Announcements

Toronto: Eco-Art-Fest Save the Date!

HEADER.1d2664e.1.1.1Save the date! Join us on June 21st from 5-11pm for the No.9 Eco-Art-Fest Opening Preview night at Todmorden Mills!

Eco-Art-Fest is an outdoor summer-long festival that 
- Promotes sustainability and environmental awareness
- Provides hands-on artistic programming
- Celebrates an active outdoor lifestyle
- Presents 8 public artworks by Dean Baldwin, Nicole Dextras, John Dickson, Sean Martindale, Ferruccio Sardella, Penelope Stewart, Labspace Studio (John Loerchner & Laura Mendes). 

The festival runs until September 21st, Wednesday to Sunday.

For more information, visit http://www.no9.ca/ecoartfest/

Formal Invitation with Ticket information to follow.

Culture2015 – Declaration on the Inclusion of Culture

Declaration on the Inclusion of Culture in the Sustainable Development Goals

1 May 2014

www.culture2015goal.net

We, the undersigned organisations active in the field of culture and development:

Understanding the concept of development to comprise

  1. human development: the pursuit of the full potential of citizens with physical, emotional, spiritual, intellectual, psychological and cultural dimensions
  2. social development: the building and sustaining of structures, policies and strategies that facilitate and enhance the pursuit of human development, social cohesion and participatory governance
  3. economic development: the creation of wealth and generation of economic resources that can help drive human and social development

Convinced of the unsustainability of

  1. human development without fundamental rights and freedoms and respect for cultural diversity
  2. social development without social justice
  3. economic development that exacerbates inequality and depletes natural resources

Observing that the cultural dimensions of development are too often ignored to the detriment of the achievement of sustainable development – human, social and economic

Recognizing that

  1. culture – understood as an ensemble of values, traditions, tangible and intangible heritage, religious beliefs, worldviews and the expressions of culture in ways of living – can facilitate the achievement of development goals
  2. development – premised on values, worldviews, ideological beliefs, vision etc – is itself an act of culture that impacts, benevolently or adversely, on the culture of its intended beneficiaries
  3. conflicts rooted in economic and power disparities may be fueled by the exploitation of cultural differences, with such conflicts impacting negatively on development through the destruction of infrastructure, social cohesion and human life and the flight of people with expertise

Believing that

  1. strong cultural organizations and participation can play a key role in preventing conflict by promoting dialogue and a diversity of cultural expressions
  2. development means participation in the cultural life of the community and access to the arts as fundamental human rights asserted in the Universal Declaration on Human Rights
  3. as the fourth dimension of sustainable development, culture is as essential as the economic, social and environmental dimensions; and therefore, the safeguarding of heritage, diversity, creativity and the transmission of knowledge are integral to sustainable development
  4. human development thrives on creativity, creative expression, the arts and cultural heritage as means of emotional and psychological catharsis, intellectual stimulation and the exploration, celebration and transformation of the human condition within given circumstances
  5. social development requires creativity, a diversity of creative expressions, the arts and cultural heritage as means of education, social cohesion, intercultural dialogue and the building of national identity
  6. economic development will benefit from capacity building and investment in all aspects of the value chain of the arts, creative industries, and tangible and intangible cultural heritage, by in turn creating jobs and generating income

Recalling the many United Nations resolutions, international declarations and instruments on culture and sustainable development, as well as the substantial evidence, gathered during the last two decades, of the positive role of culture in development.

Convinced that culture is both a driver and enabler of development and should therefore be integral to Post-2015 Sustainable Development Goals based on

  • A vision of the future anchored in human rights and universally accepted values and principles, including those embodied in the UN Charter, the Universal Declaration of Human Rights, UNESCO’s Convention on the Protection and Promotion of the Diversity of Cultural Expressions, and the Millennium Declaration;
  • A focus on issues with the greatest impact on sustainable development and a set of concise goals and targets aimed at realizing the priorities of the agenda;
  • A global partnership for development to mobilize implementation and a participatory monitoring framework for tracking progress and mutual accountability mechanisms for all stakeholders.

THEREFORE

Call on governments and policymakers defining the post-2015 UN Development Agenda to ensure that targets and indicators on culture be included as part of the Sustainable Development Goals

in particular (but not limited to) those related to

  • Poverty eradication
  • Education
  • Sustainable cities and human settlements
  • Peaceful and non-violent societies
  • Equality
  • Ecosystems and biodiversity
  • Economic growth

Commit to work together and with international, regional, national and local partners to achieve development policies and strategies that recognize and integrate effectively with the cultural dimensions of development

* * * * * * * * * * * * *

International networks promoting the campaign to include culture in the Sustainable Development Goals

  • IFACCA – International Federation of Arts Councils and Culture Agencies
  • Agenda 21 for culture – UCLG’s Committee on Culture
  • IFCCD – International Federation of Coalitions for Cultural Diversity
  • Culture Action Europe
  • Arterial Network
  • IMC – International Music Council
  • ICOMOS – International Council on Monuments and Sites

To support this campaign please urgently:

  • Visit and sign this Declaration either as an organisation or as an individual
  • Send this Declaration, or your own message, to your country’s representative at the United Nations (this will probably be via the Minister or Department for Foreign Affairs).  See the list of Permanent Delegates herehttp://www.un.int/protocol/documents/HeadsofMissions.pdf
  • Circulate this Declaration to your networks and spread the word.

Why is this important?

Global expenditure on development over the next 15 years will be defined by the final goal document to be agreed by UN Member States in coming months. If culture is not mentioned, it will be extremely difficult for countries to elaborate policies and provide funds for projects that rely on culture’s role as a driver and an enabler of sustainable development.

‘Culture’ was completely absent from the Millennium Development Goals document http://www.un.org/millenniumgoals/ . Don’t let this happen again.

Why is this urgent?

UN’s Open Working Group (OWG) on Sustainable Development Goals (SDGs)http://sustainabledevelopment.un.org/owg.html holds working sessions to draft a list of goals, targets and indicators. ulture is again almost absent. The OWG’s draft of the SDGs will be finalized in July 2014.

Please act now and help raise awareness of the UN’s Member States of culture’s vital contribution to sustainable development.

Contact: info@culture2015goal.netThis email address is being protected from spambots. You need JavaScript enabled to view it.

BEDLAM THEATRE WINS VENUE SUSTAINABILITY PRIZE AT INAUGURAL TECHNICAL THEATRE AWARDS

Charlotte_Hodge_Tim_Atkinson_Rick_FisherBedlam Theatre has taken the :entertaining sustainability Award for Venue Sustainability at the inaugural Technical Theatre Awards, presented at a ceremony held on Tuesday evening at the annual PLASA London live entertainment technology show at the ExCeL.

Charlotte Hodge, Bedlam’s Theatre Manager, collecting the Award on behalf of the student-led venue in Edinburgh, said, “Receiving this award is a huge honour for Bedlam. We feel that sustainability is so important to the future of theatre as a whole. We have many ideas on how to improve but as a student-run theatre company we don’t necessarily have the professional experience or the funds to know where to make a start on them. That is why this award is so important to us: it rewards our enthusiasm and our drive to make changes with the resources we have. This award will help us in our mission to make Bedlam Theatre a more sustainable venue for future members.”

Hodge continued, “Thanks must go to Edinburgh University and the Edinburgh University Students’ Association for their support; to Creative Carbon Scotland and Harry Giles of Festivals Edinburgh for their advice; and to the many Bedlam members who have got us to this point, in particular Luciana Miu, Adam Alton, Bryn Jones and Ruth Luckins.”

Tim Atkinson, Technical Director of :entertaining sustainability, the award sponsor, said, “Bedlam Theatre’s team demonstrates once again that it is perfectly feasible to present uncompromising and exciting live entertainment whilst continually innovating and experimenting to reduce the residual impact of its operations”.

Atkinson went on, “By experimenting with initiatives such as electronic programmes, and collaborating with organisations such as Creative Carbon Scotland, Bedlam repeatedly pushes the envelope of what is achievable within their parameters. Most importantly, the team communicates their work with their audience – a crucial engagement – and with so many patrons at each performance, their message spreads quickly beyond the walls. Huge congratulations to them all.”

The Technical Theatre Awards has been established to recognise the achievements of backstage staff in production, and was given considerable industry support, not only by its host, Tony and Olivier Award-winning lighting designer and former chairman of the Association of Lighting Designers, Rick Fisher, but by the industry sponsors who supported each award.

The full list of winners is: Paul Arditti, dBS Award for Outstanding Achivement in Sound; Tim Routledge, Philips Entertainment Award for Outstanding Achievement in Lighting; Ben Philips, AVW Award for Outstanding Achievement in Automation; Jonathan Hall, StageBitz Award for Outstanding Achievement in Prop Making; Chris Layton, PRG Award for Outstanding Achievement in Education; Megan Cassidy, IOGIG Ltd Award for Outstanding Achievement in Wardrobe; Adam Searle, Load Cell Rental Award for Outstanding Achievement in Flys and Rigging; Stefan Musch, The Theatres Trust Award for Outstanding Achievement in Wigs and Makeup; Sadler’s Wells, Spotlight Accounting Award for Receiving Venue of the Year; Autograph Sound, AdVision Hire Company of the Year Award; Janet Williamson, Triple E Award for Outstanding Achievement in Building and Set Construction; Richard Bullimore,  Lighting and Sound International Award for Outstanding Achievement in Production Management; Bedlam Theatre, :entertaining sustainability Award for Venue Sustainability

For more information visit www.entertainingsustainability.com

New Perspectives on Ecological Performance Making, London

This one-day symposium will bring together researchers, practitioners and students for a discursive investigation of performance approaches that explore the human relationship with the natural world. The recent Readings in Performance and Ecology (2012) and Performing Nature (2007) acknowledge that ‘conventional theatre’ may not be as well positioned to intersect with ecology as other forms of performance. Other paradigms such as eco-activism, bicycle performances, outdoor audio-walks, landscape performances, allotment performances, live art and site-based participatory performance offer unique opportunities for audiences to intimately engage with the living world and interact directly with the material environment. Recent examples of practice include Simon Whitehead’s work, Townley and Bradby’s The Bowthrope Experiment, Earthrise Repair Shop, Platform’s Oil City, the work of Fevered Sleep and FanSHEN’s Green and Pleasant Land. This symposium will assemble key people in the field of Performance and Ecology to explore how new paradigms can be developed from a number of different perspectives and expertise on the subject.

Hosted by the Theatre Applied Research Centre, confirmed participants include Wallace Heim, FanSHEN, Julie’s Bicycle, Sally Mackey, Ian Garrett, Harry Giles, Stephen Bottoms, Dee Heddon, Carl Lavery, Dead Good Guides, Peter Coates, Silvia Battista, Eve Katsouraki, Gareth Somers, Sarah Hopfinger, and Baz Kershaw.

Lunch will be provided along with tea and coffee.

Book Now: New Perspectives on Ecological Performance Making Tickets, London – Eventbrite.

Jean-Claude Carrière Theater at the domaine d’O

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The Jean-Claude Carrière theatre is a unique «environmentally friendly» project, based on a global environmental approach aiming for general energy efficiency and for environmental quality standards.

Other than the slab that supports it, the entire structure could be dismantled and rebuilt on a different site. Just like the similar project at the Comédie Française (the «théâtre éphémère»), the structure is entirely built out of wood panels (KLH). The unique design is enhanced by a light wooden lozenge structure recovering the entire building.

MGB_3838 copieThe renowned Montpellier architect firm A+ architecture has been entrusted with this project, which from the very beginning has been designed taking the natural environment of the location into account : a construction which can be entirely dismantled, the use of wood, a light architectural expression, respecting the surrounding wooded zone. The building is entirely built of recyclable material, using for instance PECF labelled wood, providing an outstanding carbon footprint for this project.

The theatre is more than remarkable in terms of energy efficiency, including the innovative heating system, an excellent insulation system and the exclusive use of LED for the lightning systems. The acoustic insulation system has been optimised in order to avoid neighbourhood sound pollution and to create perfect interior acoustic settings for the stage. Retractable seating solutions, a modular stage frame, a construction that can entirely be dismantled, optimised technical  zones, a bright and welcoming hallway…

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picture credits, following pictures : Jean-Yves GILBERT

 

Are They Edible? (entertainment you can taste)

Odysseus

CONTRIBUTE HERE

ARE THEY EDIBLE? has been selected to be presented by La MaMa Theatre Puppet Series – a bi-annual puppet series presented by the reputable La MaMa Theatre.  It will preimere from November 7-10, 2013 at The Club.

Are They Edible? is a multi-sensory puppetry performance inspired by Homer’s epics: the Iliad and the Odyssey. It takes place in an interactive setting in which food consumption is used as a way to engage the audience in a tactile discourse on the relationship between war, heroes, and hunger (or the urge to consume).

Initiated by war then cursed by pride, Homer’s Iliad and Odyssey are tales of war, of the construction and destruction of heroes, of how hunger and thirst for violence are never satisfied, and of wearied soldiers’ journey – and ultimately one soldier’s journey home. While our memory mostly lingers around the heroic acts associated with these tales, I want to emphasize the image of only ONE soldier, Odysseus, succeeding in returning home and his son Telemachus, meanwhile, growing up to join him in slaughtering the suitors. Through this act, Telemachus becomes the next hero preparing for another Trojan War. This parallels how we encourage and celebrate the sacrifices from our generations of military service.

During the performance, audiences will be served food along with red wine. In addition, they will be led literally on their feet to journey through different puppetry stations as a way to put them inside the experiences similar to Odysseus’ and a given birds’-eye view of the scope of atrocities with the eerie sense that this is all constructed for their enjoyment and available for their consumption or manipulation.

The tone the piece sets out to create is of uneasy playfulness, where at times the audience is able to taste, enjoy, and comment on the action with one another, and at other times will be lulled into private contemplation through immersive visual, aural, and sense-of-taste experiences.

We are working hard towards making this premiere a great success but need a little extra financial help to support all the wonderful artists who are involved in the project, many of whom I’ve been collaborating with for years. This project is blessed by their talent and commitment so please join me in supporting them by making a donation today.

Because this is an “all or nothing” type campaign, I am setting the goal at $6,000 to cover the costs of supplies and puppet creation as well as ARTISTS and every dollar that exceeds this goal will continue towards supporting the artists involved with my new performance.

Artists involved in this production include:

  • Torry Bend (Set and Puppet Designer – since 2011)
  • Burke Brown (Lighting Designer – since 2011) * Andrew Butler (Performer – since 2012)
  • Nikki Calonge (Performer – since 2011)
  • Elizabeth Eggert (Technical Direction)
  • Nicole Greene (Stage Manager – since 2011)
  • Phillip Gulley (Video Designer – since 2012)
  • Connie Hall (Culinary Designer – since 2011)
  • Karl Hinze (Composer)
  • Amy Jensen (Dramaturg – since 2011)
  • Tom Lee (Puppet Designer & Builder)
  • Maggie Robinson (Performer)
  • Rachel Schapira (Props and Puppet Designer – since 2012)
  • Margaret Schedel (Sound Designer) – Bobby McElver was the original designer but unfortunately his schedule won’t allow him to work on this.
  • Julia Sirna-Frest (Performer – since 2011)
  • Matthew Stephen Smith (Playwright)
  • Marisa Lark Wallin (Performer – since 2011)
  • Meghan Williams (Performer) and Puppet Designer – since 2011)

Julie’s Bicycle Releases New Sustainable Production Guide at Sold out Event

JBsustainingcreativity.102840Julie’s Bicycle on Tuesday launched its new Sustainable Production Guide at the first of their autumn events on Sustainable Design in the Arts to 50 arts professionals.

Speakers Donyale Werle, Tanja Beer and Sam Collins led the debate on the role designers and production managers can play in making arts practice more environmentally sustainable. Hosted by the Young Vic, the panel addressed an audience of London and UK based arts professionals from across theatre, opera, visual arts, dance and education.

After her success at World Stage Design 2013, Donyale Werle spoke about her experiences designing and constructing shows sustainably on Broadway, and the need to the normalise sustainable practices and work with current networks and suppliers to create change. Tanja Beer presented her research into eco-design principles and went on to explain her “Living Theatre” project as an example of how work can be designed to engage and enrich audiences, and leave a positive environmental and social legacy.

Sam Collins offered a different perspective, highlighting the potential for sustainably-designed artwork to create the context for honest and open discussions about waste and carbon emissions within the industry, particularly with regards to touring shows. He used the striking example of adding a GPS device to packing crates transporting Cape Farewell’s U-n-f-o-l-d exhibition to track their journey around the world. This was followed by a 50 minute discussion with the audience covering topics of new materials, the use of toxic treatments and contending with fire regulations, waste management, and the role of artistic vision in driving the cultural shift towards a more environmentally sustainable arts sector.

The event also included the launch of Julie’s Bicycle’s new Sustainable Production Guide. Available from today for free download the guide has been developed with a community of production professionals, and offers comprehensive guidance on how to make theatre more sustainable at every stage in the production process.

The guide is available for free download at:
www.juliesbicycle.com/resources/practical-guides/production

Arts Manager Sholeh Johnston said, “The Sustainable Production Guide is the result of a collective effort within the theatre industry to understand and improve the environmental sustainability of production. It showcases best practice developed to date, links to key resources, and provides practical actions for directors, production managers, set designers and builders, costume makers, cast, marketeers and others involved with making great art happen. The guide is both a distillation of Julie’s Bicycle’s research to date, and an invitation to join an exciting community of practitioners pioneering new ways of working in line with environmental, economic, and technological drivers. We want to keep the conversation going, and continue to shout about the fantastic work being developed.”

Download the Guide here: Sustainable-Production-Guide-Final-2013

CALL FOR SUBMISSIONS: Database of Eco Public Art

Curating_Cities

The Curating Cities Database maps the increasingly important and emerging field of eco-sustainable public art. It is developed as a resource for researchers, academics, artists, curators, educators, commissioning agencies and sponsors working in the field as well as those interested in promoting sustainability via public art. In addition to descriptive information, the database evaluates the aims and outcomes of each project as well as the external constraints (and subsequent negotiations) that influence the production of public artworks. eco-publicart.org

EDITORIAL COMMITTEE

Jill Bennett, Felicity Fenner, Lindsay Kelly and Veronica Tello. Sustainability Consultant: Jodi Newcombe.

INTERNATIONAL ADVISORY COMMITTEE 

T.J Demos (University College London); Ian Garrett (York University/Director, Center for Sustainable Practice); Natalie Jeremijenko (New York University/Director of Environmental Health Clinic); Sacha Kagan (Leuphana University Lüneburg/Founder of Cultura21, Network for Cultures of Sustainability and the International Summer School of Arts and Sciences for Sustainability in Social Transformation); Adrian Parr (University of Cincinnati).

We invite submissions from curators, researchers, academics and creative practitioners.

PURPOSE

Our intention is to develop a resource that will be of value to all those interested in public art, including specialists and the broader community. The database entries are concise but designed to go beyond the short profiles readily available on other sites. To that end, we have developed a template and guidelines designed to elicit key information regarding the sustainability (as conceived within the particular project), legacy, engagement and circumstances of an artwork’s production. Recognising that public art is not always well served by bureaucracies, entries may also record useful information on external constraints and how these were negotiated.

SCOPE

We are looking to achieve expansive coverage and are open to suggestions for inclusion (geographic remit is global). Generally, we interpret public art as a creative art form produced for non-gallery contexts (exceptionally, it may include gallery exhibitions with an explicit external engagement focus). We define “eco-sustainability” to signify an evident interest in ecological, sustainable and/or environmental concerns. It is not our intent to ‘police’ the definition of eco-sustainable public art: we are keen to include work that challenges definitions and expectations. As a general indication, we are interested in substantial work that actively engages with its environmental context (rather than in work that merely represents or symbolises an environmental concern).

SUBMISSION and REVIEW PROCESS

Submissions are peer-reviewed. Each submission should focus on a particular public art project, which must be proposed to the Editorial Committee in advance. Contributors are welcome to profile their own work, either by evaluating their own project or by referencing a larger study or thesis written by them on the same subject. We also invite academics that research and teach in this area to encourage student submissions. We are happy for the template to be used for course assessment exercises and can confer with lecturers regarding the process by which a batch of entries from a class can be peer reviewed/considered for inclusion in the database.

For the template and sustainable evaluation framework and to discuss a potential submission please email v.tello@unsw.edu.au

“Sonic Bloom” a new Interactive artwork showcases solar, sound and education at the foot of the Space Needle

In the playful context of Seattle Center’s festival groundsSonic Bloom is a new energy-neutral permanent interactive art installation at the foot of Seattle’s Space Needle and a defining entry sculpture to the Pacific Science Center. The signature sculpture is designed to demonstrate the science of solar energy in an accessible way as well as becoming a new icon for Seattle Center.

“Sonic Bloom” is a solar-powered work of art created by Dan Corson for the Pacific Science Center on behalf of Seattle City Light’s Green Up program, which supports the development of new renewable energy sources.

The project is composed of 5 super-sized flowers (up to 40’ tall and 20’ across) sporting frosted acrylic petals that glow like glass when backlit.  Mounted on the top of each painted flower head are 46 locally made photo voltaic cells. These solar cells collect the energy from the sun and are fed back into the electrical grid and completely offset the energy-efficient LED lighting and speaker electrical consumption for the project.

“There’s a myth that solar power won’t work in Seattle” said artist Dan Corson. “But even with our often cloudy weather, solar works well here”. The challenge was going beyond simple rooftop installations and engaging people with solar

After dark, the sculptures make a dramatic illuminated presence, revealing the domed undersides of the flowers as dynamic illuminated surfaces awash in moving color and concentric echo-inspired patterns. The backlit painted fiberglass diffuses the energy-efficient LED lights and creates an interesting patterned surface in the daytime.

The title Sonic Bloom refers not only to our defining location “on the Puget Sound” but also to the artwork itself that sings as the public approaches each flower.  Every flower has its own distinctive series of harmonic notes simulating a singing chorus. A hidden sensor located in each flower identifies movement and triggers the sound.  So if there are 5 people engaging the flowers together, it is possible to compose and conduct music together or by walking through, randomly set off a harmonic sequence.

The colorful striped stalks of the flowers not only accentuate the curved stems, but are also actual “barcodes” that can be deciphered by inquisitive sleuths motivated to decode the super-sized puzzle.

Seattle, with its mild maritime climate, hosts some of the most enthusiastic gardeners in the country. The artist is not only a self-described “plant geek” and has created an award-winning garden featured in a number of magazines, but has also created the garden concept for the planting beds below the sculptures as well.  The Sonic Bloom garden is designed for a year-round viewing highlighting certain flowers and color combinations that echo the sculptures every season.

Interpretive signage at the exhibition and inside Pacific Science Center explains how solar energy works and shows in real-time how it is powering the flowers.

Living Data: Art from climate science at the Muse

Image: ‘When I Was Buoyant’, Josh Wodak

Image: ‘When I Was Buoyant’, Josh Wodak

A dramatic art exhibition inspired by climate science.

See through icy veils of mesh as art and data come together to create past, present and future forms of life. Wonder at physical and virtual models of life forms as they evolve. Discover your genetic ancestors in the algae that photosynthesise light to make the energy that sustains us.

Immerse yourself in an exhibition that challenges your senses with artworks that combine scientific and sensory knowledge of climate change.

Curated by Dr Lisa Roberts, Living Data program leader and Visiting Fellow at the University of Technology,Sydney, you’ll have a chance to take part in ground-breaking art and science talks, see dramatic climate-inspired dance and hear primal music.

Dr Roberts is a multimedia visual artist whose work combines scientific and sensory knowledge of climate change. Her formal studies include dance, visual arts, animation, Indigenous perspectives and Antarctic perceptions. Lisa Roberts is the great grand daughter of the prominent Australian painter Tom Roberts.

Living Data program for the 2013 Ultimo Science Festival, Sydney, September 12-21.

What do we know about climate change and how are we responding to it?

There’s a lot of talk about the need for collaboration between cultures, disciplines and institutions, to develop a sustainable future, but not a lot of time to build trust to share the data, stories, hypotheses and images to inspire and enable action for change. For the 2013 Ultimo Science Festival, scientists, artists and designers come to Sydney from as far away as Antarctica to contribute what they know about climate change and how they are responding to it.

Contributors: Kirralee Baker, Jennifer Clark, Martina Doblin, Christina Evans, Paul Flecther, William Gladstone, Peter Jones, Rose McGreevy, Madison Haywood, So Kawaguchi, Eveline Kolijn, Anthony Larkum, Carina Lee, Andrea Leigh, Brad Miller, Caterina Mocciola, Steve Nicol, Simon Pockley, Antonia Posada, Vikki Quill, Daniel Ramp, Lisa Roberts, Juanita Sherwood, Melissa Smith, Paul Sutton, Takuya Suzuki, Leanne Thompson, Dean Walsh, Shona Wilson, Josh Wodak, Malou Zuidema

EXHIBITIONS

Living Data: Art from climate science The Muse, Ultimo TAFE, Harris Street Ultimo (opposite ABC Studios)
Sex in the sea Living Data Atrium level 3, Building 4 (Science), University of Technology, Sydney (UTS)

9-5pm Monday-Sunday, 12-21 September 2013

Curator: Lisa Roberts,Artist, Living Data program leader, Visiting Fellow, Science, Design, Arts & Social Sciences (UTS)
Shadow curator: Paul Sutton, Photographer, Associate lecturer in Design (UTS)
Exhibition designer: John Cabello, Designer, Lecturer in Design (UTS)

EVENTS

Food: Relationships with things we eat

At The Muse 12-21 September 2013 – Opening, Thursday 12 Sept. 4-6 pm

  • Professor William GladstoneHead, School of the Environment, Science (UTS) leads a Discussion with:
  • Professor Juanita Sherwood Indigenous Australian scholar from the Transforming Cultures Research Centre, Faculty of Arts and Social Sciences (UTS)
  • Dr Steve NicolAdjunct Professor at the Institute for Marine and Antarctic Studies and an Honorary Fellow at the Antarctic Climate and Ecosystems Cooperative Research Centre, University of Tasmania
  • Dr So KawaguchiPrincipal Research Scientist at the Australian Antarctic Division (AAD) and Manager of the AAD Krill Research Program.
  • Dr Daniel Ramp,Senior Lecturer, School of the Environment, Science (UTS) and Co-founder of THINKK – the think tank for kangaroos, an academic forum that fosters greater understanding among Australians of kangaroos

How we know things: Understanding through art and science

Forum, Sunday 15th Sept. 2-3pm

Presentations and Discussions

 

Data for action: How we act on what we count, weigh and measure

Forum, Wed 18th. Sept. 6-7pm

  • Dr Simon Pockley, Designer, Activist and former Business Analyst for the Australian National Data Service (ANDS)
  • Dr. Martina Doblin, Senior Research Fellow and Kirralee Baker, PhD candidate, both C3 (UTS)
  • Brad Miller,Researcher and Design Senior Lecturer at the The College of Fine Arts, University of New South Wales
  • Dr Josh Wodak,Artist, Researcher, Creative Director 350.org Australia