Earth

EARTH PERFECT? Nature, Utopia, and the Garden

This post comes to you from Cultura21

Symposium and exhibitions, June 6-9, 2013

“Since time immemorial, gardens have been key in humanity’s quest to define an ideal relation to nature. Gardens have been sources of nourishment for the body and the soul, they have been symbols of wealth and power, they have served as barriers against the wild, and much more. EARTH PERFECT? Nature, Utopia, and the Garden is a four-day symposium designed for an academic audience, garden professionals, and a general public interested in the importance and meaning of gardens.”

 Event Locations

  • The University of Delaware
  • Longwood Gardens, Pennsylvania
  • Winterthur Estate Gardens, Delaware
  • Chanticleer Garden, Pennsylvania
  • The Mount Cuba Center, Delaware

 Events Include

Themed garden tours and exhibitions, as well as lectures, workshops, and academic paper sessions focusing on topics such as wellness and the garden, environment and society, historic preservation and land use, green textiles, CSAs, the garden in the visual arts, the garden in literature, the meaning and function of domestic and public gardens, architecture and the garden, the spiritual associations of gardens, gardening the planet in the face of ecological decline, political aspects of gardening, and economies of the garden.

 Featured Speakers Include:

  • Jane Knight, landscape architect of The Eden Project, Cornwall, UK
  • Stephen Forbes, Executive Director of the Adelaide Botanic Garden, South Australia
  • Emma Marris, author of Rambunctious Garden: Saving Nature in a Post-Wild World
  • Margaret Morton, photographer and co-author of Transitory Gardens, Uprooted Lives
  • Douglas Tallamy, author of Bringing Nature Home: How Native Plants Sustain Wildlife in Our Gardens
  • McKay Jenkins, author of What’s Gotten Into Us: Staying Healthy in a Toxic World

 Call for Papers :

Abstracts and proposals for papers and panels due Dec. 15, 2012

This interdisciplinary event focuses on the importance and meaning of gardens in the past, present, and the future, and that from a wide range of perspectives, including, but not limited to the following disciplines: art, art history, architecture, anthropology, agriculture, philosophy, literature, history, horticulture, botany, landscape architecture, garden design, nutrition, and law, as well as earth and life sciences.

For instructions regarding submission of paper abstracts as well as proposals for panels or roundtable discussions, visit: http://www.udel.edu/ihrc/conference/earthperfect/call-for-papers.html

 For More Event Information

See the symposium website for more details regarding venues, programming, lodging, and registration: http://www.udel.edu/earthperfect

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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Sonidos de la Tierra – Community and social development through music

This post comes to you from Cultura21

http://youtu.be/cmp5E9gEYvU

Sonidos de la Tierra (Sounds from the Earth) is a project for children and young, created by Luis Szarán,through the formation of music schools, musical groupings and cultural associations, it facilitates the shortcut to the musical education to more than 3.000 participants of scarce resources, in communities of the Paraguayan countryside.

Sonidos de la Tierra, is based on the concept of “education through arts” and began in 2002 in 18 towns, with support from the AVINA Foundation. Today, with alliances with more than 100 other local, national and international institutions, both public and private, the program reaches over 72 communities throughout Paraguay.

In Cateura, one of the many communities where Sonidos de la Tierra has music schools, started a project whose aim is to build musical instruments out of garbage, this city is one of the poorest in Paraguay, and a great amount of garbage is sent daily there.  People who work in this project say that they aren´t “looking for good musicians, but for good citizens”. Last month, the Recycled Instruments Orchestra from Cateura performed at the Entreperneurship Forum in the New Economy during the Rio+20 summit.

To know more about the project, you can visit http://www.sonidosdelatierra.org.py/

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

Lofoten Whale Festival

This post comes to you from Cultura21

Henningsvaer, Norway; August 1st – 6th, 2011

We all know about the beauty of the largest animal on Earth, but still the whale lives under constant existential fear. Often, human beings do not see how important parts of the ecosystem are being threatened because the used medium for environmental communication is not attractive enough.
The “Lofoten Whale Festival” combines important educational work with “artist and fun activities” such as sailing trips, film interactions, talks and presentation, but also concerts, discussion rounds and party.

The meeting of humans and whales wants to appeal to children such as grown ups and is also aiming at boosting the local tourist economy.

For more information, such as the program, the participants and general info, click here.

This post is also available in: French

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

eARTh Flash Flood in New Mexico

The Santa Fe EARTH event, put on by 350.org and the Santa Fe Art Institute, shows how the Santa Fe River could look if there was water running through it. With global warming decreasing snow melt, Santa Fe is running out of water. This river is one of the 10 most endangered in North America. Over a 1,000 people came out and held up blue painted pieces of cardboard or tarps as a satellite passed over.

httpvh://www.youtube.com/watch?v=pGExEIYXK58

To answer the obvious question: no, we don’t think these are going to have an immediate political effect, turn Cancun upside down, cause Jim Inhofe to change his mind. But we do think that they are one key part in the work of building a movement big enough to matter. And I hope you enjoy looking at them—I sure do.We’ve got more allies, of more types, out there than we sometimes remember.

– Bill McKibben

Read McKibben’s guest Blog on this event at Climeprogress.org

#COP16: Posters Depicting Designers’ Messages of Climate Change | Inhabitat

If a picture is worth a thousand words, there’s a whole lot of talking going on right now at the Eleventh Annual Poster Biennial of Mexico. “Disenyadores por la tierra,” (Designers for the Earth) is an exhibition of poster design down at the COP16 Climate Change Village exploring the theme of the relationship between man and his environment. Click through all of the pictures of these eye-opening posters and visit the site to download them for yourself.

via COP16: Posters Depicting Designers’ Messages of Climate Change | Inhabitat – Green Design Will Save the World.

Deadline Extended! CSPA Quarterly calls for Digital Work

The summer edition of the CSPA Quarterly is now open for submissions!  The issue will go to print late August. 

For this issue, we’re interested in exploring the sustainability of digital work.  What is the life-cycle of digital art?  How can digital media impact performance?  Is digital art-making “green?”  What is lost when work is in the digital realm?  And, what is gained?  What happens when technology advances?  And, as always, what is being sustained (the earth, the artist, the community)? 

The CSPA Quarterly explores sustainable arts practices in all genres, and views sustainability in the arts through environmentalism, economic stability, and cultural infrastructure.  The periodical provides a formal terrain for discussion, and seeks to elevate diverse points of view.

Please send your opinion articles, project case studies, researched essays, and photos to: Miranda@SustainablePractice.org.  The deadline for consideration is July 23, 2010.

3rd Ring Out: Rehearsing the Future By Zoe Svendsen and Simon Daw

The temperature is rising, the Earth is changing and your city is threatened. How will you respond? This is a story in which YOU decide what happens next.

Imagining a world in which nature takes revenge on industrial humanity, 3rd Ring Out takes you forward in time to an emergency planning rehearsal set on your doorstep.

Metis uses live performance, video simulation and interactive computer systems to produce work which responds to contemporary concerns. The result has the immediacy of theatre combined with the thrill of a disaster movie; a fiction rooted in fact.

Check out the Booking section to find out where 3rd Ring Out takes place and for responses to the performances …

via About.

CSPA QUARTERLY: Call for Submissions on Digital Work

The summer edition of the CSPA Quarterly is now open for submissions!  The issue will go to print late August. 

For this issue, we’re interested in exploring the sustainability of digital work.  What is the life-cycle of digital art?  How can digital media impact performance?  Is digital art-making “green?”  What is lost when work is in the digital realm?  And, what is gained?  What happens when technology advances?  And, as always, what is being sustained (the earth, the artist, the community)? 

The CSPA Quarterly explores sustainable arts practices in all genres, and views sustainability in the arts through environmentalism, economic stability, and cultural infrastructure.  The periodical provides a formal terrain for discussion, and seeks to elevate diverse points of view.

Please send your opinion articles, project case studies, researched essays, and photos to: Miranda@SustainablePractice.org.  The deadline for consideration is July 9, 2010.

The Earth Awards Launches a Global Search for Sustainable Innovations

From May 3rd to May 10th, submissions are open for the 2010 Earth Awards—an opportunity for innovative designers to win between $10,000 and $50,000. Awards will be handed out at a ceremony in London on September 16th, 2010.

Submissions will be judged by an illustrious panel that includes Yves Behar, Richard Branson, David DeRothschild, Bill McKibben, and TreeHugger Founder Graham Hill.

Designs must fit into one of six categories—Built Environment, Fashion, Products, Systems, Future and Social Justice—and will be judged on achievability,

scalability, measurablility, usefulness, originality, ecological value.

For more information, visit theearthawards.org

The Earth Awards Launches a Global Search for Sustainable Innovations : TreeHugger.

“Art has been slow to grasp the significance of climate change…”

Mathematical Nature Painting: Nested, 2008 by Keith Tyson

Contemporary art about climate change is still sometimes seen as the frivolous dilettante who has showed up late to what it thinks might be an interesting party.

Writing about both the Royal Academy’s Earth: of a changing world and RETHINK Contemporary art and climate change exhibitions in today’s Guardian in an article titledThe Rise of Climate Change Art, Madeleine Bunting states, “Some activists have wondered why the art world has been slow to grasp the significance of climate change.”

Actually, activists think everyone is slow to grasp everything, but anyway… It’s less that art has been slow to grasp the significance, more that art rarely produces the kind of loud kazoom that activism does – or wants it to.

To many this remains a source of huge frustration. James Mariott of Platform, which programmed the lively 100 Days strand at the Arnolfini in the run up to COP15, expresses continued frustration at the artworld’s timidity.

“The arts stumble along the fault line between representation and transformation,” Marriot said to Bunting. “But, until 50 or so years ago, all art was about transformation and persuasion. Look at Goya: he wanted to persuade you of the horrors of war.”

Almost the polar opposite view comes eloquently from artist Keith Tyson. Tyson told Bunting how he had gone to a lecture on climate change at Cern, Swizterland. To hear scientists talking baldly among themselves about the true graveness of our situation was an experience he recalls as “terrifying”. But still he does not quite see himself as one of Marriott’s more focused “persuaders”:

“[The role of art] is not to advocate solutions. It is something much deeper and more subtle – to make us reflect and rethink what it is to be a human being in the 21st century. We don’t have that much power. It’s nature that creates us. That’s the kind of education too subtle to put on a syllabus: that’s the important role of art.”

Earth: Art of a changing world was also on this morning’s Today programme, there reporter David Sillito gave a third view of what art could be doing at the party, claiming: “For those who are immune to debates in science and politics, culture -  art, songs, stories jokes – can have a power far greater than any scientific paper.”

Art, Sillito seems to be saying, has the disruptive power to reach the mass unconverted by activism and reason.

You see, it’s not so much that art is even late to the party. But it is true that at times art is not exactly sure what it is doing there.

In a few days the Culture|Futures symposium kicks off in Copenhagen. The symposium, led by the Danish Cultural Institute and a partnership of arts organisations from around the world, is based on the premise that the scale of the transition to the environmental age is so massive that just waiting for the right technological or political solution to show it self is not enough. It requires fundamental cultural change, and very fast change.

It’s a chance for the symposium to start asking those pesky student union bar questions that could help us understand what, if any, art’s role in int he transition is going to be. Does the kind of activist art James Marriott has curated at Bristol actually change any minds – if so, where’s the evidence for that? Do “deep and subtle” explorations make any difference outside a gallery or theatre? Is art really a shortcut to the unconvinced? Do we even have the time to be “deep and subtle?”

Apologies for the hiatus over the last few days: swine flu.

Go to RSA Arts & Ecology