Monthly Archives: December 2016

Open Call: CLIMARTE Festival Art+Climate =Change

The City of Port Phillip has partnered with CLIMARTE to engage with artists, designers, architects, curators and others in the creative industries to create an ephemeral work of art along Acland Street, St Kilda, Victoria, during CLIMARTE’s ART+CLIMATE=CHANGE festival in April-May 2017.

Proposals will address the issue of climate change – both challenges and opportunities – and look at creative ways to engage community and visitors.

For more information and to obtain the Expression of Interest form, please contact:

22-30 December 2016: Georgia Rouette, Public Art Officer

Phone: 9209 6335 Email: georgia.rouette@portphillip.vic.gov.au.

31 December 2016 onwards: Sandra Khazam, Arts & Heritage Team Leader

Email: sandra.khazam@portphillip.vic.gov.au.

Or visit http://www.portphillip.vic.gov.au/public-art-news.htm

Expressions of Interest are due by 5pm on 3 February 2017.

This project is a partnership between City of Port Phillip and CLIMARTE as part of CLIMARTE’s ART+CLIMATE=CHANGE 2017 – a festival of exhibitions and events harnessing
the creative power of the Arts to inform, engage and inspire action on climate change.

Call for application for the Artists’ Development Programme 2017 (Beyond borders)

This post comes from Creative Carbon Scotland

The European Investment Bank (EIB) Institute is pleased to announce the 2017 edition of its Artists’ Development Programme (ADP), looking for one visual artist (born after 1 January 1982) from EU Member States focusing on the theme of “Beyond Borders: Frontiers, Displacement and Dispersion in Art”.

The ADP offers emerging European visual artists a month-long residency in Luxembourg, enabling them to develop their practice and create a new (body of) work(s), boosted by the mentorship of a high-profile established artist. In 2017, the recipients will each be mentored by acclaimed British artist Callum Innes.

Eligibility

  • Less than 35 years of age at the time of application
  • EU nationality
  • Fluency in English

Budget and duration

The EIB Institute will cover the artists’ travel costs to and from Luxembourg, including a stopover to visit Callum Innes in Edinburgh. The artists will receive a stipend (EUR 100 per day each) and will be provided with a living/working space. At the end of the residency, the participants will receive a success fee of EUR 1 500 each, provided they have produced an artwork. The duration of the residency in Luxembourg will be one month in June 2017.

Upon completion of the residency, the EIB may acquire the artwork(s) produced on-site from the artists.

Application procedure
Requirements

– CV (in English)
– Scanned copy of the passport, identity card of the applicant or other document evidencing legitimate residence in one of the eligible countries (in English)
– A letter of motivation/intent specifying personal drive and expectations for the programme (maximum 600 words, in English)
– Portfolio of visual documentation of several works best characterizing the art of the applicant (in PDF, four A4 pages maximum)
– Names and contacts of two professional referees, familiar with the art of the applicant
– A brief reference in the body of the email to how the applicant found out about the programme

Selection procedure

A jury, consisting of members of the EIB Institute Arts Committee, external arts professionals and the mentor, will select the candidates based on the artistic quality of their work, their project and motivation, the applicants’ potential to make the most of the opportunity offered by the residency and the relevance of the applicants’ practices to the cultural context of the EIB Institute.

The selected candidates will be informed of the jury’s decision via email by mid-March 2017.

Any application failing to comply with the set requirements will be automatically disqualified.

Applications should be sent electronically to Ms Delphine Munro (arts@eib.org)

Deadline for application: 31 January 2017 at midnight (GMT+1).


The post Call for application for the Artists’ Development Programme 2017 (Beyond borders) 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

Powered by WPeMatico

Call for application for the Artists’ Development Programme 2017 (the Anthropocene)

This post comes from Creative Carbon Scotland


 

The European Investment Bank (EIB) Institute is pleased to announce the 2017 edition of its Artists’ Development Programme (ADP), looking for one visual artist (born after 1 January 1982) from EU Member States focusing on the theme of “The Imprint of Man – Representing the Anthropocene”.

The ADP offers emerging European visual artists a month-long residency in Luxembourg, enabling them to develop their practice and create a new (body of) work(s), boosted by the mentorship of acclaimed British artist Callum Innes.

Eligibility

  • Less than 35 years of age at the time of application
  • EU nationality
  • Fluency in English

Budget and duration

The EIB Institute will cover the artists’ travel costs to and from Luxembourg, including a stopover to visit Callum Innes in Edinburgh. The artists will receive a stipend (EUR 100 per day each) and will be provided with a living/working space. At the end of the residency, the participants will receive a success fee of EUR 1 500 each, provided they have produced an artwork. The duration of the residency in Luxembourg will be one month in June 2017.

Upon completion of the residency, the EIB may acquire the artwork(s) produced on-site from the artists.

Application procedure
Requirements

– CV (in English)
– Scanned copy of the passport, identity card of the applicant or other document evidencing legitimate residence in one of the eligible countries (in English)
– A letter of motivation/intent specifying personal drive and expectations for the programme (maximum 600 words, in English)
– Portfolio of visual documentation of several works best characterizing the art of the applicant (in PDF, four A4 pages maximum)
– Names and contacts of two professional referees, familiar with the art of the applicant
– A brief reference in the body of the email to how the applicant found out about the programme

Selection procedure

A jury, consisting of members of the EIB Institute Arts Committee, external arts professionals and the mentor, will select the candidates based on the artistic quality of their work, their project and motivation, the applicants’ potential to make the most of the opportunity offered by the residency and the relevance of the applicants’ practices to the cultural context of the EIB Institute.

The selected candidates will be informed of the jury’s decision via email by mid-March 2017.

Any application failing to comply with the set requirements will be automatically disqualified.

Applications should be sent electronically to Ms Delphine Munro (arts@eib.org)

Deadline for application: 31 January 2017 at midnight (GMT+1).


The post Call for application for the Artists’ Development Programme 2017 (the Anthropocene) 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

Powered by WPeMatico

Creative Carbon Scotland Annual Report Published!

This post comes from Creative Carbon Scotland

Read the 2015/16 Report.

Creative Carbon Scotland grows and grows busier with each passing year. In this report, you can read about our 2015-16 work including ArtCOP Scotland and the Green Tease, our GAI Conference: 50 Shades of Green, training for people working in the screen industry, our research project with the Arts & Humanities Research Council and great work generally by the arts sector in Scotland in both improving its own environmental performance and influencing wider society and public opinion about climate change.

Read the annual report and keep in touch.


The post Creative Carbon Scotland Annual Report Published! 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

Powered by WPeMatico

CCS Newsletter

This post comes from Creative Carbon Scotland.


Creative Carbon Scotland Annual Report 2015-2016 Published!

It’s been a very busy couple of years for Creative Carbon Scotland. Read our annual report from the March 2015-16 period for a taster of the types of projects we’ve been working on and will continue doing in 2017.

[Read the Report]


Do The Green Thing: Get Ungifted

In their 5th issue, Do The Green Thing are asking everyone to consider their consumption behaviours this holiday season and get ‘ungifted’ by creating long-lasting holiday memories without the waste.

[Ungift the Ones You Love Here]



NOTICEBOARD


Environment Connecting Theme Workshops

Early in the new year, Creative Carbon Scotland is planning to hold workshops for RFO applicants. These workshops will focus on Creative Scotland’s requirements for embedding environmental sustainability into the arts, screen and creative industries. Find out how we can help you during the funding application process!

[Workshop Details]


Get Your Early Bird Tickets for the Edinburgh Sustainable Innovation Conference

The Buchanan Institute are proud to be hosting the Edinburgh Sustainable Innovation Conference (ESIC) on Monday 20th February 2017. The aim of the conference is to redraft the rhetoric surrounding sustainability into a language that everyone can understand. Get your ticket at a special price until 16 January!

[More Information]


Learning for Sustainability Scotland AGM

Learning for Sustainability Scotland‘s AGM on 19 January will look at how you can contribute to achieving the UN Sustainable Development Goals in Scotland and beyond through your work.

[Book Your Place]


Open Call: Cultural Innovation Prize

How can culture defy climate change? The second edition of the Cultural Innovation International Prize encourages projects that offer imaginative and effective solutions to one of the biggest global problems of the 21st century. The winning proposal will be included in an exhibition on the subject at the CCCB.

Submission deadline: 31 January

[More Information]


Participants Needed for Changeworks Energy Saving Project

Changeworks has partnered with the University of Edinburgh to deliverIDEAL (Intelligent Domestic Energy Advice Loop), a two year cutting edge research and advice project on how smart technology can help save energy in the home. We are actively looking for households in Edinburgh to participate. Participants can benefit from saving energy and money through more efficient home energy use.

[How to Participate]


The post CCS December Newsletter 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

Powered by WPeMatico

Open Call: CCCB Cultural Innovation International Prize

 

 

Cultural Innovation International Prize

Climate change

Second edition 2016-2017

How can culture defy climate change? The second edition of the Cultural Innovation International Prize encourages projects that offer imaginative and effective solutions to one of the biggest global problems of the 21st century. The winning proposal will be featured in the activities included in an exhibition on the subject at the CCCB.

Climate change is one of the central themes of the CCCB’s 2016-2017 programme. In the course of the year we’ll be offering activities, talks and a major exhibition with the aim of addressing what we see as one of the biggest challenges facing humankind.

Year two of the International Prize for Cultural Innovation marks the start of this annual interdisciplinary agenda and opens the debate about the role that culture and cultural institutions can play in helping to address the problem.

Can we analyse global warming beyond catastrophist viewpoints or technological solutions? Can we contribute to the need for an ecological ethic and collective environmental responsibility? Can we act as catalysts of change?


Submit a project


Climate, culture, change
The 2nd Cultural Innovation Prize:

Is open to innovative cultural projects that raise awareness about climate change, empowering and involving society actively in the global commitment to environmental responsibility.

Is designed so that the winning proposal can be featured in the framework of the exhibition «After the End of the World»  in October 2017. If applicable, the project will be loaned space at Beta Station, a laboratory space adjoining the Centre’s galleries.

Includes prize money of 20,000 euros to develop the winning proposal.

Is open to projects in the framework of the third culture (proposals that explore links between art, science, humanities and technology), education (informative and educational formats that involve educators, children, young people and families) or citizen-led innovation (new tools, platforms and programmes for collective participation and the design of ideas for social transformation).

An international jury will evaluate the finalist projects:

Timeline

Presentation of projects
From 11 October 2016 to 31 January 2017 (at 18:00 CET)

Announcement of finalists
25 April 2017

Presentation and award ceremony
June 2017

Rules 2016-2017 (PDF)

Frequently Asked Questions (PDF)

 

Ben’s Strategy Blog: Helping Trump Become Carbon Literate

This post comes from Creative Carbon Scotland.

A cold chill gripped the hearts of those of us working in climate change when Donald Trump won the US presidential election. Coming as the Paris Agreement came into force and as COP22 was taking place in Marrakech to sort out the details, would Trump fulfil his campaign promise to pull out of the Agreement? And can CCS help him increase his carbon literacy?

Fifteen years ago the USA’s failure to ratify the Kyoto Protocol fatally undermined that agreement and damaged geopolitics more widely. Concessions made to ensure the treaty came into force through Russia’s ratification led to a glut of the permits to release carbon dioxide that were the basis of the Kyoto Protocol. (Russia’s economy had collapsed after the end of the Soviet Union, which meant that it was already emitting less CO2 than in the baseline year of 1990 and so had lots of permits to sell.) This in turn led to an under-pricing of carbon in the markets, allowing countries to buy cheap permits rather than make the industrial changes necessary to reduce emissions.

So the Kyoto Protocol didn’t achieve the planned reductions. In addition, a back-room deal enabled Russia to join the World Trade Organisation in return for its ratification, helping what was effectively a rogue state to enter world politics and trade at the highest level – with implications which we are seeing today. Will Trump’s election mean the Paris Agreement goes the same way?

Room for optimism?

At the University of Edinburgh the Global Environment and Society Academy (GESA) hastily convened an event to discuss the Trump effect and hundreds of students, staff and others crammed into the ECCI to hear talks from specialists in international law, US politics, business and the humanities, assessing the effects of Trump’s election on the work to address climate change. They weren’t as gloomy as might have been expected, with a number of points being made:

  • The US has ratified the Paris Agreement and can’t technically withdraw for three years, after which a further year’s notice has to be given. So even if it does pull out, it won’t take place until the end of Trump’s first presidential term.
  • Trump could simply hinder US action on climate change despite the ratification of the treaty. It was acknowledged that this could be as damaging as outright withdrawal.
  • But Elizabeth Bomberg noted that federal power is limited and NGOs and others in the US are skilled at using litigation, appeals and other legal methods to delay appointments, rule changes and so on that would get in the way of work to reduce emissions.
  • There has always been more climate change action at state and city level than at the presidential level in the US, and this could continue, although the shift to the Republicans at all levels of government could have an effect.
  • Andy Kerr of the ECCI pointed out that a number of big US coal companies have filed for bankruptcy recently, not because of regulation but because the demand for coal has collapsed as (much cleaner) shale gas and renewables have taken its place and coal-fired power stations have closed. China is forging ahead with renewables and the US risks being left behind, which industrialists and capitalists won’t like. Some Republican states are benefitting greatly from the upsurge in renewables.

Although I’m not sure I fully share Andy’s implicit ecological moderniser view that technology will solve the problem, I do agree with him that a wave of change is moving across the world including the US and Trump may find it harder than he thinks to revive coal and turn America’s back on change.

A good special report  (Breaking the Habit) in the Economist backs this up and interestingly the Earth Negotiations Bulletin’s Summary and Analysis (this is quite heavy going, but go to p36 for the analysis which is more readable) of the Marrakech talks highlights the fact that, when leadership from the USA was lacking, others stepped forward to fill the leadership vacuum, with 48 vulnerable majority-world countries committing to be 100% renewable-powered by 2050. And as he is moving towards taking office, Trump seems to be learning more about climate change and backing down on his campaign promises on climate change as much as on some of his other policies.

Strange bedfellows…

Since I started writing this blog, Trump has nominated former Texas governor and fossil fuel proponent Rick Perry as Energy Secretary; Rex Tillerson, Chief Executive of Exxon Mobil as his Secretary of State; and climate-change sceptic Myron Ebell to lead his transition team for the Environmental Protection Agency. Which makes me a bit less optimistic. But Tillerson spoke in London in October on the need for a carbon price:

In doing so, we must continue to lower emissions. At ExxonMobil, we share the view that the risks of climate change are serious and warrant thoughtful action. … We have long supported a carbon tax as the best policy of those being considered. Replacing the hodge-podge of current, largely ineffective regulations with a revenue-neutral carbon tax would ensure a uniform and predictable cost of carbon across the economy. It would allow market forces to drive solutions. It would maximize transparency, reduce administrative complexity, promote global participation and easily adjust to future developments in our understanding of climate science as well as the policy consequences of these actions.

(Republican) Texas is also now heavily invested in renewables as well as oil. And the factors above still apply: there will be plenty of politicians arguing against their appointments at the Senate hearings, and not only Democrats.

Increasing (Trump’s) carbon literacy

Trump may become a bit more carbon literate over the next few months as he discovers that Old King Coal is on the way out and China threatens to beat America in making money by selling renewable technologies to the world. He might want to call us for some help, as in November Creative Carbon Scotland hosted two Carbon Literacy courses (Neat segue! – Ed), one in Edinburgh with staff from the Edinburgh Festivals and one in Glasgow with mostly freelancers in the TV and film production industry.

Working to a specification developed by social enterprise Cooler Projects in Manchester, the Carbon Literacy Project provides a day’s training in the basic science and policy of climate change plus action planning for individuals to apply to their work, education or home life. The core curriculum is tailored to be relevant to the particular group of participants – so the Festivals staff looked at travel by artists to their events and considered the issues relevant to large public gatherings, while the screen production people will have looked at things including the use of diesel generators and how to reduce their use and their fuel consumption.

The screen production course was provided by a consortium led by BAFTA which focuses on the use of the ALBERT planning tool. This helps production and location managers list what they expect to happen in production and then work out what the anticipated carbon emissions might be. The tool also helps them estimate the emissions related to doing things in different ways: different travel modes, different generators, different lighting kit. So it moves us on from retrospective carbon measurement and reporting to the next stage: planning for carbon reduction.

The Edinburgh Festivals course – and indeed the Cooler Projects approach, which the screen production course also uses – focuses on what participants can do to reduce their own or their organisation’s carbon emissions. To pass – and you get a nice certificate! – students must identify changes they will make themselves and in their team at work that will have a real effect.

This isn’t rocket science in the world of carbon management, but the interesting thing about it is that it is aimed at those who are not particularly interested in climate change, environmental sustainability etc. Much of the usual effort aimed at changing behaviours is either taken up by the already concerned, or avoids talking too much about the science of climate change. Cooler Project’s curriculum is strong on information as well as action planning, and is designed to take people from no knowledge to quite sophisticated knowledge very quickly. I helped deliver the Edinburgh Festivals course, and it worked a treat.

The Edinburgh course is part of a project run by the Edinburgh Sustainable Development Partnership of which I am vice-chair, and funded by the Edinburgh Partnership. We at CCS are interested in Carbon Literacy as an idea that has use across the cultural sector: I’m talking to drama schools about offering it to students and we’re talking to Gordon Cunningham, who leads on Low Carbon Skills at Skills Development Scotland, about its inclusion in Modern Apprenticeships. If you’re interested, get in touch.

Image: Cooler Projects and The Carbon Literacy Trust.

The post Ben’s Strategy Blog: Helping Trump Become Carbon Literate 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

Powered by WPeMatico

Open Call: LABVERDE Art Immersion in the Amazon

LABVERDE: Art Immersion Program in the Amazon
From 20th to 29th of July 2017Application deadline: January 31st

www.labverde.com

The LABVERDE program is a 10-days Art Immersion Program in the Brazilian Amazon rainforest for art, nature and science lovers.

The program is targeted toward adventurous individuals and nature lovers: visual artists, architects, musicians, writers, dancers and other cultural makers.

PRESENTATION:

LABVERDE is designed for artists and creators who are eager to reflect on nature and landscape. The program will promote an intensive experience in the Amazon rainforest aiming to explore the connection between science, art and the natural environment.

LOCATION:

THE JOURNEY WILL TAKE PLACE IN TWO DIFFERENT LOCATIONS ENABLING A DIVERSE SCALE AND PERSPECTIVE OF THE AMAZON RAINFOREST

APPLICATION:

LIMITED SPOTS AVAILABLE
In order to participate, fill in the form linked below and attach the following documentation:

  • 250-word bio

  • 500-word description of a creative

  • project idea

  • 5 to 10 images Portfolio​

APPLICATIONS UP TO JANUARY 31TH

COST FEE: USD 2,900
ACCOMMODATION, MEALS AND TRANSFERS INCLUDED

Flight tickets to Manaus, transfer from and to the Airport and health insurance are not included.

GRANT

We will select up to three artists to participate in the program free of cost. The condition for all modalities of grant will be discussed with the selected artist by Skype meeting. To apply for a grant, please include a motivation letter in the attached documents. Participants from emerging countries that have been investigating the intersection between art and nature will be prioritized.

CONTACT:

Website
www.labverde.com 

LABVERDE was created to strengthen the limits of art through a broad array of experiences, knowledge sets and cultural perspectives involving art, science and nature. The program main goal is to promote artistic creation through a constructive debate about environmental issues generated by both theory and life experiences in the Amazon rainforest.

 

 

Call for Abstracts: Crafting Sustainability

Workshop in Trondheim, June 14. & 15. 2017

Through an examination of the nature of craft and craftsmanship we seek to understand how craft can contribute to sustainability in various ways.

Important dates

Abstract deadline: January 15 th, 2017

Acceptance notification: January 31st, 2017

Draft deadline: June 7th 2017

Workshop dates: June 14th & 15th, 2017

Call for abstracts

You are hereby invited to submit an abstract (2-300 words) for a workshop on craft in Trondheim, Norway. We welcome proposals on emerging topics related to craft and workmanship. The notion of craft includes traditional crafts such as carpentry, pottery and weaving, but we are also interested in aspects of craft, or workmanship in professions not normally associated with craft, such as practitioners of governance and planning, teaching and research.

The purpose of the workshop is to provide a forum and encourage in-depth discussions on the notion and practice of craft in relation to sustainability; environmental, social and cultural sustainability. We recognise that craft as a research topic has been severely undervalued, and we wish with this workshop to explore how issues of craft and workmanship play a role in relation to for example climate change mitigation, sustainable innovation and transitions, human dignity and the health of communities. How can a better understanding of craft provide a path to a better understanding of sustainability?

In this workshop we welcome empirical research on craft and theorisations of craft, for example approaches that seek to conceive and understand the nature of skills and craftsmanship combining philosophical, cultural, anthropological or practical studies of craft with Science, Technology and Society studies perspectives. Research questions of particular interest are: How are traditional crafts practiced in work settings characterised by automatization and technological production processes? Is the nature of craft changing, and what remains through the change? Do challenges of environmental sustainability shape craft and workmanship? If so, in what ways? And can an understanding of these elements of craft contribute to sustainability?

This line of investigation also encourages studies of involvement of ordinary citizens, community groups and other professions than those traditionally associated with crafts, as well as crafting perspectives on for example academic research and bureaucratic activities such as city planning. The core aim of the workshop is to interrogate multiple understandings of craft, and use this discussion to help illuminate and craft more engaged and effective ways towards sustainability.

The workshop will take place on the 14th and 15th of June 2017. Trondheim is known as the “wooden-house city” with far-reaching craft traditions. The workshop will feature invited keynote speakers on craft research, presentations from participants, discussions and work-groups on furthering craft-research.

Papers from the workshop that are found suitable will be published in a special issue on craft in the Nordic Journal of Science and Technology, edited by Dr. Jøran Solli and Dr. Håkon Fyhn. The workshop is the first step towards this publication. We will therefore ask contributors for an a draft-paper (2-3000 words), to be submitted before the workshop to serve as a first draft for the publication.

For any questions, please contact:

Jøran Solli: joran.solli@ntnu.no

Håkon Fyhn: hakon.fyhn@ntnu.no

Roger Søraa: roger.soraa@ntnu.no

Project webpage: www.CraftingClimate.com

PDF: craftingsustainabilityworkshop

Crowdfunding Campaign for Paris Based Sustainable Arts Space: Recup Paris

RECUP PARIS: A NEW CREATIVE SPACE FOR PARIS

Recover, revive and repeat for creative urban development.

Urban development and regeneration is having a bright moment in Paris thanks to the development of Recup Paris. Turning derelict spaces in an old, disused military fort into a creative hub, Recup Paris is creating the bridge between art and sustainability. Recup Paris is a workshop and event space based at Fort d’Aubervilliers, an old military fortress located just outside Paris. Forgotten and ignored by mostfor the better half of a century, the historic site is a vast and mysterious wonderland of urbex discovery and it feels like being in another world entirely. In the spaces at the Fort, art is created by them and others, public events are hosted and ‘Fort experiences’ are organised to allow others to experience this place themselves.

 

“We believe that culture, creativity and the arts are capable of influencing our futures and help us imagine new and alternative responses to some of the world’s most pressing problems. We are inspired by how in cities like Amsterdam, Berlin, London and New York where disused areas have been revived and become hotspots for culture and creativity. Paris is the city of the arts and has an extremely rich cultural sector, yet the city is facing its own particular challenges, particularly in terms of rebuilding communities and urban regeneration. There is a real need in Paris for this at the moment,” say co-founders Dom Tappy and Thomas Winkel.

They have now launched a crowdfunding campaign to take their activities to the next level. The funding will allow them to expand the team, to finish the revival of a bordering (event) space, to upgrade the technical and safety features of the spaces, to acquire new tools and materials and to keep growing the community. Their ambition is to transform Fort d’ Aubervilliers further into a breeding-ground for artists, creatives, local businesses and to share this special place with the people of Aubervilliers, Paris and beyond.

Until December 17th, you can support Recup Paris in return for some exclusive art rewards and unique experiences at the Fort.

Campaign page:
https://www.kisskissbankbank.com/faire-revivre-un-fort-militaire-abandonne?ref=search


For additional information about Recup Paris please visit their website (www.recupparis.com) and follow them on Facebook, Twitter, and Instagram.


About Recup Paris
               
Recup Paris was founded in 2016 by Dom Tappy and Thomas Winkel. Tappy and Winkel have previously worked as intermediaries and advisors to governments, NGO’s and businesses. They have assisted in the development and implementation of sustainability strategies
now, all of their shared experience, along with plenty of blood, sweat and passion, is being put into the development of Recup Paris. Over the last six months, Tappy and Winkel have redeveloped the spaces, using almost exclusively abandoned materials they found on-site.