Posts Tagged ‘collaboration’

Kerry Morrison #art4wetlands …the way I view mosquitoes

October 27, 2018

Reflecting on being part of the WetlandLife team and how interdisciplinary working has shifted the way I view mosquitos
Kerry Morrison
11.07.18

The interdisciplinary nature of WetlandLIFE
The openness and inclusiveness
Has broadened my understanding
And my views
Of wetlands
Of mosquitos

Information exchanged
Put out there
Into the group
Relating to the collective research
Offers insights that we can delve in to
Or not
As we choose

Peter posted: in praise of the midges pestering footballers in the world cup
Gay responded:
…best of all for me is link at the end of the article to a study on the flight behaviour in swarms, which is what my colleague, Lionel, and I are working on in mosquitoes.  It is an amazing study – so thank you for many reasons!
I hit the link and read the paper: Collective Behaviour without Collective Order in Wild Swarms of Midges [1]

Some time later
Out on Alkborough Flats
In July
At dusk
Helmut and I found one of the mosquito traps
Well hidden in the dank, yet humid, undergrowth
Well surrounded by flying mosquitos

Venturing in I witnessed what I now know to be male mosquitos
Flying in a swarm
Out to attract females
With this little knowledge,
gained from conversations with the team entomologists
and from reading the paper
I felt partly safe
Male mosquitos don’t bite
(though the females will likely be somewhere nearby)

Informed by me read of ‘Collective Behaviour without Collective Order in Wild Swarms of Midges’ (2014)
I watched the swarm
Intently
Paying attention to the individual’s movements
and
The swarm as a whole
Looking intently
I observed
More than a twilight swarm in a disordered phase
I saw a male mosquito gathering

Collective behavior became visible
As if in a choreographed dance
.
.
.
The small swarm
To start
Disorderly
Then
As two came into close proximity of one another
Millimeters apart
Their movements synchronized and mirrored
Two darted sideways in unison
Three spiraled upwards at an angle in unison
then together semi circled downwards
Two more spiraled upwards and outwards
then back into the swarm
When all came together
In close proximity
The whole swarm
Spiraled down
As one collective mass
As if a murmuration

Beautiful
Awe-inspiring
Experience
Walking into mosquitos
For the first time
Seeing
Male mosquitos Dance
No longer misunderstood as biting beasts
But seen as dancing males
Moving in murmurations
Waiting for females
to charm with their songs

My vision might not yet be clear
My understanding still murky
and not yet fully informed
Yet
What I see has shifted
And in shifting
My views have expanded

[1] Attanasi A, Cavagna A, Del Castello L, Giardina I, Melillo S, et al. (2014) Collective Behaviour without Collective Order in Wild Swarms of Midges. PLoS Comput Biol 10(7): e1003697. doi:10.1371/journal.pcbi. 1003697


Kerry Morrison is an artist, a Director of In-Situ, and has completed a Phd in Cultural Ecosystem Services.

On Sunday 28th October (18.15 in Room 7) the WetlandLIFE team will host a side event at the Ramsar Intergovernmental Convention on Wetlands13th COP in Dubai. The event focuses on ‘Sense of Place & Wellbeing in Wetlands: Using Film & the Arts to achieve SDG3’.

Helmut Lemke art#wetlands Thoughts on scientists, artists, collaborations

October 26, 2018

Helmut Lemke is one of the artists working with the WetlandLIFE project, part of the Valuing Nature Programme. As part of the #art4wetlands leading up to the Ramsar Intergovernmental Convention on Wetlands’ COP (Conference of the Parties) we are highlighting the role of artists in environmental research. In this piece Helmut offers his “thoughts on scientists, artists, collaborations”.

On Sunday 28th October (18.15 in Room 7) the WetlandLIFE team will host a side event at the Ramsar Intergovernmental Convention on Wetlands13th COP in Dubai. The event focuses on ‘Sense of Place & Wellbeing in Wetlands: Using Film & the Arts to achieve SDG3’.


to be curious

to observe with senses and minds

to develop questions

to create ways n methods to answer those questions

to enjoy a playful rumination of models of inquiry

to gather knowledge

to share knowledge

all of the above is human – none of the above is specific to one gender, one cast, one religion, one race, one profession

all of the above happens in time – none of the above has an end result

there is no answer following from the above that does not lead to further questions

all of the following (in no particular order):

 ownership, copyrights, the notion of the ‘genius’,

research profiles, impact & esteem

are expressions of artificial hierarchies and

the result of a system that values any increase in knowledge

in terms of financial/monetary profit & status

however, because neither ‘artificial hierarchies’ nor ‘financial profits’ or status

have so far contributed to the development of

the understanding and acceptance of us humans

as equals in the ecological system we are part of

or to the creation of a fairer society,

it is of crucial importance to replace

artificial hierarchies with equality

and

the thrive for capital gain and status with the joy of sharing

therefore

ONE SHOULD NOT ASK, ‘WHY TO COLLABORATE?’ BUT
‘WHY NOT TO COLLABORATE?’

and, by the way, I assume that knowledge and understanding reaches beyond the rational

 


MY ROLE IN THE WETLAND LIVE PROJECT

 

wherever I work I communicate,
that might be with people, with the environment or with (and through) my material and equipment.
I have learned to understand that my role as an artist is not that of a creator and maker, but to be promoter and advocate of what is very often already there and more often neglected, over’heard’ and/or over’looked’.
the process of communication and sharing has replaced the obsession with the product.
therefore when I am asked, “what (do) you think you can contribute and also what (do) you actually do to connect, ie your approach to connecting with the scientists and their research, wetlands and mosquitoes…” my answer is quite simple: I do what I always do.

 

I meet,

I share……….thoughts
…………………observations
…………………impressions
…………………experiences
…………………knowledge
…………………emotions

I wait for shared……thoughts
…………………………..observations
…………………………..impressions
…………………………..experiences
…………………………..knowledge
…………………………..emotions of others

I share through……..talk,
…………………………..listen,
…………………………..draw,
…………………………..write,
…………………………..read,
…………………………..sound,
…………………………..image
…………………………..poetry

some of the above is everyday medium
some is attributed to artists
all is interchangeable.

 

by being in a collaborative environment, where all participants through untested communication processes aim to create new, sometimes unpredicted outcomes those processes will flow on all levels in diverse directions. wherever communication media (language, image, other) need translation the collaborators will do so.
my contribution will be ‘me’ – where and what aspects of ‘me’ are useful will be determined by a collective process and by demands of the project group.


Helmut Lemke Is a German sound artist who moved to the UK in 1996. His international, and enthusiastically ecumenical practice, has lead him to work everywhere from the frozen seas round Greenland, to a palace in Venice for the 55th Biennale. Along the way he has collaborated with other Sound Artists and Musicians, with Dancers and Scientists, Visual Artists and Architects, Poets and  Archaeologists, Performance Artists and Wildlife Rangers.

Since 1995 he has taught at art academies & universities in Germany, France, England, Finland, Thailand.  From 1997 until 2000 he was lecturer at the pioneering Phonic Art  Course in Hull He was Research Fellow in Interactive Arts (Media Events) at Manchester Metropolitan University in 1997 and hold an AHRC-Fellowship at the University of Salford from 2004 to 2007.

Victoria Leslie #art4wetlands

October 25, 2018

Photo courtesy of Tim Acott

Victoria Leslie is one of the artists working with the WetlandLIFE project, part of the Valuing Nature Programme. As part of the Ramsar Culture Network and ecoartscotland #art4wetlands story leading up to the Ramsar Intergovernmental Convention on Wetlands’ COP (Conference of the Parties) we are highlighting the role of artists in environmental research. In this piece Victoria, talks about being part of the team and the role of storytelling and folklore.

On Sunday 28th October (18.15 in Room 7) the WetlandLIFE team will host a side event at the Ramsar Intergovernmental Convention on Wetlands13th COP in Dubai. The event focuses on ‘Sense of Place & Wellbeing in Wetlands: Using Film & the Arts to achieve SDG3’.


It’s a bright spring day, though a chill persists, a memory of recent snowfall. We have forgotten the cold for now, huddled around the fire – a raised fire-pit more accurately – as we eat our sandwiches. There are quite a few of us converged around the warmth, mostly Hands on Heritage volunteers, enjoying a well-earned break from their labours on the Saxon longhouse we are ensconced within. I am the interloper, warming my hands, as I listen to their stories amid the crackle and spit of the flames.

It’s dark inside, the only light emanates from the doorway, the stained-glass windows at the gabled end and the fire itself, which, as long as a trough accommodates us all comfortably. It is easy to see why homesteads were constructed in this manner, with the room arranged around this central channel, creating such a practical socialising space. And it is just as easy imagining yourself in that bygone time, thanks to the many convincing details: the unlevelled render over the wattle and daub, the intricate wood carvings based on a ninth century original.

This recreation of the Saxon longhouse, part of the Avalon Marshes Landscape Partnership Project, is one of the initiatives brought to life by enthusiastic volunteers learning a range of heritage crafts. They are just some of the people I have been meeting as part of my role assisting Dr Adriana Ford with her Community Voice Method, a participatory approach examining the relationships people have with their local wetlands. Thus far, I have been fortunate to meet a whole host of people keen to talk about their experience of the Levels, from reserve managers and volunteer conservationists to local historians and environmental bloggers.

Being part of the WetlandLIFE team in an artistic capacity, I am interested in local storytelling traditions, customs and folklore and am engaging with this material to produce new narratives for the wetlands in writing both fiction and non-fiction. My creative approach usually involves plumbing the depths of the archives but in working with Adriana I have also had access to a wide range of people, keen to talk about their experiences and to share stories belonging to the wetland’s past. As a folklore enthusiast, this makes for rich pickings, with traditions such as the wassailing of the apple harvest still enduring, along with memories of reballing – the fishing of eels with a knot of worms – and even tales told of a large wild cat stalking the moors.

In turn, Adriana and myself – and the WetlandLIFE team more broadly – have been engaging with theoretical approaches to storytelling, thinking about how the narratives we tell undoubtedly contribute to the cultural identity of a place and sometimes function to preserve particular environments, often due to the sentimental associations they generate. Adriana’s interview process includes an exploration of oral histories, but through working together, now contains questions related to literature and discourse; of the stories that wetland-users consume as well as the ones they tell.

I think that this kind of relationship offers a fresh perspective and approach, a different way of interpreting and giving voice. It certainly strikes me, sitting at the fireside, that it would have been in a hall very much like this one, throughout the long bleak nights, that people would have gathered together and told stories. Orbiting the fire, fictions would have been created, memories and experiences shared. It is this spirit of exchange that resonates through WetlandLIFE, of ideas kindled by thinking together, of stories unearthed by collective exploration and of taking turns to stoke the flames.


Victoria Leslie is writer and folklorist, author of a short story collection, Skein and Bone, and a novel, Bodies of Water. Her fiction has accrued a number of awards and nominations and she has been awarded fellowships for her writing at Hawthornden in Scotland and the Saari Institute in Finland, where she researching Nordic water myths. Her non-fiction has appeared in History Today, The Victorianist and Gramarye.

Tim Acott and Dave Edwards #art4wetlands, a disciplinary dance

October 24, 2018
Woodland Wetland

Photo Courtesy of Frances Hawkes

As part of the Ramsar Culture Network/ecoartscotland #art4wetlands story Tim Acott (Principal Investigator for WetlandLIFE) and David Edwards (Forest Research) here unpack their thinking behind involving artists in the WetlandLIFE project (part of the Natural Environment Research Council‘s Valuing Nature Programme). WetlandLIFE is focused on managing mosquitoes and the socio-economic value of wetlands for wellbeing.

On Sunday 28th October (18.15 in Room 7) the WetlandLIFE team will host a side event at the Ramsar Intergovernmental Convention on Wetlands13th COP in Dubai. The event focuses on ‘Sense of Place & Wellbeing in Wetlands: Using Film & the Arts to achieve SDG3’.

We’ll be posting pieces by the artists over the coming days.


Wetlands are ever-changing and dynamic, as water makes its presence felt through its association with a myriad of entities – plants, animals, humans, technology, legislation, economy and climate – all acting in diverse ways to co-create (mostly) watery places, both in reality and in our minds. For some, wetlands are bountiful lively precious places, to be celebrated and protected. For others, they are wastelands, disease ridden swamps that should be improved; ‘remove the water, build a dyke, drain the land’, might run the call, ‘we don’t want our landscape to be a mosquito infested swamp’ interjects another. From liminal locations in coasts and estuaries to the urban heartland of our cities and towns, places with too much water to be land, and too little water to be a lake, can be received with mixed emotions.

Photo courtesy of Tim Acott

Places are constituted through competing ideas and practices: the physical reality of the wetland is shaped by both the mechanical digger and the imagination. In the UK policy makers view the environment through the idea of ecosystem services. Here nature is reconfigured through the dominant perspectives of natural science, social science and economics to help decision makers ‘capture’ the value of the landscape. However, this approach can reinforce a utilitarian attitude towards nature that the arts can reframe or challenge, at times with unpredictable and potentially transformative effects.

With a particular focus on mosquitoes, WetlandLIFE (a three year interdisciplinary project funded by the UK Research Councils through the Valuing Nature Programme) explores how new knowledge about the values of wetlands can be used to inform their use and management. However, arriving at an understanding of wetland values is a fraught task. Competing epistemologies seek to provide authoritative accounts of value, but the competition is not on an even playing field. Scientific perspectives hold a dominant position, with even the qualitative social sciences, and especially the arts and humanities, having to argue hard for their case to be heard. Yet, in evoking science and economics as the privileged arbitrators of value – and of the frameworks through which values are understood – to what extent are other voices being closed out of the conversation? Is not one of the most insidious forms of power to control the rules by which debates, and hence decisions, are framed?

WetlandLIFE has sought to widen the lens through which we consider the value of wetlands and challenge the broader assumptions which shape and constrain land-use decisions. Listening to multiple voices is helping the project to engage with wetlands in a deep, critical and imaginative way. Two artists, Helmut Lemke, Kerry Morrison, and a fiction writer, Victoria Leslie, have been recruited to help the project team navigate the boundary of value elicitation and value creation. Working alongside local communities, economists, entomologists, human geographers, historians and environmental social scientists, they were invited to help shape the narrative around wetlands and mosquitoes. Within the project a position of epistemological equality is being adopted, whereby the contributions of all team members are being combined to co-create a place based narrative of wetland and mosquito values.

As the project progresses towards its final year it is becoming clear that artists are having a major contribution by helping to trace and create relational associations that underpin a tapestry of meanings and values. For instance, a walking poem by Helmut, capturing the feeling of being out on the marshes, creates an almost tangible sense of place, revealing something not normally expressed about relations between disparate entities such as wind, sheep, birds, mosquitoes, pylons, ships and other actors beyond the immediate wetland. Such a document can be a seed around which narratives are formed and coalesce. Another example is how Victoria is writing new stories about wetlands and helping the team to explore how narratology can develop reflections on discourses around science and arts. Is there science in art and art in science that could help shape what we are producing and how we judge outcomes? In a creative exchange of ideas, as the team members reflect on their individual roles in contributing to emergent wetland narratives, artists are spending time in science laboratories and scientists are picking up paintbrushes and pens to reflect on their practices.

Photo courtesy of Tim Acott

In conclusion, in WetlandLIFE the project team has sought to create an open and dynamic partnership between natural science, social science, economics, the arts and humanities. The result is an attempt to demonstrate how disciplinary boundaries can be overcome to develop a holistic interdisciplinary narrative of wetland values that does not give authority to one voice but critically engages with dominant narratives about the value of nature and helps celebrate the wonder that is our wetland habitat in all its diverse forms.


Tim Acott is Reader in Human Geography in the Department of History, Politics & Social Sciences at the University of Greenwich. His research is increasingly concerned with ways to understand the social and cultural value of ecosystems through concepts including sense of place, cultural ecosystem services and wellbeing, adopting arts and social science based approaches. He is the Director of the Greenwich Maritime Centre and is Principal Investigator on the WetlandLIFE project.

David Edwards is Programme Manager and Senior Social Scientist in the Social & Economic Research Group at Forest Research. David leads initiatives to understand and enhance interdisciplinary working, knowledge exchange and research impact across the environmental sector. He has a particular interest in the role of the arts and humanities in transformative learning and the co-production of knowledge.

Land Art Generator Initiative: Glasgow

December 1, 2015

Excerpts from a recent Land Art Generator Initiative (LAGI) blog,

We believe that there is no better tool for creating a tipping point to strong climate action and 100% renewable energy infrastructure than to present a positive vision to the public of what that could look like and the residual benefits that such policies would bring to cities. The opportunity to bring new energy technologies into city planning and creative placemaking projects is at the heart of LAGI. As a part of the design and implementation of constructed works, LAGI educational programming provides the perfect platform for extensive community engagement and participatory design processes, leading to infrastructures that benefit the greatest number of people. LAGI Glasgow is proving to be the perfect example of this ideal delivery model.

In early 2013, we received an email from Chris Fremantle, producer, researcher, and founder of ecoartscotland. Following on conversations he had as a part of Creative Carbon Scotland’s Green Teas(e) — part of the European Green Arts Lab Alliance project, Chris wanted to know what it would take to bring LAGI to Scotland in 2015. From the start he was interested in customizing the planning of LAGI Glasgow to reflect the complexities of the debate around renewables and their relationship to key environments in Scotland. The success of renewable energy implementation there since the early 2000′s has figured heavily into land use and conservation discussions and has been extremely relevant to the independence debate.

Continue reading here

Elizabeth Monoian and Robert Ferry, LAGI Directors, spoke at the first ArtCOP Scotland event in Edinburgh, hosted by Creative Carbon Scotland.  Read Creative Carbon Scotland’s blog here.


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