Monthly Archives: March 2012

Louis Helbig’s images of tar sands development

This post comes to you from EcoArtScotland

Residual Bitumen
N 56.51.42 W 111.20.35 Suncor South, Alberta, Canada

Louis Helbig’s project beautifuldestruction.ca provides aerial documentation of the tar sands developments in Alberta, Canada along with a detailed commentary.

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 Research, Gray’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

The Borders – a complex listening environment

This post comes to you from EcoArtScotland

James Wyness (sound artist) in conversation with Kate Foster (environmental artist).

As a sound artist, James Wyness works on listening environments, in the Borders Region (where he is based) and elsewhere. He compared notes with Kate Foster about settling into work in the Borders, valuing what the area offers our respective practices. Here James elaborates on ideas from a thought-provoking exchange.

KF: You said that a sound artist has to be aware of how space, places, are made. What would an example be, of how such connections develop, through listening?

JW: Yes, my interest here specifically is in how spaces are produced, following the research of Henri Lefebvre. Lefebvre pointed me towards the fact that the production of space, by people, carries with it intention and deliberation. Produced spaces, many of them complex if we care to investigate, are often taken for granted as simply ‘there’ since time began, when in fact they have undergone all manner of politically directed transformations.

For example, an important part of my artistic practice involves listening to the region in which I live, the sparsely populated (one might even say underdeveloped) Scottish and English Border regions, including the Northumberland National Park. If we listen with a very generalised ear – or, easier still for most of us handicapped by the predominant visual drift in contemporary popular culture, if we look at the region on one of those noise maps which gives a colour coding according to ambient noise levels, what do we see for large swathes of our region? Nothing, or very little. It’s a very quiet region with little background noise from traffic arteries or urban centres. Relatively speaking, for a very crowded island few people live here. Large tracts of land are turned over to ‘wilderness’ with a little sheep farming.

Image and comment by KF: it’s not really wilderness though, is it?

JW: Certainly not in the sense of untouched or left in peace for the sake of it, despite the peace and quiet you might find there. So if large areas of this region are indeed so quiet and underdeveloped, why should that be? I don’t believe for a second that any of this happens by chance, especially in Britain whose governments have led the world in matters of controlling, administering and exploiting land or territory, who had at one time almost full political and military control of enormous tracts of land in the ‘Orient’, from the Middle East to India. Perhaps more than any government or established political system, successive British governments and their administrative machineries with their structures, doctrines and processes would use their home turf for whatever use suited them. So I have to ask why would a ‘wilderness’ be permitted to exist in an overcrowded island?

My theory, and this is only scientific inasmuch as I would love to have it disproved, is that the military/defence interest at Otterburn has determined to a large extent the geographical make-up of this large region. I say this first of all because Henri Lefebvre noticed a similar situation in his native France. I came to my conclusions following his conceptual framework and arguments. This is not a conspiracy theory except of course in the sense that the machinations of successive British governments, in matters of defence, now national security (this is an interesting shift of focus), are in fact usually conspiring towards some undemocratic end.

If I might elaborate, we have a historically troublesome border which always required a strong garrison, in particular on the English side. Over time the mentality of the garrison has become embedded in geo-political thinking. I’m sure that research would show that efforts will have been made to keep the region free of development to allow the free play of large scale military manoeuvres, including low flying. Having trained at Otterburn in my time as an RAF officer I’m aware that the use of tanks, aircraft and heavy artillery requires particular kinds of space. I believe that the creation of the National Park will have suited very well the prolongation of the Otterburn agenda whereas allowing substantial development would in time lead to calls for constraints placed on military activity.

So our noise free region is actually punctuated by bouts of extremely violent military activity on both sides of the border: low flying fighter jets, artillery exercises, helicopter exercises. It constantly baffles me that nobody seems to be able to effect collective action against ‘friendly’ fighter jets flying at lower than 500 feet over primary schools without warning. Having had a privileged inside view I could go on, but the Official Secrets Act prevents me from doing so.

KF image and comment: I keep trying to snap low-fliers

JW: What I’m saying is that the space has been produced, as a result of an accumulation of conscious political and military decisions, affecting freedom of movement and particular kinds of development or uses of space, negating the possibility of differently produced spaces, of the adjoining social space, including the ‘wilderness’ of the Cheviots. This is done by proxy – planning in the Northumberland National Park is tight to say the least. In my reveries I often contextualise the region as a more northerly extension of Hadrian’s Wall.

And of course, going much further back, apart from a few pockets of broadleaf, very little is ‘natural’ wilderness anyway, in the sense of ‘untouched by human hands’. For example the pockets of the Old Jed Forest are as natural as you’ll get anywhere, but the moorland, the bare hills have all been doctored and tailored over millenia, visually and, if we care to listen, sonically.

Such is the complexity of an investigation into soundscape. As a researcher I have several other produced spaces under investigation at the moment. With these I like to keep in mind Lefebvre’s observation:-

There can be no question but that the social space is the locus of prohibition, for it is shot through with both prohibitions and their counterparts, prescriptions.

KF:  What are your thoughts about the relationships between sonic sensibility and ecological literacy?

JW: This seems at first glance to imply a flow between the aesthetic and the ethical, but perhaps in this case the two are tightly bound up together in the first place. Sonic sensibility, real sensibility as opposed to a superficial appreciation of this or that sound, would to my mind require a modicum of physical, mental and perhaps spiritual effort, some form of directed activity towards engaging with the world of sound, at all levels of experience, including the everyday. A bundle of values. This would affect one’s relationship to the immediate environment, urban or rural, how one lives from day to day, physical choices in one’s domestic and social environment and so on. I don’t mean to say that if you can live in a thundering metropolis you cannot be sonically sensitive – I know of one artist whose work in the field has been substantially enhanced and enriched by the urban experience. Nor am I taking a puritanical stance which denies pleasure in contemporary urban living. It’s simply that sonic sensibility requires a sustained effort.

True sonic sensibility would require informed choices in listening strategies vis-a-vis music consumption for example. I cannot reconcile the fact of spending hours of one’s daily life bolted to a mobile media device, cut off from the immediate sonic environment, listening to compressed audio, with a desire to nurture sonic sensibility.

Ecological literacy would be defined as at least some sort of awareness of one’s own stake in the game, as opposed to watching ‘documentaries’ in which David Attenborough becomes a parody of himself and where ecological awareness is given as a highly contrived representation dressed up as reality or truth. In addition I would take into account the choices one makes in one’s material surroundings and contingent actions, the awareness, nothing more, of the interconnectedness of all things, at least some sort of commitment to investigating who is doing well (economically or politically) from degradations and deteriorations in the amenity of those doing less well.

Sensibility and sensitivity to the sonic, or non-visual, often requires a deeper connection with the environment. The visual, especially in urban settings, is often given, forced, thrust in front of us, in the form of corporate marketing, architectural agendas based on maximum profit, as opposed to ethically or aesthetically driven. We fall under the spell of the visual so easily, where everything is appropriated and turned to profitable use. Listening to a soundscape, in my experience, allows a different and perhaps more interesting ecological unfolding than a visual appraisal of an urban bleakscape or a view of a pretty landscape. In fact the whole discourse around landscape and appreciation is fraught with difficulty.

In basic terms, sonic sensibility, of the individual or of the community, can raise awareness of ecological literacy. Finally, although much more research (and investment) is needed into the presentational forms of creative outcomes resulting from deep listening to the environment, the sonic artist working with environmental field recordings has an important role to play in raising the standard of ecological literacy.

KF: You admire how well Susan Fenimore Cooper and Aldo Leopold – American nature writers – listened. If you could magic them back, what sound art would you want them to hear?

JW: I’d give them all a quick primer in the use of modern recording technology and let them make their own art, a combination of sound and text. Just imagine! I’d let Susan loose on a few dawn choruses and some more discrete biophonies with incidental forest and wind sounds. With Aldo I’d focus on some of the long form natural soundscapes in true wilderness areas. Finally I’d watch Thoreau’s smile as he listened to the aquatic life of Walden Pond by means of a simple hydrophone.

(This article was developed by Kate Foster and ecoartscotland is very grateful for the opportunity to publish an original and fascinating contribution to our understanding of the politics and sonics Scottish landscape.)

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 Research, Gray’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

Four Funded PhD Opportunities

This post comes to you from EcoArtScotland

Tim Collins, Acting Head of Research, recently announced that Glasgow School of Art hasa number of studentships on offer.

There are two Studentships within the School of Fine Art.

Areas of focus could include:

Society and Environmental Art
Prof Timothy Collins [t.collins@gsa.ac.uk)
Additional supervisors include artists Ross Sinclair and Sue Brind, Justin Carter, and Clara Ursitti as well as Dr Ken Neil.

Art and Curatorial Practices
Dr Frances Mckee (francis@cca-glasgow.com}
Additional supervisors offering support in these areas include critics, artists and curators such as John Calcutt, Dr Ross Birrell and Dr Sarah Lowndes.

Photography, Painting
Prof Roger Wilson [r.wilson@gsa.ac.uk] Additional supervisors include artists Prof Thomas Joshua Cooper, Dr Nicky Bird, and Stephanie Smith.

We have one studentship in the School of Design.

Areas of focus could include:

Design and Innovation
Prof Irene McAra McWilliam (I.McAra-McWilliam@gsa.ac.uk)
Additional supervisors offering support include designers Jimmy Stephen-Cran and Paul Stickley, Dr Gordon Hush and Dr Ben Craven.

Design for Health and Care
Prof Alastair Macdonald (a.macdonald@gsa.ac.uk)
Additional supervisors includes Dr Paul Chapman, and Dr David Loudon, there is also co-support available in the MEARU research unit.

We have one studentship in the Mackintosh School of Architecture

Areas of focus could include:

Place, Memory and Practice
Prof Chris Platt (c.platt@gsa.ac.uk)
Additional supervisors include Prof Brian Evans, Prof Thomas Maver, Dr Robert Proctor, Sally Stewart and Prof Florian Urban.

Mackintosh Environmental Architecture Research Unit
Reader Tim Sharpe (t.sharpe@gsa.ac.uk)
Additional supervisors include Dr Masa Noguchi Dr. Filbert Musau and Dr Raid Hanna.

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 Research, Gray’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

‘The Great Immensity’ does a ‘Greenland’

pic: from left: Rebecca Hart, Dan Domingues, Meghan McGeary and Todd Cerveris in 'The Great Immensity'

This post comes to you from Ashden Directory

In the last couple of years a number of plays about climate change have been staged in London from Steve Waters’ The Contingency Plan to the multi-authored Greenland at the National Theatre and Richard Bean’s The Heretic. The Contingency Plan was funny, dramatic and accurate; Greenland was not very dramatic, not very funny and accurate; and The Hereticwas very funny, quite dramatic and fairly inaccurate.

Meanwhile, this blog has been waiting since 2010 for the results of the substantial grant of $750,000 (£470,000) from the US National Science Foundation for a new play about climate change by The Civilians theatre company. The reviews for The Great Immensity are now in. It sounds as if it has made some of the same mistakes as Greenland.

So what happens in The Great Immensity? The set-up is that a character called Phyllis arrives at Barro Colorado Island, a rainforest and research reserve in the middle of the Panama Canal, in search of her twin sister Polly, a filmmaker who has suddenly disappeared. The researchers on the island help Phyllis reconstruct her sister’s last days through flashbacks, video interviews from Polly’s hard drive, and vaudeville musical sketches. Phyllis learns that Polly was engaged in a project to do with the upcoming Auckland Climate Summit. The action then moves to Churchill, Manitoba, where Earth Ambassadors and others disclose what happened to Polly.

Robert Trussell in the Kansas City Star calls it a “risk-taking show”and an “unwieldy cargo container of theatrical virtues and deficiencies”.

“Integrated into the narrative is alarming information about the plight of the planet. I’m not questioning the scientific information that forms this play’s foundation. My concern is how the show works as theatrical entertainment.”

Victor Wishna, in the KCMetropolis, an online journal of the performing arts, takes the viewthat what theatre does best is provoke, rather than educate or entertain. Although well-performed, he finds it a single-issue, educational show, with no subplots or diversions from the message of the irreversible damage that humans have done to the planet.

“Theatre-goers may very well leave The Great Immensity more frustrated and agitated than inspired. Unlike a lecture or even a documentary film, theatre isn’t expected to offer answers but to raise—to provoke—questions, to challenge assumptions, to take us from ‘There’s nothing to be done’ to ‘Isn’t there something we can do?’”

“ashdenizen blog and twitter are consistently among the best sources for information and reflection on developments in the field of arts and climate change in the UK” (2020 Network)

ashdenizen is edited by Robert Butler, and is the blog associated with the Ashden Directory, a website focusing on environment and performance.
The Ashden Directory is edited by Robert Butler and Wallace Heim, with associate editor Kellie Gutman. The Directory includes features, interviews, news, a timeline and a database of ecologically – themed productions since 1893 in the United Kingdom. Our own projects include ‘New Metaphors for Sustainability’, ‘Flowers Onstage’ and ‘Six ways to look at climate change and theatre’.

The Directory has been live since 2000.

Go to The Ashden Directory

2012 iLAND Symposium

This post comes to you from Cultura21

New-York, USA, March 23-24, 2012

Wollman Hall at The New School | 65 West 11th Street, 5th Floor

Tickets: $5 – $25 (Sliding Scale)

The 2012 iLAND Symposium will be entitled: Moving Into the Out There: Indeterminacy and Improvisation in Performance and Environmental Practice. This event is an open forum for exploring new methods of understanding urban ecosystems through innovative collaborations between practitioners of movement, dance, science, and environmental management. iLAND cultivates a deeper engagement with urban environmental issues through its cross-disciplinary approach, and the annual symposium invites the general public to experience and explore recent works emerging from the iLAND community.

Schedule

Friday, March 23

12:00 pm to 3:00 pm:  

Pre-Symposium Workshop: John Cage & The Art of Indeterminacy ;  Presented by:
Ivan Raykoff, Professor, Eugene Lang College ; Philip Silva, Program Director, iLAND

3:15 pm to 4:30 pm:  

Open Space Discussion: Moving Forward with Science + Performance
Moderator: Danielle Goldman, Professor, Eugene Lang College
(By Invitation Only)

6:00 pm to 8:00 pm: 

Plenary: PARK Presentation & the iLANDing Method
Presented by: PARK (2011 iLAB Residents) ; Jennifer Monson, Artistic Director, iLAND ; Members of the iLAND Board of Directors ; Danielle Goldman, Professor, Eugene Lang College

Saturday, March 24

10:00 am to 10:30 am: 

Open Time [Breakfast & Networking]

10:30 am to 12:00 pm:

Panel Discussion: Indeterminacy, Ecology, and Urban Design: The Performance of City Ecosystems
Presented by: Erika Svendsen, US Forest Service ; Victoria Marshall, Professor, Parsons School of Design ; Susan Sgorbati, Choreographer, Professor, Bennington College ; Philip Silva, Program Director, iLAND

1:00 pm to 3:00 pm:    

Thrown Outside – Outdoor Workshops in Research & Movement
Presented by: Liz Barry, Public Laboratory for Open Technology & Science ; Jessica Einhorn, Dancer, Choreographer ; Clarinda Mac Low, Choreographer, new media artist (iLAB 2010) ; E.J. McAdams, iLAND Board

3:00 pm to 4:30 pm:  

Panel Discussion: Performing Queer Ecology
Presented by:  Jennifer Monson, Artistic Director, iLAND ;  Ivan Raykoff, Professor, Eugene Lang College ;  Robert Sember, Professor, Eugene Lang College ;  Philip Silva, Program Director, iLAND

4:30 pm to 6:00 pm: 

Closing Plenary & Open Discussion
Moderator: Kyle De Camp, Director and Performer

6:15 pm to 6:45 pm: 

Dance Performance: Lectures on Weather
Based on a John Cage score from 1975
Created & Presented by: Athena Kokoronis, Choreographer (iLAB 2009)

For more information on the symposium, please visit www.ilandart.org, call (347) 573-5547 or email info [at] ilandart [dot] org

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

Climate is culture

This post comes to you from Ashden Directory
Kellie Gutman writes:

The feature article in the March issue of Nature Climate Change is written by Cape Farewell‘s David Buckland, and is titled Climate is Culture.

A pioneering project that was set up to bridge a perceived communication gap between the science of climate change and the deep societal changes required to avoid dangerous impacts is explained by its creator in Nature Climate Change this week.  In 2001, British artist David Buckland founded the Cape Farewell project, which he feels attempts to address one of the most pressing social issues of our time.

Read the full article here.

“ashdenizen blog and twitter are consistently among the best sources for information and reflection on developments in the field of arts and climate change in the UK” (2020 Network)

ashdenizen is edited by Robert Butler, and is the blog associated with the Ashden Directory, a website focusing on environment and performance.
The Ashden Directory is edited by Robert Butler and Wallace Heim, with associate editor Kellie Gutman. The Directory includes features, interviews, news, a timeline and a database of ecologically – themed productions since 1893 in the United Kingdom. Our own projects include ‘New Metaphors for Sustainability’, ‘Flowers Onstage’ and ‘Six ways to look at climate change and theatre’.

The Directory has been live since 2000.

Go to The Ashden Directory

ecoartscotland in Tent at ECA – 6-10 March

This post comes to you from EcoArtScotland

ecoartscotland will be in residence in the Tent space at Edinburgh College of Art, during the week 6-10 March 2012.

Art, Space & Nature students and staff have worked with ecoartscotland to develop a programme of discussions and events during the week:

Tuesday 6 March
16.00-17.30 Discussion on the Ecology of the Body, Healing and the Environment, and Holistic Spirituality with Sandra Long and Betsy Davis.

Wednesday 7 March
10.00-12.30 “What is the ecology of the practices of arts and ecologies: Art, Space & Nature students and members of the ecoartnetwork.

14.00-17.30 CORE Forum (by invitation only)

Thursday 8 March
16.00 Discussion on Translating Spaces with Catriona Gilbert and Laura Trujillo Muñoz.

Fri 9 March
TBC

The Tent Space is in Evolution House at the junction of West Port and Lady Lawson Street.  Opening Hours for ecoartscotland will be 12.00-17.00 Tues, Thurs and Fri or by arrangement

The ecoartscotland library is available for consultation during these hours.

Documentation of the programme will be posted to http://ecoartscotland.net during the week and following

If you’d like to attend a discussion, please contact chris@fremantle.org +44 (0) 7714 203016

PS Thanks to Betsy Davis (Art, Space & Nature) for remixing the ecoartscotland logo.

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 Research, Gray’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

Between art and environment: Case studies from Thailand, Malaysia and India

This post comes to you from Cultura21

The case studies are part of an Asia-Europe Foundation commissioned research project entitled “Linking the Arts to Environment and Sustainable Development Issues”.

  • Thailand: In Doi Saket, an artists’ residency programme brings together local communities and artists to reflect on diverse facets of everyday life to gain a more open perspective about their positions in the contemporary landscape. Read more on Culture360.org: Click here
  • Mumbai, India: Artist designers Anuradha Mathur and Dilip da Cunha break paradigms by denouncing rigidity and embracing fluidity to inspire harmonious postcolonial contemplation on the relationship between land and sea to better plan urban settlements. Read more on Culture360.org: Click here
  • Malaysia: In Tasik Chini, an NGO is building capacity to empower local communities to document their traditional knowledge and actively participate in the management and restoration planning process of their immediate environment. Read more on Culture360.org: Click here

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

Urban Furrows

This post comes to you from Cultura21

As part of Maribor 2012, European Capital of Culture, the “Urban Furrows” programme includes several projects such as “Sustainable Local Supply” (promoting short economic circuits between food production and consumption), a seed library for local plant species and the “Rhizome collective” aiming to empower immigrants and jobless workers, among other projects.

Read more on Culture360.org: Click here

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

Island at the National Theatre

This post comes to you from Ashden Directory

Abandoned whaling settlement at Pauline Cove, Herschel Island

Kellie Gutman reports:

A new play for children ages 8 and up runs at the Cottesloe Theatre 15-25 February.  Island, by award-winning author Nicky Singer (Feather Boy), has been commissioned by the National Theatre’s Learning programme.  The play is set on the remote Arctic island of Herschel.

[It] raises questions about the effects of climate change on the island.  the play centres on a London schoolboy, Cameron, forced to spend his school holiday without computer, phone or Facebook with his scientist mother on the remote Herschel Island, where he encounters an indigenous girl whose stories open up this different world.

Along with the performances and workshops for family audiences at the Cottesloe Theatre, Island will tour to primary schools in London throughout the spring term.

“ashdenizen blog and twitter are consistently among the best sources for information and reflection on developments in the field of arts and climate change in the UK” (2020 Network)

ashdenizen is edited by Robert Butler, and is the blog associated with the Ashden Directory, a website focusing on environment and performance.
The Ashden Directory is edited by Robert Butler and Wallace Heim, with associate editor Kellie Gutman. The Directory includes features, interviews, news, a timeline and a database of ecologically – themed productions since 1893 in the United Kingdom. Our own projects include ‘New Metaphors for Sustainability’, ‘Flowers Onstage’ and ‘Six ways to look at climate change and theatre’.

The Directory has been live since 2000.

Go to The Ashden Directory