ecoartscotland

The law of the forest and the freedom of the streets

This post comes to you from EcoArtScotland

Thanks to Scott Donaldson for sharing this article The law of the forest and the freedom of the streets on openDemocracy.  Forests play an important role in the evolution of public space in England.  The Magna Carta was followed in 1217 by The Charter of the Forest.

The Forest Charter formalised the right of unbonded men to access and use of the goods of the royal forests (grazing, fuel, food), while implicitly assuming the right to wander freely in the landscape as well as providing a place of refuge for those cast out of the social order.

Forests not only played the role that cities now play, forests also offer a conceptual tool for thinking about the public realm in cities today. 

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 ResearchGray’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.

Go to EcoArtScotland

Powered by WPeMatico

Food Phreaking Issue 01 – The Center for Genomic Gastronomy

This post comes to you from EcoArtScotland

The Center for Genomic Gastronomy‘s new issue of Food Phreaking draws on research done during Nil by Mouth, is a culinary compedium of curious botanical fruits.

CGG says,

In this first issue, we examine a range of botanical fruit cultivars that have been manipulated by human food cultures…

Botanical fruits include most of the world’s major grain crops as well as colorful fruits like apples and mangoes that have extensive cultural and symbolic meaning. But who gets to decide what changes are made in a single species of botanical fruit such as apple, corn, mango or rice?

Food Phreaking Issue 01 is intended to help amateur readers, who are not involved in agronomy, agribusiness or the food industry, familiarize themselves with some of the technical aspects of agricultural biodiversity.

Food Phreaking is the journal of experiments, exploits and explorations of the human food system. We hope you use this survey of botanical fruits as a starting point to understand past and present fruit cultivars, and to imagine a range of potential food futures.

About:

  • Contains 22 short stories Food Phreaking stories
  • Risograph printed
  • 2-color ink, with 3 color cover
  • Cover illustration by Jen Tong
  • First edition of 500

Printed by DittoPress in London

If you want to take a look at the content, or if you can’t afford a book, feel free to download the PDF of Food Phreaking Issue 01.

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 ResearchGray’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.

Go to EcoArtScotland

Powered by WPeMatico

how much is too little, too much, or just enough

This post comes to you from EcoArtScotland

The 12×12 project grows out of the powerful story of a North Carolina pediatrician, Dr. Jackie Benton, who ten years ago gave up a luxurious home to live in a 12’ by 12’ off-the-grid house and permaculture farm.  The World Policy Institute used this idea to develop a project with the Queens Botanic Gardens, which has grown to an international network.

A creative team, comprising well-known NYC-based architects and artists including Betsy Damon, David D’Ostilio, Simon Draper and Christy Rupp, decided that the project must include all the key substances of living lightly: water, energy, and food. After careful planning, they decided on the following: two 12’ x 12’ structures will take the form of a book-like house that consists of living walls based on the DNA double-helix weave-like design; a rain-collecting upside-down umbrella rooftop with a waterproof layer and root barrier; a moisture retention product (such as a rainwater collecting solar panel rooftop); a drainage system and filter fabric made of flow forms that channel rain water into a large container, to be used as the main water source; an erosion cloth; and a space inside the houses that will be open to the public during the daytime (to be securely locked during the park’s closed hours). Once erected, the space will encourage interaction through slide-out walls that will prompt participants to read/write/reflect about their individual houses and our planetary house and share their visions via daily web posts and social media. Readings from the book Twelve by Twelve and conversations will be held adjacent to the installation, where artists will facilitate interaction and imagination.

Check out the 12×12 project tumblr – in particular have a look at the ‘impact’ section.

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 ResearchGray’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.

Go to EcoArtScotland

Powered by WPeMatico

Future Forest

This post comes to you from EcoArtScotland

Cover of report "Future Forest: The Black Wood, Rannoch, Scotland" click to download

Collins_Goto_Edwards_FutureForest2015

We are pleased to highlight the Report just released by the Collins and Goto Studio and Forest Research entitled Future Forest, The Black Wood, Rannoch, Scotland.   It features reflection and findings from a year long artist-led creative inquiry into the ecological and cultural meanings and values associated with the Black Wood of Rannoch in Highland Perthshire.

Working back and forth across our disciplines (art and social science) we have produced a deep reading of the historical and current condition of the Black Wood while making a small contribution to ideas about cultural ecosystems services. The report focuses on centuries of conflict that go back to the Jacobites in Rannoch and the fact that this important forest was forfeit to the crown three times. It reflects on 19th century historic management decisions, which created gaps in the cultural/forest landscape relationships and the loss of the native language. The modern history includes visionaries in the Forestry Commission who have conserved this forest for future generations.

This report emerged from local community interest in ancient trails that go back to the transhumance, and how they might be gently revealed and mapped without damaging the forest. Out of the discussion questions emerged about management of the forest, the form and function of the forest today, and what the Black Wood means and to whom is it relevant today:.Is the Black Wood a ‘forest cathedral’ without a local congregation or national recognition? Can future forest ideals be ascertained solely within the domain of science?

The potential benefits of increased national interest and use by people are juxtaposed with the on-going challenges of conducting research, putting long-range plans in place and protecting the forest against the day-to-day interactions with institutions and people, as well as other living things. Managers need to consider the risk of catastrophic weather events and the increased likelihood of pests and disease outbreaks within the changing environmental conditions of today. Everyone involved agreed on one point – no harm should ever come to the Black Wood.

The report explores how cultural values might bring new benefits to ancient Caledonian forests, raising questions about what it means for management and the people of Rannoch and Scotland in general. If you have questions or simply want to discuss the report, please contact us.

David Edwards, Social Scientist

Forest Research

Northern Research Station

Roslin, Midlothian, EH25 9SY

email: david.edwards@forestry.gsi.gov.uk

COLLINS and GOTO STUDIO

Art Design and Planning

1M Glasgow Sculpture Studio

2 Dawson Road, Glasgow, G4 9SS

email: tim@collinsandgoto.com

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 ResearchGray’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.

Go to EcoArtScotland

Powered by WPeMatico

Nil by Mouth at the Scottish Parliament – CREATIVE FUTURES

This post comes to you from EcoArtScotland

We’ve just put up an excellent video from artinscotland.tv documenting Crichton Carbon Centre‘s Nil by Mouth event (produced by Wide Open) at The Scottish Parliament last November. You’ll also find background on the project, lots of info on the scientists from The James Hutton Institute, Rowett Research Institute and SRUC as well as links to pdfs and websites associated with the various artists: Harry Giles, Center for Genomic Gastronomy, Hans Clausen as well as Jo Hodges and Robbie Coleman.  Read more here

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 ResearchGray’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.

Go to EcoArtScotland

Powered by WPeMatico

Does anyone know Professor Paul Younger Rankine Chair of Engineering and Professor of Energy Engineering at the University of Glasgow?

This post comes to you from EcoArtScotland

… or any of his co-authors of the letter published in the Guardian 10 October 2014 (his co-authors were Prof Colin McInnes, James Watt Chair and Professor of Engineering Science; Prof Fin Stuart, Professor of Isotope Geosciences; Prof Rob Ellam, Director, Scottish Universities Environmental Research Centre; and Prof Adrian Boyce, Professor of Applied Geology all of the University of Glasgow).

We are working on the principle of 6 degrees of separation, and since there are nearly 1000 people who receive ecoartscotland posts we reckon someone knows Prof Younger.  You see we sent him a piece of work by an artist and we want to know if he received it.

It started with Roanne Dods posting a story from the Glasgow Herald. Senior Engineers at Glasgow University called the University’s recently announced commitment to long term divestment from the fossil fuel industry “vacuous posturing.”  Read more about divestment here.

We were so enraged by this that we ordered a copy a poster to be sent to Prof Younger.  The poster, created by New York based artist Rachel Schragis, is distributed by Just Seeds and is part of 350.org’s Do The Math campaign.  BTW Global Divestment Day is Feb 14th.

The image above is Rachel Schragis’ fabulous mind map for the Do The Math campaign – see more of her work at http://www.rachelschragis.com/

So we’d like to know if Prof Younger got the poster, and whether he’d like to have a conversation about divestment, climate change and the role of public institutions?  Obviously ecoartscotland can only speak to issues of art and ecology, but I’m sure someone knows an economist to can talk about fossil fuels, and a behavioural psychologist who can talk about behaviour change, and a systems theorist who can talk about conflict in systems…

Come on engineers. You must be able to do the maths.

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 ResearchGray’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.

Go to EcoArtScotland

Powered by WPeMatico

Mourning the planet: Climate scientists share their grieving process – from Truthout

This post comes to you from EcoArtScotland

Dahr Jamail, staff reporter for Truthout and known for his work on Iraq and Afganistan, speaks to scientists working on Anthropogenic Climate Disruption about their emotional responses in this important piece.  Thanks to Truthout for permission to repost extracts.  Jamail starts,

I have been researching and writing about anthropogenic climate disruption (ACD) for Truthout for the past year, because I have long been deeply troubled by how fast the planet has been emitting its obvious distress signals.

On a nearly daily basis, I’ve sought out the most recent scientific studies, interviewed the top researchers and scientists penning those studies, and connected the dots to give readers as clear a picture as possible about the magnitude of the emergency we are in.

This work has emotional consequences: I’ve struggled with depression, anger and fear. I’ve watched myself shift through some of the five stages of grief proposed by Elisabeth Kübler-Ross: denial, anger, bargaining, depression, acceptance. I’ve grieved for the planet and all the species who live here, and continue to do so as I work today.

Continue reading here…

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 ResearchGray’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.

Go to EcoArtScotland

Powered by WPeMatico

Guest Review: Review of Estuary, by Lydia Fulleylove, with artwork by Colin Riches

This post comes to you from EcoArtScotland

David Borthwick, who runs the University of Glasgow’s masters programme Environment, Culture and Communication at the university’s Dumfries Campus, reviews Lydia Fulleylove’s Estuary, a new book of poems published by the excellent Two Ravens.

Estuaries are, as in the title of one of Raymond Carver’s stories, ‘where water comes together with other water,’ fresh into salt, and as estuaries are characterised by tidal influx, where salt reaches back upriver.  They are transitional zones where local systems meet global ones, the activities of the land meet the open sea; indeed, they are also open to the tractive pull of moon and sun, linking them to celestial bodies too.  An estuary is defined by relational forces, then, and this also makes it a profoundly susceptible space.  One might say an estuary is produced through its myriad relations.

Colin Riches, 'moon and stream'

Colin Riches, ‘moon and stream’, silt, oil and acrylic

Estuaries are profoundly cosmopolitan areas, rich in the symbolism of transition, and this is perhaps why these environments have proven fertile grounds for poets in recent years.  The Severn estuary, in particular, has received considerable attention in both Alice Oswald’s book length A Sleepwalk on the Severn, and Philip Gross’ collection The Water Table (both 2009).  Oswald refers to ‘this beautiful / Uncountry of an Estuary’.[1]  Her ‘uncountry’ is ‘both a barren mudsite and a speeded up garden’.  It is between, untenable, and indefinable, irreducible to notions of rootedness, permanence or stability.  Phillip Gross describes an estuary in terms of its ‘indefinite grounds’, characterised by ‘constant inconstancy’; its ‘indefinable grounds’ and ‘irrefutable grounds’: ‘six hours and the grounds / are remembered.  Forgotten. Remembered’.[2]

Lydia Fulleylove’s Estuary, published by Lewis based Two Ravens Press, adds to but also enlarges this resurgent interest in estuaries.  Centred on the River Yar estuary in the west of the Isle of Wight, Fulleylove’s eclectic book demonstrates in its very form the power of relationality.  The book is part nature daybook—a diary of visits to the estuary, interactions with it over the course of a year—but also a poetry collection.  It also has elements of deeply personal memoir.  One of the book’s strengths is that Fulleylove cannot bracket off her personal relations (an aging father during illness), her job as a creative writing tutor at HMP Isle of Wight, nor indeed the politics which sees one of the estuary’s farms carefully dismantled during her period of residency in the area.  It is all of a part, each element a channel or rivulet in the book’s flow outwards.  This is only added to by Colin Riches’ contribution of artwork at the collection’s centre: pictorial representations of estuary features, animals (domestic and wild), and artefacts.  Many of these have been created using materials from the estuary as their medium: estuary mud, sheep dung, bramble juice.

Fulleylove and Riches employ sensory information as a key part of their work here.  In one poem, the artist is observed at work:

Dung, mud, ink. The artist makes

the cow in the winter barn,

legs tucked under like a cat,

tail pressed close. Black eye watchful,

nostrils, ears flared. Long after

she is gone, these marks will call up her absence,

draw her presence out of dark.

This attempt to capture presence is vital, poetic and visual work going hand in hand as a means of representing the estuary faithfully, even as the environment shifts around one with the tide:

cracked mud mud-gasps

river dark glass

look down clouds sky

look up clouds sky

here is river

see sea-river

The stutters and repetitions here enact not only the process of trying to write the estuary, but its own particular and fluid behaviour.  Everything described must relate to the estuary, the estuary itself formed by these relations, and with all being fluid this negotiation even reaches into the language that Fulleylove uses.  The process of rounding up sheep is rendered in riverine terms.  Sheepdogs are:

Swift, slick

they whip round the sheep,

close to the ground. The flock

runs like a river into the pen

any stray rivulet

channelled back in.

It’s done almost before it’s seen.

Colin Riches, 'Reed and River', reed, earth, ink and gouache

Colin Riches, ‘Reed and River’, reed, earth, ink and gouache

What separates Fulleylove’s book from some of the celebrated ‘New Nature Writing’ is that it continually brings the reader back to community, away from the writer’s solitary observations and into the eddies and turbulence of issues affecting wider concerns.  Local writers’ and artists’ groups are taken out into the estuary to experiment.  Farmers’ views are recorded verbatim and inserted into poems.  Most powerfully, the estuary is brought indoors in order to engage prisoners with an external environment they cannot access.  Among the artefacts offered to prisoners are leaves: ‘what the men most want to do with the leaves is to smell them.  A leaf is passed round nose to nose.’  Sensory apprehension again.  The prisoners’ reflections in their own writing are recorded here too.

There is a powerful social justice imperative within the book, from the treatment of the poet’s father in institutional care, to the politics of landscape which places farmland in ownership that cares not for local experience and traditions— and of course to the welfare of those in prison.

Estuary tacitly suggests that all of Fulleylove’s concerns are intimately connected.  Indeed, connection is a recurring motif.  A Schoolgroup is taken to see the last of the farm’s animals as it is transformed from an Aberdeen Angus carcass to food.  The visit is meant to reconnect the children with the food chain because, as Fulleylove notes, ‘we can’t be disconnected from this earth’.

Colin Riches, 'Last Year's Leaves', mixed media

Colin Riches, ‘Last Year’s Leaves’, mixed media

And yet because we are ‘wrapped in layers of distance’ from the nonhuman world, and perhaps from each other, we ignore the interconnections which inform and shape us all.  From the flora and fauna of the estuary, to the farms upon it, and even the prison, relations exist which conjoin to form a relational space.  In short, the estuary, this place, exists only as the total interactivity of these factors.  There is no ‘inside’ and ‘outside’, but a reciprocal set of interactions in which we are all enmeshed.  In Fulleylove’s thoughtful book, the estuary becomes a powerful symbol for relations and responsibilities.

Indeed, in her prologue Fulleylove says that all of the book’s segments exist as ‘as sign of having been there, evoking the relationship with place at that moment’.  The work is, she says, ‘a dialogue’; it is all about ‘the act of paying attention’: using the senses, different materials, extending empathy to the lives of others, both human and non-human.

In a relatively slight book of under a hundred pages, Fulleylove manages to weave together all of the elements of the local environment on the Yar estuary.  Her vision is clear, her work concise and potent.  She is capable of reflecting back and forth in landscape, and in time, in a way that makes the book more than a diary of a specific place, but an exploration of a place’s multiplicity through the seasons, in which every detail is made to resonate, and flow outwards from itself:

I pick one barley stalk from this dry sea

to stick on the white field of my page.

Winter, I’ll look back at slant, hard-packed grain,

like Brent geese streaming in close line.

[1] Alice Oswald, A Sleepwalk on the Severn (London: Faber, 2009), p. 3.

[2] Philip Gross, ‘The Water Table (Tarset, Northumberland: Bloodaxe, 2009), pp 47-48.

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 ResearchGray’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.

Go to EcoArtScotland

Powered by WPeMatico

Funded PhD Opportunity: Performing Geo-chronology

This post comes to you from EcoArtScotland

How can creative research investigation into the climatic and tectonic processes operating along Scotland’s Western Seaboard can help to nurture and communicate a sense of the ‘deep time’ involved?  This includes the ‘slow’ temporality associated with glaciations, and the ‘quick’ events of storms and flooding, but also organic temporalities, from evolution to settlement patterns. Such an expanded notion of time is crucial if we are to respond to what Dipesh Chakrabarty has termed the sense of ‘historical confusion’ that climate change presents us with. For Chakrabarty, the uncanny spectre of ‘a world without us’ produces a sense of melancholia and helplessness. One way in which this despair might be countered is by imagining ourselves as planetary creatures whose history has always been entangled with a larger natural history.

This studentship investigates:

How field-based geochronological dating methods can use cultural artefacts (written and image-based, and oral traditions), ranged alongside physical artefacts (e.g. morphologies and sedimentary archives), to outline the extent and impact of particular climatic/tectonic processes along Scotland’s Western Seaboard.

How this work can be theorised, contextualised and composed with respect to extant artistic practices and theories of aesthetics.

How an appreciation of the ‘deep time’ involved in Scotland’s changing Western Seaboard can produce 3 site-specific performances/exhibitions/films such that new narratives of place and alternative histories emerge. The student will draw on geomorphological/archaeological data and techniques as creative resources, and will prompt reflection on new ways of communicating science.

A suitable candidate is sought to apply for one of the prestigious Kelvin/Smith PhD Studentships at the University of Glasgow. The studentship is fully funded and the criteria for eligibility can be found by visiting THIS LINK

The student for this project should possess a high quality undergraduate degree (2.1 or 1st), a Masters Degree and/or equivalent experience as an artist. The candidate should be able to work both theoretically and creatively. Evidence of prior work – both academic and artistic – in the proposed research areas (arts, geography, ecology) is crucial for this project. As well as strong academic achievement and excellent intellectual ability, the candidate should have a developed artistic practice and be able to provide a CV listing some evidence of the following: professional performances, screenings, exhibitions, commissions, recordings, and residencies and collaborations with both arts and non-arts organisation

If successful the candidate will work with an interdisciplinary team of scholars on the project from 1 October 2015 onwards. The primary supervisors will be Professor Carl Lavery (Theatre Studies) and Professor Deborah Dixon (Geography).

The Scholarship is intended to support candidates of the highest calibre and as such may be offered to residents of any country provided that the candidate has obtained leave to remain in the UK for the purposes of full-time study.

The deadline for applications is Friday 23 January 2015.

Further details can be found by emailing Professor Carl Lavery (Carl.Lavery@glasgow.ac.uk).

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 ResearchGray’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.

Go to EcoArtScotland

Powered by WPeMatico

Anthroposcene Evolution

This post comes to you from EcoArtScotland

James Eckford Lauder – James Watt and the Steam Engine- the Dawn of the Nineteenth Century – Google Art Project

James Watt didn’t start the anthropocene age, nor is he responsible for climate change, but the invention of the Steam Engine is more than a footnote in history.  The new online journal at www.anthroposcenemanifesto.com (sic) is a platform for research and reflection from social, cultural ecology perspectives.  The introduction reads,

The Anthroposcene Evolution is a dialogue that began at an Environmental Research Network conversation, convened in Glasgow by Alex Benchimol, Hayden Lorimer and Rhian Williams in 2011. As that conversation closed, Chris Maughan suggested that for the arts and humanities  the idea might be better understood in terms of an ‘anthroposcene’, as a social or cultural ecology. All agreed it was an idea that needed to evolve and spiral outwards rather than a manifesto that would solidify and be set in stone. Here-in with many voices, hearts and minds – we establish a evolution of that discourse. In 2014-2015 an international group of contributors have agreed to develop critical variations on this theme for posting and discussion. Some will critique the form of the manifesto itself. We are the first contributors to a this dialogic journal. The membership of this group will change each year at summer solstice.

This online journal embraces all those in the arts and humanities who feel they have a vital role to play in the future. We will establish links to various projects, workshops and exhibitions as this site develops.

The blog has a series of reports that Tim Collins and Reiko Goto wrote after ‘The Anthropocene: Artists and Writers in Critical Dialogue with Nature and Ecosystems held at the Australian National University, Canberra, June 2014: 1 Introduction, 2 Participants, 3 Images, 4Reflections and 5 Key Points.

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 ResearchGray’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.

Go to EcoArtScotland

Powered by WPeMatico