We’ve just put up an excellent video from artinscotland.tv documenting Crichton Carbon Centre‘s Nil by Mouth event (produced by Wide Open) at The Scottish Parliament last November. You’ll also find background on the project, lots of info on the scientists from The James Hutton Institute, Rowett Research Institute and SRUC as well as links to pdfs and websites associated with the various artists: Harry Giles, Center for Genomic Gastronomy, Hans Clausen as well as Jo Hodges and Robbie Coleman. Read more here.
Creative Carbon Scotland will be running a weekend group residency on Mull again this year, prompted by the following questions, “What will artists’ roles be in future societies? How might artistic practice have contributed to a greener, healthier, more equal planet?” They are looking for 10 artists to participate.
For lots more information visit Creative Carbon Scotland. Deadline 3 March 2015.
If you want to know more about the Mull Resdiency check out 2014.
Does anyone know Professor Paul Younger Rankine Chair of Engineering and Professor of Energy Engineering at the University of Glasgow?February 2, 2015
… or any of his co-authors of the letter published in the Guardian 10 October 2014 (his co-authors were Prof Colin McInnes, James Watt Chair and Professor of Engineering Science; Prof Fin Stuart, Professor of Isotope Geosciences; Prof Rob Ellam, Director, Scottish Universities Environmental Research Centre; and Prof Adrian Boyce, Professor of Applied Geology all of the University of Glasgow).
We are working on the principle of 6 degrees of separation, and since there are nearly 1000 people who receive ecoartscotland posts we reckon someone knows Prof Younger. You see we sent him a piece of work by an artist and we want to know if he received it.
It started with Roanne Dods posting a story from the Glasgow Herald. Senior Engineers at Glasgow University called the University’s recently announced commitment to long term divestment from the fossil fuel industry “vacuous posturing.” Read more about divestment here.
We were so enraged by this that we ordered a copy a poster to be sent to Prof Younger. The poster, created by New York based artist Rachel Schragis, is distributed by Just Seeds and is part of 350.org’s Do The Math campaign. BTW Global Divestment Day is Feb 14th.
So we’d like to know if Prof Younger got the poster, and whether he’d like to have a conversation about divestment, climate change and the role of public institutions? Obviously ecoartscotland can only speak to issues of art and ecology, but I’m sure someone knows an economist to can talk about fossil fuels, and a behavioural psychologist who can talk about behaviour change, and a systems theorist who can talk about conflict in systems…
Come on engineers. You must be able to do the maths.
Dahr Jamail, staff reporter for Truthout and known for his work on Iraq and Afganistan, speaks to scientists working on Anthropogenic Climate Disruption about their emotional responses in this important piece. Thanks to Truthout for permission to repost extracts. Jamail starts,
I have been researching and writing about anthropogenic climate disruption (ACD) for Truthout for the past year, because I have long been deeply troubled by how fast the planet has been emitting its obvious distress signals.
On a nearly daily basis, I’ve sought out the most recent scientific studies, interviewed the top researchers and scientists penning those studies, and connected the dots to give readers as clear a picture as possible about the magnitude of the emergency we are in.
This work has emotional consequences: I’ve struggled with depression, anger and fear. I’ve watched myself shift through some of the five stages of grief proposed by Elisabeth Kübler-Ross: denial, anger, bargaining, depression, acceptance. I’ve grieved for the planet and all the species who live here, and continue to do so as I work today.
Originally posted on Forest Planet:
The trend towards applying economic value to forest ecosystems is contentious. While the valuing of the processes of nature (“ecosystem services”) or valuing of their stock value (“natural capital”) is potentially advantageous in helping to tackle challenges of nature’s conservation and protection, it is not unambiguously beneficial. I therefore wanted to find a way to visualise the sometimes contradictory nature of the ecosystem services approach, to convey the pros and cons, and to get away from binary arguments of being either “for” or “against”. The Snakes and Ladders motif seemed appropriate. All those involved (well, almost all) share the same ultimate goal — a sustainable solution to preserving our remaining natural ecosystems (and that is sustainable both in biological and social terms). But an ecosystem services approach leads you on a path that is both advantageous and perilous. There are some clear “ladders” that offer us chances to move us…
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“But cities are not just made of bricks and mortar, they are inhabited by flesh-and-blood humans, and so must rely on the natural world to feed them. Cities, like people, are what they eat.”
Carolyn Steel, from Hungry City: How Food Shapes Our Lives, 2008
With 66% of the world’s population expected to be living in urban areas by 2050, now is the time to ask- how will we sustain these populations within the competing uses of city space? Have city dwellers lost all sense of connection with the rural, and in doing so, alienated themselves from the production of the very sustenance that keeps them alive?
Urbane, a cross-disciplinary exhibition, aims to address these questions and provoke further consideration of these issues. Embracing discourse around the growing energy and attention being drawn towards local growing initiatives and food projects, the exhibition will act as a platform for the exchange of knowledge between artists, architects, scientists, writers, policy-makers and community groups to address the need to more fully embed our food system within our everyday urban lives.
Urbane will run 19-24 February 2015, with talks, workshops and performances activating the gallery space to create a forum to better understand the unique attributes and possibilities existing within Scotland’s urban and social environments for a more sustainable and equitable future.
Deadline for submissions 23 January 2015
Works of all mediums will be considered for the exhibition, with a preference for interdisciplinary collaborative works. Works will be selected for their cohesion and ability to sit within a group show in the Tent Gallery, a street-front project space located in the Art, Space + Nature studio, a space where direct dialogue between the University and the public can take place. The dimensions of the gallery are roughly 6m x 6.5m x 2.5 m in height, so works must sit well within this scale of space.
Please send a digital copy or photos of your work along with an artist statement and description/interpretation of work to Allison Palenske at firstname.lastname@example.org by 23 January 2015 at 5pm. Email attachment sizes must not exceed 5MB, please provide links to a Dropbox file location for larger files. Only works that have already been created will be considered, unfortunately we cannot accept proposals for new work at this time.
Preference will be given to artists proposing a performance, talk or workshop surrounding their work. Applicants will be informed of curators’ decisions by 26 January 2015.
By entering, the artist confirms that if successful, they will deliver finished exhibition quality pieces to Tent Gallery, Evolution House, Edinburgh College of Art no later than 15 February 2015. Artists must be able to pick up their works following the end of the exhibition, or provide return postage, no later than 1 March 2015. Whilst due care and attention will be given throughout, artists should note that the artworks will be sent, exhibited and returned entirely at the owners risk. Artists are liable to make their own insurance cover, if required. Works should be sent suitably packaged and will be returned in the original packaging. Artists whose work is of a fragile nature should discuss this with the organiser before sending the works. Any further questions can be sent via email to Allison at email@example.com.
Originally posted on Cheng-Long Wetlands International Environmental Art Project:
We are pleased to announce the 2015 Cheng Long Wetlands International Environmental Art Project will take place from April 9 – May 4, 2015. Proposals will be due by January 16, 2015.
我們很高興在此宣佈2015成龍溼地國際環境藝術計畫, 將於2015年4月9日至5月4日舉辦. 即日起開始徵件, 至2015年1月16日止.
Artists from all over the world are invited to send a proposal for the 2015 art project in Cheng Long village, Yunlin County, Taiwan. 3 Foreign artists and 2 Taiwanese artists will be selected to create large-scale outdoor environmental art installations at public sites in the community and the wetlands working with children in the local elementary school, volunteers and villagers. The theme for 2015 is “Fragile – Handle With Care”, and for this 6th year of the international environmental art project we want to emphasize the fragility of the local and global environment facing such problems as global warming, rising water, soil salinization, water pollution and other environmental issues.
歡迎世界各地的藝術家踴躍提案, 我們預計從中選出3位國外藝術家及2位台灣藝術家,進駐成龍村,和成龍國小的學童.村民及志工們,一起在村內空地及溼地邊,共同完成大型的戶外裝置藝術. 2015年的主題是<易碎品–小心守護>, 我們想要強調的是在面對全球暖化,海平面上昇,土壤鹽化,水污染及其他環境議題時,區域及全球環境之脆弱.
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David Borthwick, who runs the University of Glasgow’s masters programme Environment, Culture and Communication at the university’s Dumfries Campus, reviews Lydia Fulleylove’s Estuary, a new book of poems published by the excellent Two Ravens.
Estuaries are, as in the title of one of Raymond Carver’s stories, ‘where water comes together with other water,’ fresh into salt, and as estuaries are characterised by tidal influx, where salt reaches back upriver. They are transitional zones where local systems meet global ones, the activities of the land meet the open sea; indeed, they are also open to the tractive pull of moon and sun, linking them to celestial bodies too. An estuary is defined by relational forces, then, and this also makes it a profoundly susceptible space. One might say an estuary is produced through its myriad relations.
Estuaries are profoundly cosmopolitan areas, rich in the symbolism of transition, and this is perhaps why these environments have proven fertile grounds for poets in recent years. The Severn estuary, in particular, has received considerable attention in both Alice Oswald’s book length A Sleepwalk on the Severn, and Philip Gross’ collection The Water Table (both 2009). Oswald refers to ‘this beautiful / Uncountry of an Estuary’. Her ‘uncountry’ is ‘both a barren mudsite and a speeded up garden’. It is between, untenable, and indefinable, irreducible to notions of rootedness, permanence or stability. Phillip Gross describes an estuary in terms of its ‘indefinite grounds’, characterised by ‘constant inconstancy’; its ‘indefinable grounds’ and ‘irrefutable grounds’: ‘six hours and the grounds / are remembered. Forgotten. Remembered’.
Lydia Fulleylove’s Estuary, published by Lewis based Two Ravens Press, adds to but also enlarges this resurgent interest in estuaries. Centred on the River Yar estuary in the west of the Isle of Wight, Fulleylove’s eclectic book demonstrates in its very form the power of relationality. The book is part nature daybook—a diary of visits to the estuary, interactions with it over the course of a year—but also a poetry collection. It also has elements of deeply personal memoir. One of the book’s strengths is that Fulleylove cannot bracket off her personal relations (an aging father during illness), her job as a creative writing tutor at HMP Isle of Wight, nor indeed the politics which sees one of the estuary’s farms carefully dismantled during her period of residency in the area. It is all of a part, each element a channel or rivulet in the book’s flow outwards. This is only added to by Colin Riches’ contribution of artwork at the collection’s centre: pictorial representations of estuary features, animals (domestic and wild), and artefacts. Many of these have been created using materials from the estuary as their medium: estuary mud, sheep dung, bramble juice.
Fulleylove and Riches employ sensory information as a key part of their work here. In one poem, the artist is observed at work:
Dung, mud, ink. The artist makes
the cow in the winter barn,
legs tucked under like a cat,
tail pressed close. Black eye watchful,
nostrils, ears flared. Long after
she is gone, these marks will call up her absence,
draw her presence out of dark.
This attempt to capture presence is vital, poetic and visual work going hand in hand as a means of representing the estuary faithfully, even as the environment shifts around one with the tide:
cracked mud mud-gasps
river dark glass
look down clouds sky
look up clouds sky
here is river
The stutters and repetitions here enact not only the process of trying to write the estuary, but its own particular and fluid behaviour. Everything described must relate to the estuary, the estuary itself formed by these relations, and with all being fluid this negotiation even reaches into the language that Fulleylove uses. The process of rounding up sheep is rendered in riverine terms. Sheepdogs are:
they whip round the sheep,
close to the ground. The flock
runs like a river into the pen
any stray rivulet
channelled back in.
It’s done almost before it’s seen.
What separates Fulleylove’s book from some of the celebrated ‘New Nature Writing’ is that it continually brings the reader back to community, away from the writer’s solitary observations and into the eddies and turbulence of issues affecting wider concerns. Local writers’ and artists’ groups are taken out into the estuary to experiment. Farmers’ views are recorded verbatim and inserted into poems. Most powerfully, the estuary is brought indoors in order to engage prisoners with an external environment they cannot access. Among the artefacts offered to prisoners are leaves: ‘what the men most want to do with the leaves is to smell them. A leaf is passed round nose to nose.’ Sensory apprehension again. The prisoners’ reflections in their own writing are recorded here too.
There is a powerful social justice imperative within the book, from the treatment of the poet’s father in institutional care, to the politics of landscape which places farmland in ownership that cares not for local experience and traditions— and of course to the welfare of those in prison.
Estuary tacitly suggests that all of Fulleylove’s concerns are intimately connected. Indeed, connection is a recurring motif. A Schoolgroup is taken to see the last of the farm’s animals as it is transformed from an Aberdeen Angus carcass to food. The visit is meant to reconnect the children with the food chain because, as Fulleylove notes, ‘we can’t be disconnected from this earth’.
And yet because we are ‘wrapped in layers of distance’ from the nonhuman world, and perhaps from each other, we ignore the interconnections which inform and shape us all. From the flora and fauna of the estuary, to the farms upon it, and even the prison, relations exist which conjoin to form a relational space. In short, the estuary, this place, exists only as the total interactivity of these factors. There is no ‘inside’ and ‘outside’, but a reciprocal set of interactions in which we are all enmeshed. In Fulleylove’s thoughtful book, the estuary becomes a powerful symbol for relations and responsibilities.
Indeed, in her prologue Fulleylove says that all of the book’s segments exist as ‘as sign of having been there, evoking the relationship with place at that moment’. The work is, she says, ‘a dialogue’; it is all about ‘the act of paying attention’: using the senses, different materials, extending empathy to the lives of others, both human and non-human.
In a relatively slight book of under a hundred pages, Fulleylove manages to weave together all of the elements of the local environment on the Yar estuary. Her vision is clear, her work concise and potent. She is capable of reflecting back and forth in landscape, and in time, in a way that makes the book more than a diary of a specific place, but an exploration of a place’s multiplicity through the seasons, in which every detail is made to resonate, and flow outwards from itself:
I pick one barley stalk from this dry sea
to stick on the white field of my page.
Winter, I’ll look back at slant, hard-packed grain,
like Brent geese streaming in close line.
 Alice Oswald, A Sleepwalk on the Severn (London: Faber, 2009), p. 3.
 Philip Gross, ‘The Water Table (Tarset, Northumberland: Bloodaxe, 2009), pp 47-48.
Originally posted on Liberate Tate:
“Tate shall disclose within 35 days from the date of this decision the BP sponsorship figures from 1990 to 2006 inclusive.”
Information Rights Decision of the First Tier Tribunal, 22 December 2014
The UK’s Information Tribunal has ordered art museum Tate to disclose the sum of money oil company BP paid as a sponsor over the years from 1990 to 2006 as well as records of internal decision-making on the controversial sponsorship deal Tate had also sought to keep secret . Liberate Tate has been amongst the groups calling for this transparency.
The Freedom of Information court ruling comes after a three-year legal fight that began with Tate’s refusal to disclose sponsorship information requested by a Liberate Tate member in December 2011 . The case was taken up by Request Initiative, working with campaign group Platform, and law firm Leigh Day resulting in a major legal victory for the movement…
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TALK + Seminar – 14 January 2015 15.00-19.00 Reid Auditorium. Booking here
Alastair McIntosh is a writer, poet, speaker, researcher and activist. Originally from the Isle of Lewis he now lives on Govan near to the GalGael Trust, for which he is a founding trustee.
“ Most of my work is constellated by a passion for community… I see the lack of it, or damage to it, as a prime driver of the the lack of meaning, emptiness and loneliness that underlies many of the world’s most pressing problems. Human ecology is therefore central to my work because it is the study of, and participation in, human community in relation to the wider natural environment. It therefore encompasses the great issues of our times, including the roots of war, poverty, meaninglessness and climate change.
For me, community is much more than just another name for society. It has three pillars – relationship with one another, relationship with the natural world, and relationship with the psychospiritual underpinning of all life. “Soil, soul and society” are therefore themes that weave through all my work. Integrating these requires bringing about a rich connection between our inner and outer lives. As such, both action and reflection interlace through all that I do and in the ways that I work with others.”