Monthly Archives: November 2018

Ben’s Strategy Blog: Complexity theory, cultural practices and carbon reduction policy  

This post comes from Creative Carbon Scotland

Creative Carbon Scotland’s Director Ben Twist has completed his PhD! In this blog he shares a summary of how complexity theory, cultural practice and sustainability work together.

At about the same time that Creative Carbon Scotland was formed I started work on a part-time PhD at the University of Edinburgh’s department of Sociology. Seven years later (it was very part-time!) I’ll be graduating in November. The subject of the PhD has both shaped and been shaped by the work of Creative Carbon Scotland, and I provide here a summary of Taking the Complexity Turn to Steer Carbon Reduction Policy: Applying practice theory, complexity theory and cultural practices to policies addressing climate change. (I can provide a version with references to anyone who wants one.) My practical research focused on increasing the sustainability of audience travel to His Majesty’s Theatre in Aberdeen and relates to the useful skills and attributes that cultural practitioners can bring to work on climate change, even in non-arts settings. 

The Scottish Government has a problem.  

The Scottish Government has committed to an 80% cut in CO2-e emissions from the 1990 baseline by 2050 (to be increased to at least 90% in the Climate Change Bill scheduled for 2019). A 37.6% cut had been achieved by 2015, but largely through decarbonisation of the electricity supply, which has involved dealing with relatively few large companies in a field where regulation is seen as acceptable. Most of this low hanging fruit has now been plucked and the next stage will be much harder as it will require changes in the way in which millions of individuals and small organisations travel and transport goods, heat and power their homes, buildings and appliances, and changes to individuals’ diets. The Government broadly follows a commonly held view that individual behaviour is none of its business, and so thinks it has very limited control over these smaller ‘agents’. What is it to do? 

Behaviour change 

Since 2009 the Government’s policy has focused on behaviour change to achieve this reduction in the carbon emissions of individuals, and it set up a useful research programme to explore how to go about it. This revealed that such behaviour change is in fact difficult to bring about and seldom achieves the degree of change that is required for this enormous social, cultural and economic transition. The research points to interventions being required at individual, societal and infrastructural levels as well as working in a coordinated way across sectors to avoid conflicting changes, and it raises the issue of ‘rebound’, where financial savings made by improving energy efficiency are ‘recycled’ by consumers into increased consumption, reducing or removing the desired carbon reductions. Behaviour change is more complex than it might seem. 

‘Behaviour change’ is in fact a term that was seldom used in sociological writing before the 1970s: until then, government in the UK was openly involved in organising social change. In the early 70s the post-war consensus between government, unions, companies and society broke down and a post-Keynesian economics focused on individuals and their choices – rational choice theory – leading to the concentration on the ‘rational actor’ approach to individual behaviour change. A feature of this approach that continues today, although it has been partly undermined by the financial crisis, is the view that government should get out of the way and intervene in individuals’ decision making as little as possible. 

Relying on the Rational Actor 

Rational choice theory sees the human being as a ‘rational actor’, capable of making a choice to act so as to maximise their personal benefit, and fundamentally self-interested, so making that maximisation of personal benefit the reason for all choices and behaviours (and the influence of economics on policy is so strong that this doesn’t apply just to the economic sphere but has spread to thinking about social fields). Thus people constantly weigh up the various options they have in any particular circumstances and choose the course of action expected to result in the highest net benefit or the lowest net cost. This model relies on the individual having good and complete information about the courses of action, and it makes no comment on the ‘preferences’ that the individual uses to evaluate the various benefits on offer. In an assumption with implications relating to concepts of sustainability it also assumes that the individual has endless, insatiable desire for benefit, for otherwise the whole model would fail to work when there was no longer any further maximisation of benefit that would lead to any behavioural choices.  

This focus on the rational choice theory of behaviour led to a host of theories about how to achieve behaviour change when governments wanted (most research was government led: government is of course quite a lot about influencing the activities of citizens). These include: 

  • Improving the individual’s knowledge so they would make ‘better’ choices; 
  • Widening the understanding of the personal benefit to include social, psychological and moral benefits, not just material ones; 
  • Considering longer term rather than just immediate benefits to be gained from a choice. 

The problems with rational choice theory are however both legion and well documented (search for Motivating Sustainable Consumption by Professor Tim Jackson, for example) and to address these the theories of behaviour became ever more complicated to the point where they seemed impossible to apply in practice. The behaviour change theories suffered similarly and a core problem is that individuals lack ‘agency’ – the ability to make changes when their actions are influenced by a complex web of other factors and agents. Other people, material things, habit, commercial, financial and social pressures, the weather etc all combine to intervene between what someone might want to do (or think they want to do) and what they actually end up doing.  

Nudge 

In an attempt to overcome these problems whilst avoiding seeming to interfere in individuals’ choices, both the US and UK governments leapt upon ‘Nudge’, a rag-bag of techniques owing a great deal to the marketing world’s success in changing behaviours. Nudge accepts that individuals don’t make very good rational choosers: we are influenced by all sorts of things (including of course marketing). Nudge therefore applies various techniques to help us choose ‘better’, and to some extent it works practically. There are however ethical questions about this ‘choice architecture’, as people are being manipulated without their knowing, whilst laws and regulations do it openly, but moreover the focus on the individual and his/her behaviour is not enough, and this forms part of the problem of what I call ‘the sheer muddle of everyday life’.  

A personal example of this might help show why consistent behaviour change is so difficult to achieve. My decision to cycle, take the bus or drive to a performance at the theatre is influenced by many different factors. Who I am going with (my wife doesn’t cycle), who I am going to meet there (cycling gear won’t impress some people); the state of the roads/cycle lanes/traffic conditions (cycling feels dangerous in Edinburgh but is often faster than driving in heavy traffic); the cost, timing and convenience of the bus (does it go there, does it come back after the show, how long will I have to wait?); the cost of parking and fuel, the likelihood of having a drink after the show; the weather; the time the show starts (am I going to be rushed to get home from a meeting, eat and get there by bus?).  

All these factors vary from occasion to occasion and they are not all in my control: indeed, they are in the control of numerous different people and agencies. Whilst the various theories of behaviour can explain or predict my behaviour in certain circumstances and Nudging might influence my behaviour to some degree, it can’t actually address the issues that stop me cycling to the theatre. What is required rather than a focus on the individual is system-level analysis of the factors that lead me to behave in a particular way and, if we agree that intervention is necessary and acceptable, system-level intervention so that my individual desire to travel to the theatre in a sustainable way is not thwarted by any combination of frightening cycling conditions, discouraging social norms, expensive, inconvenient buses and cheap, convenient car parking. 

Practice Theory 

From early this century another approach to behaviours was taking shape. Practice Theory moves up a level from the individual to the social, considering that rather than individuals choosing to ‘behave’ in a particular way, ‘practices’ exist in society outwith the individual and individuals ‘perform’ or ‘enact’ them, constantly re-interpreting the practices in their performance of them and so strengthening and reinforcing them in a dynamic way.  

This is exemplified well by the practice of daily showering. When I grew up, daily showering was unheard of and indeed impossible: it is a function of everything from showers existing in people’s homes, a good source of hot water and warm bathrooms to a social expectation of frequent showering, even the existence of shower gel – a whole complex of technological, social, commercial and practical factors, some of which didn’t apply in the 1970s. Today no-one chooses to be a daily showerer, but the combination of all those factors makes it a very common practice in UK life. Daily showering therefore exists outside of the individual but many individuals perform it, changing and influencing the practice as they do so. A useful diagram from Elizabeth Shove’s influential paper helps here: 

Shove's 'Pinning Power Showering in Place' (taken from Shove ‘Converging Conventions of Comfort, Cleanliness and Convenience’

Figure 1: Shove’s ‘Pinning Power Showering in Place’ (taken from Shove ‘Converging Conventions of Comfort, Cleanliness and Convenience’. Journal of Consumer Policy, 2003 (26), pp395-418

Practice Theory has influenced the Scottish Government’s approach to behaviour change, whilst not quite removing from it the focus on the individual: the Government promotes the Individual, Social and Material (or ISM) Model, which asks users to think about all the different factors in the different areas that might lead to individuals’ ‘behaviours’ to consider how to change them. And Practice Theory has a great deal to offer – I find it a compelling description of how people come to do the things they do in the way they do. While it is good, however, at describing how practices come about, the ways in which they change and how they die out, it is almost totally silent on how to deliberately change existing practices or create new ones. Indeed some of the main proponents of Practice Theory in the UK argue that seeking to bring about a transition is fundamentally problematic as it perhaps wrongly assumes that there is an agreed state to transition to. I understand their concerns but argue that since the democratically elected Scottish Parliament unanimously passed the Climate Change Act including its targets in 2009, we do have an agreed endpoint we want to reach, and the discussion is more about how we achieve those carbon reductions. 

Complexity Theory 

Complexity theory, which derives from the natural sciences and mathematics, is often expressed in language similar to that used to describe practice theory, and it may offer a solution to this problem of how to apply practice theory practically, as it were. In very brief terms, complexity theory holds that complex systems – as distinct from merely complicated ones – are open systems consisting of many elements or agents which interact dynamically between themselves and indeed with influences outside the system. These interactions are rich, in that one agent may influence and be influenced by many others. They are non-linear, in that small changes can have large effects or vice versa. This non-linearity is an essential condition of complexity and means that the system cannot be collapsed into a smaller equivalent system. For the most part, interactions are likely to be at fairly short range, although the ramifications of an interaction can be felt at greater distances as subsequent interactions are triggered in other agents. However, this means that the influence of one agent may be altered, increased or diminished by further interactions along the chain. There are therefore feedback loops, both positive and negative, as interactions lead to changes that bring about further interactions to multiply or cancel out the effect of the first. 

As a result of the feedbacks, the interactions and their non-linearity, complex systems are not in equilibrium – a particularly important change from a view of science, economics and other disciplines that have traditionally assumed a tendency towards stability and equilibrium. Complex systems have a history: not only do they develop and change over time, but their present and future are determined by their past. Crucially for this discussion, complex systems have ‘emergent properties’: properties of the whole system, not individual elements therein, which cannot be foreseen just by looking at the individual parts.  

Complexity theory is usually applied to the natural world and physics, but there is a growing view that it can be used to describe complex social systems, in that phenomena seen in society can be understood as emergent properties of the complex social system that is society. Thus traffic congestion can be seen as an emergent property of a system in which car driving seems cheap and convenient, public transport is unfashionable, expensive or inconvenient, road systems are designed for outmoded traffic patterns and utility companies have a disconnected approach to planning roadworks.   

I argued that practices – the result of a complex combination of technological, social, historical and other factors – could usefully be seen as emergent properties of complex social systems. To change the practice it would therefore be necessary to focus not on the individual, nor on the practice itself, but on the complex system from which it emerged. But this raised the question, is it possible to deliberately act upon a complex social system in order to bring about such a change? 

TheatreBus 

In order to test this I decided to employ a case study to influence how audiences travel to attend His Majesty’s Theatre, a large theatre in Aberdeen, audience travel being a significant but largely unmeasured source of carbon emissions for the cultural sector. Through audience surveys and focus groups I discovered that although a high 70% of people travelled to the theatre by car, for many driving was the least inconvenient mode of transport rather than something they wished to do, emergent properties of the system such as lack of safety on the Aberdeen streets and mistiming of transport services and theatre performances putting them off taking the bus or train.  

Pinning car travel in place -Bus services and timetables difficult to understand, street parking expensive, poor evening bus service, unpleasant atmosphere on union street, high bus fares, bus station not very nice, drunks on buses, dark seedy streets on walk to bus station, oil city: strong car focus, discount car park deal with theatre tickets - with apologies to Elizabeth Shove

Figure 2: Twist’s ‘Pinning car travel in place’, 2018

A ‘behaviour change’ approach to this problem would have focused on the individuals, seeking to change the motivation to drive through increased information, financial or other incentives to use public transport etc. A complexity approach led me to bring together three organisations that had agency to influence elements of the complex social system within which this practice of audience travel took place: the theatre management; Stagecoach, which runs the buses from Aberdeen to destinations in Aberdeenshire; and Aberdeenshire Council. Using His Majesty’s knowledge from their box office data of when and to where people would be travelling, the bus company’s knowledge about bus travel and their resource of buses, drivers etc, and Aberdeenshire’s strategic role to promote sustainable travel and its ability to secure funding for the project, we ran TheatreBus, providing services to popular destinations from right outside the theatre, guaranteed to leave at a time matched with the performance end.

Working on the project revealed time and time again characteristics of complex systems, some of which helped and others hindered the project’s implementation, confirming the importance of complexity in considering such projects. This has implications for how future interventions are planned and evaluated. It also highlighted that skills that I had developed as a theatre director and producer were essential to managing an intervention in a complex social system: we in the arts are comfortable with complexity – we even seek it out! 

Ben’s Strategy Blog: Complexity theory, cultural practices and carbon reduction policy  

Figure 3: A simplified map of the complex system within which audience members travel to His Majesty’s

This last point was informed by our interest at Creative Carbon Scotland in the work of the ‘civic artist’ Frances Whitehead and her Embedded Artist Project and has encouraged our own work on Embedded Artist Projects (we’re now involved in at least three relevant projects), development of the Library of Creative Sustainability, and our Creative Europe project Cultural Adaptations, so the research has already led to practical outputs and ‘impact’, as the academic funders like to see! 

Although TheatreBus was a great success with those who used it we didn’t manage to change that many people’s travel practices: all involved thought that this would have happened but needed a much longer experiment. We did however manage to change the system in which travel took place. His Majesty’s, which hadn’t previously considered itself to be part of the transport planning system, recognised that, as the trigger for around 1m journeys per year and holding unique information about those travelling, it had a vital role to play. Stagecoach and Aberdeenshire similarly reconsidered their omission of travel-triggerers from their lists of partners to work with. Moreover, I learned a great deal about how to go about changing a complex social system, including the need for collaborative and partnership working to achieve this, and some lessons this has for policymakers seeking ‘behaviour change’. Perverse incentives within policy around climate change encourage Public Bodies (such as local authorities, health trusts, higher and further education institutions etc) to focus on their own direct carbon emissions rather than emissions that they may not control but over which they have influence. Collaborative working is essential to address these emergent properties of the systems in which Public Bodies play a major role. 

Conclusions 

My evaluation of the TheatreBus project pointed to the need to consider complexity in the design, implementation and assessment of interventions in complex social systems. Collaborative working is hindered by some aspects of current policy and requires particular skills, including the willingness and ability to manage complexity. As I noted above, many cultural practitioners are trained and experienced in handling complexity and might well be useful project managers for this sort of collaboration, but wouldn’t normally be considered for these roles. Perhaps they should be added to the list. 

My thesis concludes with the following main recommendations for policymakers: 

  1. Since all interventions seeking to achieve changes in individual ‘behaviours’ will take place within the complex social system that is society, policy and policy making should fully acknowledge the implications of complexity theory. 
  1. Policymakers and those implementing it could therefore benefit from learning about complexity theory in higher education and continuing professional development. 
  1. Results of interventions in complex social systems have long lead-times and cannot be exactly replicated in other circumstances, no matter how similar. The assessment of success may therefore need to be different and the range of acceptable evidence widened. 
  1. Accordingly, methods of evaluating complex interventions in complex system need to be more widely developed. 
  1. Public Bodies are important agents in complex social systems. Refocusing the Public Bodies Duties in the Climate Change Act, shifting Public Bodies’ attention away from reducing their own direct emissions to addressing society’s overall ones, would help achieve the overall carbon emissions reductions. 
  1. A strong Duty to Collaborate, able to encourage Public Bodies to divert resources to relevant projects and to over-ride other less important duties, should be considered to help the Public Bodies in this change. 
  1. Collaborative projects to intervene in complex social systems require particular skills, qualities and backgrounds from project managers and these may be found in people from a wider range of unexpected areas, including for example the arts. 

This is a very brief summary of my research and I’d be happy to discuss it further with anyone who is interested. And if you want to read the full 82,000 words, just let me know! 

Thanks

Finally, I couldn’t have completed this project without the help of my collaborators at Stagecoach and Aberdeenshire Council and especially my supervisors Dr Claire Haggettand Professor Nick Prior,  and Andy Kite and Jane Spiers‎ from Aberdeen Performing Arts. Enormous thanks to them all.

The post Ben’s Strategy Blog: Complexity theory, cultural practices and carbon reduction policy   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

Visiting Leeuwarden-Friesland: a Sustainable European Capital of Culture

This post comes from Creative Carbon Scotland

In July, Creative Carbon Scotland’s Green Arts Manager, Catriona Patterson, attended a research trip hosted by EUROCITIES, and located in Leeuwarden, Friesland in the Netherlands*. There to represent the sustainability work of Edinburgh’s Festivals, and learn most about city-level sustainability-and-culture initiatives, here is her summary of what she learnt.

An Ecologically Sustainable Capital of Culture

Leeuwarden-Friesland began its European Capital of Culture programme in January 2018 and is the host city-region until December this year, having applied and won the opportunity to host the title in 2013 through a competitive bid process. A Capital of Culture year is a European Union-designated initiative, running since 1985, that seeks to celebrate the diversity of the European cultural offering, and which often strengthens the strategic development of cultural in the chosen region. Glasgow was the European Capital of Culture in 1990: a moment which many Scottish arts organisations cite as being transformative to the city and to the cultural scene.

Visiting Leeuwaden-Friesland: a sustainable European Capital of Culture 1Capital of Culture programmes are not typically associated with having environmental sustainability as core focus of their work: with socio-cultural and economic generation (or regeneration) being a major motivator for most applying and successful cities. However, the ‘bid’ submitted by Leeuwarden-Friesland back in 2013 also included a significant environmental sustainability component, and it was exploring this which was the focus of my trip.

Recognising the link between physical environmental surrounds, and the ways of life that exist within them, ‘Nature and Culture’ is one of three key themes for the year’s programme (alongside ‘City and Countryside’ and ‘Community and Diversity’):

“Nature and Culture in Europe: biodiversity and geo-diversity are under threat. This affects cultural diversity, too. Culture and nature are living organisms that depend on the same ecosystem…we explore and celebrate the links between nature and culture, using culture as a way to draw attention to nature. Awareness of the landscape, of the environment, of the importance of water and water technology, for example, are preconditions for a sustainable future and learning how to live with nature after centuries of battling it. Throughout this theme we focus on Europe-wide locations where the future of natural heritage hangs in the balance”

Leeuwarden-Ljouwert’s application for European Capital of Culture 2018 (‘Bid Book’).

Leeuwarden, and the wider Friesland region, is already experiencing changes to its culture as a result of wider environmental change. There are eleven cities in the region (of differing scales – Leeuwarden is the biggest with a population of 100,000), and in the past they have been annually united in a 120 mile-long ice-skating race, held on the canals which connect the settlements. However, a competition has not taken place since 1997, with the ice repeatedly failing to form sufficiently due to warmer average temperatures. With climate change predictions pointing towards ever-increasing temperatures and milder winters, this warming trend is likely here to stay. However, Frisians are overcoming these challenges and their changing relationship to water in a variety of ways – from conducting the race by bike (or by boat!), to the 11Fountains project in their European Capital of Culture year (11 international visual art commissions with water conservation a key part of their designs).

Programming Biodiversity

Biodiversity, and the unique landscape, flora and fauna of the Friesland region was prominent in several of the events and exhibitions featured as part of the research itinerary.

Visiting Leeuwaden-Friesland: a sustainable European Capital of Culture 2

When browsing the main programme of Leeuwarden-Friesland’s City of Culture programme, it’s not unusual to see other projects focused on farm life and creativity,  However, a particular highlight is the Silence of the Bees project, which combines arts-science collaboration, school engagement, insect data, construction, composition and performance in Europe’s largest herb garden.

The Great Black-Tailed Godwit Theatre, based in the glass courtyard of the Frisian Nature Museum, goes a step further. The immersive and sensory exhibition (narrated quite flippantly by the eponymous bird) encourages audiences to see, hear, touch and experience the Frisian landscape from its perspective. It’s a powerful realisation of the concept of ‘putting yourself in another’s shoes’ and an interactive lesson in how a landscape drained and changed for human needs has implications for other species.

Fostering and Demonstrating Innovation

“Innovation in context” and ‘Mienskip’ (the Frisian word which encapsulates ‘[open] community’ and conveys open-minded, grass-roots, action-led spirit) characterise the approach taken to much of the European Capital of Culture programme. In talking to organisers, curators and participants, it seemed that many considered the City of Culture year as an opportunity to try new things, and to create new and exciting opportunities for the region!

Visiting Leeuwaden-Friesland: a sustainable European Capital of Culture 3

InnoFest is a project that exists to capitalise on the microcosmic-city examples created by pop-up festivals and events, providing start-ups and entrepreneurs the opportunity to test new ideas: both those practical and behind-the-scenes (like smart-grid power) and those more public facing (like sustainable cardboard tents). At the ‘Welcome to the Village’ Festival, such innovations were in abundance – and the insect micro-protein fries were delicious!

Organisers are also more explicitly addressing sustainability in the ‘Fossil Free Friesland’initiative, through which they are hosting large-scale public events, such as a two-week period where every Frisian citizen was encouraged to travel by no-carbon means, and a showcase of low-carbon vehicles . By their own admission, such a proposal was much more radical at the time of the bid submission (five years is a long time in the sustainability movement), but it is a still a powerful act: even directly linking cultural pursuits and sustainability ambitions is still relatively unusual.

Future Sustainable, Cultural Cities

However, I’m hopeful that this may not be the case for much longer. There are increasing pressures – locally, nationally, at a European and at an international level – for cities and cultural organisations to adopt more sustainable practices, and to demonstrate how their strategic plans can create social, economic, environmental and cultural prosperity to their region. Future European Capitals of Culture will surely seek emulate and exceed what Leeuwarden-Friesland has achieved.

In taking inspiration from their tangible and intangible heritage, combining current trend and new innovations, and making it relevant and specific to their unique local context, I think Leeuwarden-Friesland is an exciting example of a European Capital of Culture taking on the challenge of sustainability. Perhaps there could be a European Green Capital bid in the offing?!


*Keen to stay true to principles of low-carbon travel, Catriona travelled entirely by train from Edinburgh! She took the Caledonian Sleeper to London, Eurostar to Rotterdam and Intercity train to Leeuwarden, leaving at midnight and arriving around 3.30pm. You can plan your own sustainable travel to Europe (and further afield!) using websites like www.seat61.com/, www.loco2.com/ and www.rome2rio.com/.

The post Visiting Leeuwarden-Friesland: a Sustainable European Capital of Culture 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

The Living Stage NYC by Pia Guilliatt

This post comes from Ecoscenography

Pia Guilliatt graduated from the Victorian College of the Arts (VCA) in 2017 with a Bachelor of Fine Arts (Production) majoring in Design Realisation. She is set and costume designer and artist with an interest in sustainable and community theatre and is particularly fascinated by immersive theatrical spaces where different artistic disciplines intersect and collide. She relishes in the challenge of working within the parameters of environmental sustainability in her work, from model making and sculpting to costume and set design. It was Pia’s interest in sustainable design that led her to joining me in New York to work on the fifth Living Stage as part of her studies last year. Its just over a year since we were in the US, and I am delighted to have the opportunity to share her post about The Living Stage NYC with you.

I have always had a passion for the environment and a strong desire to make a positive impact in whatever area I am working in. I believe that the role of art is to educate and spread awareness about significant social and political issues and to actively partake in exploring solutions to these problems. It is not simply enough make a show about climate change if the creation process is still having a negative effect on the environment through the use of unsustainable materials and wastage. Similarly, the positive message promoted by a theatre piece that explores marginalisation of minorities in society is going to be severely diminished if the show itself is not even accessible to the group of people it supposedly represents.

As I become more and more exposed to theatre culture and practices through my studies in stage design, I have become increasingly aware of its exclusivity and general lack of engagement in environmental issues. I find it shocking, for example, that with all the information we have available about the irreversible effects of climate change, there was no acknowledgement of sustainable materials and practices or waste management anywhere in my production curriculum. For these reasons, I had become increasingly disillusioned with the theatre world and had begun questioning whether I could realistically pursue a design career if it meant sacrificing my passion for the environment. I had no idea that there were designers working specifically in the area of theatre and sustainability and had definitely never heard the term ‘ecoscenography’. So, when I came across Tanja’s work, it was like a breath of fresh air and a revival of my desire to work in this industry. She, like me (only much later in her career) had gone through a crisis of questioning the ethics of her work, which led her to instigating projects such as The Living Stage – a project which combines stage design, horticulture and community engagement to create recyclable, biodegradable, biodiverse and edible performance spaces. In 2017, I was fortunate to assist Tanja on her fifth Living Stage project in New York, which she created in collaboration with Superhero Clubhouse; New York’s premier ecological theatre company.

dylanlivingstage71017-99The NYC Living Stage was a community project that took place in the Lower East Side of Manhattan in Meltzer Park, a small paved green space that neighbours a Seniors Centre and apartment block, both of which are owned and managed by the New York City Housing Authority (NYCHA). Instead of working within the parameters of a script or overriding artistic vision, our aim was to turn the asphalt lined park into a beautiful and thriving space that would connect and celebrate the local community through theatre and performance design.

DYL_4708It was amazing to see how much thought went into the communications with the local seniors and children that were engaged in the project, making them feel like they were an integral part of the work, not just passive observers. This turned out to be one of the most enjoyable parts of the whole experience – chatting to locals in the park, hearing their opinions on elements of the design, getting positive feedback, and sometimes blunt criticism. These brief exchanges revealed fascinating anecdotes and snippets of untold histories.

DYL_5637Tanja’s process relies on reclaimed materials and so is by nature spontaneous and devised. One of our highlights was visiting Materials for the Arts or MFTA (a free reclaimed materials warehouse for not-for-profit arts organisations). MFTA provided us with all of the paint we needed for the floor murals, timber frames, fabric for costumes, smaller prop items and some furniture. It was also where we found our 3500 red wooden rulers that we suspended from the trees in the space. This was the very first element of the design that was installed in the space and became a source of free publicity for the event as an increasing number of people were drawn into the park by the striking scene.

livingstage070817_dylanlopez-14IMG_8174The design also included transforming various items of furniture into vessels for plants. Working with reclaimed materials, while often tricky and fraught with splinters, provided many opportunities for creativity and resourcefulness and these items proved to be both the object and inspiration for many of the design elements. The luxury of a long installation period (over several weeks), allowed us to refine and tweak elements of the design in situ.

IMG_8255Many of the last minute solutions were discovered in this final week – such as the donation of trapezoid timber platforms that we re-configured into an angular stage for the performance. The installation period also became an accidental publicity stunt and an impromptu performance in itself, as seniors and passers began to stop to watch us work. This was evidence of the unexpected joys of community engaged theatre and public art, supporting the idea that its impact can be felt not just during the celebration but also during the making of the event.IMG_8727

The Living Stage was entirely successful in its goal – it brought the residents of the Senior Centre together and transformed an underutilised space into one that was bustling with activity and purpose. Tanja’s spontaneous design process proved a great learning opportunity for me, as I was able to have a genuine contribution to both the design and making process. The project introduced me to a world where the distinction between installation and performance; spectator and creator; and intention and outcome were blurred. The experience allowed me to expand my understanding of theatre arts and rethink my role as designer, artist or creator – opening up opportunities to combine my passion for sustainability with my creative skills and artistic ambitions.IMG_8775

All photos by Dylan River Lopez. A short film about The Living Stage NYC is available here.

The post, The Living Stage NYC by Pia Guilliatt, appeared first on Ecoscenography.
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Ecoscenography.com has been instigated by designer Tanja Beer – a PhD candidate at the University of Melbourne, Australia, investigating the application of ecological design principles to theatre.

Tanja Beer is a researcher and practitioner in ecological design for performance and the creator of The Living Stage – an ecoscenographic work that combines stage design, permaculture and community engagement to create recyclable, biodegradable and edible performance spaces. Tanja has more than 15 years professional experience, including creating over 50 designs for a variety of theatre companies and festivals in Australia (Sydney Opera House, Melbourne International Arts Festival, Queensland Theatre Company, Melbourne Theatre Company, Arts Centre) and overseas (including projects in Vienna, London, Cardiff and Tokyo).

Since 2011, Tanja has been investigating sustainable practices in the theatre. International projects have included a 2011 Asialink Residency (Australia Council for the Arts) with the Tokyo Institute of Technology and a residency with the Royal Central School of Speech and Drama (London) funded by a Norman Macgeorge Scholarship from the University of Melbourne. In 2013, Tanja worked as “activist-in-residence” at Julie’s Bicycle (London), and featured her work at the 2013 World Stage Design Congress (Cardiff)

Tanja has a Masters in Stage Design (KUG, Austria), a Graduate Diploma in Performance Making (VCA, Australia) and is currently a PhD candidate at the University of Melbourne where she also teaches subjects in Design Research, Scenography and Climate Change. A passionate teacher and facilitator, Tanja has been invited as a guest lecturer and speaker at performing arts schools and events in Australia, Canada, the USA and UK. Her design work has been featured in The Age and The Guardian and can be viewed at www.tanjabeer.com

Go to EcoScenography

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Warming Up to the Arctic Through Theatre

This post comes from the Artists and Climate Change Blog

As a university student in the early 1990’s, my partner, the writer, Glen Retief, took part in the anti-apartheid struggle in his home country of South Africa. Some of the older activists explained to him that by the early 1980’s they saw artists using their art to help the world better understand the struggle. “It was when they artists got involved we knew we were going to win,” one activist explained.

When Citizens’ Climate Education asked me to produce a monthly podcast designed to help climate advocates become better communicators, I knew I had to include a place in the show for artists. As a performance artist myself, I have seen firsthand how audiences come closer to complex and contentious issues when they are artfully presented. It is one thing to know the facts about climate change; it is quite another thing to understand what it all means for us. Artists help the public process the many strong emotions around climate change. Engaging the imagination, artists assist in envisioning the risks, challenges, and successes we must embrace on our rapidly changing planet and civilization.

One such artist is well-known here at Artists & Climate Change.

Chantal Bilodeau is a playwright originally from the province of Quebec in Canada. Her award-winning plays take on climate change. Set in the Arctic, they are beautiful, original, and are moving audiences all over the world. In her Arctic Cycle plays, she has roles for human and non-human characters. Chantal believes live theater experiences create special opportunities for audiences. She joins us for The Art House to talk about her work, the role that art plays in taking on climate change, and the need for community.

In order to address the loneliness and isolation that can come with doing creative work around global warming, Chantal created Artists & Climate Change. Through the website and in-person convening and events Chantal connects artists all over the world and helps make their work known to climate advocates. She is also committed to bringing original quality climate theater to many communities. In The Art House, Chantal talks about her work and Climate Change Theatre Action. Learn how you can easily and inexpensively host a reading of short climate plays.

 

(Top image: Kristan Crawford in the Kansas State University production of Forward by Chantal Bilodeau, directed by Jennifer Vellenga.)

This article is part of The Art House series. 

 


As host of Citizens’ Climate Radio, Peterson Toscano regularly features artists who address climate change in their work. The Art House section of his program includes singer/songwriters, visual artists, comics, creative writers, and playwrights. Through a collaboration with Artists and Climate Change and Citizens’ Climate Education, each month Peterson will reissue The Art House for this blog. If you have an idea for The Art House, contact Peterson: radio @ citizensclimatelobby.org


 

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

Designed by Sapiens, Powered by Wind

This post comes from the Artists and Climate Change Blog

I was invited by the European Cultural Centre to participate in its TIME SPACE EXISTENCE exhibit in Venice, one of several concurrent international exhibits organized during the 2018 Venice Architecture Biennale, which I wrote about previously here and here.

Six of my wind energy photographs are on display on the second floor of the historic Palazzo Mora in Venice through November 25, 2018.

Grand merci à @CanadainItaly, @QuebecItalia_it, @StillworkGroup et #EuropeanCulturalCentre pour m’avoir parrainé pour l’exposition Time-Space-Existence, Palazzo Mora, à Venise en parallèle de la biennale d’architecture de Venise 2018, jusqu’à 25 nov 2018 https://t.co/Wd4qV7EhdB pic.twitter.com/vUOCLoFfE8

— Joan Sullivan (@CleanNergyPhoto) June 6, 2018

I am very pleased to reprint below the text from my Venice exhibit for members of our Artists and Climate Change community.

*  *  *

At the dawn of the Anthropocene, there is one constant: everything has changed.

Wise Man has changed. The pale blue dot has changed. The rules of the game have changed. Food/water/energy consumption have changed. Even our DNA has changed in response to all these changes.

Time is ticking… Are sapiens wise enough to halt the further destruction of the fragile ecosystems upon which their very existence depends?

I cling to the belief, with all my heart, that the answer to this question is yes. Perhaps we are not as wise as we think we are, but just wise enough to avoid irreversible climate change for generations, if not millennia, to come. Our clever brains have already designed a multitude of technological solutions to climate change. But we lack the political will to go to scale.

What is holding us back at this existential moment? How can we shift the global climate change conversation from despair to hope, from apathy to action?

I think the answer is right here in front of us, in this beautiful space, in this magical city of Venice. We need… artists!

Throughout history, artists have played pivotal roles challenging the status quo. From medieval court jesters to Lennon/Ono’s masterpiece Imagine, artists have cleverly disguised their lyrics and images as barbs that force our privileged overlords to recognize the truth.

As a photographer, I have found my artistic voice on the construction sites of utility-scale wind farms. Surrounded by heavy machinery, noise and dust, I seek moments of grace and timeless beauty. To me, an industrial wind turbine is not an electrified tower jarring the landscape. It is a beacon of hope, designed by sapiens, powered by nature. My intention is to seduce, to inspire others to visualize – to imagine – what a post-carbon world will look like.

In the past, it was imagination that propelled homo sapiens forward. In the future, it is imagination that will ensure our existence in a rapidly changing world.

It is urgent therefore, for artists and architects and all creative souls to take their rightful place at the table alongside scientists, engineers, city planners, journalists and politicians. Collectively, we must “imagine that which we know” according to the poet Shelley. Collectively, we must design a future of clean abundance and endless opportunity. Collectively, we must immediately start to build this future. A future that, according to architect Alice Guess, not only insures we will persist, but that persisting can be beautiful, comfortable, safe and functional.

The Holy Grail is within reach: a 100% post-carbon circular economy in our lifetimes. To get there, Wise Man needs to embrace the arts, culture and myth. If not, we will lose our humanity in the Human Age.

Joan Sullivan, renewable, energy, photographer, RE, renewable energy, wind, sunset, orange

(Top and bottom photos by Joan Sullivan.)

This article is part of the Renewable Energy series.

______________________________

Joan Sullivan is a Canadian renewable energy photographer. Since 2009, Joan has found her artistic voice on the construction sites of utility-scale wind and solar projects. Her goal is to help others visualize – to imagine – what a post-carbon world will look like. Joan is currently working on a photo book about Canada’s energy transition. She also collaborates with filmmakers on documentary films that explore the human side of the energy transition. Her renewable energy photographs have been exhibited in group shows in Canada, the UK and Italy. You can find Joan on Twitter and Instagram. 


 

Artists and Climate Change is a blog that tracks artistic responses from all disciplines to the problem of climate change. It is both a study about what is being done, and a resource for anyone interested in the subject. Art has the power to reframe the conversation about our environmental crisis so it is inclusive, constructive, and conducive to action. Art can, and should, shape our values and behavior so we are better equipped to face the formidable challenge in front of us.

Go to the Artists and Climate Change Blog

Opportunity: Grow Wild Creative Youth Project Funding – Apply Now!

This post comes from Creative Carbon Scotland

Have a creative idea inspired by UK native wildflowers, plants or fungi? Aged between 14-25? Get £500!

Get ready for an experience like no other and join Grow Wilds mission to empower young people aged 14-25 to develop a creative idea into a project that helps raise awareness about UK native wildflowers and fungi! This could include transforming a space, holding an event or giving a performance. We’re looking for project ideas that will excite other people to get involved and make an impact in the community.

Successful projects will receive £500 to turn their idea into a reality. You can use photography, music, drama, dance, film, visual arts or more to celebrate UK native wild flowers and fungi in fun and inventive ways.

Visit growwilduk.com/creative for information on how to apply and for project inspiration.

Next Deadline

Our Youth Project funding is part of a rolling programme, which means you can apply at any time. However, there are set points during the year when applications are reviewed.

A panel of young people from across the UK will meet at each point to decide which projects to fund.

To have your application assessed at the next panel meeting (Winter 2018), please apply by:

Midday on Friday 30 November

 


The post Opportunity: Grow Wild Creative Youth Project Funding – Apply Now! 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