Critical Framework

Gardens Beyond Eden: Bio-aesthetics, Eco-Futurism, and Dystopia at dOCUMENTA (13) – The Brooklyn Rail

This post comes to you from EcoArtScotland

T J Demos’ review in Brooklyn Rail of the gardening and other ecological projects at dOCUMENTA.  He’s positive about the projects, but critical of dOCUMENTA’s lack of any overarching critical framework.

Gardens Beyond Eden: Bio-aesthetics, Eco-Futurism, and Dystopia at dOCUMENTA (13)

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.
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ashdenizen: four podcasts on culture and climate change now online

A new series of four podcasts on Culture and Climate Change is now online at iTunes U. The discussions bring together artists, writers, film-makers, scientists, academics and journalists with a comedian, a choreographer, a campaigner, and an entrepreneur.

The Mediating Change series is hosted by Quentin Cooper and contributors include Tim Smit, Marcus Brigstocke, Siobhan Davies (see pic), Roger Harrabin, Joe Smith and two of the Ashden Directory’s editors, Wallace Heim and Robert Butler. More details here.

The producer, Vicky Long, says:

Cultural activity in this area is gathering real momentum, with ‘Greenland’ opening at the National Theatre and ‘The Heretic’ opening at the Royal Court early next year. We feel it’s vital a critical framework is developed alongside this emerging work.

This series represents a first sustained exploration of culture and climate change in a publicly-available broadcast-quality format.

See also: Tipping Point launches first of four discussions
Tim Smit and Marcus Brigstocke join debate on popular culture and climate change

via ashdenizen: four podcasts on culture and climate change now online.

Call for papers: ‘Essays in Performance and Ecology’

Theresa J. May, founder and artistic director of Earth Matters on Stage, and Wendy Arons, director of the Performance and Ecology Public Art Initiative have issued a call for papers for a jointly edited publication, Essays in Performance and Ecology to be published in 2011.

The proposed anthology of essays, interviews, and artist statements will include papers dealing with ecocritical concerns as they relate to theatre and performance. The editors are especially interested in explorations that employ the science of ecology as a critical framework, or employ environmental history to contextualize performance.

The topics welcomed include, but are not limited to:

  • the ecological situatedness of language
  • the dialogic relationship between onstage/offstage ecological discourses
  • intersections and complications of landscape/body
  • performances that participate in/reflect ecological debates
  • ecology, technology and representation
  • the cultural (de)construction of ‘nature’
  • performative intersections of social justice and ecological issues
  • partnership projects in the arts and sciences
  • ecological dramaturgy
  • community/place and ecology
  • the body as a site of ecological intersections
  • the ecologies of theatrical space
  • semiotics of ‘nature’
  • subjectivity/inter-subjectivity and the ecological self
  • animal representation on/off stage
  • eco-activism/community-based performance.
The editors encourage submissions by artists working in the area of eco-performance and who reflect critically on their work and/or process, and encourage proposals that engage a question about how performance (broadly constructed) has or might function as part of ecological communities.
A working or final draft or an abstract of 500 words should be sent as an attachment to both editors by 15 October:
Theresa J. May, Assitant Professor Theatre Arts, University of Oregon
tmay33@uoregon.edu
Wendy Arons, Associate Professor of Dramatic Literature and Dramaturgy, Carnegie Mellon University
warons@andrew.emu.edu