Audience Members

Multispecies Intra-Actions: A Round Table with Karen Barad

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This post comes to you from Cultura21

On the 17th November from 10:45AM to 12:30 PM (PST) at theSOMArts centre in San Francisco the public is invited to participate in a roundtable discussion with Karen Barad, currently Professor of Feminist Studies, Philosophy, and History of Consciousness at the University of California, Santa Cruz, and a diverse panel of researchers ranging from ethnographers to artist.

Barad’s seminal 1996 essay, where she coined the term “intra-action,” will serve as a theoretical charter for the roundtable.

“Boundaries do not sit still, it is through specific intra-actions that a differential sense of being is enacted in the ongoing ebb and flow of agency…Agential intra-actions are specific causal material enactments that may or may not involve ‘humans.’ Indeed, it is through such practices that the differential boundaries between “humans” and ‘nonhumans,’ ‘culture’ and ‘nature,’ the ‘social’ and the ‘scientific’ are constituted”

Members of the roundtable will each give short “provocations” (3-5 minutes), bringing Barad into conversation with empirical matters and concepts from their own assorted texts on the table. Audience members are also invited to participate in the discussion and become provocateurs.

Following the roundtable, Karin Bolender of the Rural Alchemy Workshop will be performing “Gut Sounds Lullaby” at 2:00PM in the same space.

For more information: http://www.somarts.org/multispecies/

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

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10 Days of Climate Action – Call for Artists

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This post comes to you from Cultura21

10 Days of Climate Action is an initiative of the Human Impacts Institute  to bring together artists, musicians and performers to install climate-inspired public works throughout New York City. In an effort to inspire New Yorkers to think more critically about our actions and their impacts, each day of 10 Days of Climate Action will present a climate theme and creatively engage the public in positive action around issues of climate change.

They´re looking  forward to submissions that push audience members to “think outside the box”, submissions from artists who intend to attack current and pressing climate issues through the creation of their work for a public setting and encourage them to find diverse sites and unique public settings. Each selected artist will be assigned a specific date to showcase their work during a ten day period in late September (21st-29th), as a part of the 4th Climate Week NYC, the annual global summit that takes place in New York City aiming to mobilize climate action.

Cash Prizes: 1st place – $500; 2nd place – $300; and 3rd place – $200

Submittal Deadline: 10am, Monday, August 13th, 2012

For more information, please visit http://www.humanimpactsinstitute.org/

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

Powered by WPeMatico

From Julie’s Bicycle: After Miss Julie “Classic for a New Climate” opens at Young Vic

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Julie's Bicycle - News

EXCERPTED FROM: Julie’s Bicycle – News.

Last Month a re-imagining of Strindberg’s cruelest love story, Miss Julie, opens at the Young Vic after a week of previews. Set in England, July 1945, After Miss Julie takes place during the celebrations of the Labour Party’s landslide election victory and follows events which, over the course of a single night, turn Miss Julie’s world head over heels.

Adapted from the original by Patrick Marber and directed by Natalie Abrahami, After Miss Julie is also a “Classics for a New Climate” production, which has been investigating approaches to making more ecologically sustainable theatre in partnership with Julie’s Bicycle. Prompted by the Mayor of London’s target to reduce London’s emissions by 60% before 2050, the Young Vic set out to reduce the energy used to produce After Miss Julie by 50% compared to other shows that have been staged in the Maria Theatre previously.

Heating, cooling and ventilating are the three systems that use up the most energy within the theatre space, and the Young Vic has an efficient system in place thanks to a refurbishment to the building which reopened in 2006. Initiatives that this production has put in place to reduce energy further have involved using natural ventilation as a substitute for heating and cooling as much as possible. This explains why the temperature in the auditorium varies slightly and why they’ve asked audience members to wear layers.

To read the full article CLICK HERE: Julie’s Bicycle – News.

ashdenizen: at greenland, audiences get to have their say ahead of critics

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The National Theatre’s play about climate change, Greenland, had its first preview last night. The critics don’t get to see the play till 1st February, but audience members, leaving the show last night, had a chance to express their views almost immediately.

In the Lyttelton foyer, there’s a Talkaoke table, billed as a mobile talk show, where audience members take a seat, grab the microphone, and share their views on Greenland and climate change. (The pic shows a similar Talkaoke event at the Dana Centre.)

For those interested in other views still, a season of Greenland eventsincludes talks by the four Greenland playwrights, and four well-known voices on climate change, Bjorn Lomborg, Tim Flannery, Nigel Lawson and David King.

via ashdenizen: at greenland, audiences get to have their say ahead of critics.

Arts, Culture and Creative Economy: The Greatest Sacrifice Arts Workers Make for the Arts

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An excerpt from a post on Gary Steuer’s blog:

With all the financial challenges arts workers are facing these days – struggling to balance the budgets of their organizations, or dealing with salary and benefit cuts on compensation that was modest to begin with – it is easy to view the sacrifices people make to work in this field as being entirely financial.

Not to minimize the financial sacrifices – they ARE significant – but I would argue they are probably no more significant than a wide array of professions where people choose to devote themselves to the pursuit of “making the world a better place”. This includes early childhood workers, teachers, social workers, the whole world of NGOsworking in challenged communities, both domestically and abroad. And the sacrifices all these workers make are also not just financial. We all work long hours, and often under trying and unglamorous circumstances (though to outsiders arts work can seem glamorous).

No, I think the more significant – and unique – sacrifice arts workers make is that we lose the capacity for full, innocent and glorious enjoyment of the very art that our passion for drove us to make our life’s work in the first place.  What do I mean by this?  Think about your earliest experiences with the arts, your first encounter with Matisse, or Chuck Close; your first time in the audience for Sondheim, or Verdi; that time you first saw Baryshnikov on stage, or Judith Jamison. Remember that childlike joy – even if you were not a child – that total immersion in the art where the whole world disappeared and you were unaware of time, of the person chewing gum next to you? Now tell, me when was the last time you felt that?  Sure, you are still passionate about the art form or all art forms, you still go to museums, or opera, or theatre, but something has been lost. Admit it.

Read the full article here:  Arts, Culture and Creative Economy: The Greatest Sacrifice Arts Workers Make for the Arts.

Hollywood Fringe Sustainable Production Award Announced

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LOS ANGELES — The Center for Sustainable Practice in the Arts (CSPA) awarded the first CSPA Fringe Award for Sustainable Production to Presque Pret a Porter, produced by Dreams by Machine on Sunday night at the Hollywood Fringe Festival Awards Ceremony.  The award was designed to reward ecologically sustainable practice in the production of a fringe performance.

The award was adjudicated by the CSPA Directors, Ian Garrett and Miranda Wright, along with select CSPA affiliates. The recipient was chosen based on an online data form created by the CSPA, and informed by the Mo’olelo Green Theater Choices Toolkit.

“The CSPA is not just another ‘go green’ organization,” said Wright at the ceremony Sunday night.  “We hope to gather and distribute information that aids in the sustainability of the earth, the sustainability of our communities, and the sustainability of our art.  And so, the purpose of this award is not to recognize the greenest production.  Our objective in offering this award is to ask questions of ourselves, as theater artists, about the greater impact of our work on the world around us.  The winner of this year’s award not only limited material waste in production, but asked audience members to consider sustainability in their lives.”

Laura Brody, this year’s winner, stated the primary goal of her project as “to create awareness of and to encourage re-use through entertaining and participatory demonstration.”  In the performance, materials were re-purposed from thrift stores and cutting room floors.  Materials were donated by friends and colleagues of the project.  And, the musician’s set up was made of found objects strung together to create a percussion rig.

While debuting at the Hollywood Fringe, the CSPA Fringe Award for Sustainable Production will also be offered at the Edinburgh Fringe Festival this August, where the CSPA will be presenting a panel on sustainability in theater at Fringe Central in Edinburgh on Monday Morning, August the 16th.

“We’ve been working since we started the CSPA on how to provide resources and guidelines for sustainable production to the theatrical community. Both Miranda and myself come from theatrical backgrounds and it is important to us. The fringe festival model provides an ideal platform to introduce these ideas and the award due to the expectations and scale of the shows. It is easier to start the conversation at a fringe level of production than Broadway. By starting with the Hollywood Fringe, our local and the newest fringe festival, and immediately moving to the Edinburgh Fringe, the largest and oldest fringe in the world, we are looking to create the greatest visibility and excitement around the introduction of ideas of sustainability to the largest number of theater artists at home and away,” says Executive Director Ian Garrett.

“Even more so than we want someone to score perfectly on the questionnaire we use to evaluate shows, we want theater artists to look at the questions and think about how it helps to guide their thinking about sustainability in the their art. There may be questions asked in ways they hadn’t thought, and we hope they ask these questions of their next project and the project after that.”

The CSPA was founded by Ian Garrett and Miranda Wright in early 2008 after individually working on each of the programs that now make up the multi-faceted approach to sustainability separately. The organization provides a network of resources to arts organizations, which enables them to be ecologically and economically sustainable while maintaining artistic excellence. Past and Present partnerships have included the University of Oregon, Ashden Directory, Arcola Theater, Diverseworks Artspace, Indy Convergence, York University, LA Stage Alliance and others

High Tide COP15 Project: Numbers

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Between James Brady and Aviva Rahmani, they calculated close to 1 million people are engaged directly or indirectly in ecological art or audience members for it’s ideas.

http://en.wikipedia.org/wiki/User:Ecoart

This is how we estimated it:

1. How many schools/ museums/ books-journals internationally the ecoart list serve alone (about 100 invited members) represents (ie., including residencies, publications, group & individual exhibitions)?

2. Estimate 2,000 audience venue impact total (av. 20 times 100 per person, a conservative figure I think)

3. Each venue represents about 200 min audience access per… = 400, 000 if my math is correct…+ secondary effect has to double that figure = close to 1 million (chatter with family members & friends assuming at lease one conversation per person and then there are workers for each venue: guards, bookkeepers, etc)

That’s a mighty constituency.

via High Tide COP15 Project: Numbers.