Creative Practices

Slow Wing

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Slow Wing Owl, with permission Ilka BlueSlow Wing Owl, with permission Ilka Blue

Ilka Blue in Australia asked for this to be shared,

Slow Wing – an Australian satellite workshop of the Uncivilisation UK Festival

Byron Bay, 17th & 18th August 2013

Latorica in collaboration with The Dark Mountain Project present Slow Wing, a weekend workshop of storytelling from the deep.

Led by transdisciplinary artists Ilka Blue & Cherise Asmah, this will be an intense exploration of cultural and biological extinction as we search for ways to belong and adapt to a changing world. The workshop involves 2 full days of storytelling, walking, writing, deep ecology & creative practices that will conjure old & new stories of dying, death, belonging, place and mythologies of this land.

Slow Wing is free of charge but places are limited to 25 and will be offered through a registration process. For a registration form or enquiries please email ilka@thelasttree.net More details www.latorica.net

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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Call for abstracts: Ecology In Practice – Creative Conservation Symposium

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5th World Conference on Ecological Restoration in Madison, Wisconsin, USA October 6-11, 2013

The symposium is convened by David Haley and Richard Scott. Haley has convened and chaired the Ecological Arts symposia at SER (Society for Ecological Restoration) World Conferences in 2000 (Liverpool), 2005 (Zaragoza) and 2011 (Merida), and contributed to Richard Scott’s Creative Conservation workshops at these and European SER conferences. In 2013 they will combine arts and science concepts through formal oral presentations concerning practical research approaches to ecological restoration. In particular, contributors to this event, will aim to shift the focus away from the common position of having to justify the art in an ecological restoration context, or even justifying ecology in an arts context. They will consider the position that art and ecology exist naturally in the world, but that many societies continue to spend much time, effort and money extracting and destroying these embodied phenomena, resources and values. While some artists’ practical interventions reveal ecology through their art, or contribute new perspectives to ecology, their art may also transform the material world, ecologically. These intentions and manifestations are very different from art that merely illustrates nature, or art as a tool to popularize scientific endeavor. Here, ecological art is a necessary component in interdisciplinary thinking and research, and through creative practices, may emerge as a new ‘transdisciplinary’ form of working towards restoration.

Deadline extended: Please make your submissions directly to SER by 15th of May 2013(click here for the conference website), but also do send them by email to David Haley (d [dot] haley [at] mmu [dot] ac [dot] uk), if you wish to be included in the Symposium – ‘Ecology In Practice – Creative Conservation’. (Please note that Haley and Scott have absolutely no access to any funding to support your attendance.)

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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Future Culture: [ln]tangible Heritage | Design | Cross Media

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2 December 2012:  Opening reception & exhibition
3-5 December 2012: Symposium

“NODEM 2012 Hong Kong will bring together leading theorists, practitioners and artists in conversation about the future of digital heritage, creative practices, design and emerging technologies. Pioneers from diverse countries and cross-disciplinary fields will focus on a range of issues covering new forms of heritage interpretation and the future of new media at the forefront of museum design. Emphasis will be placed on cutting edge research and practice from around the world, with a focus on tangible and intangible heritage in Asian contexts. The three-day programme will include day-long special sessions on Digital Intangible Heritage of Asia (DIHA) and the inaugural Museums and the Web Asia. The three-day event will stimulate research networks for those in pursuit of excellence in the digital work of museums, galleries, archives and libraries.”

Website – Programme – Link to register for NODEM 2012 Hong Kong. (This conference is free of charge.)

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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Call for Papers “Creative Communities 3: Risks & Possibilities”

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September 26th- 28th 2012 – Gold Coast, Australia

Hosted by Griffith University Centre for Cultural Research

‘Creative communities’ is a well-worn phrase conventionally equated with notions of well-being, civic participation and social inclusion. Creativity in this sense is regarded as social glue that bonds individuals together through collaboration in various forms of creative projects – be it visual art, drama, dance, theatre,music, writing or a combination of these. that bring communities together in positive and fulfilling ways.

Similarly, community connotes a wholehearted feeling, the strength of relationships in networks or inclusiveness through a sense of shared characteristics and values.

There is now a significant body of practice, policy and academically focused work that highlights the importance of the ‘creative community’ in fostering community well-being. At the same time, however, the term creative community throws up a number of questions that remain largely unaddressed in existing research, for example;

  • How does creativity actually impact community?
  • What is lost when the term ‘creative communities’ is imposed on place?
  • How are decisions on processes of inclusion / exclusion in creative practices made and who controls such decisions?
  • What happens to a creative community when access to resources that facilitate its creativity are lost or compromised and what sort of factors can contribute to this – e.g socio-economic change, civil unrest, urban redevelopment, shifts in state and government policy?

Call for Proposals

Griffith Centre for Cultural Research invites proposal submissions from scholars, artists & cultural workers, designers, urban designers, architects and policy makers interested in presenting oral papers, presentations, interactive workshops, panels or roundtable discussions on the following Conference themes;

1. Creative Communities At Risk

  • Perceptions of societal danger- Aversion and subversive behaviour
  • Individual versus collective risk and possibility between invisibility and presence
  • Laws and regulations and their impact or influence on creative communities

2. Itineraries of engagement

  • Creative Practice and cultural indicators in policy making
  • Idealization and leadership
  • Professional versus hobbyist perspectives of creative practice
  • Public events as catalysts for community
  • Observing and evaluating participation in creative engagement
  • Possibilities of participation- gatekeepers

3.Transcultural dialogues

  • Emergent global creativities
  • Community, creativity and post transnational trauma -, for example, 9/11- Bali bombing, London ‘youth’ riots, Black Friday Victorian bush fires
  • Cultural tourism /mis-tourism
  • Asia Pacific heritage ·dialogues

4. Politics of networks

  • Digital social networking (lived environments versus online/virtual)
  • Politics, kinship, and the role of communities /Creative geographies, ecologies and networks
  • Migration of skills and experience (migrants/refugees, professional arts workers, skills exchange learning, mentors and novice)
  • Flexible and local forums and networks, complexity in varied contexts
  • Hard-to-reach’ membership cohorts.

5. Diversity and inclusion: Creativity as a catalyst for reconciling difference Social Sustainability and the creative artist: socially responsible creative commitment

  • Personal Development as a liberating force: confidence building in community sub groups
  • Collaboration: reliable interdependence: links through non-political non-biased creativity
  • Transparency and ownership: who owns the project
  • Old and skilled/young and skilled: forging links and breaking down generational barriers

Proposals due 23rd June 2012 to gccr [at] griffith [dot] edu [dot] au

Please use this form to submit your application.

Applicants will be notified of the acceptance of abstracts by 20th July 2012 at the latest.

For more information, click here

For program updates, please visit http://ps3beta.com/project/8334

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

City of Pieces – an urban festival of creative practices

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Bangalore

22nd to 30th of October

Maraa, a media and arts collective, invites to City of Pieces, an urban festival of creative practices:
City of pieces is a nine day festival that interrogates the violence of the everyday transformation of the city from the perspective of creative practice. This festival marks the third anniversary of Theatre Jam, a monthly forum to trigger dialogues about art and media in the public space through practice, performance and expression. It travels across different public and semi-public spaces, committed to reclaim dead, found and empty spaces in the city. City of pieces brings artists and creative practitioners to respond to the city we inhabit.
The city transforms and we continue to experience it in fragments, in the debris of what once was and the flash-forwards of its future in fresh grey concrete. And we move through it refracted in fragments with every contact with it. But as this city of pieces forms us it is formed by us in turn- a disjointed tapestry of multiple stories, desires and memories. As the week unfolds, urban pieces and fragments are gathered and re-combined to tell a different story that acknowledges the creative modes of negotiating this city shaped by the violence of transformation. Through storytelling, films, performance, poetry and conversations we hope to make sense of an ever changing Bangalore.

Reposted from: http://maraa.in/arts/city-of-pieces/

Be part of the last two events and register today:

Middle of somewhere | Theatre Workshop 29 Oct | Cubbon Park Band Stand | 10 am-3 pm

Middle of Somewhere was a performance done last year, set between scaffolding in a dilapidated house on Rest House Street. This performance used personal stories that were interwoven with anecdotes of the city with the story of Akeli, a fictional story. The performance is a never ending project. It grows with people’s stories and fantasies. We invite you to a theatre workshop to re-narrate fears, aspirations, and memories experienced in your life in the city through short improvisations and street performances around Cubbon Park.

To register mail pallavichander [at] gmail [dot] com or call 98869-28582

Bangalore Talkies | Video Art and Music |30 Oct | Jaaga, Double Road | 6 pm onwards

When you live in a city, your encounters with roads, friends, and strangers are all in pieces of images and sounds. What can you interpret of a city that you experience everyday in pieces? Bangalore Talkies a forum to see Bangalore through different eyes, through different lenses. How do YOU connect to Bangalore -  bus rides/auto rides, pubs, darshinis, your neighborhood, street dogs, trees, the weather, street food,  construction and deconstruction – it could be about any creature, thing, space or feeling in the city. Collect your stories on anything that can shoot image and record sound. All videos must play on VLC and should not be longer than 5 mins. Submit your entries on DVD OR mail it, upload it and send us a link on ekta [at] maraa [dot] in by tomorrow latest. Your stories will be screened for the public at the Bangalore Talkies at Jaaga, Double Road, on 30th October, 6:30 pm onwards. Remember it’s about the story, not so much about making a perfect film. This will be followed by a music jam between independent musicians in Bangalore. If you are a musician and want to play, get in touch with us today!

To register mail ekta [at] maraa [dot] in or call 96328-31275 before 29th October

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

Tactical Biopolitics: a review.

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“How can we know for sure these days that the truck driver repairing his exhaust at the crossroads in your neighborhood is not a silent conceptual artist engaging you in a thought-through performative experience? ” asks Jens Houser in “Observations on an Art of Growing Interest,” part of the collection of essays in Tactical Biopolitics. An engaging overview of scientists as artists, artists as ethnographers, activists as sociologists, and women who do agility trials with their dogs as philosophers, Tactical Biopolitics presents the words and works of people who profoundly engage their ethics with their craft.

Largely centered around issues of biology and bioethics, the book often wades deep into the waters of scientific jargon and academic word-whirlpools. When it emerges into common reality, however, it does so resonantly. While artist Kathy High gives a factual breakdown of her reasons for working with a group of former lab rats (they were predisposed to have her same health issues), we get caught up in the story of the rodents, their namings and personalities. Donna J. Haraway manages to make us forget agility trials as a means to make dogs literally jump through hoops and see them instead as an exercise in human-animal communication.

The book emerged from a conference on BioArt and the Public Sphere at UC Irvine in 2005. It is, write editors Beatriz de Costa and Kavita Philip, “a hybrid, made possible by two recent histories: the enormously creative practices at the intersection of technoscience, activism, and art; and the explosion of cross-disciplinary conversations following Michel Foucault’s articulation of biopolitics.”

We see artists confronted with the ethics of working with living tissue, witness the affect racism has on modern scientific research, and learn of the evolution of activist’s tactics for getting AIDS medicine to patients who need it. We hear artists talking about life in labs, and scientist talking about the craft of ethical living. It’s a smorgasboard of modern ethical thought, of challenges to the definitions of professional fields. It’s fantastic reading for anyone interested in cross-disciplinary work. But largely, it is the story of people using the tools they have at their disposal to positively engage with an increasingly complicated and manipulated world. So while the authors featured in Tactical Biopolitics might not be the truck driver in your neighborhood, they are, like him, attempting to fix what’s broken.

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