Monthly Archives: February 2023

e108 2048 – what speculative fiction stories inhabit you?

Conscient Podcast, podcasts

Note : Une version en français de cet article est disponible sur : Français

(Sound of fire)

This is another fireside storytelling episode, this time by a wood stove at our cottage. Thanks for joining me. Pull up a chair… 

As I mentioned in episode 106, sometimes, when I get discouraged I like to build a fire, like this, to lift my spirits and to re-energize. 

(Sound of fire) 

Today’s story is an excerpt from Part 1, Warm Up : Into The Future from Vanessa Andreotti’s Hospicing Modernity book, written by the Gesturing Towards Decolonial Futures collective. I first heard this story, in audio form, while driving through a severe snowstorm on January 19th 2022.

(rumble of car)

The road was very slippery. I could hardly see. I probably should have stopped but I was mesmerized by the story and kept driving through the storm, not knowing how my trip or this story might end. I recall that the story inhabited my body and my spirit that day, where it remains. I believe that stories,, including speculative fiction, have that ability to sit with us and guide us through life.

So, this story places you on December 10 2048, one hundred years after the universal declaration of human rights. You are in a 3D virtual reality world conference where people are gathered to decide the direction of education after a period of catastrophic events. 

I’ll read you a short excerpt now from the end:

In the period between 2038 and 2047, we finally accepted that we were part of the problem and needed to engage with our painful reality to avoid being wiped out. The Mars colony tragically failed in 2038, destroying our hopes for life on another planet. In 2039, a massive event made us all suddenly recognize the enormous cost of our mistakes. Finally we could see that we were addicted to arrogance, consumption, and unaccountable autonomy. We realized that we needed mass rehabilitation. We grasped the gravity of the fact that we were only three billion people left on the planet. We understood that we had caused the extinction of 70% of all species – and the extinction of all life in entire regions of the earth – and we were extremely close to causing our own. We recognized that planet Earth is alive and we are part of the metabolism, not the center of the world or a special species. We also worked out that humanity is capable of both horrendous and wonderful things. We started to face our own and others’ humanity in all its complexity and be taught by the human wrongs we had inflicted upon each other, upon other beings, and upon the planet. 

Then we all had to learn quickly, collectively, and without schools or moral manifestos:

  • To heal intellectually, emotionally, collectively, economically, ecologically, and politically;
  • To abolish colonial and racial violence, inequality, hierarchies of worth and separations; 
  • To center the earth and decenter our egos, identities, human narratives, and separations;
  • To age and die in generative ways;
  • To care for, rather than compete with, everything and everyone;
  • To plant, repurpose technology, compost, repair, and regenerate everything;
  • To prioritize the common good for humans, non humans, and the planet;
  • To use words and conversation carefully and wisely, with humility and maturity;
  • To own up, sober up, clean up, grow up, show up, and exist differently.
  • What speculative fiction stories inhabit you?

*

Thanks to the Gesturing Towards Decolonial Futures collective for use of the story in this context and to collective member Azul Carolina Duque for her advice.

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).

My gesture of reciprocity for this episode is a donation to the South American Indigenous Network Emergency Fund.

The post e108 2048 – what speculative fiction stories inhabit you? 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.

———-

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/e108-2048-what-speculative-fiction-stories-inhabit-you/

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Environmental reporting round-up 2021/22

Creative Carbon Scotland

This year, Creative Carbon Scotland has again supported cultural organisations to measure and manage their environmental impact through our environmental reporting programme.

As part of the journey to net zero by 2045 (at the very latest!), and in collaboration with our arts funding partners, this programme aims to increase environmental stewardship in the sector and drive ambition for transformational change within arts and culture, and beyond.

We received reports this year from 133 organisations across three groups:

  1. Edinburgh Festivals, who are members of Environmental Sustainability Working Group (ESWG)
  2. Organisations receiving revenue funding from the City of Edinburgh Council – Culture Service
  3. Creative Scotland regularly funded organisations (RFOs)
Reporting more data than ever before

Though the sector still has a long way to go before it reaches net zero, this year saw more organisations reporting more data than ever before, laying the groundwork for continuing ambition in emissions reductions in the years to come. Furthermore, we saw organisations taking the lead in the use of influence and storytelling to catalyse change beyond the sector itself. As we head into the fourth year of this most important decade for climate action, we believe that more of this ambition and more of this leadership is required to deliver the transformational change needed.

What do we mean by net zero?

When we refer to ‘net zero’, we follow the lead of the Science Based Targets initiative (SBTi)’s Net-Zero Standard. This focuses on the need to first reduce absolute emissions to limit global temperature increase to 1.5⁰C rather than balance all emissions through offsetting.

It can be a confusing term, but it is the official term used by Scottish government, as well as the IPCC and UNFCCC, which inform and bring together international climate negotiations.

Emissions reporting

To manage their emissions, organisations need to measure and monitor them. That is why we ask all organisations to report on their energy and utilities consumption, waste disposal, and travel emissions.

As we aim for net zero by 2045, we need to see these emissions reducing. The graph shows the total emissions reported by reporting organisations each year since 2019 in tonnes of CO2e. There is a downward trend from over 10,000 tonnes in 2019 to 7819 tonnes this year. Considering that more organisations are now reporting than in 2019 and they are reporting on more emission sources, this is especially impressive. It shows that more RFOs are engaging fully in the process of emissions reporting, building the measurement and reporting of these emissions into their business processes.

Graph showing the total emissions reported by reporting organisations each year since 2019 in tonnes of CO2e.

Here are some further insights from reported emissions:

  • 77% of emissions come from energy and utilities making it by far the largest emissions source for the sector.
  • The second largest source of emissions is travel at 13%. Travel emissions have bounced back from last year but are not at pre-pandemic levels. However, many RFOs indicated that they expect to see travel emissions increase as they ‘return to normal’.
  • Electricity emissions have reduced by 35% since 2019, but absolute consumption has only decreased by 8%. While actions taken by reporting organisations account for that reduction in consumption, the reduction in emissions is mostly due to the overall lower carbon intensity of electricity since there’s now more renewable energy in the national grid.
Carbon management plans

Once organisations are measuring their emissions, they can then use that data to inform their carbon reduction in the form of a carbon management plan. This year, we asked organisations to provide an action plan for the next three years with associated emissions reductions each year. We hoped this approach would encourage organisations to look forward with their carbon management plans and create bold but achievable targets that could be tracked and measured year-on-year.

All but one of the organisations were able to provide detail on actions they planned to take. Here is a word cloud to offer an idea of the themes covered in the actions this year:

Word cloud based on the proposed actions from cultural organisations.

Additionally, we highlight some of the most interesting and impactful planned actions here:

Aberdeen Performing Arts (APA) – They have appointed a Creative Change Maker for Climate Action, a role focused on working with artists, arts and cultural organisations, local communities, and regional and national partners to support sustainability and build resilience. They will be exploring how APA can use the arts to continue to be a more environmentally conscious organisation.

The Stove Network – Alongside their capital work to develop the capabilities and efficiencies of their venue at 100 High Street, Stovies are developing their community-led programming strand Open Hoose, which encourages project development with a strong focus on environmental and de-carbonising activities. These have so far included Climate Kitchen, a monthly space exploring opportunities for individuals to improve their own carbon footprint, Doughlicious, a community bread making club, and Nith Life, a group seeking to influence sustainable management & flood prevention.

Festivals Edinburgh – After identifying that travel has historically been their greatest source of emissions, the six-strong team who support Edinburgh’s international festivals are setting a three-year carbon budget of 30 tonnes (shared across the three years) for their travel carbon footprint for the period 2022/23 through 2024/25 to allow for different activity patterns each year.

Need to do more

Individually, many organisations are making some great steps towards reducing the impact of their operations, with some like those above even looking to use the power they have as arts organisations to influence the wider ecosystem of business, communities, and policymakers. However, if we look at the sector as a whole, examining all 134 organisations and the pledges they have made, it is clear that we still need to do more:

  • 74% of organisations were able to calculate emissions reductions associated with their planned actions.
  • Of those that reported reductions, 23% are on target to be net zero by 2045 and 11% are on target to be net zero by 2030.

We need to work together to increase this ambition and drive for transformational change in the sector. Since the reporting period, Creative Carbon Scotland, in collaboration with many organisations across Scotland, have been working to increase this ambition through our SPRINGBOARD local assemblies, and we will be bringing arts and culture organisations together with policy makers, climate specialists and others in our online assembly at the end of February.

We continue to provide support to organisations hoping to reduce their footprint and guidance on collaborative and transformative approaches to reach net zero whether the organisation currently reports its emissions or not. Check out our tools and resources for the more practical help and get in touch with Matthew – matthew.belsey@creativecarbonscotland.com – if you have any questions or ideas you would like to discuss.

The post Environmental reporting round-up 2021/22 appeared first on Creative Carbon Scotland.

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Opportunity: Seeking performer and producer

Creative Carbon Scotland

We are seeking an experienced performer and a freelance producer to join our team.

As we begin redeveloping our show Water is Attracted to Water to tour in late 2023/24 we are looking for two lovely collaborators to join us.

Water is Attracted to Water is a theatre show celebrating an imagined Water Day, with a Water Molecule Dance, stories, a science experiment, drawings and music. It is a staging of a 21st century myth for the human relationship with water: playful, funny and geeky but also recognising our sadness as we face ecological and climate crises.

The show is part of a wider interdisciplinary arts project collaborating with scientists working on the climate crisis. In development it has received funding and support from Arts Council England, WATERAGRI H2020 research project, Lund University, University of Salford, New Adelphi Studio and ARC Stockton. We currently have funding in place for a short intensive period of work and are applying for further funding for the final phase. Please check out our website (www.waterisattractedtowater.com) to see our short film, EP and information about our initial work in progress performance.

Performer

If you are a playful performer with experience of movement, improvisation, theatre, based in or near Manchester or Edinburgh maybe we are a good match. We particularly welcome Global Majority performers and seek to reflect a diversity of voices and perspectives on stage.

Full role description here: https://docs.google.com/document/d/16WwFzPwnFO-5p-nCpw4yJB5W73Zh8D_85eKs23ZinrU/edit?usp=sharing

Producer

Seeking a freelance producer with excellent time management & communications; strategic thinker; recent Arts Council NLPG experience, able to work remotely. UK based.

Full description here: https://docs.google.com/document/d/17QnMn6YC4FMMhFW6EpjKU3wxr7xzqntzqtHwqpSVZw8/edit?usp=sharing

Pay rates: £200/day
CV and expression of interest by 27 Feb via email to Kate Adams on kateroseadams@gmail.com.

We are committed to equal opportunities. If you have any access needs, please get in contact with Kate. We’ll be shortlisting and replying on 1 March and arranging online interviews in early March. Performer auditions in person, in Edinburgh and Manchester in late March or first week of April.

(Top image: by Evgenia Bourzoukou)

The post Opportunity: Seeking performer and producer appeared first on Creative Carbon Scotland.

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Job: Freelance Audience Development/Project Manager

Creative Carbon Scotland, Job Posting

Seeking an experienced freelancer with audience development and project management experience.

Chrysalis Arts Development (CAD), is seeking an experienced freelancer with audience development and project management experience to contribute to our current work programme, help us improve the reach and impact of our projects and to lead on the research and writing of an Audience Development Plan. This is an exciting opportunity to contribute to our access, inclusivity and skills development work and to work as part of a highly skilled and collaborative team on an innovative programme of place-based and environmental arts-led activity.

A priority for this work will be contributing to the creative consultation programme for Marton Wood, a new 10-year slow art initiative currently in development. The introductory programme for this project has commenced and currently includes workshops and taster activities led by freelance artists, seasonal workshops with local schools, community consultation events and a programme of artist engagement activity. In addition to supporting this work, the role will involve research to extend its reach, working closely with the rest of the CAD team, gathering and evaluating feedback, and also contributing to other ongoing audience research and engagement work, including with underserved and isolated groups.

Deadline for applications: Monday 6 March 2023, 9am

Responsibilities
  • Contributing to the planning and implementation of CAD’s current project work which focuses on community engagement, art and environmental issues and place.
  • Facilitation of engagement programmes of activity in conjunction with CAD’s core team. This will include research and consultation, particularly with schools and community groups, organisation of venues, liaison with artists and other workshop leaders, attendance at participatory sessions and gathering of participants feedback and other relevant information.
  • Contributing to the development of online community engagement content.
  • Data collection, evaluation, and presentation of material and project information.
  • Attendance at weekly team meetings – a combination of online and in-person.
  • Research and creation of an Audience Development Plan to underpin this work.
Experience

Essential

  • Experience in audience research, data collection, analysis and evaluation
  • Excellent organisational and planning abilities
  • Strong communication and facilitation skills and confidence in engaging with young people, older people and underserved groups
  • Knowledge/experience of arts and community engagement practice and project management
  • Flexibility, willingness to travel and work evenings and weekends as required
  • Ability to work independently and as part of a team with a strong collaborative ethos

Desirable

  • Knowledge of visual arts practice
  • Enthusiasm for and understanding of CAD’s artistic and environmental goals and values
  • Ability to work independently and as part of a team with a strong collaborative ethos
  • Digital skills
Fee and time

The work is offered on a freelance basis for 1.5 days per week, based on a daily rate of £170 per day, including VAT if applicable. A day is based on 7 hours. Working hours may be flexible, although a regular working pattern is required. This contract is offered for an initial period of six months commencing in April 2023, due for completion by the end of October 2023, with the option of renewal subject to successful funding being secured.

Background information

CAD is predominantly a visual arts organisation but works across artforms and in collaboration with a wide range of practitioners and specialists.

Working pattern

Flexible working hours will form a key requirement of this role, including attending sessions at times when groups meet eg evenings, and when activities are planned outside normal working hours. The person appointed will be willing to travel to a range of locations and a driving license and use of a vehicle is desirable.

Since the COVID pandemic, we have developed a flexible working pattern, combining regular online working from home with meetings at our base, The Art Depot, in Gargrave or occasionally elsewhere. We envisage a routine of approximately monthly in-person meetings which will focus on planning and development, whilst routine work will continue to take place from home. Attendance at online, weekly team meeting, at meetings at The Art Depot and at relevant activities and events will be essential.

Team

The core Chrysalis team currently comprises two executive directors, a CPD manager and marketing/admin manager. All Chrysalis staff work part-time and are employed on a freelance basis. We appoint additional freelance specialists as required. We also work closely with our board of management which takes an active role in all aspects of our operation.

Travel

Gargrave is accessible by public transport including bus and train. Activities will take place in other parts of North Yorkshire, including rural areas where public transport is not available, and a driving licence and use of a vehicle is desirable.

A car mileage allocation of 45p per mile is payable for work which involves travel in North Yorkshire or beyond. This is calculated from The Art Depot or from home, depending on the shorter distance.

Contract

The contract will be for six months, depending on start time, with an initial break clause after three months. Future renewal is subject to company need and the successful procurement of future funds.

To apply

Please email a CV and covering letter of no more than 2 sides A4, outlining your experience and what you can offer the role.

Deadline for applications: Monday 6 March 2023, 9am

Emails and enquiries should be addressed to: info@chrysalisarts.com
Role to start on or before: Tuesday 11 April

Chrysalis Arts is committed to a policy of equality of opportunity for all and aims to ensure that no potential or actual worker is treated less favourably than another because of race, ethnicity, faith, gender, sexuality, disability, age, marital status, class or economic disadvantage.

The post Job: Freelance Audience Development/Project Manager appeared first on Creative Carbon Scotland.

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Project Assistant for the Department of Utopian Arts & Letters

Department of Utopian Arts and Letters, Open Calls

The CSPA Department of Utopian Arts and Letters (DUAL) is a project of the Centre for Sustainable Arts. It is a project of public dreaming born out of desires for decolonization, climate justice, and collective liberation. It envisions Plural Utopias Of the Future (PUOF), each imagined through the radical thinking of diverse artists. DUAL operates within, across, and beyond official governmental and academic departments to empower us with visions of the future to work towards and the necessary “curricula” to dismantle the systems that stand in our way. It offers a free, public education for thriving futures designed by community expert artist “faculty” and organized by counterpart “librarians.”

This Project Assistant will provide administrative and organizational services and support to the Department of Utopian Arts and Letters (DUAL) Project and editorial support for CSPA Publications including DUAL, the CSPA Quarterly and CSPA Reports. In this role, you will work independently utilizing business knowledge, experience, copy, and administrative expertise to deliver value and support the contributions of the DUAL Project and CSPA leadership Team(s). This role is privy to senior leadership matters, communications, correspondence, documents, and decision items and is required to exercise a high level of confidentiality, discretion, diplomacy, and sound judgment.

Project Assistant Job Responsibilities:

  • Provides administrative and editorial support to ensure efficient operation of CSPA Projects.
  • Maintain the CSPA filing system on Google Drive.
  • Support and provide moderation on Mighty Networks learning platform for DUAL program.
  • Coordinate deliverables with artist contributors, graphic designer, and media production contractors.
  • Work alongside DUAL project librarian and CSPA editors to plan, implement, and manage publication schedules.
  • Proofreading manuscripts to identify any grammatical and spelling errors, and ensure accuracy and consistency in citations.
  • Assist with budget preparation and expense tracking.
  • Assist with the creation of reports and presentations, transcription of minutes from meetings.

Qualifications for Project Assistant

  • Prior administrative experience with clerical, secretarial, or office work in a non-profit arts environment
  • Prior experience and interest in environmental issues in the arts.
  • Proficient computer skills, including Google Suite and Slack
  • Ability to cultivate additional computer skills quickly, in particular Mighty Networks community learning platform.
  • Strong verbal and written communication skills
  • High degree of attention to detail
  • Data entry experience
APPLY NOW

Conscient Podcast: e107 harm – what do you not know?

Conscient Podcast, podcasts

(bell and breath)

Today’s episode does not have any sound other than my voice and a series of silences.  And I think you’ll understand why in a minute.

(Silence)

Writer and broadcaster Jesse Wente, author of Unreconciled, became the first indigenous person to chair the Canada Council for the Arts during the summer of 2020, a few weeks before I retired from the Council. 

(Silence)

In an August 6, 2020 interview with the Toronto Star, I was deeply moved by what Jesse said. 

The way I view work now within colonial structures and institutions is harm reduction. Ultimately, the goal for me is to reduce the harm the Canada Council causes, not just to my community but to any community that suffers under colonialism, which is really all of us on some level, and to make it somewhat easier to exist, work, live and participate.

(Silence)

I invite you to think about this statement. In fact, I invite you to explore your feelings about this statement. 

(Silence)

Jesse goes on in that same Toronto Star interview to say :

What does the new world look like? How do we support that? How will we be nimble enough to be comfortable not knowing and yet developing policy around not knowing? With artists and the cultural sector, even though we’ll be among the last to restart, I think we have a fairly significant role to play in helping to define what recovery and restoration look like.

(Silence)

Now I could not find a sound in our modern world to respectfully accompany Jesse’s words and his questions. 

(Silence)

The only sound, or absence of sound, so to speak, that made sense to me was silence. 

(Silence)

Jesse asks us to think about what the role of the arts sector in helping to define what recovery and restoration look like, and if I may add, what it might sound like. 

(Silence)

Jesse also invites us to imagine what a new world might look, or sound like.

(Silence)

My question for you is ‘What do you not know?’

*

I would like to thank Jesse Wente for his kind permission to use his quotations from this interview in this context. Thanks also to the article authors Karen Fricker and Carly Maga and the Toronto Star and the Canada Council for the Arts.

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).

My gesture of reciprocity for this episode is a donation to the Anishnawbe Health Foundation. 

The post e107 harm – what do you not know? 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.

———-

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/e107-harm-what-do-you-not-know/

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Opportunity: Introduction to Ecoscenography

Creative Carbon Scotland

Join Emily Reid and Mona Kastell at this event hosted by Starcatchers.

How can artists create more sustainable and environmentally friendly theatre? Join artists Emily Reid and Mona Kastell for an Introduction to Ecoscenography – the integration of ecological thinking into all stages of scenographic production and aesthetics – and explore how to put Ecoscenography into practice in your own work.

This workshop will take place online on 8 March, 10.30am-12.30pm.

Emily Reid
Emily is a theatre-maker and director, committed to devising quality theatre and creative learning projects which nurture a sense of curiosity, wonder and care for our natural world. She is particularly interested in the potential of theatre to motivate social and environmental change, the place of the arts and creativity within the school curriculum, and sustainable theatre making. Emily is the artistic director for Eco Drama, and also regularly works with other organisations presenting on Eco Drama’s work and delivering training.

Mona Kastell
Mona is an international award-winning designer, community engagement practitioner and leader in the emerging paradigm of ecoscenography. She combines permaculture and ecological design thinking within her creative practice embedded in expanded scenography with emphasis on nature, wellbeing, interconnectivity and authentic community engagement to engage and empower whole people to contribute to a healthy society and planet. Mona is one of Ecostage’s co-directors, a grassroots initiative and website that provides a holistic framework, tools and resources for embedding practice-based ecological thinking at all stages of our creative processes and scales of production.

This is a Starcatchers Playspace event. Starcatchers supports artists across all artforms at different stages of their careers – from those interested in learning more about working with this age group to those who are experienced and want to develop their practice. The programme includes training, mentorship, artist laboratories led by sector pioneers, playday workshops, networking opportunities and bursaries to attend children’s theatre festivals.

The post Opportunity: Introduction to Ecoscenography appeared first on Creative Carbon Scotland.

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NEW BOOK: The Lichen Museum by A. Laurie Palmer

news

THE LICHEN MUSEUM
By A. Laurie Palmer
University of Minnesota Press | 184 pages | February 2023
ISBN 978-1-5179-0867-6 | paperback | $24.95

Art after Nature Series
The Lichen Museum explores how the physiological characteristics of lichens provide a valuable template for reimagining human relations in an age of ecological and social precarity. Using this tiny organism as an emblem through which to navigate environmental and social concerns, Palmer implores us to envision alternative ways of living based on interdependence rather than individualism and competition.

ABOUT THE AUTHOR
A. Laurie Palmer is an artist and professor at the University of California, Santa Cruz.

PRAISE FOR THE LICHEN MUSEUM
“The Lichen Museum is a deeply engaging, provocative, humorous, and moving account of why we should pay more attention to lichens. As lichens can be found anywhere, the entire surface of the earth becomes the lichen museum. A. Laurie Palmer weaves together personal anecdotes, theoretical interventions, photography, and detailed research to draw attention to how lichens can offer new ways to think through questions of relationality, life and death, and our mutual obligations to each other.” —Heather Davis, author of Plastic Matter

For more information, visit the book’s webpage: https://www.upress.umn.edu/book-division/books/the-lichen-museum

Ecoscenography Summer Internship Opportunity

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Graben-Neudorf, Germany (July/August 2023)

Calling all sustainability-focused performance design (set & costume) & technical theatre production students/recent graduates! You are invited to apply for The Magic Flute: Upcycled, an industry placement opportunity for Germany’s first Living Stage project (July/August 2023).

The Living Stage is a global initiative by Austrian-Australian designer Tanja Beer. The project combines stage design, horticulture and community engagement to create recyclable, biodegradable, edible and biodiverse performance spaces. Part theatre, part garden and part food growing demonstration, The Living Stage engages people from all walks of life in developing a greater understanding and appreciation of the more-than-human world. Since making its debut in Castlemaine (Australia), the concept has travelled to Cardiff (Wales), Glasgow (Scotland), New York (USA), as well as Armidale, Lorne and Melbourne in Australia. At the crux of the project is the notion of community-engaged and place-based design processes to foster equity and togetherness on global-to-local issues. The German Living Stage and costume design will be centred around the creation of an Eco-Opera production of Mozart’s The Magic Flute, entitled The Magic Flute: Upcycled (19th/20th August).

The Eco-Opera will be the 8th Living Stage and the first to be developed in Central Europe. The project will be developed as part of a new public space initiative in Graben-Neudorf from mid-July to late-August (approx. 6 weeks on the ground) with some online meetings prior to this time. This is a low-cost grassroots community initiative, with the locals very much joining in the creation and realisation of the event, alongside professional artists. While it is an unpaid position, all successful applicants will be provided with homestay accommodation for the duration of the project to also assist in facilitating community integration and cross-cultural exchange.

The opportunity would suit students or recent graduates who are interested in engaging in this experience as part of their studies (i.e. Work-Integrated-Learning) or early career development. We are looking for candidates based in Europe or those that are already planning to attend the Prague Quadrennial of Performance Design and Space in June. All Summer Interns will be provided with mentoring support to further their education and development in sustainable theatre production. German language proficiency is an advantage but not mandatory.

To apply for this opportunity, please send the following to tanjabeer.design@gmail.com by the 12th of March 2023:

  • A letter introducing yourself, explaining your interest in the project and area of expertise (i.e., set building, prop making and costume construction)
  • CV/Resume detailing any previous experience, current skills and referees (including one of your teachers or mentors)
  • PDF portfolio or link to portfolio of selected works and/or website/social media page

Successful candidates will be confirmed by April 2023.

Opportunity: River Messenger

Creative Carbon Scotland

Join the Connecting Threads team on the River Tweed.

The Southern Uplands Partnership is looking for an experienced and enthusiastic individual with a background in visual communication to join the Connecting Threads team. This role will contribute to the delivery of an ambitious four-year programme of cultural activity based around the River Tweed in the south of Scotland.

Connecting Threads is the cultural strand of Destination Tweed, a landscape-scale project that aims to conserve and celebrate the River Tweed from source to sea. Weaving cultural activity through the Destination Tweed project, Connecting Threads is supporting engagement with and awareness of our environment and heritage through access to the arts. Focusing on the Tweed as a cultural landscape, Connecting Threads’ programme of activities is shaped by the river habitat itself. Working in partnership with local communities and cultural, educational and environmental organisations, Connecting Threads will bring different knowledges and creative practices together in experiential ways to support a culture of stewardship and collaboration.

The River Messenger will be part of a small creative team working, alongside and in collaboration with the River Culture Curator and three River Culture Animateurs to share, communicate, promote and record the Connecting Threads project and its activities.

This position is offered on a part-time basis, 3 days/week on a 4-year contract (subject to funding). Flexible and hybrid working are supported for this role.

£22,000 pa fte (£13,200 pro rata pa)

A full job description and application form can be download from the open-access Google Drive.

Download the Connecting Threads Handbook, which gives more information about the project, its aims and approach.

Informal enquiries about the post can be made to Rachel Hunter, River Culture Curator, at: rachel@sup.org.uk.  We are able to accept applications in alternative formats. If you have any form of access needs please do not hesitate to contact Rachel to discuss your requirements.

Deadline for applications: Monday 6 March, 9am.

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