S Center

Call for Papers – Acoustic Space No. 12: ART OF RESILIENCE

This post comes to you from Cultura21

Riga’s Center for New Media Culture RIXC is welcoming submissions – articles, conceptual and artistic texts, research papers and visual contributions – from artists, theorists, scientists, researchers who are engaged with issues of social and ecological sustainability, and who are interested in a deeper understanding of technology, for the next Acoustic Space (Volume No. 12), a peer-reviewed journal for interdisciplinary research on art, science, technology and society, devoted with the theme Art of Resilience.

The conference exploring the topic — Art of Resilience — took place during Art+Communication 2012 festival in Riga, October 5-6, 2012 (http://rixc.lv/12). The forthcoming publication will include papers presented at this conference, but will not be limited to it and is open for contributions by other authors. It will be published in English.

“Today art is leaving its autonomous position behind the society’s quest for a sustainable future. Artists who once were in vanguard of exploring digital frontiers, today again are among the first ones who are actively engaged in looking for other ways how to make the world more sustainable.

Resilience is one of the key tactics that helps people to undergo unstable, uncertain times. The idea of a resilience is used as a guiding theme and as a point of departure for the discussions with which we aim at fostering deeper understanding of social, cultural and ecological, as well as technological sustainability issues.
We are questioning: How to enhance resilience – our capability to cope with today’s complex situation that has occurred in the result of rapid ‘techno-sciences’ development? Does art play a role of a ‘catalyst’ in this quest for sustainability, if it keeps actively establishing new connections with other fields – science and technology, architecture and design, rural infrastructure development and urban planning, social networking and global engineering? How these emergent art practices that are bridging not only different fields but also exploiting resilience experiences from different times and different cultures, are contributing towards developing a successful scenario for the future world?”

Deadline for submitting full papers – March 15, 2013
However, abstracts can be submitted first – deadline for abstracts: February 11, 2013

Length of texts: between 2500 and 8000 words (i.e. 20 000 – 45 000 characters).

Submitted texts should include:

  1. short abstract (ca. 250 words, i.e. 1500 characters)
  2. 5 – 6 keywords
  3. short bio of the author (ca. 100 words, i.e. 800 characters)

References should be in APA style.

Language for submissions: English.

The publication will come out in October, 2013, and it will be presented at the Media Art Histories 2013: ReNew conference / Art+Communication 2013 festival, October 8-11, 2013.

Please send abstracts and texts to the editor: Rasa Smite rasa [at] rixc [dot] lv

The previous editions of Acoustic Space are available on amazon.com

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: Amplify Action

Amplify Action: Sustainability through the Arts” will be presented in Spring 2012 by the Skylight Gallery, a department of BSRC’s Center for Arts and Culture. The exhibition is conceived to demonstrate how arts, culture and media are powerful catalysts for social change, and aims to engage neighborhoods in a dialogue about sustainable living, making healthy consumer choices, and taking environmental action. Works in the exhibit will directly and indirectly examine the different components of sustainability such as, but not limited to: ecology, economy, equity, environmental consciousness, resource conservation and efficiency, agriculture, architecture, infrastructure, environmental justice and health.

 

The exhibition “Amplify Action: Sustainability through the Arts,” is a collaborative project of the Pratt Center for Community Development, Pratt Institute’s Initiative for Arts, Community and Social Change (IACSC), and the Bedford-Stuyvesant Restoration Corporation. The project is a part of the Arts Implementation Fund of the Pratt Center, recently established through a generous grant from the Rockefeller Foundation’s NYC Cultural Innovation Fund. The projects of the Arts Implementation Fund, in partnership with community based organizations in Bedford-Stuyvesant and Cypress Hills create projects that support the execution of visual and performance art works created by local artists, artist groups, and artists abroad that promote a civic dialogue about community sustainability.

 

More Information: http://www.amplifyaction.org/p/call-for-artists.html

Online Application: http://www.amplifyaction.org/p/online-application-form.html

The 2nd International Humanities and Sustainability Conference

Florida Gulf Coast University
Fort Myers, Florida
October 7-9, 2010
HandSCon@fgcu.edu

Florida Gulf Coast University’s Center for Environmental and Sustainability Education, and Departments of Language & Literature and Communication & Philosophy are currently accepting individual abstracts and panel proposals for FGCU’s 2nd International Humanities and Sustainability Conference, to be held in Fort Myers, Florida, October 7-9, 2010. Our goal is to encourage interdisciplinary conversations about the role of the humanities in fostering sustainability, however defined, and about the sustainability of the humanities as we move into the second decade of the 21st Century.

Please submit 300-500 word paper and panel proposals, with A/V requests, by email to HandSCon@fgcu.edu. The deadline for proposals is June 4, 2010 at midnight EST. Include all text of the proposal in the body of the email (attachments will not be opened), and be sure to include full contact information for all panel members. Seehttp://www.fgcu.edu/cas/HandScon/ for more information.

Possible questions for investigation might include, but are not limited to:

  • What have “nature,” “culture,” and “environment” come to mean? How have these concepts been constructed, for better or worse, in the academy, but also in the global community at large, and how have these constructions structured our relationship to what we refer to as the natural world, whether in a limiting or a liberating way?
  • What role do the humanities have, not only in fostering awareness of global environmental and social issues, but also in creating thoughtful and productive analyses of these issues by questioning the way environment and culture are represented in humanities and non-humanities disciplines alike, in addition to examining the role of media and information technology in establishing, complicating, altering, and/or breaking down those representations?
  • What are the different ways we understand and relate to nature and society in the academy, both through humanities disciplines like religious and spirituality studies, cultural studies, new media studies, art, literature, and philosophy, and non-humanities disciplines like political, natural, and social sciences?
  • What have been the goals, implementation, and outcomes of efforts toward integrating environmental and cultural sustainability education into humanities courses and curricula? How can information and media technology be used to enhance such efforts?
  • Is “sustainability” sustainable?
  • What pressures are being exerted on the humanities to transform themselves so as not to become obsolete in the ultra-practical and future-oriented information age, and how should the humanities respond to such pressures?

Eric Otto, Ph.D.
Assistant Professor of Environmental Humanities
Florida Gulf Coast University
10501 FGCU Blvd. S.
Fort Myers, FL 33965

phone: (239) 590-7250
email: eotto@fgcu.edu

Video Chat in Artistic Endeavors

skype-iconIt goes without saying that the travel associated with our artist endeavors is not the most sustainable. I’ve been to so many conferences this last year, mostly traveling by plane. Next week I’m off to Europe where I’ll be staying in Copenhagen for COP15 and Wooloo.org‘s New Life Festival, but I’m also headed to London for the Future Arcola Launch and, it’s looking like Prague as well, to check in with a project for the next PQ in June of 2011.

I personally love traveling. I feel guilty, yes, but I love going places. I also feel there is no substitute for in-person discussions. The spontaneity and intimacy of direct contact is important and this is easiest to accommodate face-to-face and in the flesh. And, even when it’s not about having a one-on-one, there is also that just showing up most of the time is a big deal. I maintain that our “success” with the CSPA is due to persistence and “showing up”.

Two weeks ago, I was in Orlando for LDI for a full day of Green Sessions for the show technology crowd put together by Bob Usdin and Annie Jacobs from Showman Fabricators. There I had the chance to meet Bryan Raven of White Light in the UK again. We had been on a roundtable panel at the Theatre Materials/Material Theatre conference at the Central School of Speech and Drama‘s Center for Excellence in Theatre Training in April of 2008. That previous conference was also when I was able to meet, and have a drink with, Ben Todd from Arcola. Ben, who was not able to come to Orlando, and was instead in Stockholm (maybe you saw his post early this week) , was present via a video chat to talk about Future Arcola.

With the ubiquity of broadband connections, more and more people seem to be relying on video conference/chat technology to get other busy, high profile, greener guests to be able to be in two spaces at the same time. And, as it tends to shake out, the resident technophile/ show technologist, I get the pleasure of making a lot of them work.

Google_Talk_icon_by_hungery5Last night, at California Institute of the Arts I set up a video chat audition for guest artists that will be in residency at REDCAT, CalArt’s downtown LA space. The Artists of Invasion from the Chicken Planet, are based in New York and, though of no sustainable intention, weren’t going to fly out to audition some of our actors to use in their residency for two hours.

The day before, we had tested the connection. We used the same computer with the same software on the same network (hardwired into the wall) that we’d use the next day. We tried Skype, which was too choppy, garbled and had a couple seconds delay that made it less than ideal. We then switched to iChat with AOL Instant Messenger accounts and after realizing another computer being connected was preventing a decent video link, it proved the smoothest and most immediate.

So last night, when we moved the computer into the room that we would be conducting the auditions in, we configured the machine the same way, but were not able to make a connection on iChat. Skype had the same issues. At the prompting of a student director who was assisting, we tried Gtalk Video chat. It ended up working immediately and with excellent quality.

Earlier in the year, at Earth Matters on Stage (EMOS), when Moe Beitiks had tried to link up Brent Bucknum to present his bio-remidative work via video chat, we tried ooVoo, which we gave up on in favor of iChat again. We had almost just given up, but I only thought to use iChar from the decent chats I had experienced with my brother-in-law who was living in Edinburgh at the time. Also at EMOS we had a video conference in the University of Oregon library with a panel in London arranged by the Ashden Directory, which used their dedicated video conferencing package.

aim_logo_2.jpgIn both situations the video wasn’t great, but we could sort of communicate. The Ashden Session involved each end of the discussion/video conference going into another room to watch a video and then coming back to discuss together. But there was lag and the video wasn’t particularly clear. The Brent Bucknam session was not bad, but very one-way. For Green Day at LDI, the audio was great, but in one session, with Seema Sueeko from Mo’olelo Performing Arts, the video was minutes behind the audio connection.

Having now had extensive experience with video conferencing in less than ideal situations, I do long for the day when we’ll be able to turn on whatever client we’re using to video chat and it works smoothly and immediately, let alone with high resolution. But, that day isn’t particularly close. There are a lot of variables in the way of making that happen. Network connections, equipment, client servers, client and local network traffic, sunspots, radio waves and the phases of the moon. Even when we tried to eliminate as many of those variables in Eugene as possible, it still didn’t work ideally. Or, what was ideally was not enough to convince.

Will our broadband video connections be able to save us the footprint of air travel for conferences and internationally collaborative meetings of the mind? Not yet. There might be some expensive corporate system out there, but we lowly green artists aren’t going to hold our breath waiting for that. Oprah’s skype seems to work fine, but I’ve never had such luck, so I leave that package just to replace my need for international phone calls.

I’d still rather sit and talk to you, especially when we aren’t both staring at our monitors in our Pajamas.

Also yesterday, Enci Box of Rebel Without a Car Productions came to speak to my and Leslie Tamaribuchi’s class, Sustainability Seminar. She can to talk about producing a short film as sustainably as possible. This included not using cars and transporting everything by bike with the help of the LA Greensters (green teamsters). She made the trip from East Hollywood, in the center of Los Angeles, to the edge of the county, where CalArts resides in Valencia, without a car. She came up on a Metrolink commuter train, biking from the station to campus. She and I had worked out the options for getting there and she had the time to dedicate to coming up. Also, she was lucky to had met a guy who regularly made that journey to visit his girlfriend at CalArts and could relay the benefit of his experience. She then went back home, via bike. all roughly 30 miles of the trip. Coming up to CalArts, it took 2 hours. Returning was supposedly going to be one and a half hours. All for a 45 minute presentation.

I suppose we could have had her “skype” in (even if we don’t typically end up on skype), but having her there in-person was a much greater thrill and much more in the moment for the students and for her. Instead it took dedication to not leaving a footprint, and finding alternatives to get to the class. I’m very much indebted to Enci for making the journey, which some might say was epic, to present for a fraction of that travel time. But, I think it far surpassed our alternatives.

APInews: Artist To Speak on Petaluma Wetlands Park

Patricia Johnson will discuss her collaborative Petaluma Wetlands Park project at the Nevada Museum of Art’s Center for Art + Environment LAB (Reno) in November.http://www.patriciajohanson.com The talk, November 13, 2009, is part of “Art and Infrastructure,” an exhibition of her drawings and designs on display in the museum’s CA+E LAB, September 19, 2009 – January 10, 2010. Using constructed and natural wetlands Johanson created a multipurpose public landscape in Petaluma, Calif., providing three miles of recreational use, educational programs and nature study alongside a facility that simultaneously processes human sewage, while also generating crops and creating wildlife habitats. “One of my missions as a designer is to create inclusive, life-supporting landscapes that broaden human understanding,” says Johanson on her Web site http://www.patriciajohanson.com. “Artists have always changed the way we see. Now we need to change the way we act.”

via APInews: Artist To Speak on Petaluma Wetlands Park .