity of meaning embedded in the bings? He offered a very interesting triple approach to the problem. From the economist approach the range of options goes from reclamation to business as usual. In this sense an economist would undertake a cost analysis that concludes that building a golf course on the site adds to human well being as well as national wealth through raising house prices. A social scientist would map the stakeholders and their interrelations, bringing to the table a Habermassian deliberative process of reasoned debate. The Arts and Humanities are hardly mentioned in environmental debates. Whereas Economics and the Social Sciences would bring the problem to a close by seeking a solution, the Arts and Humanities would open the situation up to framing problems that we did not know we had, changing meanings in the process. Pauline Phemister developed this point by suggesting that the Arts and Humanities also brings into play the non-human and empathy. Their role was not that of neutral facilitator but one of putting into play different critical positions.

The audience justifiably pointed out that the community of the bings were missing at this event and at the debate. David Harding suggested that the politicians were also missing. Barbara Steveni reaffirmed the importance of working on the inside of power and understanding how it works in relation to past, present and future. She said, “This conference has been about how to bring all the rhizomatic structures of stakeholders together with love. I feel very optimistic about just being here discussing this…”

In conclusion the bings could be evaluated from multiple perspectives including ecological values such as biodiversity or as a site of scientific interest, or from the perspective of economic benefits through recreational values and potential tourism. However all these perspectives are quite anthropocentric, responding to the schemes of ecosystem services. Through this seminar Tim Collins, Reiko Goto and Ross Maclean wanted to address the anthropocene, exploring the implications of an environment that is now predominantly shaped by human intervention and self interest. In this light, they sought to move beyond utilitarian ways of valuing the bings, viewing this site as an opportunity to create an important mental and imaginative shift. As Barbara Steveni explained, John Latham established the first steps to another way of understanding the bings as a collective sculpture resulting from industry. In opening up this possibility, Latham enabled us to confront an instance of the anthropocene – a landscape that is man made, visual proof so to speak of radical intervention and disturbance. In the 100 years since the height of the Shale Oil industry the bings have lost their original utilitarian value and it is only now that we face the dilemma of whether or not to remove the evidence of our scarring. This is paradoxical in the sense that we are trying to save something artificial and more specifically, a product of a polluting industrial process. What has allowed us to make this mental imaginative shift, in addition to Latham’s intervention, is Nature’s capacity to heal the site over time.

The symposium was an historic occasion that brought together key individuals in a debate that reflected critically and from multiple perspectives, the implications of a human-centred era. It brought to the foreground the need for a different quality of relationship between human/non-human and the need for different temporality – not accelerated time but time paced, sufficient to put in place necessary processes of healing. It brought to the fore the complexity of diverse, potentially conflicting views that may not be solved simply but through processes such as these, processes of civic participation.
* Ref: Craig Richardson´s “John Latham: Incidental Person” (2007, pp 27.31)

** Bings are the Scottish word for industrial spoil heaps. The West Lothian bings are in some cases hill scaled and all form significant landscape features.

Authors:

Nuria Sánchez-León has a dual background in Art and Ecology. Her interest has evolved from the practice and study of the pictorical landscape to eco-art, interventions in the landscape and artistic activism towards sustainability. Her work is focused on the crisis in ecology and how artists contribute to environmental awareness and foster social transformation: addressing transition to sustainability.

Sánchez’s research involves ethical questions about the role of the artist in the community, the design of socially engaged projects, collaboration with communities, the limits of authorship, the role of empathy and the influence and real effects/impact of public art?

Currently, she has been awarded a research fellowship with the On the Edge Research, Robert Gordon University. Her objectives in the UK are to search for and analyse examples of how art (especially socially engaged art projects developed by communities) can lead to social transformation in the context of transition to sustainability.

Since 2014, Sánchez has been a research fellow at the Art and Environment Research Center (CIAE), Polytechnic University of Valencia (UPV), Spain. She is part of the government funded Research & Development Project team: Environmental Humanities. Strategies for ecological empathy and transition to sustainable societies (15-2018). which emphasizes the role of visual arts and literature as important vectors of change at an ethical level to achieve the ideal of a sustainable society. She is also the Coordinator of the postgraduate Diploma of Specialization in Sustainability, environmental ethics and environmental education at the UPV.

http://ecohumanidades.webs.upv.es/

http://ecoeducacion.webs.upv.es/

Anne Douglas is a research professor, co-founder with Chris Fremantle of On the Edge Research, a doctoral and postdoctoral programme investigating the  place of the arts in public life, predominantly through practice-led research approaches. An important research strand is art and ecology. Douglas has recently co-authored with Chris Fremantle two publications on the work of the Harrisons: 2016 ‘What poetry does best: the Harrisons’ poetics of being and acting in the world’ in The Time of the Force Majeure Helen Mayer Harrison and Newton Harrison. New York:Prestel pp 455-460 and 2016 ‘Inconsistency and Contradiction: Lessons in Improvisation in the work of Helen Mayer Harrison and Newton Harrison’. In Elemental: an Arts and Ecology Reader. Manchester: The Gaia Project, 2016, pp 153-181.

Douglas is  the Principal Investigator on the AHRC funded Cultural leadership and the place of the artist (2015-16) in partnership with Creative Scotland, Clore Leadership Foundation and ENCATC, the EU network of cultural management and policy with Chris Fremantle (Co-Investigator) and Dr Jonathan Price (Senior Research Fellow). She is  a research associate with Knowing from Inside , an advanced research project funded by the EU led by the renowned anthropologist, Professor Tim Ingold.

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 ResearchGray’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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Theatre, Climate Change, and an Election Year

This post comes from the Artists and Climate Change Blog

Performance of Theater in Asylum’s The Debates: NY Primary Performance. Photo by Bailey Carr, 2016.

Different artists have different relationships to systems, particularly political systems. To me, as an artist seeking to illuminate the flawed status quo and to offer space for alternative futures, confronting political issues is a given. The political realm has been at the forefront of my thinking for the past year, as the U.S. wades through a divisive election season. As time counts down to Election Day, I have been reflecting on the trajectory of this campaign cycle, and how the political issues that I care deeply about have or have not been addressed in the public sphere.

Earlier this year, during the United States Primary Elections and about two-hundred days before the 2016 United States General Election, I assisted NYC-based theatre company Theater in Asylum on their adaptation of the Democratic Primary Debates for the stage. Their production, The Debates: Democratic Primaries Performance, sought to illuminate the characters of the 2016 Democratic candidates for President, and to dissect their political histories. The production did not show bias for or against any candidate, and was intent on empowering audiences to cast conscious votes. As a creator on the show, I myself was reinvigorated in the U.S. political process and in collaborative play-making.

The events of this summer and early fall – from Brexit, and war in the Middle East, to protests of the Dakota Access Pipeline – proved challenging. Why now? Political and social unrest is not new to human history. The development of technology in the past decades has increased how much and how quickly coverage of world events is circulated. This includes the leakage of information on both the major-party candidates here in the U.S. This unprecedented degree of media coverage has led to what Peter Pomerantsev terms “a ‘post-fact’ or ‘post-truth’ world,” in his essay “Why We’re Post-Fact.” Pomerantsev’s notion resonates with me and my concerns around climate change, as he goes on to describe this world: “Not merely a world where politicians and media lie – they have always lied – but one where they don’t care whether they tell the truth or not.”

What I find doubly troubling about this “post-fact” world is Pomerantsev’s explanation of how the lies play out in our everyday lives, with search-engine algorithms collating website searches and clicks to target and confirm existing biases. This also happens on social media, which Pomerantsev depicts as “echo chambers of similar-minded people, feeding us only the things that make us feel better, whether they are true or not.” As someone who relies on social media to stay in touch and spread word about projects important to me, this framing of social media is tricky but useful. As a theatre-maker, I see the possibilities in social media to attract audiences through a direct appeal to their emotions, in the way that social media sites can craft narratives. But I recognize the limitations of such stories, and the nature of their relative truth. Stories through social media can dangerously paint one-sided perspectives. Social media is just a tool, a tool among many. Another tool I am interested in wielding is directly connecting to the beast of the political system itself.

About fifty days before the Election, I moderated a HowlRound Twitter Chat on “Theatre in the Age of Climate Change in an Election Year.” Artists tweeted their questions, concerns, and suggestions around tackling the topic of politics within the context of theatre that addresses climate change. Participants via Twitter ruminated on the challenge to send messages through the form of theatre without alienating audiences. Others expressed feelings of overwhelm around the world of politics itself. One recent concrete example of reaching politicians comes from a New York University student from Montreal, who confronted Canadian Prime Minister Justin Trudeau while he was visiting New York earlier this fall. In an exchange caught on video, this student asked the political leader “‘Will you reject the Kinder Morgan pipeline?,’” a British Columbia tar sands project, proposed by Texas-based company, Kinder Morgan. This student took direct, courageous action to engage a politician, if only for a moment. I cannot help but hope that instances like this, of undeniable human interaction, are what will change our world for the better.

debates-general-logo4Poster for Theater in Asylum’s The Debates. Design by Ran Xia, 2016.

About fifteen days before the Election, I began rehearsals with Theater in Asylum on the continuation of their Debates project, The Debates: General Election Performance. The two-week rehearsal process commenced after all of the General Election Debates had taken place, so we had to prepare for scenes quicker than ever before. The condensed timeline for this project also highlighted where my interests lie, including my interest in using theatre to craft alternate realities. In an alternate reality, climate is regularly on our political leaders’ radars. Journalists both in the U.S. and abroad have noted the lack of attention on climate issues by the two major-party candidates over the past year. Being in a rehearsal room with collaborators on The Debates has provided necessary space to decompress from the absurd topics that are being covered in this campaign season, and to brainstorm what we can make of it all.

In the final days before the Election, I am ambivalent about the outcome. I anticipate I am not alone in feeling overwhelmed by the outpouring of media content throughout this campaign, especially around what he said or what she did. And as “facts” in our society become more relative, the more surreal the circumstances feel. The more surreal our political systems appear, the more we need each other – the stories, the human voices, the feelings we can share with other humans – as these elements will keep us tied to who and where we are, and avoid being sucked into the magnetic vortex that is the polarizing political candidates before us. I am not proposing we all disengage from the political process, not at all. I am propelling the opposite: that we join as communities to speak out about our dissatisfaction, about our disillusionment around our political processes, in order that we might surpass the surreality that is now overwhelming the airwaves. In an age of climate change, this is especially necessary, if humans are to continue living on this planet. On a smaller scale, coming together to engage politically is a necessity because – in a political system like that in the U.S. – decisions are made in local or national governments that impact individuals’ everyday lives. I do not know what the outcome of this election will be. Regardless of who wins, the shape of American politics has shifted. I am hopeful that we – artists, activists, citizens – can continue a shift in a direction towards more sustainable alternatives, in political and social circumstances.

14560051_1340141442685282_9015114395964112029_oRehearsal for Theater in Asylum’s The Debates: General Election Performance. Photo courtesy of Theater in Asylum, 2016.

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Artists and Climate Change is a blog 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.

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Cultural Shift: Making Progress at Two Major Conferences in Scotland

This post comes from Creative Carbon Scotland

Cultural shift has featured at two very different but equally interesting conferences over the last couple of weeks: our own Green Arts Initiative Conference, 51 Shades of Green, and the Sustainable Scotland Network conference Pathways to 2030: public sector climate action.

Nearly 100 Green Champions from all sorts of cultural organisations, individual artists and workers in the sector from relevant organisations crammed into the Pearce Institute in Govan for 51 Shades of Green… where the focus was very much on shared learning.

…generally, people working in the arts didn’t come into the business to address climate change…

Generally, people working in the arts didn’t come into the business to address climate change. For most of them it is only a part, and often quite a small part, of their job.

At Creative Carbon Scotland we aim to make connections between these people, who are usually dealing with similar questions and may well be the only ones in their organisation thinking about them. Most of our speakers were therefore people working on the front line, sharing in quite short talks their challenges and how they’ve overcome them.

Stallholders included the GAI sponsor and Scotland’s greenest and carbon neutral printer, PR Print, who have been our print suppliers for a couple of years now (even their delivery is carbon neutral!), Changeworks and Plan Bee to name a few.

We also had some carefully targeted longer presentations. In one of these, Kenneth Fowler, the Director of Communications and senior environmental lead at Creative Scotland (a core strategic and funding body for the arts in Scotland and a ‘non-departmental public body’ with responsibilities under the Climate Change Act) talked about how Creative Scotland is approaching its obligations to reduce carbon emissions.

As well as working to reduce its own environmental impact, Creative Scotland distributes the vast majority of its funds to arts, screen and creative industry organisations and will expect those seeking support in the next Regular Funding round (for 2018-21) to continue to demonstrate how they are reducing their own carbon emissions. Mandatory reporting of carbon emissions by Regular Funded Organisations started from 2015/16 and Kenneth congratulated the sector for rising to this challenge.


Creative Scotland Regular Funding and the Environment Connecting Theme

He also indicated that Regular Funding applicants will be asked to show how they are using their influencing power to help shape a more sustainable, lower carbon society, using the role of the arts to go beyond operational improvements to influencing wider society.

He argued that we need to ‘increase the volume of what we’re communicating’, which I took to mean both making it louder and increasing the amount. This is reflected in the guidance for applicants which Creative Scotland has published since the conference. Creative Scotland will look for:

  1. Any systems in place to measure your carbon emissions, any policies or plans for environmental sustainability including reducing your emissions.
  2. A Board or staff member who has responsibility for or actively champions environmental issues within the organisation and that there is a clear structure to address any issues.
  3. Any opportunities where you are taking the opportunity to influence others with whom you engage[1]

We think Creative Scotland is to be congratulated for this approach: it’s very engaged and advanced thinking for a public body not directly involved in environmental sustainability. It’s also why we Creative Carbon Scotland (it’s sometimes confusing!) set ourselves up, and it’s what we work on day by day.

We already provide support for the first of the three areas and argue strongly that organisations should have a Green Champion at the highest level. And we have been developing our support for those organisations using both their communications and the work they produce, present, promote or distribute to influence wider society.

We’ll be running seminars looking at this area in more detail between now and February to help Regular Funding applicants think imaginatively about what they can do – keep an eye on the website and look out for our newsletters (if you don’t yet receive them, you can sign up at the foot of our home page).

And if you want some more ideas before then, take a look at an earlier blog and a summary of an event we ran during the Edinburgh Fringe, Changing the Culture. Or feel free to drop me a line on ben.twist@creativecarbonscotland.com.

 

Sustainable Scotland Network Conference

Meanwhile, and connectedly, we were asked to run a parallel session at the SSN’s Pathways to 2030 conference on Cultural Shift: working with the arts for mitigation and adaptation.

…we tried something new, inviting the climate change- rather than arts-focused participants to identify a ‘wicked problem’ they were facing in their work, and then to think about how artists’ skills, practices or knowledge might help address it…

We tried something new, inviting the climate change- rather than arts-focused participants to identify a ‘wicked problem’ they were facing in their work, and then to think about how artists’ skills, practices or knowledge might help address it.

Artists (and this can include a wide range of people working in a wide range of areas including screen and the creative industries) have different ways of doing things and are allowed to think in different ways: one important aspect of their work is that making things up is part of the job description, whereas most people would get sacked for it! But when we are facing a climate challenged-world with impossible to reconcile issues, maybe imagining and inventing a different future is a useful skill.

We were thrilled to be asked to explore this at the SSN conference, where culture and the arts hasn’t previously played a prominent role. The very interactive session went well and we are following it up with at least two of the participants. You can download the slides for the session here, and we’d be happy to talk about it with anyone who’s interested.

Cultural Shift

What these two conferences highlight is how our work at CCS is increasingly bringing together the two worlds of climate change and culture, not just in operational matters and carbon management, which remains important and a core part of what we do, but also in terms of inspiring and instigating a cultural shift.

We have actual and potential projects in the pipeline with partners as varied as the RSPB, SNIFFER, people working on blockchain technologies, local authorities and of course arts and cultural organisations. Creative Scotland’s inclusion of the influencing role in the Regular Funding application process and our invitation to contribute to the SSN conference demonstrate how this area of work is becoming mainstream. It’s what we’ve been arguing for for a couple of years now, so we’re very glad to see it.

[1] Regular Funding 2018-21 Appendix 3: Connecting Themes Guidance

The post Cultural Shift: Making Progress at Two Major Conferences in Scotland appeared first on Creative Carbon Scotland.

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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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