The Content of Nothing :: Part 1 :: The Ether

July 30, 2014 by
Judy Spark: “Aerial Coil” (B/W print Courtesy of BT Archives) and “Of Origins Unknown; the Galena Radio” from Tuning to the Ether, Cupar Festival of Visual Art, 2009

Judy Spark: “Aerial Coil” (B/W print Courtesy of BT Archives) and “Of Origins Unknown; the Galena Radio”
from Tuning to the Ether, Cupar Festival of Visual Art, 2009

Judy Spark: This work, consisting of a series of archive prints and a set of hand-made radios constructed from odds and ends such as copper wire, pencil leads and safety pins, was made for Cupar Visual Arts Festival in 2009. I had come across some references to a little known aspect of the town, which was that it played a part in the development of transatlantic telephony in the late 1920s. As a result of this work I later, in 2011, undertook a short residency in Cupar, the focus of which was to explore this matter in more depth. It transpires that the town and the area around it, sits in a sort of natural dip in the land that is said to be especially disposed towards the reception of LW radio signals. I was particularly interested in a letter that I came across in the BT Archive in London, written by a Mr Jacks of Cupar in 1928 to a Mr J. D. Taylor of the Institute of Electrical Engineers in receipt of a cheque he had been issued in exchange for allowing the positioning of telephone lines across his land. He states:

“I know nothing of wireless initiatives, but judging from the results we have from continental stations, I think our quiet, damp, elevated hollow must have special facilities for reception.”

And there is some scientific grounding for this theory.

I have a long-standing interest in what may be present around us, but unseen, unperceived, or at least not fully. Radio communications, and their relation to natural phenomena are for me therefore, highly intriguing. I have recently made an exploration of this relationship through writing, in a paper entitled The Environing Air. The paper explores the intertwining of the natural and the technological through the case study of a particular communications installation in Assynt in the far north west of Scotland. A phenomenological description – phenomenology being the science of direct experience – of the installation is made in service of this aim but also by drawing on elements of physics, that are perhaps less easy to experience directly. This combined approach is considered as a legitimate phenomenological ‘method’, one very well articulated by the philosopher Anthony Steinbock.

Link to PDF, extract from The Environing Air

Photos taken by SC circa 1981 featuring the artist’s father assembling a home-made 2m antenna above Loch Torridon

Samantha Clark: Photos taken by SC circa 1981 featuring the artist’s father assembling a home-made 2m antenna above Loch Torridon

Samantha Clark: It’s fascinating to discover the links between our practices, because the notion of ‘The Subtle Ether’ has been an interest in my own work for a long time; an ongoing preoccupation with gaps, absences, distance, longing, nothing, the hidden or invisible, and the notion of ‘between-ness’, the ether as something postulated to fill the gaps between everything, explaining how light travels. What is between things? What is ‘no-thing’? Ask that question and another follows: What is a ‘thing?.’ And that’s when everything starts to get very intriguing. The work is really a way to look at these questions from all angles, creatively, visually, philosophically, lyrically. I was drawn towards the explorations of these questions that emerge in continental philosophy, especially in the tradition of phenomenology, and the insights that approach gives into role of absence in perception. There seem to be parallels between phenomenology and aspects of Buddhist philosophy, in which ‘things’ are understood as not having ‘own-being’, that is not existing from their ‘own side’, but presenting themselves as confluences, more or less momentary, of millions upon millions of causes and conditions, including the observer. So the object becomes less of a static ‘thing’ and more like a standing wave, what is termed by Husserl a ‘pole of identity’ within this flow of percepts. This way of seeing brings everything alive; things and the stuff between things all start to get involved. It strikes me as an intrinsically ecological way of seeing.

So, I have come from a visual art practice into philosophy and ‘academic’ writing, and now am working on a PhD on Creative Writing, still unpacking this notion of ‘the Subtle Ether’, using this as a kind of metaphorical hook on which to hang a related set of ideas.

I had been preoccupied with these ideas for a long time but the personal relevance only really came home to me after my father died and I began to clear his things. He worked for 45 years as a telecoms engineer for the BBC, from wartime radio to the early days of television, retiring just at the point when digital technology was coming in. After he retired he carried on as an enthusiastic Radio HAM and maker of remote control models. I came across photographs (above) recently, which I think I took, on a family holiday to Torridon. We had hiked up the hill where my Dad assembled this yagi antenna to see what 2 metre radio signals might be propagating through that landscape. The two metre band is a portion of the VHF radio spectrum allocated for amateur use. Its signal is usually fairly local, a few miles or so, unless bounced onwards by a repeater station. But sometimes the signals can travel huge distances. Occasionally, signal bending caused by changes in the ionosphere caused by sunspots, metors or auroras can allow 2 metre signals to carry hundreds or even thousands of miles. With enough power behind it, a signal can be bounced from the face of the moon. A person transmitting through the earth’s atmosphere to the moon may hear the end of his own transmission returning, an echo crossing a wide canyon. To me, as a kid, this kind of expedition didn’t feel any more technological than the fishing trips we also used to go on – picking a likely spot, keeping an eye on weather, assembling the fishing rod or home-made antenna, waiting, watching, hopefully catching something that had been ‘swimming’ in ether/water. Of course, now we know that electromagnetic radiation from man-made sources is suspected of affecting bees, even some ‘electrosensitive’ humans. So it’s not completely innocent either. Mind you, neither is fishing.

I find the ‘ether’ such an interesting nothing-thing because it really is ‘between-ness’ – it oscillates between natural and technological, between nothing and something, rational and irrational, science and poetry, distance and intimate connection, and it’s also something to do with human relationships, in the silence and (mis)communication within families. It’s a word that is a constant shapeshifter, reflecting our cultural preoccupations and scientific ideas right back at us. It gave birth to the science of electricity and magnetism, and yet also Spiritualism and Mesmerism. It gets debunked as one thing, ‘the luminiferous ether’, and keeps coming back as something else, dark energy perhaps, or the Higgs Field.

Judy Spark on Drumcarrow Hill, Cupar testing the reception of her handmade radios.

Judy Spark on Drumcarrow Hill, Cupar testing the reception of her handmade radios.


Heidegger, M. Being and Time Trans. John Macquarrie & Edward Robinson (Oxford: Blackwell, 1962) [1926]

Spark, J. “The Environing Air: A Meditation on Communications Installations in Natural Environments” in PhaenEx: Journal of Existential and Phenomenological Theory and Culture
Vol 8, No1 (2013) PP 185 – 207.

Steinbock, A.J. “Back to the Things Themselves: Introduction”. Human Studies 20 (The Netherlands: Kluwer Academic Publishers, 1997) pp.127–135.

The Content of Nothing :: Introduction

July 29, 2014 by

We are pleased to be able to say that over the next eight weeks we are going to publish a series of chapters jointly written by two of Scotland’s most interesting artists working with environmental and ecological issues.  In an interesting intersection both artists completed MA studies in environmental philosophy, on the MA Value and Environment (MAVE) at the University of Lancaster and the University of Central Lancashire respectively.

Samantha Clark and Judy Spark: two artists, both aware of the other’s practice and the possible parallels. One e-mailed the other, by way of lessening the gap.  It transpires that they both have an interest in nothing as well as things in common.

More tangibly perhaps, both artists have also made a commitment to writing; about ‘things’ and also ‘no things’ – those things in which the first clue to their existence may be their apparent absence.

Using these shared concerns as a sort of lens, the two then set out to make an analysis of the terrain between writing and the physical artwork. A small group of researchers and staff at Gray’s School of Art were invited, through a conversational presentation, to join them in exploring the between.

Samantha Clark is a practising artist and Reader in Art at The University of the West of Scotland. She has had written work published in Environmental Values and Green Letters: Studies in Ecocriticism. She is currently undertaking a PhD in Creative Writing at St Andrews University.

Judy Spark is a practicing artist and lecturer in Contemporary Art Practice at Gray’s School of Art. She has recently had work published in PhaenEx the electronic journal of the international Society for Existential and Phenomenological Theory and Culture (EPTC).

The first part will be published tomorrow (Wednesday 30 July 2014) and then weekly on Wednesday mornings.  We will produce a pdf of the whole sequence at the end and include this as part of the ecoartscotland occasional papers (ISSN 2043-8052).

ASCUS sponsor artists to attend Tipping Point

July 28, 2014 by

Reposted from ASCUS


ASCUS Open Call July 2014 (application deadline 8 August)
Open Call to attend TippingPoint Oxford, 21 & 22 September 2014

TippingPoint has provided ASCUS three places for Scottish artists to attend their next major event in Oxford. The allocation is to enable Scottish artists to attend and subsequently be considered for commissions up to £20,000.

Application Deadline: Friday 8 August 2014, 5 pm

Event Dates: Sunday & Monday September 21 & 22 2014

Where: Sheldonian Theatre, Oxford

ASCUS has teamed up with TippingPoint and have been allocated three ASCUS places for Scottish artists to attend their next major event in Oxford. The focus this year will be energy, in the context of climate change. The artistic focus for this event will be stories and narrative, though the concept of stories is broad – performance in various forms, visual representations – there are many ways of telling a story. TippingPoint will also be supporting new commissions to a total of £20,000 each for the creation of new stories on the subject.  Full information about this opportunity can be found on the ASCUS and TippingPoint websites.

We believe this is a major opportunity for a wide variety of artists to bring new content and challenges into their work – and to spend an enormously stimulating couple of days.

To make an application to be present you simply need to write to us setting out two things: firstly a summary of your own work, in not more than 200 words, together with links to any relevant web-based material; secondly an outline of why you would like to attend, in not more than 100 words. An accompanying CV is also welcome, but not a requirement. Send this to by 5pm on Friday 8 August 2014. Successful applicants will be contacted by the end of August.

Visit the ASCUS website to learn more:

What makes a house an artwork? Anne Douglas on visiting The Avoca Project

July 22, 2014 by

Anne Douglas, during her Mcgeorge Fellowship at the University of Melbourne, Australia, visited with Lyndal Jones and The Avoca Project in Avoca, Victoria.  In this guest blog she highlights some of the ways in which Lyndal and her collaborators have been demonstrating an art of sustainability, through a house and a garden.

The Avoca Project draws together art, place and climate change in a unique configuration. Nine years ago, Lyndal Jones, one of Australia’s most renowned artists, funded the purchase of a derelict house in Avoca, a rural town in the State of Victoria, Australia. The Avoca Project became a ten year commitment (2005-2015) to environmental issues and something of a counterpoint to the form and practice of international art biennales. It would inspire future work as an engagement between art and the public in relation to climate change and challenge the idea of place as physically stable.

Watford House, site of The Avoca Project, Photo: Anne Douglas

Watford House, site of The Avoca Project, Photo: Anne Douglas

The house is an early example of a two storey timber framed prefabrication of Swedish design, found in Australia in the 19th century among the middle classes during the period of the gold rush (1851 –late 1860s). The kit was imported from Germany as numbered planks and costructed as accommodation for one of the hotels in the town.  This was a period that trebled the population of European and Chinese immigrants in the area. In 1852 the house was moved, in order to enlarge the hotel. It had been situated higher up the hill on the main street and was beautifully re-sited to overlook the Avoca river.

What makes a house an artwork?

There is a conceptual simplicity to this work that belies deep complexity. First and foremost there is a particular intelligence and sensitivity towards the building as a place to inhabit in 21st century, based on an awareness of the impacts of industrialisation on the social, cultural and environmental. Once a dwelling of grandeur, the house had suffered from the harshness of climate and decreasing wealth in the rural areas. In response to these issues, the project embodies an openness to questioning current modes of living and increasing awareness of actions that we can usefully take to create more sustainable living environments.

This is perhaps best explained in an example: the house was flooded in 2010. This event ironically took place three weeks after the production of a performance piece, Rehearsing Catastrophe: the Ark in Avoca (described below). Jones’ work in repairing the house had included making it ‘flood friendly’ in response to hearing it was on a ‘1 in 100 year’ floodplain (with use of rugs rather than carpets, solid wood rather than chipboard, few whitegoods…).  The waters may now enter in and exit out of the property, with only minimum damage.  This approach to living ‘with’ rather than ‘against’ nature is an ethos, a way of being, that underpins the most simple actions in everyday life in this place.

Important to the quality of this work as art is the way Jones conceptualises her role as ‘custodian’ and ‘restorer,’ as opposed to ‘owner’. An owner would perhaps renovate by drawing the house into his/her taste and life style. As custodian, Jones mediates the past, present and future of dwelling, judging what is appropriate and inappropriate intervention. The house has been re-roofed, re-plastered, re-wired and re-glazed using found timber to render it fit to live in but more than that, a beautiful place to inhabit ethically. Much of the work is Jones’ own labour, assisted by volunteers, and undertaken at weekends and free personal time. Guests are invited to participate at their own pace but never onerously, contributing to an ongoing performance of sculpting a ruin back into existence.

Beneath this careful restoration of the traditional infrastructure lies a particular sensitivity to energy and water resulting in a quite different, parallel infrastructure from the historical fabric. Focused decisions have emerged out of a process of trial and error, a process of intense learning about which technologies to use and which to avoid, in developing a light ecological foot print.

Solar panels on the outbuilding, The Avoca Project, Photo Anne Douglas

Solar panels on the outbuilding, The Avoca Project, Photo Anne Douglas

This second infrastructure constructs a series of virtuous circles between availability and usage of natural resources. Within the garden under the lawn is constructed a water tank that can contain up to 90,000 litres of water. The tank consists of an underground trough lined with a geotextile, a rubber membrane, into which are inserted a series of plastic crates which provide a shape through which the water flows. The trough is filled with water. Local water is high in salt and requires to be desalinated so this storage of rainwater provides an important alternative. Heating is provided through a slow combustion stove using timber from the property and the underground water tank within a closed water system. Visitors are aware of water usage in part through the subtle visibility of the water gauge close to one of the main entrances to the house and also through encouragement to collect excess domestic water where possible to sustain the prolific plant life of the site, including a kitchen garden walled by rosemary bushes. In this way we are gently persuaded that ‘living well’ means ‘living ethically’ through intimate daily habits working with the available resources, mindfully. In the same way the photovoltaic cells on the roof of one of the outbuildings act simultaneously as a functional and as a visual and symbolic reminder of how energy is acquired and used.

Current developments

Poster, photo Anne Douglas

Poster, photo Anne Douglas

In April 2014, the community of Avoca will witness the planting of a Chinese Garden. The Chinese Garden at Avoca has been developed by three artists: Lindy Lee (a Sydney based Chinese-Australian artist currently developing a Chinese Garden in Sydney in parallel with Avoca) is lead artist; Mel Ogden (a landscape artist and expert in stone, who designed and laid out the gardens of The Avoca Project) is Designer and Project Manager; and Lyndal Jones as Artistic Director.  These artists are working in collaboration with a formally constituted Committee that represents the different interest groups that the project has catalysed.

The idea of building a Chinese Garden emerged through a number of discussions and gathered traction as a concept. The Chinese community had been very present in the period of the Gold Rush and the chosen site was close to the original Chinese graveyard.

The privately owned site, adjacent to the house and also on the flood plain of the river, has been negotiated across private/public interests with a long lease under the condition that the community undertakes long term maintenance of the garden as an artwork. The nature of the task is detailed as part of the contract.

It is important to note the artist-led nature of this development. Although funded through a national cultural tourism initiative, requiring significant organisational experience, this project has emerged from the arts community rather than business, offering confidence and a model for future community focused projects.

The insistence on the garden as an artwork instils very high production values led by experienced professionals. The site runs from east (high ground) to west (low ground) with the river running south to north and will deploy a number of aesthetic/ecological tactics that have been tested in The Avoca Project.

Chinese gardens are traditionally constructed around four elements including pavilions, water, rocks and plantings representing the seasons of the year. This garden will feature such elements interpreted through current material modalities and their potential for new meaning across the past, present and future, significantly acknowledging an inter-cultural dynamic. Underpinning the whole is a strong ecological thread. The site, in particular its water, is developed with the same technologies of an underground storage system that here cleans the town’s water using plants and the crate system used for The Avoca Project.  It is also based on sensitive plantings that can accept local soil conditions, such as River Red Gums, and developed through seasonal and aesthetic judgements.

Significant to the whole development is a series of events, effectively new rituals that mark each stage of development in relation to seasonal changes. The starting moment on site was in October 2013 – a procession to the site by children with lanterns they had made, where they met Lindy Lee.  Chinese New Year at the beginning of February was marked with a Chinese Dragon. Winter planting will follow the installation of the main infrastructure in late April and the official opening in October 2014.

This sense of ritual will continue into the way the site will be open for use for public events.  The Avoca Project is contributing a tea ceremony that intermingles the Chinese Tea Ceremony with the more implicit rituals of tea drinking within Australian culture as a means of coming to terms with any important or social moment. The aim is for the garden to be able to host tea ceremonies that draw on the visuality and materiality of one culture in order to throw light on another in a small town where a history that had become hidden – its Chinese history – might provide a means for the town to prosper in the future with the envisaged pilgrimages of Chinese tourists to the area.


The Avoca Project reverses and questions many of the tropes of how we expect to live.

It is simultaneously a public and a private project, owned and shared. Individuals – artists from outside of Avoca and members of the Avoca community – are invited to engage in the project in different ways. The point is to be influenced by its histories, its current values and reasons for being and to be creatively challenged to make sense of this encounter as a responsive and responsible individual. Those who choose to participate are invited in to imagine, to reflect, to make new work, to talk and exchange experiences and thoughts. The undoubted courage, stamina and joy of such a commitment is frequently tested in an emotional and personal grappling with the distance between environmental sustainability and practices of land ownership, between expectations of art and issues of everyday life.

It is important to remember that the Avoca house was described as ‘beyond repair’ at the point of purchase. “Beyond repair’ acts as a metaphor for the way climate change is publicly imagined. By implication, it is ‘beyond hope’. This metaphor takes us to the core of the Avoca project as artwork. Framing acts of repair in relation to everyday life, the project becomes a means to grasp the ‘beyond hope’ and confront its implications. Jones describes this as ‘rehearsing catastrophe’. It is at once a metaphor and an artistic and performative strategy.

Rehearsing catastrophe is an imaginary that underpins a number of Jones’ works within a series led by Jones with other artists, Propositions for an Uncertain Future. Each piece leads participation through a strong conceptual frame that focuses the circumstances of potential disaster. The Ark of 2012, for example, focused the requirement to leave the land as a consequence of flooding, marshalling pairs of species (participants in masks) resonant of Noah’s Ark (see video here). Poignantly each participant was allowed one suitcase. The project powerfully evokes experiences of forced migration, of boat people, of evacuees from a war zone, of competing for resources and of being forced to encroach on other people’s land through sudden retreat from one’s own. The projects ‘name grief and loss’ (Lyndal Jones in conversation 12.3.2014).

If we think of The Avoca Project as an encounter in and through art, we might see that it is unforeseen in the way that art in normally produced. It is neither forced through the kind of shared thematic that frequently underpins public commissions nor is it easily categorised as emerging from a ‘social’, ‘situational’ or ‘relational’ genre of practice. The project is volunteered, not predetermined. It emerges out of a kind of exploratory questioning in which each new discovery accumulates knowledge. The necessity to classify falls away because of the clarity of the work as art in the form of a lasting encounter in which one insight and action builds upon another in the construction of a new world.

The Avoca Project garden, photo Anne Douglas

The Avoca Project garden, photo Anne Douglas

In the meantime Rehearsing Catastrophe: The Ark will be reimagined in Mons, Belgium in June 2015 as part of its fesitval as 2015 Cultural Capital of Europe.

The Rare Earth Catalog (and Research Group): Tools for Reckoning with the Anthropocene

July 12, 2014 by

Originally posted on Discard Studies:

Posted on behalf of the Rare Earth Catalog group:

TheRare Earth Catalog will present a collection of images and short texts that illuminate the racism, classicism and eco-cidal requirements of industrial-scale life. This collection will explore the latent social and political opportunities that are emerging in the anthropocene, an era of human-induced climate change that is in the process of reconfiguring all life on earth. The catalog will pull together examples of resistance and devastation, as well as tools aimed at challenging and transforming the status quo. We aim to generate a lucid and fearless accounting of the entangled elements constituting our precarious lives on this planet.

The original Whole Earth Catalog seized on a moment in time when many in America were seeking to find ways of going ‘back to the land’ in order to create new forms of life ‘outside’ of the dominant capitalist system. The Rare…

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Eung-Woo Ri – a summer nomadic visit to the Highlands

July 11, 2014 by

Originally posted on ceangal:

As part of strong ongoing connections between Ceangal & the YATOO organisation in Korea,  and in particular the Global Nomadic Art Project (GNAP),  artist, YATOO chairman and director of GNAP Asia, Eung-Woo Ri visited the Highlands for a two week residency this June following participation in the Oranki residency in Finland.  We aim to bring GNAP to Scotland as part of the Europe leg of the journey in 2017.  More details can be found on the website.

Ri spent two weeks exploring,working, meeting some of the community and those involved with Ceangal and giving a presentation about the project and the ongoing work of YATOO which was established in 1981 and is an integral part of the arts in S Korea, running residencies, biennales, exhibitions, workshops and has wide and established connections with artists and residencies worldwide.

The weather was kind, the midges mainly stayed away and it was a pleasure to be…

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The NEW RURALS – research seminar for artists, curators and academics

July 11, 2014 by

Ian Hunter of Littoral asked us to highlight this interesting discussion,

Merz Meadow - scythers cutting hay on the meadow above Kurt Schwitters Merz Barn, Cumbria July 2011

Merz Meadow – scythers cutting hay on the meadow above Kurt Schwitters Merz Barn, Cumbria July 2011

The NEW RURALS – research seminar for artists, curators and academics

(12.00 noon – 5.00pm) Friday 25th July at the Kurt Schwitters Merz Barn site, Elterwater, Cumbria LA22 9JB

One of a series of practitioner meetings and seminars being organised in Ireland, the USA and England during the course of the summer. Partly framed in response to some recent publications and events that are proposing other challenging new critical contexts and related curatorial and cultural research agendas for artists and curators active in (non-metropolitan) regional and rural areas:

These include: Encampment #1 workshop at Kestle Barton/Field Club “..a large body of projects, practical research, and Neo-Agrosophy – a weird fusion of agriculture, futurology and contemporary philosophy”; the recent ‘Arrow Arrow’ – meeting at the Good Hatchery (Offly, Ireland) “The Good Hatchery’s main objective is to support the development of innovative, ambitious art practices that consider their own relation to [rural] place”. The Workers Symposium (18th July) which proposed to examine “..[new] contemporary modes of practice in rural contexts” (Roscommon Arts, Ireland); the publication of ‘A Decade of Country Hits, art on the rural frontier’ by Colorado-based M12 Collective, “ interdisciplinary group that creates and supports experiential projects exploring the value of rural communities and their surrounding landscapes”.; the Rural Cultural Forum’s revised rural cultural strategy ” ..towards a radical rethinking of arts and cultural policy from new rural and agricultural perspectives.” and also proposed as a response to Arts Council England’s recent Arts and Rural Communities ‘position paper’.

The Seminar is being organised by the Littoral Arts Trust in partnership with Grizedale Arts and includes distinguished speakers artists and curators from Spain, Australia and UK; Fernando Garcia Dory (Campo Adentro), Esther Anatolitis CEO Regional Arts Victoria, Australia, Nick Hunt Director Mid-Pennine Arts,, Helen Ratcliffe/Alan Smith AllenHead Arts, Christine Ross Visual Arts in Rural Communities VARC, Green Close Studios, Steve Messam (ex-Fold Gallery) (tbc), and Ian Hunter, Director Littoral Arts/Rural Cultural Forum

Other speakers to be confirmed shortly.
Lunch* and seminar are free but please register to attend with:
(*Donation of £4 appreciated)
Littoral Arts Trust/Merz Barn project: e.
Tel. 015394 37309

Little Green Book

July 2, 2014 by

Originally posted on Working the Tweed:

We are delighted to be able to share this Little Green Book with you which has been imaginatively designed by Felicity Bristow of But ‘n’ Ben Bindery & Press, Maxton.  Click here to open the Little Green Book

The Little Green Book is based on our environmental policy and reflects our activities as a small rural based organisation that runs arts projects and tours performances and exhibitions both near and far. It is a simple achievable policy to help us to start to actively reduce our carbon footprint.

Please do share this Little Green Book with others and use it as a basis for writing your own.

Alongside the Little Green Book we are compiling an online directory of suppliers that we have found and used that have sustainable credentials and clear environmental policies. Please do tell us of suppliers you would like to recommend both locally within the Scottish…

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Project Grow – design a farm for a school

June 17, 2014 by

Thanks to Tom Littlewood for passing this on:

Project Grow

Project Grow has been established through a joint vision between Wallscourt Farm Academy and South Gloucestershire Council to create an outdoor learning environment that explores the potential of creating a sustainable model for the active use of the academy grounds through growing and husbandry that is grounded in seasonal cultural activities.

Our aim for this project is to develop and implement a creative skills led project based on growing and learning that uses the grounds for one school year and leaves behind a model and sustainable skills for its continuation.

We are seeking an experienced and enthusiastic lead artist to work collaboratively with team and wider community to research, facilitate and implement the project.

Brief can be downloaded at

Project budget: £27,500 ex vat

Submissions to be sent in electronic format only to Tom Littlewood ( by 12 noon Mon 30th June 2014.

Soil Culture

May 29, 2014 by

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Daro Montag asked us to highlight this important event taking place in the South West of England:

We are inviting all those who have an interest in soil, art and education to join us at Falmouth University for our Soil Culture Forum.

In addition to films, art events, presentations and some good local food, there will be a series of creative workshops where you will be able to touch the earth and learn about the different ways in which artists use it.

Prepare to experiment, play and get a little bit dirty!

For more information or to register for the Forum visit: Soil Culture | Using the arts to revitalise our relationship with a resource we take for granted..


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