Archive for the ‘Knowledge’ Category

Continuous Cover Forest Policy

May 13, 2013

Cathy Fitzgerald has just blogged about the The Green Party in Ireland who have just launched it’s Forest Policy (read the press release here).  This new Policy argues that

“Ireland’s public forests are at a point where, non clearfell, continuous cover forest systems need to be introduced and supported to fully realise the full long term economic, environmental and amenity values of Ireland’s forests.”

Helen Mayer Harrison and Newton Harrison would, we are sure, endorse this – it’s the sort of Policy that they were proposing in amongst other works, the Serpentine Lattice.

Military Pastoral Complex

May 11, 2013

Matthew Flintham coined the phrase “Military Pastoral Complex” for Gair Dunlop’s work.

Gair’s new book is photographs and a few texts from a long-term photography and video project documenting the slow closure of RAF Coltishall. Cold War and Battle of Britain mythologies combine. The roots of the Military Pastoral Complex are evident.

Get the book here.

Gair’s website: www.atomtown.org.uk

Collins and Goto conversation

May 10, 2013

LECTURE FLYERE

Natural Capital

April 8, 2013

Does the (natural) world exist to provide ‘services’ for human beings?  Should we attempt to justify the importance of bees or trees or rivers or mountains or bacillus acidophilus in terms of an ecosystems services analysis, i.e. what services they provide to us?

Alternatively should we analyse what services we provide to ecosystems?  This question was raised by Shai Zakai recently during a discussion about ecosystem services.  It seems to focus precisely the problem with the ecosystems services approach, which is that it leaves us as the beneficiary of the services, limiting our responsibility to those we can comprehend.

For some useful background on this subject see the Arts and Environment network at CIWEM resource on Natural Capital, and in particular their introductory document From Microbes to Mountains.

Oil, photography

April 6, 2013

Following up on Louis Helbig‘s presentation at Edinburgh College of Art comes Suzaan Boettger’s review in Brooklyn Rail of three books of photography of oil landscapes, Burtynsky’s Oil, J. Henry Fair’s The Day After Tomorrow: Images of our Earth in Crisis, and Richard Misrach and Kate Orff’s Petrochemical America.

The review addresses the approaches of the three photographers and comments on their aesthetic and art historical context.  There is a larger piece of work which would encompass, for instance, the also important books by James Marriott/PLATFORM including Next Gulf: London, Washington and the Oil Conflict in Nigeria and The Oil Road: Journeys from the Caspian Sea to the City of London.

These books provide a counterpoint because rather than focusing on the visual in the context of the industrial, they narrate the relationship between the impact on the lives of people living with the oil industry and our lives in London, or Scotland, or wherever and how we are complicit through financial investments, whether that’s JP Morgan Chase or Royal Bank of Scotland.

Tar sands and restorative justice

April 3, 2013
Slick Sunset, N 57.14.07 W 111.35.15, Shell Albian Sands, Alberta, Canada, Louis Helbig, with permission

Slick Sunset, N 57.14.07 W 111.35.15, Shell Albian Sands, Alberta, Canada, Louis Helbig, with permission

Louis Helbig‘s talk on his project Beautiful Destruction yesterday afternoon at Edinburgh College of Art brought together some interesting elements: environmental destruction in remote northern Alberta, national economic benefits, the role of the arts, the relevance of this to Scotland, Jim Hansen’s arguments about tipping points in climate change, the need for civic discourse and the uses of restorative justice techniques.

Louis presented on the Alberta Tar Sands highlighting their scale both in terms of environmental and economic impact. The bitumen deposits, that constitute the tar sands, cover a surface area about the size of England. Their industrial development has absorbed about $300 billion investment over the past 15 years from virtually every country in the world with an active oil industry. Although the externalities of their development are largely unaccounted for, Canada has derived a massive economic benefit from the Alberta Tar Sands helping it to ride out the global economic crisis as an oil exporter to the world’s largest consumer, the United States.

Louis articulated his original interest in the Alberta Tar Sands in 2008 coming from his desire to see and record an industrial development that despite its size and evident importance in and influence on Canada’s society, culture and economy was hardly reported on in Canada’s media. The experience of flying, with his partner Kristin Reimer, over the workings was amazing both in its scale and its minutiae. In its detail and its dimension it readily lends itself to artistic interpretation.

Since his initial photography in 2008 (he returned in 2012 to photograph in winter) he has worked to learn about and understand what he photographed. Not only did the Canadian media not pay much attention to the tar sands but it was largely absent from Canadian political discourse. In 2008, already 10 years into the latest phase of development, almost all Canadian environmental NGOs were also absent. He described how what little debate there was until 2011, has been held captive to both regional divisions and parochialism and extreme polarisation. Following the explosion of tar sands as a political issue in the USA around the Keystone XL pipeline debate, the issue has finally found a place in Canada’s media. It is, however, still held captive to a polarisation of debate in Canada between the environmentalists and the industrialists.

Scott Donaldson, Portfolio Manager at Creative Scotland, reminded us that Jim Hansen,  recently retired Director of NASA’s Goddard Institute for Space Studies and one of the foremost scientists and more recently activists has specifically highlighted the development of Canada’s Tar Sands as a key indicator. Scientific American said this year,

His acts of civil disobedience started in 2009, and he was first arrested in 2011 for protesting the development of Canada’s tar sands and, especially, the Keystone XL pipeline proposal that would serve to open the spigot for such oil even wider. “To avoid passing tipping points, such as initiation of the collapse of the West Antarctic Ice Sheet, we need to limit the climate forcing severely. It’s still possible to do that, if we phase down carbon emissions rapidly, but that means moving expeditiously to clean energies of the future,” he explains. “Moving to tar sands, one of the dirtiest, most carbon-intensive fuels on the planet, is a step in exactly the opposite direction, indicating either that governments don’t understand the situation or that they just don’t give a damn.” 23 Jan 2013

Hansen’s argument makes Canada’s tar sands everyone’s business, but the issue of energy and land is one where Canada is only an extreme example.  This point was raised by Gemma Lawrence of Creative Carbon Scotland.  Harry Giles, Environment Officer for Festivals Edinburgh noted that there are a significant number of applications for open-cast coal currently before the Scottish Government, as well as numerous applications for major renewables installations. All of these, for better or for worse, are driven by our addiction to cheap energy, and politicians commitment to “keep the lights on.”

Louis kept emphasising the need for a civic discourse, rather than throwing stones at each other from extreme positions. There was a sense in the room that this was an unusual position for an artist to take. Are we more used to artists aligning themselves with environmental campaigners, than trying to open up a centre ground that enables all parties to engage in the discourse?

Louis kept returning to the experiences of speaking with individuals who worked in the industry, electricians or truck drivers rather than corporate executives, and how they, when faced with an artists’ representation of the beautiful destruction, articulated their own conflicted views.  He feels that the public interest would be much better protected if Canada’s public policy reflected the often conflicted and ambivalent views of those with a direct experience with the development.

Although it wasn’t raised in the formal discussion, the idea of restorative justice was also present, and perhaps needs to be explored. Kristin Reimer, Louis’ partner, is currently in Scotland to research restorative justice programmes in Scottish schools. Restorative justice is broadly speaking an approach that seeks to address the needs of both the victims and the offenders. It provides a space in which offenders, including those who have committed the most serious crimes, can be confronted by their victims. It is not a space of stone-throwing or media manipulation.

Given that we are all implicated in the self-destructive culture of cheap energy (even if energy doesn’t necessarily seem cheap in Scotland at the moment) do we not need the means by which to face each other, and talk about the problems, not as a soft option, but as a way to see that we all benefit economically from cheap energy and we all need to change our ways.

Thanks to Louis Helbig for his additional comments.

Proposals for creative art+science, participatory and open environmental education

April 3, 2013

Pixelache Helsinki, a transdisciplinary platform for experimental art, design, research and activism have just posted ideas for art+science, participatory and open environmental education development:

  1. Create new educational materials with participants, using creative participatory methods, for example using ‘sprint’ model, i.e. doing things fast, together, during the 2-3 days camps organised by trilateral environmental NGOs.
  2. Offer creative art-science workshops in cooperation with trilateral environmental NGOs, based on shared-interests, for example ecological, river-water basin, agriculture and renewable energy issues, etc.
  3. Educational training/mentorship for Environmental NGOs in Gulf of Finland / Baltic Sea Region to learn more about Open -Data, -Education, -Sustainability, and -GLAM (Galleries, Libraries, Archives & Museums, ie. Culture)
  4. Make accessible previously-made educational materials in digital formats, including graphics, diagrams, texts, and other data by negotiating with makers/copyright holders. This can be a selection from over a period of years, or a particular project or publication. Can be done in stages, testing & getting feedback in the process of what is useful and needed.
  5. Contribute media (photos, videos, audio interviews and commentary) to commons-oriented repositories which promote open access, sharing and download of media materials.
  6. Investigate & implement peer-to-peer ecologically sustainable ICT solutions for sharing materials.

Access the full story here.

Information sessions | Imagining Natural Scotland

April 1, 2013

Imagining Natural Scotland, aiming to thoroughly think through the relationship between the arts and the natural environment, is holding a series of sessions which promise to be more interesting than the title suggests. Sessions are to encourage collaborations applying for the awards.

Each session will feature,

  • Detailed information on how to apply to the Imagining Natural Scotland fund.
  • A presentation, open discussion and Q&A on a particular aspect of Natural Scotland’s representation in the arts and popular culture; featuring guest speakers from both the environmental and creative sectors.
  • Time for networking and meeting potential collaborators.

For example Dundee feature presentations on cross-disciplinary collaboration from Tentsmuir Artist in Residence, Derek Robertson and Sophie Eastwood the Red Squirrel Project Officer for Fife Coast and Countryside Trust; Inverness will feature Professor Paul M Thompson and artist and composer, Mark Lyken, and curiously Oban will feature Professor Laurence Mee director of Scottish Marine Institute (SAMS) and the designer Daniel Mee.

Dumfries will feature artist, author and planner, Timothy Collins and Reader in the Institute of Geography, Emily Brady on why arts and humanities informed by science are uniquely situated to explore future imaginaries and potential virtues where nature is concerned.

From what we understand one of the key issues for the Imagining Natural Scotland team is that the visual arts (and applied arts?) are perceived to be very engaged with the environment compared to music, dance and poetry, though we’re certain that there are those that would dispute this perception.  The point is that visual and applied artists interested in this programme might want to partner up with other art forms.

What is Creative Carbon Scotland?

March 19, 2013

What is Creative Carbon Scotland? – Creative Carbon Scotland.

Creative Carbon Scotland is a partnership of arts organisations which puts culture at the heart of a sustainable Scotland.

We provide a range of services which help the cultural sector achieve this goal. These include:

  • Training in carbon measurement and reporting;
  • Initiating special projects which engage organisations, artists and audiences in the sustainability debate and inspiring behavioural change;
  • Lobbying government, funding bodies, organisations and artists for the role of the arts in building a more sustainable Scotland.

Our work will help Scotland’s cultural sector to be at the forefront of current debate on climate change by influencing public awareness and inspiring behavioural change as well as providing practical support in carbon management and strategic planning projects.

This is in line with likely future funding requirements from Creative Scotland which will require arts organisations to report their carbon emissions in line with Scottish Government policy and following a similar move by the Arts Council England.

an ocean of grief

February 20, 2013

 


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