This post comes to you from An Arts and Ecology Notebook
This is my 100th post on my art & ecology notebook site â€“ amazing! Iâ€™m as shocked as probably you are and its made me realise that I have created quite an archive of the different means where arts and ecology intersect.
What started out in 2008 as a small personal notebook has grown – it initially was a place to put inspiring art & ecology projects and resources that I came across in one place and also a means to house the beginnings of my own long term art & ecology project. From a small rural location the site has allowed me to gather and make visible projects that often fall outside the mainstream agendas of many galleries and it has allowed my own practice to travel to many unexpected destinations.Â For newer readers my artistic work is about creating small audiovisual works that touch on the small forest that surrounds our house that we are transforming from a monoculture conifer plantation into a permanent mixed species forest. Mostly my own work is about how we engage with â€˜natureâ€™ in general and its led me to pursue the idea of whether audiovisual video works can be used in aÂ more ecocentric way, if that is possible (if you are interested myÂ research on this topic can be found here).Â My art & ecology site been quite an odd jumble ofÂ things and early posts were a bit random, but my readership has steadily grown even though my posts can appear a bit infrequently. Thank you for all the comments along the way too â€“ you have no idea how this small site has enabled my work to develop and connect with others!
Anyway, to mark this blogging milestone Iâ€™ve spent a little bit of time and created an illustrated Archive pageÂ andÂ a new dropdown Category section on the home page where you can easily see all the art
disciplines for instance that I have written about; from film to dance, to music to policy papers on culture and sustainability. You are more than welcome to share any of these posts along.
Some of you might also be aware that I wrote a research paper on networking the arts to save the earth earlier this year. It was a whopping 8,000 words, designed to reach out and comment on how cultural practitioners of all types could best use online social media networks. Social media is something Iâ€™ve worked with for several years in a past job where I helped develop aÂ large online arts community.Â A lot of the paper was me trying to figure out the potential or not of social media, amongst all the hype and suddenness in which these
technologies have now appeared in our lives, and examine their value for art & ecology practitioners. The paper seemed to have struck a nerve â€“ I expect it was probably theÂ fact that many working in this field are both isolated geographically but also isolated on the fringes of contemporary art practice.Â A much shortened form of the article was printed in the Aug 2011 Irish Visual Arts Newsheet. It was then picked up by one of the editors as a feature article on the international
site HerCircleEzine.com -Â an online site that for the last 6 years has been dedicated to womenâ€™s socially engaged practice. I was surprised and delighted -Â to tell the truth the research paper had been turned down originally for an academic journal (not that I was too surprised about this as it was my first attempt) but of course, a paper on social media, should be circulating on social media not stuck in some academic journal. Iâ€™ve created a resource page of the many various art & ecology networks too â€“ please feel free to tell me about other networks not listed. Thereâ€™s more too, Iâ€™ve also been asked to write a regular column on the HerCircleEzine site about art & ecology and my research practice, starting in November which I must say is a bit daunting as if you examine the site youâ€™ll see the articles written are of a very high standard.Â
You might have also noticed the blue forest image above â€“ the Museum of Nature created by Finnish photographer Ilkka Halso. I found this image intriguing; its from a larger body of works by Ilkka called Restoration (2004). While I donâ€™t like the idea of putting a forest in a cage I could identify with this artistâ€™s interest with forests. I have also come across aÂ number of artists who describe their art & ecology works as â€˜restorationâ€™ environmental projects. Itâ€™s not a term I use for my own forest project; while restoration of sites is obviously important I think much more needs to be addressed. Undoubtedly we can learn much from restoring sites/habitats, but for me,Â I think there is something more interesting in transformation; transforming the ideas and practices of how we relate to nature (a tricky area when one begins to examine it though) and hence, transforming how we behave on this one finite earth. You might be wondering why Iâ€™ve added this paragraph at the end of this post â€“ I was saving the best for last . My tiny forest, nick-named â€˜Hollywoodâ€™ has been getting some attention. â€˜Hollywoodâ€™ is now listed on the new Irish database for forests that are being managed in a permanent way â€“ its the smallest plantation undergoing â€˜transformationâ€™ to become a forest, in Ireland. We manage the forest following close-to-nature principles ( a low impact management system that follows natureâ€™s own dynamics). As it is an ecological type of forest management it means that the forest is sustainable not only for our use (we get firewood, birdsong, oxygen, sanity etc from it) but as it will never be clear-felled; the overall biodiversity, soil fertility and carbon-sink values on the site will only ever increase.
Funny, how this writing about transformation has slipped into this post, as I often have a lot of difficulty in talking about my creative work â€“ in fact, I think its much better presented by the forest itself (click on the image below if you canâ€™t see the film).
If you have any comments, do write in!
An Arts & Ecology Notebook, by Cathy Fitzgerald, whose work exists as ongoing research and is continually inspired to create short films, photographic documentation, and writings. While she interacts with foresters, scientists, and communities, she aims to create a sense of a personal possibility, responsibility and engagement in her local environment that also connects to global environmental concerns.
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