• SCANZ 2015: water*peace

    SCANZ2015 Water and peace are two essential components to life and sustainability. Science today is providing overwhelming evidence of the interconnection of humans to the environment and other species, just as indigenous peoples have always known them to be. The themes of water and peace underline Intercreate's commitment to the environment, culture and interdisciplinary approachesSee more »

Pattern Recognition – Vicki Smith and Aroha Timoti-Coxon

Project Proposal

Tukutuku panels between the poupou in many wharenui are a beautiful series of patterns, the holders of memory and complementary to the story told in the kowhaiwhai, and whakairo that also decorate the walls and roof. They are complex patterns of single or crossed stitches that reveal their information to those who can look beyond the seemingly random pattern.

A black-and-white photograph of two unidentified Māori women working on tukutuku panels (woven panels) inside Rangiātea, the Anglican church at Ōtaki on the lower west coast of the North Island of New Zealand taken by Walter R Oliver around 1947 and its negative measures 5 cm x 7 cm. Accessed from TePapa Image Collection.

QR or Quick Response codes are also holders of information to the discerning viewer or those who have the technology to unlock the code embedded in the pattern of squares. This can be a scanner or reader usually on a late generation mobile phone or tablet.

This project proposes to take the craft of tukutuku and to create panels that are accessible via QR readers to be installed around the city. The first stage would be to explore the tukutuku panels of the Owae marae to hear their stories and to understand how these are told. Through researching the meaning and gaining an understanding of patterns and themes used locally it is hoped the memories are shared as well the objectives for the iwi, and the environment around them.

The information gathered will then be situated online and a QR code created to access this, referencing the world wide web as the biggest repository of ‘woven information’ [Tukutuku-Ao-Whanui].

The final stage of the project will be the creation and installation of the QR/Tukutuku within the city and environment of Taranaki. The act of creation of the work in public space will serve to engage the local community in conversation about issues of environmental impact locally and to seek to build connections with the future and creative solutions.

The artist would prefer to work through this process alongside manu whenua of Mankorihi pa and as a workshop with local youth. Ideally exploring the possibility of creating the QR codes with enough coding information but also flexible enough to emulate in some manner the patterns of environment or environmental dislocation they refer to.

For more information please see: Pattern Recognition Project Page

 

Vicki Smith is an interdisciplinary artist, educator, digital storyteller and community agent using a range of creative tools. She is one of a global collective of artists who began performing through networked environments in the last millenia and is co-creator of UpStage (a realtime online performance environment) that is ‘made in NZ’ and internationally acknowledged especially through the annual festivals she co-curates.

Vicki is an observer, explorer and navigator siting one of her current works on an 11 metre sailing vessel – Kiritea. She has always been interested in how digital spaces can be site and tools for exploring traditional technologies. Through her online activities, she is part of an arts and education community that is global.

Aroha Timoti-Coxon is a weaver who currently lives in Hokitika, she is Ngai Tahu (Te Runaka o Makaawhio). In 2004 Aroha spent two months working on the Tukutuku panels at Te Tauraka Waka a Maui. She has taught at most of the local schools (including the ICARUS project Raraka Wanaka). Aroha has also taught Tuahiwi Marae, and wanaka with high school rangatahi over the christmas holidays 2008 – 2009. Aroha has taught at staff at Department of Conservation as well as the Driftwood and Sands Symposia. Vicki and Aroha have worked on several projects together since first meeting at a Raraka Wanaka (Weaving workshop) that Aroha ran through Karoro Learning in 2008.

 

 

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Internet Error Messages – Darko Fritz

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An on-going series of works / projects of different nature, each making use of texts of internet error messages, i.e. Web Server Result (HTML Error) Codes / HTML Error Codes / WWW Error Messages / HTTP Status Messages. Installed using plants and materials commonly used locally in municipal or other official plantings of the area.

 

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Gather – Kate Genevieve and David Montgomery

Project Proposal

This work will emerge out of a conversation between interested members of the Maori community and artists, Kate Genevieve and David Montgomery, and consider how members of this community situate themselves in the second decade of the 21st Century.  Kate will bring to this conversation her research into experiments devised within contemporary neuroscience to explore the neural bases of time perception.  The resultant installation will explore Maori notions through technology associated with contemporary neuroscience’s explorations.

Gather – proposal image

Through Gather they intend to explore marginalised traditional ways of experiencing time as opposed to the West’s clock time, using the engaged bodily experience of participants.   The immersive environment seeks to manipulate participant’s experience of subjective time by using animated visuals and soundscapes that respond to the audience’s real-time heart beat in the space.  Through combining bio-sensor technology with multi-sensory and haptic exploration of the botanical gardens, the intention is to destablise the body’s normal experience of time and its sense of being separate from the environment.

The film footage will incorporate patterns from the plant life of the site and, drawing upon David Montgomery’s expertise as an experimental film maker working with natural specimens, create experimental animation from the Park’s vegetation.  The visuals will incorporate leaves and plants from the Botanical Gardens, and draw on local knowledge of the gardens and the different plant species from across the globe that thrive together.

 

Background

As Artist in Residence at the Sackler Centre for Consciousness Science at the University of Sussex, UK, Kate Genevieve has been collaborating with scientists investigating consciousness and the subjective feelings of presence and embodiment, and researching the methodologies and technologies science is using to approach subjectivity.  Her work within the centre has used immersive visuals as a means of investigating presence through the bodily experience of participants, often incorporating particular experiments into narrative performances.  An example of this is the interactive performance, NO PLACE, a walking meditation on presence within constructed environments that extended and pushed at the techniques of the “rubber-hand illusion”.

Recently Kate has been working with pulse-sensor technology to respond to the Centre’s work on how increased interoceptive awareness correlates with heightened feelings of presence.  This work led her into a particular interest in considering how bodily experience effects temporal experience.  With reference to experiments probing the neural correlates of time perception, as found in the research of neuroscientists Patrick Haggard and David Eagleman, Kate is now beginning to explore heart-beat responsive immersive environments to explore how heart beat feedback effects time perception.

The Gardens interestingly represent one instance of the blending of indigenous New Zealand culture and British culture, both in its history and its botanical life.  Gather seeks to respond to this site through incorporating the plant life of the Botanical Gardens into the visual experience.  Experimental film maker David Montgomery developed an animation technique using found objects, such as flowers, leaves, shells, and seed pods, while studying Digital Arts and Sciences at the University of Florida.  As Artist in Residence at the Exploratorium he created animated loops from the flowers of the Pohutukawa tree and conducted initial research which he will develop through Gather into the links between particular flowers and trees and Maori folktales.

 

Aims

Whilst contemporary western brain science and philosophy is key to Gather, the aim of this art practice is to widen out neuroscience research from its focus on standard western experiences of time and subjectivity.  Their attempt is to take neuroscience research into the world, into places not represented within science studies: outposts, islands, places and communities distant from the lab and the FMRI machine.   We hope that this effort towards cross-cultural and cross-disciplinary dialogue might suggest directions for returning science, as Merleau-Ponty puts it, “to the site, the soil of the sensible and opened world such as it is in our life and for our body…”[Eye and Mind].

Gather will be installed within the Pukekura Park Bandstand, a constructed and symbolic site that represents the spread of a Victorian mode of formalising and containing nature and experience. Installing Gather within the bandstand, that curiously British ornamental construction scattered round the globe in the Victorian era, involves a serious attempt to broaden and perhaps undo a production focussed, urban, industrial understanding of time and space that the bandstand signifies.

Exhausted by identity politics that lead to fixed binaries – western/non-western, art/science, male/female, technology/nature – their working processes seek out common ground.  This work is born from and results in communication and collaboration and will use digital technologies to create multi-sensory experiences that facilitate and suggest alternative (rather than new) ways of being in spaces.  The exact set up of the performance must emerge out of specific meetings, conversations and exchanges between groups of people and sites during the residency.

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Brickets – Pierre Proske and Damian Stewart

Project Proposal

The outcome of this project is to sonify environmental data through a series of small solar powered audio-visual devices. Each device will be roughly the shape and size of a brick, hence their name – Brickets.

The devices collectively create an ecology of cricket-like sounds in a outdoor setting. Each Bricket  contains an electronic circuit that produces digitally generated chirps that resemble the sounds made by crickets or frogs. Each device also contains a series of LED lights that glow every time the device produces a chirp.

The devices are also capable of listening to their environment, communicating among themselves and receiving information every time another device chirps. The regularity of the chirping depends on the time of day (they become active at dusk) and the responses of the neighbouring Brickets. Different devices will tend to couple more strongly with their neighbours, producing pockets of synchrony as the population of Brickets moves between chaos and a common period of calling.

When a Bricket generates a sound, a ring of LEDs light up in sequence on the device’s face, visualising the duration of the playback of the chirp. While active, the Brickets have an interactive component as passing pedestrians will be able to influence the rhythm of the chirping by standing over the bricks or waving a limb over them. Brickets charge up their batteries using their in-built solar panel during the daylight hours, and then expend the energy as sound and light during the night.

One presentation opportunity for the Brickets would be to connect them to the daily water consumption of a building or area. Recent improvements in water and power data collection and measurement could enable this.  Just as frogs call after prolonged rain, so too would the Brickets sing if the building’s water use fell below a daily threshold. The devices would begin to call after dusk, and would serve as positive reinforcement to encourage thrifty water usage.

Brickets – proposal image

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Allan Giddy at SCANZ

Use of a flash to take the above photo obscures the fact the image was taken at night in Pukekura Park. While simple the work was entirely engaging in it's location.

Use of a flash to take the above photo obscures the fact the image was taken at night in Pukekura Park. While simple the work was entirely engaging in it’s location.

Alternative energy pioneer Allan Giddy exhibited two works at SCANZ 2015:water*peace. The first, shown above was a projection of the work Night swimmer onto a small stream in Pukekura Park.

Giddy has described the project as follows: “a Sisyphean swimmer toils relentlessly against the current. His single stroke, trapped in an endless glitch of video, pulls a moment into a string of moments, into a night of moments. This capsule of time, his personal bubble of nowness, ends only with each sunrise.”

The installation on the foreshore attracted much comment from passersby.

The installation on the foreshore attracted much comment from passersby.

The artist also presented a work on New Plymouth’s foreshore, called England Expects … (Aotearoa) 2014-15. This project is solar powered, and uses three mics on the tips of fishing lines – which turns them into aeolian harps (which are blown by the wind). The audio created is mixed with the UK weather forecast, and a recorded response by violinist Alison Blunt of the London Improvisers Orchestra.

A special implementation of the project at SCANZ involved waiata sung by Jo Tito, connecting the specific location to the British influences in the work.

As Giddy said “this work contains elements of past (violin), present (waiata and aeolian fishing lines) and future (shipping forecast).

The musical composition was intended to bind the two less predictable sonic inputs, while the fishing lines anchored the ‘tone’ of the work in real time. The sonic output varied over time as the lines responded to tide height and wind strength, whilst a hint of things to come will be ever present in the shipping forecast. The system was powered by the sun, while the waiata from the land responds to the imposition of this British installation.”

Matt Saunders mixed the prerecorded audio.

About Allan Giddy

This work continues Giddy’s practice of creating ‘active’ public installations that respond directly to the environment.

Allan’s pioneering use of alternative energy systems and light in ‘time-based sculpture’ began in 1992. Over time his practice has expanded into the public domain, specifically public sited ‘active sculpture,’ aimed at the reinvigoration of public spaces.

He is one of Australia’s foremost proponents of sustainable energy systems, electronic interconnectivity and interactivity embedded in physical art objects.

His work has been shown at the Tate Modern, in ISEA and TISEA (International Symposia on Electronic Art), and numerous other venues internationally, from Canada and Finland to Greece, Vietnam and Bulgaria. In recent years he has completed a number of large public commissions, in Australia, China, Ireland, and Germany.

In addition Allan also directed and co-curated energy-in-art exhibitions at UNSW’s Solar Research Centre (SOLARCH), Little Bay, Sydney in 1999 and 2002, Australia’s first solar art exhibition “Desert Equinox” in 2012, and La Lune (energy in art) on Sydneys North Shore.

Giddy currently directs the Environmental Research Initiative for Art (ERIA) COFA University New South Wales.

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Warrior Mountain of Peace

The video by Inahaa Te Urutahi Waikerepuru was one of four played as part of the night time projections in Pukekura Park on Friday 30th January 2015 during SCANZ2015. The video was projected directly on to natural bush that borders the park.

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Night projection project information

A still from the montage by Inahaa Te Urutahi Waikerepuru

A still from the montage by Inahaa Te Urutahi Waikerepuru


Following are in depth descriptions of the works to be presented on the first night of SCANZ 2015 International Celebration of Water and Peace. On Friday 30th January between 9pm and 11pm, the artist will present their work. Additional projects will also be presented on the evening. The core group exhibiting and their projects as described by them are below.

 
Jo Tito
Project Peace Mandala

This work has been created from photographic images of nature. Mandala is a Sanskrit word for circle, it is a symbol that has resonated with me all my life and in my journey as an artist.

Each mandala is a part of the universe and so the images move in and out just as water flows within us and outside of us… healing…

These creations are about me the artist creating peace within, and for you the audience who will receive it and respond to it.

 
Inahaa Te Urutahi Waikerepuru
Warrior Mountain of Peace

This montage is based on the birth of our landscape of Aotearoa and the greatest love story ever told that abides deep within the caverns and crevasses of Papa-tu-a-nuku. However, when the blustering south wind blows…. sometimes can be heard the soulful mourning of Pukehaupapa (Mt Taranaki) the Warrior Mountain of Peace as he laments the loss of his beloved Pihanga (the beautiful maiden mountain) to his brother Tongariro. Other Warrior Mountains involved in this story include Ruapehu, Tarawera and Ngauruhoe who fought Tongariro for the love of Pihanga. The Guide Stone Rauhoto Tapairu beloved companion to Pihanga was sent by her to guide Pukehaupapa safely west to a new homeland. Pukehaupapa as a gesture of peace and honour retreated from his homeland so as to restore peace, harmony, balance and equilibrium back into the family following the discovery by Tongariro of his declaration of love for Pihanga.

To this day Tongariro cries tears into the Wanganui River for his brother Pukehaupapa and likewise Pukehaupapa yearns to return to his whānau (family) and his beloved Pihanga once again.

 
Allan Giddy
Night swimmer

A Sisyphean swimmer toils relentlessly against the current. His single stroke, trapped in an endless glitch of video, pulls a moment into a string of moments, into a night of moments. This capsule of time, a personal bubble of nowness, ends only with each sunrise.

 
Visual Artist: Claire Brunet
Sound Design: Susan Frykberg
Convergence

Convergence is an interactive night time projection artwork in which artists Claire Brunet and Susan Frykberg investigate the concept of water and its sustainability through the convergence between 3D digital objects and recording of sound of waters and electronic voices. The work explores our interaction with the natural environment through the digitalization of forms imported into a computerized spatial context and layered inside a software interface allowing visual or auditory modalities to converge. The artists’ mode of enquiry intersects art, nature, sound and technology through a dialogue between a digital medium moving forms and sound into code and ecological perspectives.

This project proposes new ways of looking, listening, imagining and expressing past, present and future perceptions and interactions with the world in which we live. As a result, the artwork aims to provoke an awareness of human’s impact on the state of our water and its ecology and on the ways in which our relationship with water impacts on the future condition of the natural environment.

When the audience experiences the artwork, the viewer/listener faces a choice as an individual taking part in society, to decide between “being conscientious” [gewissenhaft] or “not being conscientious” [gewissenlos][1], of human’s impact on the state of our relationship with water and its ecology.

[1] Heidegger, M. (2011). The Concept of Time The First Draft of Being and Time. (Ingo Farin, & Skinner. A. Trans.). London: Continium International Publishing Group.

* In Heidegger’s concept of time, we quote: “On the other hand, what has been lost, i.e. what has disappeared from what is currently available, what failed and therefore could not be forced into the present . . . To be ‘unable to get over’ . . . ‘a loss’ means: to wish for a thing’s ongoing availability in the present. When one is anxious, the concern as such remains within the realm of one’s care [sorge], in other words of being-in, which is secured and reassured thanks to its ability to access what is available” (Heidegger, 2011, p. 54).

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Night Projections at SCANZ 2015

A still from the montage by Inahaa Te Urutahi Waikerepuru

A still from the montage by Inahaa Te Urutahi Waikerepuru


Four artists will present video projects at night in Pukekura Park, starting 9pm on Friday 30th January on the Boat Shed Lawn. The evening runs until 11pm. The evening commences the SCANZ 2015 International Celebration of Water and Peace, with events starting at the Huatoki Plaza on Saturday 31st of January and Sunday 1st February starting at 11am and running till 4pm.

The night projection artists are:

Inahaa Te Urutahi Waikerepuru
Warrior Mountain of Peace
This montage is based on the birth of our landscape of Aotearoa and the greatest love story ever told, that abides deep within the caverns and crevasses of Papa-tu-a-nuku.

Jo Tito
Project Peace Mandala
This work has been created from photographic images of nature. Mandala is a Sanskrit word for circle, it is a symbol that has resonated with me all my life and in my journey as an artist.

Claire Brunet
Susan Fryberg
Convergence
This work is an interactive night time projection in which the concept of water and its sustainability is investigated, through a convergence of 3D digital objects with recordings of water and voices.

Allan Giddy
Night swimmer
A Sisyphean swimmer toils relentlessly against the current. His single stroke, trapped in an endless glitch of video, pulls a moment into a string of moments, into a night of moments.

For longer project descriptions by the artists read more here.

Additional works created by SCANZ participants will also be viewable on the night.

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Two Nunavut artists to take part in SCANZ water and peace

Tungilik challenges views on Inuit art - the work above, selected for the Venice Biennale, is a poignantly comic take on the territory’s addictions - gambling, smoking and drinking

Tungilik challenges views on Inuit art – the work above, selected for the Venice Biennale, is a poignantly comic take on the territory’s addictions—gambling, smoking and drinking

Intercreate.org, Te Matahiapo Indigenous Research Organisation, Creative New Zealand and the Western Institute of Technology at Taranki are honoured to host two Nunavut (Canadian Inuit) artists to the SCANZ residency: Jesse Tungilik and Stacey Aglok MacDonald. They will attend the SCANZ2015:water*peace international celebration of water and peace in Nga Motu New Plymouth from January 17th to February 1st. Both embrace the difficult and complex questions of what identity means in current society.

The Nunavut Territory is the newest territory in Cananda, and one of the largest and least populated regions in North America and Europe. Nunavut have lived there for at least 4000 years. The land claims agreement with the government of 1992 was ratified by 85% of Nanavut and the territory officially established in 1999.

Both artists will have work on show on the final weekend of SCANZ, Saturday 31st and Sunday 1st February in Huatoki Plaza and Puke Ariki landing. Aglok MacDonald’s video work will be projected under the road at the sea end of Puke Ariki landing, and the site for work by Jesse Tungilik will be revealed on the day.

Jesse Tungilik is a Pangnirtung, Nunavut-based bench jeweler and contemporary Inuit artist who grew up in several different communities in Nunavut and the North West Territories. His first foray into the Inuit art world was when he was just eight years old working after school at the Matchbox Ceramics Gallery in Rankin Inlet, and had his first show a year later at a bank lobby in Yellowknife, NWT.

He then took a hiatus from art to pursue education and his other passions such as travel and environmental and cultural advocacy. These passions brought him far and wide from the vast ice fields of Antarctica, to the Moai of Easter Island to the Steppes of Mongolia. He has worked extensively with indigenous people’s organizations both professionally through positions with the national Inuit organization Inuit Tapiriit Kanatami, the National Inuit Youth Council, the Arctic Council Indigenous Peoples Secretariat, and personally; participating in Indigenous youth exchanges in Norway and Finland.

Jesse rekindled his love of creating art in his mid-20s working at the Aayuraa Jewelry Studio in Iqaluit where he was mentored by master artist Mathew Nuqingaq. Jesse has drawn inspiration from his many adventures and encounters with indigenous peoples from around the world to create art that reflected his experiences. He has strived to push the boundaries of his creative practice by experimenting with many different art forms and media. In addition to the jewelry that he makes primarily out of silver, ivory, baleen and muskox horn, he has painted public murals, made mixed media sculptures, created political assemblage pieces, dabbled in charcoal and oil pastel portraiture, and has written short fiction stories.

His work has been exhibited at Nunavut Arts and Crafts Association Art Festivals in Iqaluit, Nunavut and at the Great Northern Arts Festival in Inuvik, NWT and has also been featured in publications such as Up Here Magazine and Northern Public Affairs Magazine. Currently, his focus has shifted to arts administration working for the Government of Nunavut Department of Economic Development & Transportation as Intern Manager of Cultural Industries.

This is a production still from 'Throat Voices' produced by Stacey Aglok MacDonald, which addressed complex issues of culture and identity, embracing Nunavut identity and including issues that are pertinent to New Zealand - youth suicide for one

This is a production still from ‘Throat Voices’ produced by Stacey Aglok MacDonald, which addressed complex issues of culture and identity, embracing Nunavut identity and including issues that are pertinent to New Zealand – youth suicide for one

Stacey Aglok MacDonald is originally from Kugluktuk, a small community in western Nunavut. She first became involved in filmmaking in 2004 as a production assistant and character on the documentary series Staking The Claim: Dreams, Democracy and Canadian Inuit, which is now used as educational curriculum in high schools across the Nunavut territory.

Other projects that she has led have included training youth in over 20 communities across Arctic Canada in film production and editing, and producing workshops for youth on Acting and Performance as well as Inuvialuit Drum Dancing.

In 2012, Stacey won a Canadian Screen Award for Best Short Drama for her 17-minute live-action film Throat Song. She has produced a number of music videos in collaboration with other Nunavut-based filmmakers and musicians including The Jerry Cans and The Trade Offs. Today she is producing and directing two Inuktitut television series which are broadcast on the Aboriginal Peoples Television Network, one of which is a popular youth-oriented television show called Qanurli? and the other is a call-in talk show called Qanuq Isumavit.

She has a feature film in development and plans on writing and directing a new short film in the coming year. Stacey currently resides in Iqaluit, Nunavut with her 6 year old daughter.

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Interview with Jo Tito, Jesse Tungilik, Stacey Aglok MacDonald and Nina Czegledy

Above is a link to the radio interview of Jo Tito, Jesse Tungilik, Stacey Aglok MacDonald and Nina Czegledy who were in Nga Motu New Plymouth attending Scanz 2015:water and peace.

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Calling kids and families

Min White of Quirky Creative is also a master of henna

Min White of Quirky Creative is also a master of henna

Intercreate.org and Quirky Creative are pleased to announce a suite of workshops themed on water and peace, as part of SCANZ2015 International Celebration of water and Peace. The workshops are for ages 5+ up to adults, and whole families are welcome. A week of workshops begins Monday 26th January and runs through to Friday 30th.

If you have an interest in mosaics, tie-dye Hippy peace culture, raindrop art, or tiny art projects to be abandoned and found, read on. Some of the outputs from the workshops will be on display in Huatoki Plaza on the 31st of January.

Quirky Creative – SCANZ 2015 Water and Peace Programme

Mon 26 Jan 1-4pm
Vessels: Mosaic baths for birds or bees, or mosaic glass water bottles
Kids will be making shallow mosaic dishes for birds, or for bees (bees need water too! And they adore blue things). Adults and older kids have the choice of starting a more intricate stained glass mosaic on a glass water bottle suitable for the dining table.

Tue 27 Jan 10am-1pm
Psychedelic Hippy Day: Tie-dye shirts with a peace message
Hippy philosophy is about more than the rainbow tie dye, but it is an eye-catching way to say something important. Make a shirt to wear at Saturday’s public gathering! BYO white cotton t-shirt. We will have fabric panels available if you can’t bring a t-shirt.

Wed 28 Jan 1-4pm
Raindrop Art: Glistening drops to display later at Huatoki Plaza
We’ll use several different art forms, including Zentangle, to create raindrops – take some home, donate some for Saturday’s display.

Fri 30 Jan 10am-1pm
Art Abandonment
: Tiny projects made to be abandoned and found
Stencilled rocks, bottlecap collages, woolly octopus, and some other surprises – abandoned art is made to be left somewhere around town, with a tag for the finder to let us know what they found and where.

Sat 31 Jan 11am-4pm
Visit the Quirky Kids space at the Huatoki Plaza

Workshops held at Creative Focus, Block C, WITT

Booking is essential due to limited spaces. For more info contact Quirky Creative.

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Water health with Kevin Archer and Chris Fowles of TRC

This is the programme for the activity led by Chris Fowles and Kevin Archer, as part of SCANZ 2015 International Celebration of Water and Peace in central New Plymouth on Saturday 31st January 2015.

11.00am -11.30am

· We will talk in general terms about Council monitoring of Taranaki rivers and streams and in particular the Huatoki Stream, focusing on the macroinvertebrates and how we use their presence or absence as an indicator of water quality.

· We will mention our school’s education programme from primary up to Y13 science programmes involving our use of SHMAK ( Stream Health Measurement and Assessment Kit).

· We will touch on how we also use water turbidity and temperature readings as other indicators.

· We will have on display several trays of water samples(containing invertebrates) that we have taken earlier in the morning from a site further upstream. We will have on hand appropriate identification sheets to help us come up with a ‘score’ for the water quality at that site.

11.30am-12.15pm – Practical session
For safety reasons we will not expect people to get into the stream but Chris and I will as we will be wearing waders. We will gather samples from the stream, put them into our large white trays and ask people to try and identify the invertebrates along the same lines as we did in the talk itself. Again we will have appropriate identification sheets on hand. We will also get some people to look along the turbidity tube to gauge the clarity of the water plus ask people to read the thermometers.

12.15pm -12.30pm – review of session and questions.

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Ruakere Hond talks about Parihaka values

Ruakere Hond is a kaumatua (elder) of Parihaka. In the recording below, he talks about the processes of welcoming, the monthly celebration of prophets of peace Te Whiti and Tohu, and tikanga (protocol) all of which expresses some of the values of the community. The recording is placed online primarily for SCANZ participants, but will be of interest to a more general audience. The recording is of an informal conversation rather than being an interview by a journalist.

Immediately prior to the recording being taken, it was agreed that the SCANZ artists would present some collective thoughts on peace, to the Parihaka community on the first evening of their overnight stay.

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Water, food and resources at SCANZ

lemon vernbena

Lemon verbena in October 2014 (left) and December (right). This kind of growth based on solar energy and water is one of the most outstanding characteristics of nature.

As SCANZ 2015 is about water and peace, we need to consider our resource usage. At this page on Waterfootprint.org, you can scroll though products to find the calculated water footprint of that product. The global average of water required for one cup of coffee is 132 litres of water. Clearly we need to work on this and related issues in regard to our diet.

At the same time, at SCANZ we are not interested in being policemen in regard to the environment and environmental issues. We just want people to think about their consumption and make adjustments. At Intercreate we are seeking a space where we can all connect in regard to the environment.

As organisers of the SCANZ residency, we are working on ways to reduce our water footprint. We usually supply tea, coffee beans and a coffee grinder because our largely artist group loves coffee. However, for 2015 water*peace we are considering not supplying coffee on Fridays, and only providing locally grown herbal tea: lemon verbena. This is because the best way to reduce water footprint is to consume locally grown products. The verbena will be fresh and available through the week, and we can also access a small amount of fresh bergamot, the herbal leaf form which is similar to the flavour of Earl Grey.

In addition, rather than purchasing the coffee solely on the basis of taste, we will be purchasing Fair Trade Organic. This is because we do want to support those growers in the Fair Trade scheme, who often are local people rather than multinational companies.

We are very lucky to be having WITT involved in the residency as we have negotiated being able to pick from the communal garden in return for watering and tending. Anyone who is picking or gardening will be asked to treat resources carefully, and to never pick an entire crop. We are also intent on getting food from local suppliers as much as possible.

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  • About Intercreate

    Intercreate.org facilitates projects in the areas of art,science, technology and indigenous knowledge. Our main project is SCANZ, a biennial event that includes a hui-symposium, a two week group residency and an exhibition. Other recent projects include exhibitions in Istanbul, Rio de Janeiro and Albuquerque. Creative New Zealand, Western Institute of Technology at Taranaki (WITT), the Govett-Brewster Art Gallery and Puke Ariki are project partners.