Rising: Climate in Crisis Residencies at A Studio in the Woods invites artists to be agents of change in guiding our collective understanding, response, and vision as we shape our shared future.
Artists play a vital role in facing the climate crisis. We encourage artists to guide our collective response to this challenging issue while bringing wisdom, integrity, optimism, and even humor to intentional projects seeking transformation for our species and our planet. Southeast Louisiana’s land and inhabitants are continually challenged by the effects of environmental degradation. As sea levels and temperatures rise, our landscape acts as a microcosm of the global environment. We look for ways to reimagine our interactions with our shifting urban and natural ecosystems. Rising Residencies provide artists with time, space, funding, and staff support to foster critical thinking in the creation of new works – igniting our imaginations while illuminating our challenges and inspiring solutions.
We are open to artists of all disciplines who have demonstrated an established dialogue with environmental and cultural issues. We ask artists to describe in detail how our unique region will affect their work, propose a public component to their residency, and suggest ways how they will engage with the local community.
Proposals are due April 10, 2023 and residencies will be awarded by June 1, 2023.
A rich and deeply immersive experience built on fierce hope and a belief in the power of future-visioning to drive the transition toward a more sustainable and resilient post-carbon world. This gathering weaves together the impulses that led to the creation of both Story Money Impact and Abundance Community Farm.
We all need to see and believe in positive examples of social experiments that are pioneering new ways for us to reimagine a better future, living in harmony with the land and each other.
Together we will explore models of collectivity and interdependence that when skillfully framed through artistic practices can motivate people toward action for social change. To amplify these actions, the workshop will strengthen the capacity and network of impact-oriented storytellers and media makers. To achieve this goal, we will bring participants through exercises that range from deep-dive group discussions to practical skills building workshops to somatic experiences, in touch with the powerful land on which Hollyhock rests.
Capacity is limited to ensure an intimate shared journey.
Schedule
A detailed schedule will be available 1-2 weeks in advance of the program. View sample schedule here.
Pricing Note: We ask that you reflect deeply and select the tier that is most appropriate for your financial situation. The “Generous” tier will support Hollyhock in continuing to offer meaningful programs and also support your fellow community members who are experiencing financial hardship.
CAMPUS RATES: Campus rates include accommodations, meals, Hollyhock activities, use of hot tubs and campus facilities (does not include tuition). Click here for details.
SCHOLARSHIPS: Program experiences are enriched by having a multitude of voices and experiences that reflect global plurality. Our scholarship program is one of our key strategies to expand program access to underrepresented and marginalized communities.
A limited number of scholarships are available per program with awards ranging from partial to full tuition. We encourage applicants from those whose identities intersect with, but are not limited to: Black, Indigenous, People of Colour, 2SLGBTQIA+, people with disabilities, newcomers, youth, and elders.
Please apply for a scholarship within your program registration form. We ask for a 5% refundable deposit to apply. Contact us directly if you are unable to pay this deposit.
Tracey Friesen has over 30 years’ experience in Canada’s cultural sector. In the decade before joining the Canadian Media Producers Association’s BC Branch in 2020, she worked at the David Suzuki Foundation, Roundhouse Radio and Mindset Foundation, plus authored ‘Story Money Impact: Funding Media for Social Change’, which led to the founding of a charitable […]Learn more about Tracey Friesen
Dr. Amir Niroumand is recognized as a social entrepreneur with a primary interest in utilizing food as a tool for changing cultural values and norms. In 2016, he founded Abundance Community Farm in Agassiz, BC, as a social experiment in creating a community culture that thrives in harmony with nature. The farm operates based on […]Learn more about Dr. Amir Niroumand
Join the volunteer team at Inverleith House in Edinburgh.
We are looking for enthusiastic and friendly volunteers to join our current team to assist in the daily running of Inverleith House – Royal Botanic Garden Edinburgh’s primary exhibition venue – and welcome visitors to our next exhibition within it: Keg de Souza’s ‘Shipping Roots’, running from Friday 24 March to Sunday 27 August 2023.
Plants have always traversed seas, intentionally and inadvertently. In Shipping Roots, artist Keg de Souza draws on RBGE’s collections to tell tales of eucalyptus, prickly pear and ‘alien’ seeds, tracing legacies through the British Empire and specifically linking Australia, India and the UK. These stories relate to the artist’s own cultural removal, drawn from her lived experiences as a person of Goan heritage whose ancestral lands were colonised, to living as a settler on unceded Gadigal land in Sydney.
What does this role entail?
We offer training for this role, and activities include the following:
Welcoming and orientating visitors in the gallery
Invigilating and ensuring the safety of the artwork on display
Answering questions about the exhibition, artists, and other RBGE Creative Programmes projects
Encouraging visitors to engage with the exhibition and works on display
Maintaining the cleanliness of the exhibition spaces
N.B. There might be additional opportunities to give ‘spotlight tours’ of Shipping Roots or support other exhibitions and events organised by RBGE Creative Programmes.
Ideally volunteers will be able to commit to at least four hours per week from 24 March to 27 August, between the hours of 10.15am and 5.45pm. We also welcome applications from people who are only available for part of the exhibition run.
How do I apply?
If this sounds of interest, we would love to hear from you. Please visit our volunteering page where you’ll be able to download and complete an application form and return to volunteering@rbge.org.uk by 9am on Friday 17 February 2023, along with brief answers to the following questions:
What do you like most about galleries?
What is your favourite exhibition you have ever visited, and why do you think you enjoyed it so much?
What are you looking to gain from joining the volunteer gallery assistant team?
We encourage applications from candidates from diverse backgrounds, and value the positive impact that this has on our team. RBGE is committed to ensuring that all volunteers are treated equally irrespective of their age, disability, gender reassignment, race, religion or belief, sex, sexual orientation, marriage or civil partnership, and pregnancy or maternity.
If you have any access requirements or questions relating to this volunteering opportunity, please do not hesitate to get in touch with Creative Programmes Producer, Amy Porteous at aporteous@rbge.org.uk.
For the Argyll Climate Beacon, we’re sharing short films about the Scottish rainforest, a vital habitat and natural carbon sink. ‘Rainforest Days’ is a suite of three short films, made entirely from footage and descriptive audio taken by pupils of Hermitage Academy and Lochgilphead High School as part of the Artists in Schools programme led by artist Juliana Capes. The films premiered in May 2022, but are now available online.
Fife
The Fife Beacon helped organise ‘Levenmouth Fayre’ at Levenmouth Academy in September 2022. We’re sharing the winners of a poster competition at the fayre, which invited school pupils to share their vision for Levenmouth in the future. The prizes for the best posters were hampers of locally sourced produce.
The four winners of the poster competition. Clockwise from top left: first prize, second prize, joint third prize. Courtesy of Fife Climate Beacon.
Inverclyde
For the Inverclyde Climate Beacon, we’re sharing a backstage look at the making of This Is How It Happens, a performance at Beacon Arts Centre researched, written and performed by the Beacon Young Company. The performance took place in March 2022 at the Beacon Arts Centre.
For the Midlothian Climate Beacon, we’ve got not one but two films made by Queen Margaret University students during a residency at the National Mining Museum Scotland. The films premiered at an event at the museum in April 2022, but are now available online for all to see.
Have Your Piece by Sandra Karolak and Jay Brown is an encouragement to have more conversations about climate change, drawing on the tradition of ‘piece time’ when miners would take their sandwich break from work.
Re:Grow by Maria-Magdalena Arnaudova is a highly personal exploration of climate anxiety and its effect on young people, combining elements of spoken word and dance.
Outer Hebrides
For Làn Thìde, the Outer Hebrides Climate Beacon, we’re sharing Tuil is Geil, a sound piece by artist Sandra Kennedy that incorporates data from the Met Office and conversations with local people to reflect on the impact of climate change and storms on the Western Isles. The piece was created in 2022 as part of Làn Thìde’s Climate Storyline project.
Tayside
The Tayside Climate Beacon commissioned new work from three local creatives, which explored climate change in relation to local issues, culture, and geography.
Artist Kristina Aburrow’s The Smokie Migration explored the history of the Arbroath Smokie and how it related to changes in the local environment. Shaper/Caper’s dance piece The World is My…? looked at the climate crisis through the lens of intergenerational relationships and personal choice. Storyteller Alex Turner’s Storyscaper shared three stories of personal experiences of climate change from the perspective of the year 2055.
You can watch a video of Shaper/Caper’s performance below and find out more about all three commissions on the Tayside Climate Beacon website.
As the climate crisis accelerates, how can artists’ residencies be testing grounds for new – and better – ways of living and working? A new, 8-part podcast series brings together artists, researchers and activists from across the Nordic region and Scotland to explore this question.
Presented by the Nordic Alliance of Artists’ Residencies on Climate Action (NAARCA), each episode in the series looks at the crisis through the lens of one artists’ residency. In the first episode, we travel deep into the Arctic Circle, to Longyearbyen – home of Artica Svalbard – to hear a conversation between an architect and an anthropologist about how climate change is affecting people’s relationship with their built environment.
The introductory episode of TESTING GROUNDS [was] released on Friday 27th of January 2023, with new episodes available on the last Friday of each month. To subscribe and listen, visit naarca.art/testing-grounds-podcast/ or search for “Testing Grounds” in your favourite podcast app.
TESTING GROUNDS is produced and edited by Katie Revell and includes original music by Loris S. Sarid and artwork by Jagoda Sadowska.
NAARCA is a collaboration between seven artists’ residencies: Cove Park (Scotland), Saari Residence (Finland), Artica Svalbard (Norway), Art Hub Copenhagen (Denmark), Baltic Art Center (Sweden), Skaftfell Art Center (Iceland) and Narsaq International Research Station (Greenland). We are working together to develop, test and communicate new ways of living that are ecologically, socially, mentally and financially sustainable. We believe that artists’ residencies are exceptional institutions within the arts sector: safe environments for experimentation, where private, professional and public life intertwine. Learn more at naarca.art
When entering Robyn Woolston’s recent solo exhibition Yours, in Extraction, the first word viewers see is “EMERGENCY.” The word is emblazoned on a stack of ‘Emergency Beacons’ stacked in the middle of the gallery at Fort Worth Contemporary Arts (Art Galleries at TCU). The beacons are tall, black, poles topped with blue lights that immediately catch the viewer’s attention. As Woolston states in the exhibition publication, the TCU campus is full of these Emergency Beacons that are topped with a blue light and equipped with a call button that connects directly to campus police. The beacons are ‘on loan’ from the TCU Facilities department and will be returned for reuse after the exhibition. Seeing them battered and lying on the ground is jarring for students who are used to encountering them as symbols of safety, securely standing in well-manicured lawns across campus.
Robyn Woolston is a visual artist who uses installation, photography, moving image, and print to inspire climate-based reflection in her audiences. Often working in non-gallery spaces, Woolston explores eco-grief, climate anxiety, land rights, and environmental extinction. Through her interdisciplinary and collaborative practice, Woolston’s work questions the structural frameworks perpetuating climate change’s violent and disastrous effects. For her solo exhibition at Fort Worth Contemporary Arts (19th October – 18th November 2022) Woolston presents a new film, publication, and series of discursive objects. Yours, in Extraction is the result of ideas and materials brought together over three years through residency periods in Fort Worth and collaborations with TCU’s Department of Psychology and BRIT, the Botanical Research Institute of Texas. The outcome is a thoughtful, complex, and interconnected exhibition that is both deeply rooted in Fort Worth’s extraction-rich geography and internationally relevant.
Although the installation in the gallery seems simple at first, each independent element speaks to the others, creating a robust conversation on the current state of the climate. The film, the publication, the photography, the found and created objects, and the reflection spaces relate to one another, leading to a larger questioning of the frameworks and systems that perpetuate climate change. In this way, the exhibition functions as an ‘ecosystem,’ with each piece playing an independent and interconnected role. By creating an exhibition ‘ecosystem’ that relates to the local environment, Woolston communicates the large, complex, and overwhelming climate change issues in a tangible way to Fort Worth audiences. By collaborating with scientists and psychologists, Woolston also places herself within an interconnected system of agents working not only on visualizing but also embodying the realities of climate change to the public.
Facing the beacons are fabric banners and aluminum plates printed with Woolston’s photographs of Fort Worth’s landscape and the extinct-in-the-wild species specimens that Woolston studied at BRIT. The kaleidoscope effect of the images encourages close looking at the fragments while obscuring the entire image, creating a kind of visual dissonance that speaks to the alienation modern viewers feel from their natural environments. The fabric banners are made of ethically sourced organic cotton, and the aluminum plates are printed by a factory that runs on 100% renewable energy.
On the opposing wall, a series of kiosk flags in a gradient of bright red and pink hues line the entire wall. The flags are printed on both sides with words like “organic,” “biodiversity,” “redlining,” and “home,” literally ‘flagging’ the climate crisis while calling the viewer’s attention to what the natural world can mean to us and how it can be manipulated and controlled. The flags are made from post-consumer recycled materials.
Facing the kiosk flags, a series of agricultural tags, replicas of the tags placed on the ears of cattle, are hung in a cluster on the wall. The tags are printed with words like “oil,” “morality,” and “land rights,” referencing Fort Worth’s cattle trading history while calling attention to contemporary climate issues. The tags are made from 100% recycled material.
On the back wall, a television screen plays the Yours, in Extraction film. The film is made up of footage Woolston filmed during her residency in Texas and interviews recorded with researchers in TCU’s Department of Psychology and BRIT, the Botanical Research Institute of Texas.
A table at the front of the gallery displays books, including the publication Woolston created for the exhibition, along with titles for further research about climate change, trauma, and healing. The books will all be given to TCU’s library after the exhibition closes, allowing students to continue engaging with the materials long after the show moves on. Another table displays engagement materials, including printed pamphlets encouraging visitors to respond to prompts like “how does climate change make you feel?” Asking viewers to engage with their feelings about climate change directly, whether before or after viewing Woolston’s exhibition, allows them to confront their own grief, trauma, or fear.
Clearly, Yours, in Extraction is an exhibition where form follows function. All materials are recycled or ethically sourced; even Woolston’s trips to Texas were carbon offset. For the full environmental statement on the exhibition see Woolston’s website. More than just the materials, though, Woolston was intentional about creating work that itself would be regenerative. The film and publication created for Yours, in Extraction will continue to be shown, maximizing the potential for continued reflection and conversation about climate change outside the physical exhibition space. Woolston’s research at BRIT also continues to evolve as plant species thought to be extinct when she began the project three years ago have since been rediscovered.
When reading about the rediscoveries of plant species thought to be extinct, I was glad to find a hint of optimism, the possibility of a ‘happy ending.’ However, this thread of optimism that comes from a rediscovery is predicated on the necessity of loss in the first place. Woolston turns to environmental studies scholar Donna J. Haraway to capture the condition of embracing loss to act on our responsibility to one another
Each time a story helps me remember what I thought I knew, or introduces me to new knowledge, a muscle critical for caring about flourishing gets some aerobic exercise. Such exercise enhances collective thinking and movement in complexity. Each time I trace a tangle and add a few threads that at first seemed whimsical but turned out to be essential to the fabric, I get a bit straighter that staying with the trouble of complex world-ing is the name of the game of living and dying well together…
We are all responsible to and for shaping conditions for multispecies flourishing in the face of terrible histories, and sometimes joyful histories too, but we are not all response-able in the same ways.
DONNA J. HARAWAY, STAYING WITH THE TROUBLE: MAKING KIN IN THE CHTHULUCENE, (DURHAM: DUKE UNIVERSITY PRESS, 2016)
Accepting the idea that there is no regeneration without loss, as Woolston does in Yours, in Extraction, allows us to confront the harrowing truth about climate change, mourn what we have lost, and then acknowledge our agency in moving together towards some kind of healing.
Shelby Bennett is an art historian and writer. She is currently pursuing her master’s degree in Art History at Texas Christian University in Fort Worth, Texas. Her thesis investigates how depictions of Jeanne Duval reveal anxieties about race and women’s roles in nineteenth-century France.
EMB’s artist-in-residence programme ‘EMBracing the Ocean’ provides grants for creative individuals or groups to co-create work with Ocean scientists. It aims to inspire wide reaching societal change for Ocean sustainability by expanding societies’ understanding of the Ocean’s value and the urgency of ensuring its health and resilience now and into the future.
If we are to ensure the effectiveness of scientific solutions developed within the UN Decade of Ocean Science for Sustainable Development, society’s relationship with the Ocean must change. The arts are powerful ways to impact society and drive societal change due to their role in conveying human values, ideas, and visions; developing social, cultural, and individual identities; offering innovative approaches to communication and dialogue around complex issues; distilling information; and producing new knowledge and insights. This programme is part of EMB’s support for the Ocean Decade, and contributes to the Ocean Decade societal challenge of an inspiring and engaging Ocean where society understands and values the Ocean in relation to human wellbeing and sustainable development. The EMBracing the Ocean programme additionally supports the goals of the EU Mission Restore our Ocean and Waters (Mission Ocean) to protect and restore marine ecosystems and biodiversity, prevent and eliminate pollution in our Ocean and to make the sustainable blue economy carbon-neutral and circular. Public mobilisation and engagement are key enablers of the Mission Ocean, for which art plays an important role.
Background information
The Ocean covers 70% of the surface of our planet, forms 95% of the biosphere in terms of volume and is essential for supporting life. The Ocean regulates global climate systems and has absorbed one third of excess carbon dioxide emitted into our atmosphere since the industrial revolution, as well as the majority of Earth’s excess heat. It provides potential for a huge source of renewable energy, coastal protection, recreation and cultural well-being, as well as being an importance source of food and medicine. These benefits that the Ocean provides are dependent on the maintenance of Ocean physical, chemical, geological, and biological processes, healthy and resilient marine ecosystems, and a shift in human activities towards sustainable practices. The Ocean is too often out of sight and out of mind, and is increasingly under threat from human activities including global population growth, pollution (including CO2, nutrients, plastics, noise), climate change, and over-fishing, causing the widespread loss and degradation of marine ecosystems and biodiversity. However, there are solutions which we must embrace and scale-up to overcome global sustainability challenges. This includes the conservation and restoration of key marine ecosystems such as mangroves, coral reefs, and seagrass; reducing marine pollution; sustainably managing our fisheries and other resource use; and strengthening empathy towards our Ocean.
A key principle of the EMBracing the Ocean programme is co-creation of work between artists and their scientific collaborators. Co-creation is the process of creating something new together while exchanging and reshaping ideas. The artists and scientists are considered equal and each side benefits and learns from the process. The goal of co-created art-science projects should go beyond making complex scientific topics more accessible to the public, but also for the scientists to gain new insights into their work by collaborating with artists.
Call for artists for 2023 – 2024 programme
The European Marine Board (EMB) is looking for two new artists for the 2023 – 2024 edition of our ‘EMBracing the Ocean’ artist-in-residence programme. As we enter the third year of the UN Decade of Ocean Science for Sustainable Development, the need to connect people to our Ocean is more important than ever. The EMBracing the Ocean programme provides 10,000 euro grants for creative individuals/groups from a wide range of disciplines to co-create artwork in collaboration with Ocean scientists to raise societal awareness of the Ocean’s value and inspire behavioural change for a sustainable future.
How to apply
You can find more information about the programme and how to apply by downloading our ‘Application Information’ document. A template for preparing submission materials is available here, and applicants are welcome to consult our FAQs. Applications can be submitted until midnight CET on 20 February 2023 using the application form.
Artichoke is inviting anyone aged 18+ to submit their bright idea for new light works for Lumiere 2023. The UK’s light art biennial will take place from 16-19 November 2023 in Durham.
The national commissioning scheme aims to encourage creativity across the UK as well as highlight brilliant ideas from people living in or originally from the North East. Successful applicants will be supported by Artichoke with the production costs and technical expertise to create and install their artwork at specific locations.
Successful applicants will receive: – A fee of up to £1,000 – An international platform to exhibit your light work – Support from an Artichoke Producer and Production Manager to realise your BRILLIANT idea And more…
You don’t need to be a practising artist or have any previous experience to apply to BRILLIANT. You just need a bright idea.
Who can apply? – Anyone aged over 18 – Anyone currently living in the UK
The closing date for applications is Sunday 19 February 2023, 11:59pm.
Artichoke is committed to broadening the diversity of those working in the medium of light art and encourages applications from people who are currently under-represented in our BRILLIANT alumni, including people of colour and people who identify as d/Deaf, disabled or neurodivergent.
Note : Une version en français de cet article est disponible sur : Français
(ocean shoreline)
The problem with beauty is that it can distract us from reality.
Sit with me, please, take a moment. Sit and listen…
Over there, about 56 kilometers to the northeast, is the traditional territory of the Musqueam, Squamish and Tsleil-Waututh nations, also known as Vancouver.
Listen to the ocean flowing, like the blood and liquids in your body. We are water.
Listen to the ravens passing by and croaking. They are poetry in motion.
Listen to the city rumbling at a distance, but it’s hard to hear, isn’t it? Let me help by filtering out high frequencies…
(cutting out of high frequencies)
Ah, there is the drone of the city.
It’s both beautiful and bewildering, isn’t it?
A plane is coming. I’ll bring back the high frequencies.
(bring back high frequencies)
The sky is littered with aircraft around here – seaplanes, jets, helicopters – but they can have a strong aesthetic effect as they inch their way across the sky, merging with the rumble of the city.
(Fading to silence)
One of the problems with modern aesthetic experiences is that we tend to choose the ones that reinforce our own world view and deny the shit around us.
Dr. Vanessa Andreotti suggests that we learn to ‘hold space for the good, the bad, the ugly and the messed up, within and around’
This episode is dedicated to my colleague Hildegard Westerkamp whose voice, from her Kits Beach Soundwalk (1989) composition, was in my head when I wrote the narrative for this episode. I respectfully borrowed her technique of filtering a soundscape as part of a narrative.
The recording was made on a Zoom H4n Pro in one take on Saturday, October 1, 2022 at 8am at the Boat Pass at Winter Cove National Park, Saturna Island, BC.
I thank Dr. Vanessa Andreotti for the use of her words.
I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).
The post e102 aesthetics – how can we ‘de-modernize’ art? appeared first on conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.
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About the Concient Podcast from Claude Schryer
The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.
I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.
The term “conscient” is defined as “being aware of one’s surroundings, thoughts and motivations”. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016-2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.
season 1 (may – october 2020) : environmental awareness and action Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie”s Bicycle). Episode 18 is a compilation of highlights from these conversations.
season 2 (march – august 2021 ) : reality and ecological grief Season 2 (March 2021 ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that “I now see, and more importantly, I now feel in my bones, “the state of things as they actually exist”, without social filters or unsustainable stories blocking the way”. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.
season 3 (october 2021 – february 2022 ) : radical listening Season 3 was about radical listening : listening deeply without passing judgment, knowing the truth and filtering out the noise and opening attention to reality and responding to what needs to be done. The format is similar the first podcast format I did in 2016 with the simplesoundscapes project, which was to ‘speak my mind’ and ‘think out loud’. I start this season with a ‘soundscape composition’, e63 a case study (part 1) and e64 a case study (part 2), a bilingual speculative fiction radio play, set in an undergraduate university history seminar course called ‘History of 2021 in Canada’. It concluded with a soundscape composition ‘Winter Diary Revisited’.
season 4 (1 january – 31 december 2023) : sounding modernity
About
I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I”m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation :
View the original: https://www.conscient.ca/e102-aesthetics-how-can-we-de-modernize-art/
Share your knowledge with others so we move faster together – or ask a question that someone else may have the answer to!
At our Green Arts conferences (which we held up until 2019), our ‘show and tell’ sessions, where practitioners shared their stories with their peers, were very popular and successful. Much of the knowledge needed for working on climate change is in people’s heads and in their cultural and climate-focused organisations. It’s knowledge that’s less technical and more about how to get it done, where to start, who to ask, and where the suppliers are.
Ideas for transformational change and re-imagining the world
We need a more transformational change in society. So, we welcome your ideas about how culture can start doing different things to help bring about that change; rather than doing the same things differently.
Let other sectors know what you need to enable your transformational change
Culture, transport, local and national government, environmental agencies – we all need each other’s help to make the change. Tell us the challenge you are facing and what you need from others.
What sort of exhibits are we looking for?
We’re looking for posters, short videos, presentations, whatever suits you best. It can be an exhibit you’ve created already or one you make especially for SPRINGBOARD (as your time and resources allow).
While your exhibit doesn’t have to tie in to the themes or cohorts specifically, you may find it useful to have a look at the SPRINGBOARD programme.
Deadline to express interest
We’re not setting a strict deadline but we encourage you to submit your expression of interest as soon as possible. This allows us time to review and get back to you so that you can create your exhibit with time to spare before SPRINGBOARD begins on 27 February.
We’ll check your submission for relevance and suitability and then let you know if it’s been accepted so that you can share the relevant links and/or files with us to upload to the exhibition hall.
We’re aiming to upload any exhibits that we receive by 16 February ready for day 1 of SPRINGBOARD. After 16 February, we’ll do our best to upload exhibits but know that we’ll also be pretty busy getting ready to welcome you at 10am on 27 February.
