Our issue on Science/Art features a preview of the CSPA Fusebox Festival study, writing from Sarah Moon and Alyce Santoro, a report from Moe Beitiks on the first annual Moscow Science Art Conference, and an excerpt from Lina Weintraub’s new book. Through this issue, we explore the connection and complex relationship that exists between science and art.
Includes: Alyce Santoro, Amanda Gartman, Fusebox Festival, Linda Weintraub, Meghan Moe Beitiks,Moscow Science Art Conference, Sarah Moon
9pm: have a drink with us in DP’s superb lobby bar
10:30pm: PERFORMANCE (run time approx. 30min)
Tickets $12 in advance, $15 at the door, $10 students/seniors
*Dixon Place, 161 Crystie St. btw. Rivington & Delancey
Featuring an all-male cast, a fusion of dance/fight choreography and a soundtrack of live percussion, MARS examines the complex issue of mining via a fictional allegory set on the volatile red planet. Based on the history of Appalachian coal mining and mythologies of war, MARS marks the sixth in our distinctive series of ecology-inspired Planet Plays.
conceived and directed by Jeremy Pickard
assisted by Stephanie Pistello
created & performed by Brian Belcinski, Tom Coiner, William Cook, Jon Erdman, Bill Felix, Brian Hashimoto,Daniel Kublick, Mike McNulty, Peter Waluk& Adam H. Weinert
with original percussion by Adam Miller
Join us on March 24 for an exclusive excerpt from MARS, give us your feedback and chat with us about the transition from research to eco-play. Your presence and response will be integral in the journey toward our first full draft production of MARS, set to premiere in December 2012.
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.
An Excerpt from Daniel Boese’s article in ARTFORUM on Wooloo’s “New Life Coppenhagen”.
“We work in the medium of hospitality,” Rosengaard says. The “New Life” project created the possibility for strangers to share their homes and experiences, to thus collaborate under the broad goal of addressing climate change in a global conference and treaty. All participants created the work together, unlike public art projects in which artists serve as teachers for a lay public. Individual acts of hospitality create hope in the face of planetary ecological crisis; strangers can agree and cooperate. But our heads of state did not follow suit; they failed to usher in an age of global cooperation at the summit. “New Life” walked the line between art and activism in a new way, updating tactics pioneered by Beuys, Gran Fury, and the Russian Constructivists: Times have changed, and the problems have only become more urgent.
This excerpt from Curtis Kasefang follows up on Bob Usdin’s August 2008 “How Green is Green?” Piece for LIve Design. Remember, November 2009 is Green Day at LDI.
In general, many speak of sustainability as having three overlapping components: economic, social, and environmental. Theatres, by definition, score high on the social sustainability scale as places where cultures can mix, and they exist to communicate ideas, broaden our points of view, educate, and entertain. When looked at with a wider lens, theatres also play a role in the economic sustainability of the urban environment. The impact that performance facilities have on communities by fueling jobs in the hospitality, food service, and retail industries, as well as their supply chains, is well documented. Theatre Communications Group, among others, has published studies on theatres’ economic impact on the larger community. Environmental sustainability can further economic sustainability in the operation of a theatre. If we use resources more efficiently, we save money. Environmental sustainability is usually what we are speaking of when we talk about “being green.”
This is an excerpt from Robert Usdin’s article for Live Design in April, 2008. Remember that November 19th is Green Day at LDI and they’re looking for nominees for green production of the year.
“No Orangutans Were Harmed In The Making Of This Scenery.” That was a proposed slogan that came out of a brainstorming session during a green marketing seminar held recently at Showman Fabricators. As a New York commercial scene shop, we have made a commitment to sustainability over the last few years and used this seminar as an opportunity to help with future plans. Another idea was edible scenery, but we wont go there. Fortunately, there are many established green practices that have become standard at Showman and other shops, so orangutans and edible scenery can be left out of the marketing plans. Showmans EMS Environmental Management System is a detailed roadmap, structured in two parts, charting a course for personnel to act green. The first part outlines best practices, and the second part provides clients with solid options to greatly lessen the environmental impact their projects have. Getting the word out is the first of many steps to encourage clients to think beyond what theyve always done.
via How Green Is Green? | No Orangutans Were Harmed In The Making Of This Scenery | Aug 2008.
Some friends of the CSPA, Stephen and Enci Box, are leading this fantastic project to produce a film sustainably. Here is an excerpt from the article on Greenwala:
On the set of “At What Price” made possible by Rebel Without A Car Productions, you wont see any cars parked around but you will see bikes galore! All ranging from beach crusiers, to Xtracycles to homemade bicycles with trailers.On the first day, everyone showed up on their bike, introductions where made, speeches said then it was off to get the equipment. I was given an Xtracycle to ride across town since it was capable of holding A LOT more then my little basket could and we needed to pick up some heavy equipment. Most of the cast and crew got to and from set using a bike or by taking the bus I must admit, living over 30 miles away made me the black sheep on this crew, as I drove to set everyday but everyone put in the effort not to make a huge carbon footprint.
After venturing through the back streets of Hollywood, we showed up to Castex Rentals to very surprised looks from the Castex employees. At first they didnt really believe we where going to haul all of this film equipment on just bicycles alone, they even started laughing as we started figuring out what could go where. We got to work on loading up the bikes, strapping down c-stands, piling up sand bags, finding room for apple boxes, etc. After the nice men at Castex finally realized we where the real deal, they jumped right in and started helping load stuff, then of course started taking pictures to share with everyone from their camera phones. I dont blame them; we ARE the first generation Greenseters after all.