Open Calls

Calling all Artists: Flint and Steel Artist Residencies

Flint and Steel are five week residencies designed to allow artists to join forces with academic partners. Artists and Tulane University faculty members will be united to inspire each other in the development of new work, to excite the public, and to ignite social change. Addressing the artists’ desire to be more effective and have longer lasting impact with their outreach, these collaborations will empower the artistic practice with scholarship, student manpower and academic resources from Tulane. We ask artists to describe in detail how the opportunity will affect their work, to identify potential departmental partners, to propose a public component to their residency and to suggest ways in which they will engage with the local community.

A full description including all important dates and the application for our Flint and Steel residencies can be found here(pdf) or here (MS Word).<

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Seeking global collaborators for an art project embodying climate change

HOLOSCENESstatic.squarespace is a public performance and series of multi-platform artworks that embody the trauma of flooding, as well as a cross-disciplinary research driven by the concern that our troubled relationship to water will become the central issue of the 21st century.

The creative team — behind presentations at The Whitney Museum and The Sundance Film Festival and led by TED Senior Fellow Lars Jan — is asking you to collaborate by recording a video of ANY everyday activity that you or someone you know perform (brushing your teeth, making food, exercising, etc.) posting it online, and including it in the larger project by submitting a link through our website. Inside custom designed aquariums, performers will simulate these documented behaviors while flood waters rise and recede around them.

The result will be large scale performance installations in several cities crediting you as collaborator, and an online video series featuring your submission.

To submit, go to our project site, www.holoscen.es, and click the “collaborate” button. From there you will be directed to a form where you can send us the link to your video and information about your activity.

We are hoping to find collaborators of all ages, from all over the world to help realize HOLOSCENES. Please participate, and please spread the word!

LINK: www.holoscen.es

Call for Papers – ‘Performing Ecos’

Contributions are invited for a special themed peer-reviewed journal issue of Performing Ethos

Deadline for Proposals: 15 August 2014

Guest-Editors: Bronwyn Preece (Independant Artist/Scholar), Jess Allen (University of Manchester) and Stephen Bottoms (University of Manchester).

Special Issue
17571979Global climate change is catalysing an examination of ecological ethics: humanity’s continuing failure to respond meaningfully to the impending environmental crisis has been characterized by philosopher Stephen M. Gardiner as a ‘perfect moral storm’ (2011). How are these ethical imperatives currently being addressed through, or as, performance? This edition aims to examine critically how ecological ethics and ethos may be supporting and challenging the current range of practices. ‘Performing Ecos’ will be an international interrogation of where the dynamic interdisciplinary field now situates itself in relation to Una Chaudhuri’s provocative and catalysing 1994 statement that Western theatre, being humanist-centred, is largely anti-ecological. Chaudhuri’s article, one of the first to acknowledge this philosophical dilemma, has been pivotal in stimulating both critical and performance responses from a wide range of scholarly perspectives. This special themed journal will be among the first specifically to unpack and foreground the ethos and ethics that now underpin performance and/as ecology. The journal will be published in Autumn 2015, and seeks to collate an international response to the following questions:

• How are contemporary performance practices being critically challenged by an ecological ethos? How does ‘ecology’ challenge how performance theorists think about ‘ethics’?

• How is ecological performance resisting – or further entrenching – binaries between rural/urban, nature/culture, metaphor/material, local/global?

• What are the ethics of framing climate change and other geophysical processes in terms of performance? (e.g. Kershaw 2012)

• How are indigenous voices and values being incorporated or appropriated through ecological performance? Are our ‘ethics’ being conceived and scribed with the same multivocality that they espouse?

• Is ecological performance cultivating, reinforcing or challenging a gendered aesthetic?

• How do the aesthetics of ecological performance differ across practices (ecocritical, site-specific, activist) and across continents?

Proposal Submissions
Contributors are invited to consider the above questions in practice-based contexts, as well as in theoretical and philosophical terms. We are inviting contributions in a diversity of presentation formats, from formal papers to artists’ pages. Articles should be between 5000-7000 words (Artist Pages do not necessarily need to conform to this designation). Accompanying photographs are encouraged.

Please send a 300-500 word abstract by 15 August 2014 to Bronwyn Preece: improvise@bronwynpreece.com. Please include a 100-word biographical statement with your submission. Selected submissions will be due by 31 October 2014, and final drafts will be selected at the end of May 2015. Performing Ethos uses the Harvard citation style.

Submissions must comply with the Intellect Journal Style Guide.

Performing Ethos is a refereed, interdisciplinary journal which considers ethical questions relating to contemporary theatre and live performance. Global in scope, it provides a unique forum for rigorous scholarship and serious reflection on the ethical dimensions of a wide range of performance practices from the politically and aesthetically radical to the mainstream Performing Ethos: ‘Performing Ecos’ will include book reviews. Additionally, this special issue will include a centre-spread, which will include a 100-word reflective response from contributors to the same question: what is YOUR ethic of performance and/as ecology?

References
Chaudhuri, U. (1994), ‘There Must be A Lot of Fish in that Lake: Toward an Ecological Theater’, Theater, 25: 1, pp. 23-31.
Gardiner, S. (2011), A Perfect Storm: The Ethical Tragedy of Climate Change, New York: OUP.
Kershaw, B. (2012), ‘‘This is the Way the World Ends, Not…?’ On Performance Compulsion and Climate Change’, Performance Research, 17: 4, pp. 5-17.

Download the PEET Notes for Contributors

EMERGENCE  LAND JOURNEY 2014 (South Wales)

Logo_Emergence_PINK_RGB.1.1The much anticipated Emergence 2014 Land Journey: ‘THE WALK THAT RECONNECTS’  runs between Monday 8th (p.m) and Saturday 13th September (a.m) 2014.

“How do we create a shared narrative or story and draw out the collaborative voice of the WE not just the ME?” Lucy Neal.

The 2014 Emergence Land Journey offers much more than just a guided walk through some of the most varied and beautiful countryside in the UK (this time in Mawr and Gower in South Wales). The Walk That Reconnects offers participants an opportunity to consciously walk into a sustainable future together.  Inspired by the ideas of eco-psychologist and activist Joanna Macy and ‘The Work That Re-connects,’ it combines a multi-stage land journey, outdoor conference and walking workshop all in one event.

Facilitated by Lucy Neal (co-founder LIFT/Transition Town Tooting/Playing For Time) and Fern Smith (co-founder Volcano Theatre/Emergence), the Land Journey offers an opportunity for a deepened dialogue, concentration and reflection on the things that matter and things we take for granted. The group is taken on a physical journey and inner journey designed to “build motivation, creativity, courage and solidarity for the transition to a sustainable human culture.”

For more information or to secure a place please contact Holli Messam: holli@emergence-uk.org.

DAS BAUMHAUS

This post comes to you from Cultura21

Das Baumhaus is a collaborative project between neighbors and local & international artists to build a tree house for use as a public space in Berlin-Wedding starting this year. Together they’re acting on the little voice in their heads that says, “What is it I can do to make the world a better place?”

Their answer is to act locally and create a space that inspires people to come together, communicate in meaningful ways and become part of a growing culture of active engagement and cooperation to develop trans-local sustainable solutions.

Watch Movie

Website

Call For Participation

Imagine a place, an informal and inspiring atmosphere, where you can meet other enthusiastic, like-minded people committed to making Berlin and the world a better place. On August 16th, the Emergent Berlin Festival invites you to Spreefeld (Köpenicker Str. 49) to become part of a growing sustainable urban culture.

Emergent Berlin is a one-day event to inform, network, exchange, collaborate, celebrate and have fun with each other in the spirit of becoming active participants in the quest to make Berlin, and maybe even the world, a better place. Emergent Berlin focuses on local projects and finding ways to connect people who are already working for a more sustainable city and those who are interested in the topic. They believe that connecting people means empowering them and their ideas.

For the Call, they are looking for people who are engaged in making Berlin a more sustainable place and who would like to present their work during the festival. There will be rooms and outdoor spaces to hold short (10 min) lectures (Projektpräsentationen) and workshops. For the presentations, each group should pick up a few central questions:

  • What am I doing to help grow a sustainable urban culture in Berlin?
  • What is my current problem/vision?
  • How do I connect with other people?

Please consider a broad spectrum of sustainable impact areas including but not limited to: personal, social, cultural, economic, ecologic & aesthetic.

Send them a short description of your organization / initiative / project / art / performance / workshop / presentation before July 15 and let them know how you would like to participate in this year’s fest.

submit to: emergent [dot] berlin [at] gmail [dot] com

Apart from presentations and workshops, there will be an accompanying program including a groovy party in the boathouse. There will even be a special boat ferry especially for Emergent Berlin guests! They are also looking for people involved in sustainable food initiatives to help make some home cooked healthy food.

After last year’s successful launch of Emergent Berlin, they are looking forward to another fruitful event on the exciting Spreefeld site.

Feel free to contact them for more information.

contact: emergent [dot] berlin [at] gmail [dot] com

This post is also available in: German

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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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Open Call: Digitising Ecologies

Contemporary, digital technologies are deployed by cultural practitioners to augment perceptions of time, space and process at immediate and remote locations. Devices might aim to increase a user’s awareness of more-than-human environments, or connect people to conditions framing a chosen social, historical or ecological aspect of location. Technology has also shown to produce and reinforce citizen-led alternatives to hegemonic practices; it for example enables more immediate collection of data on natural phenomena by people directly implicated by these conditions, such as farmers. Environmental charities and lobbying organizations eagerly employ technicians and programmers to develop applications that interpret our environment and engage an audience with environmental causes. Yet these technologies are implicated more deeply and subtly in changes wrought upon us and our entangled worlds. With the gradual surge of these practices we call upon artists, theorists, practitioners, and other researchers to critically reflect on the use and implications of digital technologies and their advocacy in the field of ecology, nature conservation, geography, environmental education, and rural and sustainable development.

We seek proposals responding to the following lines of enquiry.

Digital technologies are often understood and critiqued as acting ‘between’ people and their natural environment. Does the digitisation of landscapes and natural phenomena produce an enhanced relationship between humans and their environment, forging and deepening our experience of elusive and dynamic conditions? Or does it create what Baudillard (1994) calls hyperreality, in which the digital representation of reality becomes more real and attractive than an ‘authentic’ world? Do such technologies contribute to an extinction of experience (Pyle 2011), whereby we lose the ability to meaningfully engage without a digital interface? How might we reframe technology’s role in the correlation between humans and non-human world? Digital media have become an intricate part of all levels and areas of our society. We are masters of the technologies that we create, and their uses change our social and geopolitical environments. But not always in ways that we expect. Given ecological crises, how can we decide on the function and appropriateness of new interfaces and applications? Can technologies increase our resilience in the face of system collapses, responding in agile ways to unanticipated catastrophes and current socio-environmental challenges? Or are real-world, human and natural phenomena inherently uncontrollable? Do they allow the emergence of more sustainable practices by for example increasing the dissemination, preservation and adoption of traditional practices that have less negative impacts on the environment? How does this change our understanding of the world? How might we better negotiate the shifting boundaries between the planned and the contingent, the solid and the fluid, between tradition and progress?

Geohack: two-day exploration of the interface between digital media and our (natural) environment

We call on artists, gamers, geographers, historians, performance-makers, seafarers, landlubbers, the flooded and the landlocked interested in devising immersive, locative and interactive strategies that connect people to the socio-environmental conditions of contemporary landscapes. Challenged by James Mariott (Platform London), and mentored by Duncan Speakman (Circumstance), Tassos Stevens (Coney) and Jay Kerry (Mercurial Wrestler) participants will collectively create new bodies of work in response to the nautical landscape of Falmouth. They will work in tall ships, on ferries, at sea, or on the shore to collaboratively create pieces for one of these locations or the journeys between. We will provide a range of creative means: kayaks, wetsuits, fishing nets and snorkels, as well as digital media. The products will be showcased as part of the Fascinate Conference that takes place August 30th and 31st. Places are limited! Apply by August 15th at www.fascinateconference.com Geohack Final Proof

Project Grow – design a farm for a school

This post comes to you from EcoArtScotland

Thanks to Tom Littlewood for passing this on:

Project Grow

Project Grow has been established through a joint vision between Wallscourt Farm Academy and South Gloucestershire Council to create an outdoor learning environment that explores the potential of creating a sustainable model for the active use of the academy grounds through growing and husbandry that is grounded in seasonal cultural activities.

Our aim for this project is to develop and implement a creative skills led project based on growing and learning that uses the grounds for one school year and leaves behind a model and sustainable skills for its continuation.

We are seeking an experienced and enthusiastic lead artist to work collaboratively with team and wider community to research, facilitate and implement the project.

Brief can be downloaded at www.ginkgoprojects.co.uk/opportunities

Project budget: £27,500 ex vat

Submissions to be sent in electronic format only to Tom Littlewood (tom@ginkgoprojects.co.uk) by 12 noon Mon 30th June 2014.

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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

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Opportunity: Proposals for Green Capital 2015

This post comes from Creative Carbon Scotland

Green Capital is an annual award designed to promote and reward the efforts of cities to improve the environment. In 2015 the Green Capital status has been awarded to Bristol and is being coordinated by Bristol 2015.

A Partnership Steering Group has formed which is made up of 16 different thematic action groups for example: Water, food and Transport.

The Bristol Arts Heritage and Culture Group are looking for proposals from artists, art producers, companies, or individuals working in all art forms, AHC will link the best of these proposals with the targeted action group and appropriate partners and raise funds. 

The proposals should respond to and address one or more of the thematic groups’ vision statements, and/or Green Capital objectives.

Ideas should be achievable by December 2015.

For further details download brief from www.artsheritageandculture.org/ or email Tessa@tessafitzjohn.org

Dead line Friday 11th July to info@artsheritageandculture.org and addressed to Tessa Fitzjohn – Chair of the Arts Heritage and Culture Group

CONTACT
email Tessa@tessafitzjohn.org
website artsheritageandculture.org/

The post Opportunity: Proposals for Green Capital 2015 appeared first on Creative Carbon Scotland.

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Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

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Open Call: Making_Life

This post comes to you from Cultura21

– a research platform for art and synthetic biology

“I wonder how much of this Making Life project (what’s in a name) will consist of critical reflection on “the making of novel life-forms from ‘scratch’”, and how much – through its association with art – will in fact be providing social and moral legitimacy (and a touch of appealing avant-gardism) to what are, in my view, basically very dubious undertakings…”
Jan van Boeckel – www.naturearteducation.org

Synthetic biology

…is a new area of biological research that combines science and engineering. Synthetic biology encompasses a variety of different approaches, methodologies and disciplines, with the aim to design and construct new biological functions and systems not found in nature. Most approaches of synthetic biology are based on genetic engineering but goes much further. In genetic engineering the goal is to manipulate an organism’s genes, usually by transferring one gene from a donor to a host organism. Synthetic biology, on the other hand, aims at creating whole new biological functions, systems and eventually organisms (Schmidt 2012). Other SB approaches are dealing with making novel life-forms from “scratch” (for example protocells). Synthetic Biology is still in its beginnings but if it reaches its potential promises it will become a highly transformative technology in terms of economy, ecology and ethics.

Making_Life

…is a series of three consecutive work periods over the course of 12 months. The first period will take place between 22nd – 27th of May 2014 in Helsinki, the second is planned for November 2014 in Vienna, and the third, in May 2015, will take place again in Helsinki. The goal of Making_Life is, according to the organizers, to enable practitioners to critically and in an informed manner, engage with the socio-cultural, political and ethical ramifications of synthetic biology through art.  The organizers will select a group of international multidisciplinary participants composed of artists, designers, engineers, scientists and students who will cooperate within this bottom-up devised program. The methods will shift from workshops, laboratory sessions and field trips, to forums, seminars and lectures.<

It will comprise theoretical as well as hands on approaches. The first and second work period will cover the introduction to synthetic biology, its sciences and technologies, the work on associated questions in art, ecology, ethics and politics and practical experience in the laboratory and with experiments. The third work period will be an intense session to create prototypes for artworks. The time in between the periods is for developing and deepening the participants’ focus of investigation.

Participants are expected to join work periods I+II after which the participants for the period III are selected.

About the organizers:

The Finnish Society of Bioart http://bioartsociety.fi 
Biofilia – Base for Biological Arts -Aalto University Helsinki http://biofilia.aalto.fi/en/ 
Oron Catts http://www.symbiotica.uwa.edu.au/residents/catts 
Bio:Fiction http://bio-fiction.com 
SYNENERGENE http://www.synenergene.eu/ Funded by the 7th Framework Programme of the European Union.

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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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Essay Competition 2014 – Leadership

This post comes to you from Cultura21

Entries are now open for the 2014 WOLFoundation essay competition.

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Whether it relates to environmental degradation, personal privacy, the functioning, or otherwise, of our democratic processes and many other issues, many people feel that we are suffering from an almost global crisis of leadership. An inability to break out of the status quo to enable societies to address some of the growing social and environmental issues that we all face.

The theme of this year’s competition is: Leadership: What are the characteristics of effective leadership in the 21st century?

Entrants to focus on the nature of leadership itself rather than the specific issues that leaders should be addressing are encouraged.

Visit the Guidelines page for more details about this year’s competition.

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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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