Monthly Archives: September 2014

iLANDing Laboratories Initiative

Cultura21

This post comes to you from Cultura21

ilandRequest for Proposals – 2015 iLANDing Laboratories Initiative
Due October 20
send to info [at] ilandart [dot] org

Following the successful inaugural year of the iLANDing Laboratory Initiative, the program will continue for a second year. The 2015 iLANDing Laboratories will continue in an experimental format as a series of workshops/laboratories designed by members of the iLAND community as well as those with a strong interest in proposing a Laboratory that aligns with iLAND’s mission and the values of iLANDing (for more information please see appendix on their website). The Laboratories will serve as focused forums and platforms for a reflective, advanced discourse around urban ecology, kinesthetic experience, and new approaches to interdisciplinary creative processes and draw on the history of iLAND programming which has been cultivated over the past eight years through the iLAB Residency program, iLAND Symposia, and the development of the iLANDing Method.

This Request for Proposals is open to all past iLANDing Laboratory participants, iLAB Residents, iLAB applicants, Symposium participants and others with a strong interest in proposing a workshop that aligns with the values of iLAND. New combinations of collaborators are welcomed and encouraged. Past iLANDing Laboratory residents are welcome to reapply for continued support in order to deepen into the process of a previously presented workshop. Laboratories should take on the structure and duration.

An honorarium of $250 will be awarded to accepted proposals to assist in covering workshop expenses. iLAND will assist with online and print promotion for the Laboratories and provide planning support and mentorship in designing the laboratories

Proposals must be submitted to info [at] ilandart [dot] org by October 20, 2014. Please limit your proposal to a two pages and send as a PDF attachment. If you have questions, please contact Jennifer Monson at 917-860-8239 or jennifer [at] ilandart [dot] org.

These workshops shall provide an opportunity to share your current work and interests as well as to revisit and expand upon ideas that might have been initially explored during previous iLANDing Laboratories, iLAB Residencies, and/or iLAND Symposia.

For more information and an Appendix on iLANDing practices please visit their website.

———-

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

Powered by WPeMatico

New Case Study: Data Collection at the Fringe Reuse and Recycle Days

Creative Carbon Scotland

This post comes from Creative Carbon Scotland

Running since 2009, the Fringe Reuse and Recycle Days occur at the end of each Edinburgh Festival Fringe season, and provide an opportunity for those performing individuals and production companies to donate any materials from their Fringe run that they no longer need or cannot take with them when leaving Edinburgh. Hosted in Fringe Central, all donated materials are free to be taken away by anyone visiting the space, with all remaining set/props/costumes/paper recycled at the end of the second day.

This year, we used the following forms of data gathering at the Reuse and Recycle Days-

  • Questionnaires completed by those donating materials to the event
  • Photo and video documentation
  • Figures displaying the amount and weight of materials collected by our recycling provider ScotWaste

In the past, data collection at the Fringe Reuse and Recycle Days has enabled venues to confidently reduce their print runs, as 12 tonnes of unused print was collected in 2011.

Read more about data collection in our case study here.

Image: Julien Pearly

The post New Case Study: Data Collection at the Fringe Reuse and Recycle Days appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

York University seeks Canada Research Chair (Tier 2) in Information Design, Advocacy and the Environment

news, Open Calls, Research

york_logo_hi_resThe School of the Arts, Media, Performance and Design (AMPD), formerly known as the Faculty of Fine Arts, at York University is seeking an outstanding researcher to be nominated for a Tier 2 Canada Research Chair in the area of Information Design, Advocacy and the Environment. The successful candidate will be appointed to a tenure track position in AMPD at the Assistant or Associate Professor level. One of North America’s leading schools for the arts, AMPD offers undergraduate and graduate degree programs in Dance, Design, Digital Media, Film, Music, Theatre, Visual Arts, Art History, Media Studies, Theatre and Performance Studies.

This pan-faculty position will attract a strong, well-established, hybrid research-practitioner with an innovative and stellar programme of research, creative practice and significant scholarship in the areas of information design, advocacy and the environment. The successful candidate will participate across the knowledge domains of the visual arts, media, performance and design and often engage collaborations with environmental studies, health, computer science and engineering. We invite applications from candidates with demonstrable expertise in one or more of the following: graphical strategies for information design, development of tools and methodologies for data exploration, design-driven social advocacy, dynamic visualizations of live systems, interface design, design for virtual environments and massive multi—user systems, HCI, and strong cross-disciplinary approaches to information design.

The appointment is linked to the new University Strategic Research Plan, which identifies Digital Cultures as a compelling opportunity for development in the next five years by pushing “technological boundaries while critically investigating the social and cultural impacts” of new technologies on human activity and interaction. The successful candidate will play a strong role in Sensorium: Centre for Digital Arts and Technology Research, a catalyst for new ideas and experimentation. <finearts.yorku.ca/sensorium/> Based in AMPD the Centre supports cross-disciplinary work in application and content creation, artistic and scientific inquiry, design practice and methodologies, policy development and critical discourse in digital media arts.<finearts.yorku.ca>

The successful candidate will have a PhD or equivalent in the areas of Digital Media, Design, Interactive Arts, Computer Science or a closely related field, an outstanding research record, experience working with undergraduate and graduate students, and must be eligible for prompt appointment to the Faculty of Graduate Studies. The successful candidate must demonstrate excellence or promise of excellence in teaching and scholarly research. The candidate is expected to provide leadership by fostering collaborative research, securing external funding, making links across art, design, health, computer science and engineering, supervising graduate students, and generating national and international academic, community and industry partnerships. The Chairholder will be placed in a Department or Departments most closely reflecting his or her experience and that best supports institutional priorities.

This appointment is subject to approval by the CRC program review process. The Canada Research Chairs program was established by the Government of Canada to enable Canadian universities to achieve the highest levels of research excellence in the global, knowledge—based economy. Tier 2 Chairs have five—year terms, once renewable, and are intended for exceptional emerging researchers (less than 10 years post terminal degree) who have the acknowledged potential to lead their field of research. Information about the CRC program can be found at

York University is an Affirmative Action (AA) employer and strongly values diversity, including gender and sexual diversity, within its community. The AA Program, which applies to Aboriginal people, visible minorities, people with disabilities, and women, can be found at www.yorku.ca/acadjobs or by calling the AA office at 416-736-5713. All qualified candidates are encouraged to apply; however, Canadian citizens and Permanent Residents will be given priority.

This position, subject to budgetary approval, will commence July 1, 2015. Applicants should submit a detailed CV, statement of contribution to research and teaching, links to scholarly and/or creative work, and three letters of reference.

<www.chairs.gc.ca>.

Applications should be sent by December 5, 2014 to:

Jim Fenton

York University

Faculty of Fine Arts, GCFA 201 4700 Keele Street

Toronto, ON M3J 1P3

Tel: +1 416 736—2100 x 20033

Email: jfenton@yorku.ca

The People’s Weather Report

news

GoingNowhereClimate change is one of the most pressing issues facing the world – now more than ever. Last year was one of the hottest on record internationally, but the sceptics keep pumping their rhetoric into the atmosphere, almost as fast and furiously as we’re polluting it. It’s easy to feel overwhelmed by the sheer magnitude and reality of it all, or flummoxed by the polarising conversations. What can we do to make a difference?

The People’s Weather Report is a global response to the enormity of climate change, from a number of very personal perspectives. In an installation created by eco designer Tanja Beer, using recycled materials and showcased duringGoing Nowhere, audiences are invited to experience a 24 hour sound work of original ‘weather reports’, collected from participants located around the world.

Taking the temperature of our collective response to climate change, our partner ABC RN will also produce two one-hour packages for radio broadcast selected from the submitted reports.

We are looking for participants to take part in this global project

The People’s Weather Report is seeking 300 ‘weather reporters’ from around the world – and we would love to hear from you!

If you’d like to make a contribution and respond personally, politically, poetically or scientifically, reflecting on your individual connection to weather and the climate, please email going.nowhere@melbourne.vic.gov.au. We’ll send you full technical instructions on how to create and submit your three-five minute audio weather report.

Your weather report should connect with your concerns, beliefs and ideologies within your local context. Once submitted, these weather reports will be edited together to create the sound work for the installation.

Weather report submissions close on 13 October.

The Mojave Project, experimental transmedia documentary by Kim Stringfellow, has launched

news

e5496b44-9291-492e-8c99-301e1ad8fb55The Mojave Project is an experimental transmedia documentary by Kim Stringfellow exploring the physical, geological and cultural landscape of the Mojave Desert. The Mojave Project reconsiders and establishes multiple ways in which to interpret this unique and complex landscape, through association and connection of seemingly unrelated sites, themes, and subjects thus creating a speculative and immersive experience for its audience.

The Mojave Project will explore the following themes: Desert as Wasteland;Geological Time vs. Human Time; Sacrifice and Exploitation; Danger and Consequence;Space and Perception; Mobility and Movement; Desert as Staging Ground;Transformation and Reinvention.

The Mojave Project will materialize as the project progresses over time. Deep research and direct field inquiry involving interviews, investigative reporting and personal journaling will be supported with still photography, audio and video documentation. Field reports will be shared in Desert Dispatches throughout the production period beginning in July 2014.

Funding for the The Mojave Project is provided through a Cal Humanities 2014 California Documentary Project Research and Development Grant with additional support from San Diego State University. The Mojave Project is a project of the Pasadena Arts Council’s EMERGE Program. The Mojave Desert Heritage & Cultural Association and KCET Artbound are project partners.

531d9ed4-d40c-41eb-8a64-8b6d795fbc0d

Julie’s Bicycle Presents Value and Cultural Spaces Oct 2

Julie's Bicycle

logoJulie’s Bicycle and the Liverpool Everyman and Playhouse invite you to join a conversation about cultural buildings and the pivotol role they play in understanding values and shaping resilient creative communities.

Over the last decade the idea that culture, communities, economics and the environment – in short ‘sustainability’ – are intimately connected has become pretty much accepted. What is less clear is how this translates into practice; too often different aspects of sustainability conflict with one another and bigger picture thinking is buried under a ‘business-as usual’ approach to cultural management. Through the story of the Everyman’s new building, Executive Director Deborah Aydon will be joined by a panel of environmental, social, cultural and economic thinkers to explore ‘cultural value’ and what it means to go beyond ‘business as usual’ and create forward-thinking sustainable spaces.

Guest speakers include:

  • Deborah Aydon, Executive Director, Liverpool Everyman
  • Steve Tompkins, Architect and Director, Haworth Tompkins
  • Peter North, Reader in Alternative Economies, University of Liverpool
  • John Holden, Associate, Demos; Visiting Professor, City University London; and Advisor to the AHRC’s Cultural Value Project
  • John Kiefferwriter, policy adviser and consultant

The event is open to artists, local community members and audiences, local political representatives and will explore questions including:

1. We hear a lot about ‘values’ at the moment – every political party is laying claim to them. But what are we really talking about when we speak of ‘values’? Why is this important?

2. What ‘values’ do we want cultural buildings like the Everyman to embody? We tend to think about these spaces in relation to people and community, but what about our environment? Is the relationship between the environment and social wellbeing made clear?

3. What were the design principles behind the new Everyman? How were those choices developed and how does it meet the specific needs of this project in this community?

4. The creative economy is currently based on an assumption of perpetual growth, much like the wider economy. Is this the right model and, if so, how does it currently serve our cultural interests?

REGISTER

logosscliveeveryman

Artivism – Artist talk by Shai Zakai

Cultura21

This post comes to you from Cultura21

שי-זכאי-דורית-דרורי-צילמה-6449-180x180Ecological artist, photographer, curator, writer Shai Zakai will give a talk about her projects and artworks, a taste from twenty years of ‘artivism’, for ecological and social change. Among the projects – Concrete Creek- reclamation of a stream as an artwork, Forest Tunes- The Library – installation and books, Presencehood – her current photographic arts.

Public talk will follow her lecture.

Free Admittance. Please arrive on time.

https://www.facebook.com/events/287976118061469/?ref_dashboard_filter=upcoming&source=1

———-

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

Powered by WPeMatico

CALL FOR PROPOSALS – Culture(s) in Sustainable Futures: Theories, Practices, Policies

news

Is culture the fourth pillar of sustainability, alongside the ecological, economic and social aspects? How does culture act as a catalyst for ecological sustainability, human well-being and economic viability? What would our futures look like if sustainability was embedded in the multiple dimensions of culture, including different worldviews and values, ways of life, and other forms of cultural expression?

A cultural transition that embeds sustainability in the cultural understandings and daily practices of society has the power to shift humanity’s currently unsustainable trajectory. Culture already plays many roles in (un)sustainability but the scientific, policy-making and societal spheres lack understanding of the essence of culture and how it influences sustainability.

A landmark conference

This conference is both an ending and a beginning. It caps the work of the European research network COST ActionInvestigating Cultural Sustainability. But rather than closing the book on this international network, this inclusive conference aims to set directions for future research and actions. During the conference, scholars, policymakers, artists, planners and others will discuss thedifferent roles and meanings of culture in sustainability. Representatives from different sectors and across disciplines will explore how culture(s) can support sustainable development and vice versa. The new ideas generated here about understanding culture(s) in sustainable futures will pave the way for integrating sustainability with cultural studies and practices.

Large and small group work, including a stage for scholarly and artistic expression, will feed this dialogue:

Plenary sessions: lectures from invited speakers on culture, sustainability and development from the inter- and transdisciplinary perspectives
Parallel research paper sessions: sessions to present and discuss research papers
Parallel panels: sessions providing transdisciplinary dialogue between scientists, policymakers and practitioners (artists, planners, etc.).
An “open stage”: a space for posters, art and performances

The conference explores ontheories and conceptual approaches; policies and governance; and practices and methodologies that explicitly analyse role(s) of culture(s) in sustainable development. Multiple  narratives of culture(s) in sustainable futures are emerging. Some of them have originated in the social and humanistic sciences, philosophy, and environmental sciences, while others have emerged from planning practices, policymaking and the arts. The meaning of culture ranges from worldviews to livelihoods and everyday life practices, from natural and cultural heritage to planning and bottom-up initiatives in different spatial contexts. Various ideas about sustainability will be threaded through these explorations of culture and the participants will reflect on contemporary sustainability challenges such as environmental  change, economic crises, poverty and human rights.

The conference will explore the following dimensions: 

Theories and conceptual approaches: How can we explore and understand the role of culture in a range of sustainable futures? How can inter- and transdisciplinary approaches (including the artistic and policy) contribute to this? What kind of theories can be useful when analysing values and ethics, or the human-nature nexus, and why? How can we address the normativity inherent in the discussion of culture and sustainability? To what extent does culture need to be sustained or transformed, in which ways, and by whom?

Policies and governance: How can the issue of culture be addressed in relation to sustainability policies? How can culture be included in sectoral and cross-sectoral policies and politics? What types of policies facilitate a culturally embedded transition to possible sustainable futures? What kind of new planning and governance cultures are needed to create sustainable futures? What role can cultural policies play in the transition to sustainability across all levels of culture? How can the cultural turn in sustainability be facilitated?

Practices and methodologies: Culture is both tangible/material and intangible/immaterial. What are possible methodologies for communicating the value of culture in sustainability? What kinds of tools exist to evaluate culture? Where do these tools fall short, and how should such tools be further developed? How can cultural knowledge or values be produced, co-produced and represented? How can culturally sensitive and embedded approaches be promoted in planning, cultural or place mapping, and through artistic and/or planning practices?

Examples that illustrate and reveal the role(s) of culture in sustainable futures may be found in livelihoods, everyday life practices from housing to consumption, food systems, tourism, landscapes, heritage, media, education, planning, architecture, design and more. They may take place in urban, peri-urban or rural contexts, and on a scale ranging from global to local.

Attend the conference – share your knowledge, ideas, and creative expression

The Conference is open for all fields of study and practice. Selected full papers and other contributions will be published in conference proceedings and in a book within the recently-launched book series Routledge Studies in Culture and Sustainable DevelopmentThe conference is organised by COST Action “Investigating Cultural Sustainability” www.culturalsustainability.eu and hosted by the University of Jyväskylä, Department of Social Sciences and Philosophy.

The conference is organised by the COST Action Investigating Cultural Sustainability and is hosted by the University of Jyväskylä (Finland), Department of Social Sciences and Philosophy. The conference venue, “Wanha Satama”(Finnish for “Old Harbour”), is a renovated warehouse for coffee and spices located in the heart of Helsinki and close to the seashore.

You can participate in the conference in the following way:

Parallel research paper sessions

are traditional / conventional parallel sessions where conference participants can present their research papers. If you want to propose a theme for such a session, send your session proposal by 1 October 2014 to: landmark2015 [at] jyu.fi. Please provide the following information:

  • Name(s), affiliation(s) and contact information of the proposer(s)
  • Title of the proposed session
  • Abstract (250-300 words)  including the aim and  scope of the session and the type of contributions sought

The scientific committee of the conference will review the session proposals and announce the accepted sessions by 15October 2014. The paper abstract submission to the confirmed research paper sessions will be open from 15 October 2014 until 5December 2014. The abstracts should be submitted through an online submission system. The session chairs will review the abstracts.

Parallel panels

are sessions with 3-4 presenters, a chair and a discussant. These sessions provide a moderated dialogue between the contributors. In particular, we encourage transdisciplinary debate on a specific theme between scientists, policymakers, and different practitioners for instance from the fields of art, culture and administration. To organise a panel you should invite 3-4 presenters and a discussant. The proposals for panels including the confirmed contributions and abstracts (the abstract of the panel: 250-300 words, abstracts of the presentations: 150-200 words) should be sent by an online submission system by 5 December, 2014. The panel proposals will be reviewed by the Scientific Committee. (NB. Detailed instructions for submissions coming up soon!)

The open stage

for posters, artistic expressions and performances is a space to explore the relationship between culture and sustainability through different presentational forms, by employing the methods of science and/or arts. These contributions will be organised in a transversal way by a curator according to the themes they display. This space will be open continuously throughout the conference. The call for proposals runs from 15 October 2014 to 5December 2014. The proposals should be submitted through an online submission system. The curator will review the proposals.

Note: The online submission system will open on 15September 2014.

Time Schedule

Call open  Submission Approvals
Proposals for research paper sessions 01/09/2014  – 01/10/2014 landmark2015 (at) jyu.fi 15/10/2014
Abstracts for research paper sessions 15/10/2014 – 05/12/2014 Online submission system 19/12/2014
Proposals for panels 15/09/2014 – 05/12/2014 Online submission system 19/12/2014
Proposals for open stage 15/10/2014 – 05/12/2014 Online submission system 15/01/2015

Reflections on Air falbh leis na h-eòin / Away with the Birds

Creative Carbon Scotland

This post comes from Creative Carbon Scotland

Although only part of Tuulikki’s work, the Canna performance of Away with the Birds focused on the vocal composition, Guth an Eòin/Voice of the Bird. The artist states that the work “explores the delicate equilibrium of Hebridean life, the co-existence of tradition and innovation, and suggests the ever-present inter-relationship between bird, human, and ecology.” This is constantly present in the piece; the very combination of the natural Hebridean soundscape with Tuulikki’s pre-recorded sounds, and the vocal harmonies of the performing singers served to demonstrate the interactions and commonalities of living things in such an environment. So concentrated was the attention to the performance, and so uniquely quiet the setting, that even the hum of an anticipatory audience seemed to contribute to the piece – each viewer forced to recognise their audible impact on the environment.

After gathering at the historical Canna House – a home to the performers, and a source of contributory material and support for the work – the audience members were led through the garden to the shore line, where one has a view of the entire Canna Harbour (luckily calm for the duration of the performance). We were met with the sight of all of the performers, dressed in dark dresses with red inserts, and red tights, calve-deep in the harbour water – an act that is not only visually quite stunning due to the reflections of the water, but also an unfamiliar site on a Scottish coast, eliciting much temperate empathy from the audience. The ten performers – including Tuulikki herself – proceeded to intermingle a range of sounds and voices, almost in a call and response format that weaves fragments of traditional Gaelic songs and poems reminiscent of birdsong. However, the sounds were less fragmented as this format would typically suggest. Instead, the outcome was almost a layering of sound – a composition of a co-operating landscape of interdependence, and greater than the sum of its parts.

The piece itself was centred around five movements, each which represents a different bird community (wader, sea-bird, wildfowl, corvid, and cuckoo) and entitled: “by the shoreline”, “on the cliffs”, “ebb tide (lament)”, “flock and skein” and “night – flight to the burrow” respectively. The titles and pictorial scores too evoke the atmospheric nature of the piece.

It was an immensely soothing experience, particularly with the constant ebb and flow of the immediate sea water, as the harbour tide came in for the evening. The physical movement of the vocalists around the performance space, and sometimes behind the audience, completed the immersive nature of the piece, ultimately even widening it to our whole surrounds – to the entire environment of Canna itself.

The location of the Away with the Birds performance was central to its production. Although a location not easily reached – the island is at least seven hours travel from Edinburgh – Canna inspires much of material of the piece, and it’s creative community has enabled the performance to be enriched by the heritage the island offers. The sheer influx of people must have put quite a strain on the island’s infrastructure, yet the event’s relationship to Canna is also somewhat reciprocal. Around 200 people witnessed the performance on Friday 29th and Saturday 30th August, a number ten times greater than the regular population of the place. Such an increase in appreciative visitor numbers not only boosts the immediate local economy (including an honesty-system community shop and cafe), but also the tourist connection with nature and the arts on the island, which perhaps might open other avenues of sustainable connections for the inhabitants.

Waking up the next morning, having camped overnight on Canna at a special Away with the Birds campsite, one was almost immediately thrown back into the performance. The calls of the various sea birds surrounding the site presumably must have been present the day before, but had gone unheard. Perhaps Tuulikki’s piece forces us to be awoken more fully to nature.

Away with the Birds took place on the 29th and 30th of August. It was produced by Suzy Glass, the Canna Community Development Trust, National Trust for Scotland and Cape Farewell, and was part of the Glasgow 2014 Commonwealth Cultural programme.

The post Reflections on Air falbh leis na h-eòin / Away with the Birds appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico

HighWaterLine Bristol

Creative Carbon Scotland

This post comes from Creative Carbon Scotland

Produced by Invisible Dust and Creative Catalysts, HighWaterLine was a project originally conceived by artist Eve Mosher in New York City. The original HighWaterLine was drawn at the 10-foot above sea level line in New York City in 2007. Much of the area covered by this line flooded during Hurricane Sandy in 2012.

Bristol is increasingly affected by flooding during England’s wettest months. This project aims to instigate conversation about flooding and climate change across Bristol’s many neighbourhoods. HighWaterLine Bristol includes opportunities for locals to help draw the line with a sports chalkier, as well as discussion events.

HighWaterLine is presented by Invisible Dust in association with Creative Catalysts, and funded by Arts Council England and LUSH. For more information please visit the Invisible Dust HighWaterLine project page.

 

Image: ©Invisible Dust, Drawing the chalk line, HighWaterLine Miami, 2013 

The post HighWaterLine Bristol appeared first on Creative Carbon Scotland.

———-

Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.

In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.

We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.

Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:

Changing their own behaviour;
Communicating with their audiences;
Engaging the public’s emotions, values and ideas.

Go to Creative Carbon Scotland

Powered by WPeMatico