Periodical

CSPA Quarterly Calls for Submissions

The most recent issue of the CSPA Quarterly, which called for work related to International initiatives, is now available on MagCloud.com.  The issue includes contributions from ARTPORT, Arts In The One World, Forum for the Future, Moe Beitiks, Roberta Holden, Emily Mendelson, and Shinji Turner-Yamamoto.  Installation, public policy, photography, and theater are all represented in Issue Five.

Submissions are now being accepted for issues seven and eight.  Topics for these issues are Art and Agriculture and Nature vs. Nurture.  The sixth issue, to be released in June, will feature projects that make the invisible visible.

Art & Agriculture

Our livelihood depends on both, yet both seem to be endangered in the non-commercial realm.  What happens when art and agriculture collide?  This issue will feature projects that are related to today’s agriculture and will explore the connection between the two.

Art & Agriculture Deadline for Submission:  June 1, 2011

Nature vs. Nurture

For this issue, we are interested projects and stories that match nature to nurture, art to science, human to machine.  What defines nature in urban environments, and what is our natural relationship to it?  What is happening to our sense of cultural sustainability in a digital age?  Are societies impacted more by art or science?  And, how are natural and synthetic environments interchangeable?

Nature vs. Nurture Deadline for Submission:  July 1, 2011.

 

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.

 

To view past issues, along with our current issue on digital work, please visit:  http://www.magcloud.com/browse/Magazine/38626

CSPA Quarterly: Calls for our next two issues

We are now accepting submissions for our next two issues:  The last of 2010 focusing on International Action, with a special section dedicated to COP16 Cancun, and the first issue of 2011 on art that makes the invisible visible.

International Action

Please share with us any work that creatively addresses global issues in sustainability.  We are particularly interested in projects happening outside of the United States that pay attention to global dilemmas including global warming, rising sea levels, disappearing cultures, and economic divides.  A special section will be dedicated to work at the UN’s Conference of the Parties, summit on climate change in Cancun in December.

International Action Deadline for Submission:  January 10, 2011

Invisible Visibility

For this issue, we are interested in art projects, installations, and performances that visualize invisible threats to our environmental, economic, or cultural sustainability.  How can our creative industries call public attention to major issues that are easy to ignore because they are ‘out of sight, out of mind?’

Invisible Visibility Deadline for Submission:  February 1, 2011.


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.

To view past issues, along with our current issue on digital work, please visit:  http://www.magcloud.com/browse/Magazine/38626

Call for CSPA Quarterly!

In response to the CSPA Convergence, our next Quarterly will revolve around work that somehow makes the invisible visible.  We’re looking for work that calls attention to what cannot be seen, relative to environmental sustainability or social equity.

Please send your opinion articles, project case studies, researched essays, and photos to: Miranda@SustainablePractice.org.  The deadline for submission is October 30, 2010.

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.

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.

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.

CSPA Quarterly: Call for Spring Submissions

The third edition of the CSPA Quarterly is now open for submissions. This time around, we’re hoping to cover art made from found objects and existing materials. Spring cleaning for the spring issue, if you will! Many of you are working with existing materials to create work- let us know what you’ve been up to!

Questions to consider: What dictates the “sustainability” of the work? If the found objects are made of plastic, is the work green? If the materials are raw, but held together with chemical adhesives, is the work green? Musicians or media artists: how does using existing material affect the sustainability of culture, and fight against limitations of copyright? Performance and theater artists: are you making work with found objects, set pieces, or written material?

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 essays, photos, and articles to: Miranda@SustainablePractice.org
The deadline for consideration is April 9, 2010.

The PlanetShifter.com Interview with Ian Garrett, Executive Director: The Center for Sustainable Practice in the Arts, Los Angeles | www.planetshifter.com

Where are you? In the present? In the future? See my lament for clues:

Things only happen here to make what happens next.

Is LinkedIn a viable artistic community in your opinion? How would you improve it?

I don’t think so, and I don’t think i wish it to be. I don’t know if LinkedIn represents a community really as much as an infrastructure. I think it exists separate from something like Facebook without competition because one is about social networks and one is about businesses networks. I also don’t see how it accommodates the needs of an artistic community.

I don’t think there is a social network that does effectively represent an artistic community out there. How specific do you allow it to sort itself? the arts are too expansive with too many points of access to be represented effectively through a network with a defined set of sortable criteria. For self-sorting facebook is more effective because it is focused on individuals not labels. For curated sorting a wiki is better since everything is of equal weight.

That’s the issue with getting past post-modernism isn’t it? Modernism was about the universal, post-modernism was about the categorized, and post-post-modernism is about the unique.

What is at the intersection of mythology, innovation and sustainability?

From now on.

What new symbols, songs, secrets, myths are you driving in the green movement?

I can tell you that I’m trying to drive it away from the color green and images of leaves. The image that bugs me the most is actually grass, since in most places it’s impractical and wasteful regardless of it’s green-ness. I think an era’s aesthetics speak to values and I think we’re pushing the value of the first nature and something more raw, less processed. It’s happening in design, supply chains and our food. I’m also trying to break the myth of technological solutions.

I’m irked by the layering of systems over existing systems to solve problems with the existing system. I’d rather break it down to it’s elemental parts. I’m a big promoter of archaic technology, like using steamed banana leaves or not vitrified drink ware in Indian. Things that were discarded as incorrect in a modern manufactured world that persists into the contemporary era.

Are you an alchemist?

No, there is plenty of magic in real science.

Tell us about your favorite modern painter and how you feel when you gaze at the work.

Are we saying modern or contemporary. I’m a traditionalist when I define the Modern era as something that happened in the beginning of the 20th century out of industrialization. If we’re talking painters though I can name a few. Magritte for being clever and questioning the mudane, Haring for balancing accessibility, message, and challenging art world constructs. I do however find myself most drawing to the infrastructural and phenomenological though and insofar as that is concerned am more trilled by visual are that engages those parts of my brain. That’s not always present in painting, so I have to mention Olafur Eliasson, who fascinates me.

How do you manage the bureaucracy that you’ve created at The Center for Sustainable Practice in the Arts? How do you personally support your members?

There isn’t much Bureaucracy. We’re extremely small and nimble. We’re the least incorporated we can be and have foregone 501c3 status to stay lean. I suppose we deal with the bureaucracy of partnership with more cumbersome organizations and then it’s oftentimes working within their structure.

We can make our decisions and change methodology rapidly to best accommodate our members and partners since all of the power rests between two equal executives. We’ve yet to expand our power-sharing, outside of partnerships, and those are all project based. It’s not the most profitable, but it’s in line with our core mission, which is really about information and infrastructure. We’re like the opposite of the CIA, we don’t see value in protecting our information, and support ourselves through others valuing sharing information as a desired act.

For the second part of the question though, it’s hard to say. I mean, we don’t have funds to directly support their activities. But, we try and talk directly to all of them. They have our address, phone numbers, email addresses, and ultimately all of our lines of communication like our website, social networks, twitter and so on is all us personally. If you get in touch with the CSPA, you’re getting in touch with us directly. We don’t filter that, and don’t understand ecologically mind organizations that put up blocks, since we gain absolutely zero (aside from profit I guess) from not talking and being transparent if we plan to not destroy the planet and the billions of lives that will impact.

And, ultimately, it helps that I’m the web guy too. It’s part of what I do, so there is nothing standing in the way of our web presence, we do.

What were the 3 – 5 best innovations from last year’s CSPA Convergence?

Well we did this in partnership with the University of Oregon’s School of Theater, so mind you a couple of these might be theater centric.

  • The Convergence itself. I go to a lot of conferences and I deal with but don’t like the hierarchy and artifice that often surrounds them. I prefer the camp model which, like wikis, aims to gather people around a topic and allow all of them to offer something. So I think it’s in expanding the convergence model to get between these models of conference and camp and add on more doing, not just talking.
  • Marbles in a Jar – This is Avery simple re-use model we’ve been working on. It looks at volume of material used as a marble in a jar. You fill the jar until you’re done and then add a second jar for the next and so on to next iterations. For each unit of reused material you move a marble from the first jar to the one for the current project, if you use new material you add new marbles. It doesn’t have to be marbles and jars, but it’s a very simple way to engage your use of raw material
  • Energy Budgets – We’re trying to get theaters to incorporate the expenditures of energy into budgets for making. It incentivizes energy innovation by the user. If no one uses energy efficient devices, it doesn’t matter.
  • Eliminating recycling programs – this idea started at this convergence in response to the 6 receptacles the University of Oregon had for waste. It’s too much. The idea waste receptacle is only one for compost-ables. It’s not entirely feasible though. When speaking at APAP last month I brought this into a more realist goal. Not recycling because you don’t have anything to recycle. At the CSPA we print proofs of the Quarterly for editing that we share and otherwise we don’t generate material waste by our business. That sort of blows people’s minds.

I think Jack Capitalism and Eli Sustainability are headed for a blow-out, down and dirty fist fight in the months ahead? Ready?

I’m ready, but I don’t think it’s necessarily going to be particularly violent. I think that the necessity of sustainability will be the biggest check on a capitalist future. I think about the labor movements of the post-industrial world and the evolution of that “conflict”. I also think about the 4 roles in the actor-centric model of political change and the political pendulum. Sustainability is different still, it’s an opportunity if we want it to be, but as with all of these models of shift, the future is hybrid, not contrary.

* * * * * * *

Ian Garrett Bio -

Executive Director of The Center for Sustainable Practice in the Arts (CSPA), a non-non-profit arts infrastructure organization where he collaborates with others like the LA Stage Alliance, University of Oregon, York University, The Arcola Theater, EcoArtSpace, the Royal Society of the Arts, Diverseworks ArtSpace and others to work towards sustainability in the arts, ecological and otherwise.

Programs at the CSPA include a rich online resource guide, curricular development, a quarterly journal, annual convergence, and the development of collaborative local materials re-use programs and a certification program for arts making being initiated through an international partnership between US, Canadian and British producers. The center was founded by funds received through the 2007 Richard E. Sherwood award for emerging theater artists from the Center Theater Group (CTG) awarded to be used forming a working relationship consulting with CTG on the integration of ecologically sustainable practice into their production.

Ian teaches Sustainable Theater and Management Technology courses at the California Institute of the Arts and has been featured in American Theater, DramaBiz, and The Design Magazine and has spoken at The Central School for Speech and Drama, St. Louis University, and the Indy Convergence along with most arts conferences in the United States.

He originally studied architecture and art history at Rice University in Houston, Texas, but has since come to build an awarding winning practice in live performance and installation art, having also attended California Institute of the Arts to complete MFAs in Lighting Design and Producing.

Connections -

Ian Garrett
Executive Director
Ian at sustainablepractice dot org
The Center for Sustainable Practice in the Arts
c/o LA Stage Alliance
644 S. Figueroa St.
Los Angeles, CA 90017

Profile Summary: William “Willi” George Paul Green Business Certified Sustainability Consultant and strategic vision planner, writer and program designer for environmental planning, civil engineering and non-profits for over 15 years. Executive producer at PlanetShifter.com generating 125+ thought leader interviews and 1200 posts to-date since EarthDay ’09. Produced two innovative online community building projects as a PhD Student in Environmental Planning and Design at Virginia Tech. Designed the electronic charrette while earning MA in Urban Planning. Developed marketing and online community building strategies for over thirty Internet start-ups.

Willi Paul, Art and Sustainability Consultant
415-407-4688 | willipaul1 at gmail dot com
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CSPA Quarterly Calls for International Submissions

The second edition of the CSPA Quarterly is now open for submissions.  This issue will focus on international eco-policy, policy’s effect on the arts, and the arts’ effect on policy.  The issue will feature news and events from COP15, the UN Conference on Climate Change in Copenhagen this December.  Articles from all nations are welcome!

The publication will explore sustainable arts practices in all genres (performance, visual art & installation, music, and film/video), and will view sustainability in the arts through environmentalism, economic stability, and cultural infrastructure. The periodical will provide a formal terrain for discussion, and will evaluate diverse points of views.

Please send your essays, photos, and articles to:  Miranda@SustainablePractice.org

The deadline for consideration is December 22, 2009.