Moe Beitiks

Meghan Moe Beitiks researches, discusses, analyzes, critiques, questions and creates environmental art. She is the eco-arts columnist for inhabitat.com, a popular green design blog with over 100,000 unique daily visitors. She founded greenmuseum.blog, a place for the exploration of issues and themes in eco-art. She's a regular contributor to the Center for Sustainable Practice in the Arts' quarterly journal and blog. She was an Art Culture Nature fellow at the Earth Matters on Stage Symposium in 2009 and a Fulbright Scholar to Latvia in Theater in 2001/2.

Q18 Described: The Remote Everyday

Lead Editor’s note: We will be publishing excerpts from Q18: dis/sustain/ability, in order to make the content accessible to blind readers with audio screen readers. We’ll also be including audio descriptions of the Quarterly’s original layout designed by Stephanie Plenner, described by Katie Murphy. Please stay tuned for future posts and share widely.

In this our second chapter, Jennifer Natalya Fink and Julie Laffin creatively explore chemical sensitivity and disability in The Remote Everyday.

Audio Description of The Remote Everyday Layout and Pictures

Normal Flower

  1. The First Rule is there are no rules. No maps, no guides, no three wise men. You’re on your own, baby.
  2. The Second Rule is I lied. You want a rule? Here’s a rule for you, sweetheart babydoll: no interrogations. Don’t ask me, “Can N do this? How about this? Can’t she even do that?” as you decide whether N is allowed to be a person. When you ask such questions about her personhood, you’re only proving that you’ve forfeited yours, asshole.
  3.  Assume competence. It’s tricky, right?
  4. If you pay attention, you will discover who she is and what she can do. And why you think you get to arbitrate.
  5. Jumping swinging running laughing. Explaining everything you don’t want to know about artichokes. The joy and ing of her.
  6. Everyone pays all this money to all these bullshit saints, zen masters, art gods etc to be present. Here. Now. This. Moment. Save your money: N is here. Now. This. Moment. 
  7. I used to say, “N is in her own world, and we’re in it, too.” There’s one world though. Hersandours. Watch oh it shimmers.
  8. The Third Rule is also the First and Only Rule: please kindly go fuck yourself with your pity. It’s jagged, rusty. Relentlessly sharp. It will hurt.
  9. You are a visitor. A rule-follower. I am this house, its three. N’s.
  10. Remember: I don’t love you. 

Eden

There are days you want normal. You know it’s a fiction, a lie, a cheat. You don’t care. You want that high. The odorless rose, the deathless life. Aren’t we all a little addicted. Don’t you just want a normal child, you whisper. One without any issues. Just like you, right? Oh my parsnip, my pear. You have no ‘issues’, no needs? Ah! So you’re dead. (See Rule #9.) 

And remember: I don’t love you.

Begin by shopping carefully. The potential for cross contamination, second-hand or third-hand residue is very high.

The similarity between cologne and pesticide is remarkable. Once you acquire a highly deranged sense of smell, there is a terrible sameness to it all.

Most failures occur during prep because of the high rate of contamination from having to prep in one’s not so clean living space or car.

Take everything out of your bedroom including all the furniture and mattresses.

Begin washing all your bedding and clothing in sanctioned laundry soap months in advance of a visit.

Rip out all carpet and remove draperies.

Don’t enter the house without a respirator for several days until all the volatized substances have been cleared out.

Re-introduce your personal things into the space your body most frequently inhabits– your chemical-free safe room, your oasis.

Make sure there is no pesticide application happening inside your living space or that there has not been for at least several years. Also, make sure herbicides are not being used outside your door.

And though you have gone through numerous, time-consuming and mind-boggling tasks, it will all seem pointless once you put on my clothing. No so! All the preparation has made the chances of my tolerating your presence in my living space in the realm of the possible. Once you have detoxed yourself and then put on my things, then and only then, is there is a snowball’s chance it hell that it will actually work out.

Assholes and Their Mothers (Genetics)

Early on, maybe two months after N’s diagnosis, a friend with a neurotypical brat, I mean kid, called me. She was High WASP, an erstwhile academic who was generously donating her Harvard-educated brain to the PTA. The helicopter of all helicopters. She took her daughter to the ER for a single sneeze. She was one of the first people I told about The Diagnosis. Two days later, she called me: “Do you know of any kids’ theater groups that do a sensory-friendly version of their show? But it has to be free, because there are only two kids with autism, and why should we pay for just those two?” My head exploded. Steam tunneled out of my ears. I was in a comic book. Correction: I was a comic book. Finally, someone to dump my rage upon. You, my friend, are actually less accommodating than the Americans with Disabilities Act. A plain wool Republican coat of a law.  So basic even a Bush could buy it. Every child is entitled to an equal education. Every. Child. You’re in violation of the LAW, do you get that? You’re under arrest.

I said none of that. I said I didn’t know of any theater that would perform for free etc. I got off the phone and punched in a wall. That was the last conversation I ever had with her. I never returned the fancy mauve tricycle she’d lent us.

Now I would handle it differently: I would be patient, I would be good. I would punch no wall. I would view it as my duty to explain the concept of equal access, of accommodation and inclusion. The social model: places and people (you) are the obstacle, not the difference itself. Hopefully she would come away with a clear understanding of the ADA and its purpose. Hopefully she would better understand her impairment. I’m so sorry that you suffer from being an asshole. It must be so challenging. I see your daughter inherited your enormous asshole; did you consider how unfair it was to pass along this defect when you chose to have children? Your daughter will go through life an enormous gaping asshole. Is it really fair to ask society to pay for her special needs? There’s no cure for being an asshole, you know. Is she able to imagine other people as human? Is she able to empathize? Is she able to stop staring and shut her fucking mouth? No? Well what can she do? Maybe she can go live in some sort of assisted living home for assholes. I hear there some wonderful places that will take assholes like her. 

Planet Thrive http://www.planetthrive.com re|shelter http://reshelter.org AAPD American Association for People with Disabilities aapd.com ASAN Autism Self-Advocacy Network autisticadvocacy.org AUCD Association of University Centers on Disabilities aucd.org Accessworks access-works.knowbility.org Catalyst Center (healthcare reform for people with disabilities) cahpp.org Consortium for Citizens with Disabilities c-c-d.org Council for Exceptional Children cec.sped.org Employment Incentives employmentincentives.com NDRN National Disability Rights Network ndrn.org SABE Self Advocates Becoming Empowered sabeusa.org The ARC For People with Intellectual and Developmental Disabilities thearc.org Special Needs Alliance specialneedsalliance.org Electrosensitivity UK http://www.es-uk.info/ Skin Deep ewg.org/skindeep/ EI Wellspring eiwellspring.org/ Stink! https://stinkmovie.com/ Peggy Munson www.peggymunson.com/activism.html JAN askjan.org/ Rachel Carson Council rachelcarsoncouncil.org Beyond Pesticides beyondpesticides.org/ Pesticide Action Network www.panna.org/ www.mcs-aware.org/sah Homesick: Multiple Chemical Sensitivites – Dual Power Productions http://dualpowerproductions.com/homesick/ A Canary’s Eye View http://www.canarys-eye-view.org  Ability Maine http://www.abilitymaine.org/resource/guides/mcs.html Chemical Injury Information Network (CIIN) http://ciin.org/ Environmental Health Network http://ehnca.org/  Advice for Non-Toxic Living ourlittleplace.com/multiple-chemical-sensitivity/guidelines-for-nontoxic-living Chemical Injury  http://www.chemicalinjury.net  Environmental Illness Resource  http://www.ei-resource.org Chemical Sensitivity Foundation http://www.chemicalsensitivityfoundation.org   www.drsteinemann.com princesstigerlily.com/mcs/mcs_by_area.html  The Sierra Club http://www.sierraclub.org  Amelia Hill http://www.ameliahill.com

Jennifer Natalya Fink is the author of four novels, including the Dana Award-winning and Pulitzer-nominated The Mikvah Queen. She is a professor of creative writing at Georgetown University. She founded The Gorilla Press, a non-profit aimed at promoting youth literacy through bookmaking, and cofounded the Disability Studies Cluster at Georgetown. jennifernfink.com.

Julie Laffin is an artist living with disabling environmental illness. In anotherlife she made large scale, public performances while wearing overly long gowns. Now living an isolated lifestyle due to myriad environmental triggers, Laffin has turned the camera on herself as a means of navigating her illness and reinventing her artistic practice. julielaffin.com

You will never be out of the woods.  

             You will never be the woods. 

You are the woods.

Q18 DESCRIBED: Letter from the Guest Editor

Audio Description of Q18 Cover

dis/sustain/ability defined

Lead Editor’s note: We will be publishing excerpts from Q18: dis/sustain/ability, in order to make the content accessible to blind readers with audio screen readers. We’ll also be including audio descriptions of the Quarterly’s original layout designed by Stephanie Plenner, described by Katie Murphy. Please stay tuned for future posts and share widely.

In this our first chapter, Guest Editor Bronwyn Preece gives an overview of the issue to come, and an unpacking of the issue’s title: dis/sustain/ability.

Audio Description of Q18 Letter from the Guest Editor

Dear Reader,

Buried amongst the leaves and lakes, memes and moss, skin and sidewalks, woods and wheelchairs, normal and nuance… dis/sustain/ability begs us to consider, albeit subtly, who can claim disability in this Anthropocenic age of constant climatic flux? 

This CSPA special-themed issue offers a diverse array of artistic responses, underpinned with strong critical leanings for interrogating the overlaps of sustainability and disability and the relevance of conjoining these concepts in/for today’s world.  Drawing on practitioners and/or scholars from three continents – some self-identifying as ‘disabled’, others not – this issue grapples with the neologistic tensions, hurdles and gifts of our cultural, social, economic and environmental propensities towards and with notions of disability.

dis/sustain/ability embraces transnational intersectionality and the multiple imbrications made accessible through doing so.  This issue serves as a catalyst, as gentle invoker, as provocateur, as reflective medium through which a variety of ideas are offered up by contributors.  It has inverted blatancy through diverse response. It asks more questions than it does try to form firm answers.

As guest editor, it has been nothing short of inspiring to gather the contributions.  The curated call was framed openly, welcoming broad and interpretative possibilities to what was provoked by the notion of dis/sustain/ability.  The issue wheels us down new paths and forks in the road, encounters the UN Convention on the Rights of Persons with Disabilities, fingers away notions of freaks, examines irreverence, marginalization, activism and policy, adds dimension to crip vernaculars, poeticizes the political, swears at homogenization, artistically interrogates impairment, sews together and performs through the very being of disability, sustainably…

It has been an honor to curate this issue….

Bronwyn Preece,

PhD Candidate, University of Huddersfield: Performing Embodiment: Improvisational Investigations into the Intersections of Ecology and Disability

www.bronwynpreece.com

dis/sustain/ability: DEFINED

Each contributor was asked to ‘define’ dis/sustain/ability in 25 words or less…

Jennifer:

You will never be out of the woods.

You will never be the woods.

You are the woods.

Julie:

At first I was crashing and burning—consumed by loss. Acceptance was arduous; I was being prepared to have all of my perceptions changed forever.

Dee: 

Interdependency, vulnerability, co-habitation, across and between, you/i/we/me/us. 

Neil:

We each use systems to make our worlds usable and thriving. The bright sun makes our lives work in so many ways. A good joke sheds light on life when we need laughter.

Petra:

Continuing to be in flow, through the years, while living in an ableist society. Searching for connection, taking responsibility, engaging, widening the circle.

Stephanie:

breathe inside fire or water or soil. make like a succulent, plump and adaptable. try on constraints then wiggle. notice movement – micro / macro.

Bree:

arranging human, physical, financial, and environmental resources in such a way that every being can live a meaningful, productive, and comfortable life now and into the future

Susanna:

To separate these three words…though dis is not a word by a slash….makes them read as separate. 

Dis is to negate, deem valueless…sustain is to lift up, support for all time and forever…ability is the skill, the life within that understands and knows how. Together…dissustainability…though unrecognized or hidden, is the life within that knows and breaths within us all.

Sandie:

“Disability” and “ability” are not binary terms; making art about Crip/disability experiences is to sustain disability culture and the heritage of resistance and resilience. 

Ray:

It’s the long slow note made up of a feast of harmonics, always in flux, ever changing, transforming and subverting.

Bronwyn (guest editor):

… circles with edges, borders with welcome signs, awareness of networks, improvisation, interdependence, adaptation, vitality, necessity, inextricability, knitting/weaving/breathing-being…living in shared uniqueness/norming difference…verbing: …

Q25: Time & Attention

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In an era marked by myriad crises (ecosystem collapse, political and social unrest, growing economic inequity), CSPAQ Issue 25: Time and Attention compiles various frameworks, tactics, and propositions for tuning our attention and contextualizing our place in time. An experimental philosopher, prisoners, a child, and others contribute their diverse perspectives, collectively and constructively building a discourse for how we might direct our time and attention. Guest Edited by Ryan Thompson.


SNEAK PREVIEW: Q&A WITH JOHNATHON KEATS

Q24: ISSUE TAKEOVER: Lab for Aesthetics and Ecology

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Our first-ever issue takeover! The Laboratory for Aesthetics and Ecology takeover of the CSPA Quarterly proposes generative spaces of experiment and failure for a speculative, sustainable aesthetics. The issue grapples with the metaphors of compost and glutinous narratives. It paints with the eerily luminous colours of climate breakdown, and offers instructions for post-(r)evolutionary survival. It stays with the troubles of enlisting nonhumans as labourers of detraumatization, and presents cyborg witches as unholy guides towards reparative tactics for modest hope. Edited by Ida Bencke and Dea Antonson. Designed by Zille Bostinius.

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Download the CSPA Advertising Guidelines to see rates and options. To submit a request for space email moe@sustainablepractice.org.

Earth Matters On Stage 2012 at Carnegie Mellon University

  There have been a bevvy of eco-theater conferences in recent years, but it’s great to bring it all together with Earth Matters on Stage, which took place this past May 31st-June 2 at Carnegie Mellon in Pittsburg, PA. It included a collection of performances, presentations and panels covering everything from carbon footprint to eco-dramaturgy. Session titles included: “Sustainable Design,” “Ecocriticism & Contemporary American Theater,” and “The Carbon Footprint of Theatrical Production,” among many others. That last one was by CSPA’s Ian Garrett, and involved discussions of all the usual players: Arcola Theatre, Julie’s Bicycle, the Broadway Green Alliance . . . Discussions of sustainable design carried throughout the festival and bled into discussion of performance throughout the weekend. Again and again: how do we make theatrical production more sustainable? How do we incorporate or cultural dialogue with the planet into the work? How do we make work that goes beyond “being less bad” into something that actually has a positive impact on the environment?

Below are a selection of photos from the event. Keynote speaker and performer was Holly Hughes, one of the NEA four, whose most recent work (“The Dog and Pony Show: Bring your own Pony,”) examines her relationship with her pets. Ecodrama Playwright competition winners this year included Chantal Bilodeau, whose work “Sila,” explores a cultural cross-section of inuit culture, scientific researchers, and polar bears, and Mark Rigney, whose play, “Bears,” depicts a slow deterioration of civilization through the intimate stories of a group of zoo-bound bears.  The work of Earth Matters founder Theresa May was ever-present in the discussion on eco-dramaturgy, and the weekend ended with a discussion of conferences past and future. The dialogue continues, as we discuss and discover more ways that our set of skills can serve the environment.

A + E Conference: Day Two

Day two in the coffee-and-crumpets conference world.

Patricia Johanson was a highlight. Not just because her presentation was comprehensive, wise, and dynamic. Not just because her work is ecologically restorative, respectful of local religions and cultures, and deeply rooted in community practice. Because in this field, where ideas are infectious, where doom is palpable, where the issues at hand are so huge as to be hilarious, Patricia Johanson has done the work. She’s gone out to Dallas and made a sculpture that restored a lagoon. She’s created a wetland sewage system that is both a tribute to and a habitat for an endangered species. She’s done it while continuing the dialogue both in terms of artistic form– sculpture, painting, light– and ecological relevance. Full disclosure: I asked for her autograph.

The morning started with the music of Sean Shepard— composed for the Nevada landscape. It continued through the cultural waters of Australia, tromped through Italy on Amy Franceschini’s Not A Trojan Horse, and announced the research project “Venue,” an extended journalistic road trip by Geoff Manaugh and Nicola Twilley.

On a day where MacArthur Genius fellow Jorge Pardo describes the houses he builds as not-architecture, author Bruce Sterling called for a reexamination of the definitions. “Disciplinary silos are breaking down in places like this,” he said. “You can actually hear them shattering.” What we have is not nature, he said. What we have is Next Nature, a world bereft of unaltered landscape. And the slow dawning is the sheer magnitude of the responsibility for that landscape.

The evening ended with a cocktail hour on the roof of the museum. On the one side, the mountains. Urban trees. On the other, the blinking lights of the biggest little city in the world. In a sense, Reno is the perfect setting for the destroying of silos.

A + E Conference at the Nevada Museum of Art: Day One

Can a thing be both cuddly and epic? So far, the A + E Conference is. For while the lecture hall at the Nevada Museum of Art is intimate, folks are friendly, and there’s that slight taste of eco-art kumbaya in the air, there’s some giant figures in the room. Chris Jordan is one of them: you’ve seen his photos everywhere. The Harrisons are two more. Greenhouse Britain sums up their combination of systemic thinking and storytelling.  Fritz Haeg and his Edible Estates. Geoff Manaugh of BldgBlog. And while you might be so familiar with the work of the presenters you could have practically done their powerpoints for them, it’s still a bit dizzying. In fact, the lights went out towards the end of the day and a backup generator kicked on. They say it was lightning but I’m betting on a joyous collective mental short-circuiting.

However epic the conference, the issued raised today were not unique. They were issues that might be discussed at a conference about Climate Change and Journalism, for instance. Or a conference about Healthy Parks and Healthy People. Or about Theater and Sustainability. I kinda know because I’ve attended conferences on all those themes in the past year. The issues being raised include: how do we comprehend the vast level of ecological disaster we are now experiencing? How do we organize information in a manner that is digestible, accessible, valid and thought-provoking? How do we culturally deconstruct the paradigms that got us here– especially when we live ‘here’? How do we move forward to create a healthier population and planet?

This speaks more to the level of disciplinary blending and silo-destroying that’s happening all over. In the meantime, there’s no shortage of voices exploring answers, not here, not this weekend. There are three floors of installations and exhibits. There are new books and archives of those exhibits. And there is a whole second day of talks still. More to come, stay tuned. Should be cuddly. And epic.

Considering Sustainble Design @ PQ 2011

Historically, the Prague Quadrennial has been an international exhibition of scenography (stage design), where countries come together to display the best of their theater work and the spirit of their design methodologies. It’s a mass of gatherings. It’s discussions and performances and lectures and guerilla moments in the streets (is that a performance or a conversation? Is she injured or just creating an interesting shape? Is that a flamboyant dress or a costume?). It’s also Scenofest, the educational arm of the Quadrennial, featuring a series of workshops and organized talks.

At DAMU, the Czech Academy of Dramatic Arts, CSPA Executive Director Ian Garrett gathered with Nick Moran of the Central School of Speech & Drama and myself to discuss sustainability in design on a panel led by William Mackwood of York University (best known for hosting the Staging Sustainability conference earlier this year). While no one walked in with a paper dress or noisemaking speakers, some fascinating discourse ensued regarding the nature of performance.

Ian Garrett started off with a powerpoint overview of green practices in the arts. He’s extensively acquainted with the overall carbon impact of the average theater production: length of run, power consumption, material. In the years that he’s been building the CSPA, he’s also been gathering a mass of information on the complexity of the arts’ environmental impact. Garrett brings into the discussion issue of audience transportation (a huge factor in carbon footprint) vs. the potential impact of audiences if they had just stayed at home that night. He also discussed the work of groups like Mo’olelo Performing Arts Company and the Broadway Green Alliance.

Following him was Nick Moran, who focused on the resources on the site Julie’s Bicycle and the need within the green movement to make changes on a small (and totally unsexy) level, like type of toilet paper, while continuously pressing for systematic change in arts production culture. He discussed everything from tungsten lamps to fuel cells from the standpoint of a lighting designer who fiercely believes in sustainability.

I stepped up and discussed my obsession of the past several years—ecologically restorative art, including works from Xavier Cortada and Mierle Ukeles, and some of my own work.

Then Mackwood wrapped up presentations with examples of his current work and research at York and Out of the Box Productions, including a greening of “Opera Erotique,” which used all-LED lighting. He discussed design qualities unique to the famously energy-efficient lighting, including cut-lines on dancers, strobe capabilities, and the ability to fit an entire lighting rig in the trunk of a car. What followed was an interesting and brief discussion of LED design. Nick Moran brought up the fact that, unlike tungsten, LED color properties don’t change as they fade. “Imagine that you’re in a world where, for the first time, your lights change color as they fade out. WHAT?! What have you done? Change it!”

In the roundtable following, balance was a key issue in discussion: between medium and message, between creative and financial needs, between work and decompression.“You’ve gotta make good work, otherwise there’s no point: worthy, dull, theatre does not change anyone’s mind,” said Moran. The audience was a point of debate. Are we trying to change their minds, or just give them more sustainable spectacle? Are we trying to address the needs of their transportation, or just present eco-theater? In a field of limited resources it’s all about priorities, and needs are complex. As performances exploded all over the streets of Prague, a very grounding discourse took place at DAMU. Like every conversation about sustainability, it leads to more questions, more conversations, and a grab-bag of actionable items. Regardless, it’s refreshing to be in a room with sharp minds that are focused on this issue, and there is potential for a wider impact at the next PQ.

‘Healthy Parks, Healthy People’ includes a healthy amount of creativity

Usually, when I’m at a conference, and everyone is standing in a circle and talking about what inspires them, the participants are barefoot. With dreadlocks. Also, someone is making a giant pot of beans in the next room. This was not that conference. This was the “Healthy Parks, Healthy People” conference. The people in the circle were corporate VPs, non-profit directors, public health officials, and National Park Service Staff. And creative design thinking guided much of the process.

The concept of “Healthy Parks, Healthy People” is directly lifted from Parks Victoria in Australia. The idea is, basically, that nature is scientifically proven to be healthy for us, and so supporting parks is good for everybody. Parks Victoria Director Bill Jackson was in attendance, moving from group to group as we were all shuffled about to exchange ideas and brainstorm. As the chattering and shuffling went on, folks from the Grove Consultancy facilitated and drew giant illustrative doodles of emerging concepts. Like mind-mapping. Like some of us have done at other hardcore eco-conferences.

The doodles were helpful in visualizing commonalities. That’s a wordy way of saying there was a lot of common ground. There were collective calls for more research, pooled resources, branded messaging, and a reach out beyond the obvious perks of parks into the tree-less digital-screen-land most American kids live in.

This whole thing got started when the Institute at the Golden Gate created a “Parks Prescription” document, detailing non-profits across the country who were using park activities to fight obesity and diabetes. They connected with NPS director Jon Jarvis, and put the jumble of parks/health/environment people together at Fort Baker.”We need to create new partnerships,” said Jarvis in his opening remarks.

Done and done? In addition watching health insurance reps work in groups with uniformed Public Health Officers and green retailers, I ended up sitting in a group with an NPS staffer and the American Heart Association’s Ambassador of Play (yes!) discussing the possible benefits of a design competition. At the end of it all, Jarvis announced a Healthy Foods Strategy for parks, analyzing the nutritional value and sustainability of park food and creating requirements for concessionaires.

“How can we bring about a cultural change in which parks are valued not just as scenery, but as the untapped sources of healthy living that they truly are?, ” asked Jarvis at the start of the conference. It remains to be seen whether the gathering will be the catalyst for such a change. It has yet to involve the collaboration of known creatives like Presidio Habitats. But I did see one non-profit director working without her shoes.