SCANZ2013:tomo whakaari

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Te Huirangi Waikerepuru at this mornings Tomo Whakaari. Beside him is Tengaruru Wineera. Terri Ripeka Crawford choreographed a special accompaniment to the traditional ceremony. Voices from all filled the morning air.

SCANZ2013:cyanobacteria

cyanobacteria

Live cyanobacteria cultured by artist-scientist Hideo Iwasaki is placed into specimen jars in preparation for exhibition

The image above shows preparation work for the 3rd nature exhibition in Puke Ariki. The cyanobacteria was cultured by artist-scientist Professor Hideo Iwasaki of Waseda University, Japan. Professor Iwasaki grows the cyanobacteria in a form derivative of humans, with a head, body, arms and legs.

The cyanobacteria are photosynthetic bacteria, and are ancestors to chloroplasts in plants. A chloroplast captures energy from the sun, and it is said that cyanobacteria helped to make Earth suitable for life. While on exhibition at Puke Ariki the cyanobacteria will be growing slowly, over a period of two months. Instead of the sun, the bacteria will photosynthesise with the light from an animation projected on to them from below.

The work of art and science raises several questions about the boundaries of life and our relationship to living plants. As Professor Iwasaki says: “They will be living at an interface which is hard to be called artificial or natural, drawing complicated patterns, and die.”

SCANZ2013: Geolocating

Nga Motu Marine Reserve society

Today’s workshop was held in the venue to be used at WITT for the wananga-symposium. Our guest were Mike Ure, Elise Smith and Anne Scott of the Nga Motu Marine Reserve Society. Mike is also part of the Ahu Ahu beach group.

Mike Ure

Mike Ure talked about Maori understanding of the local coastal area

Elise Smith spoke about the little blue penguin project. The society has been gathering data on the penguins, and placing it online using maps. The aim is for Maori knowledge and creative projects to be added to the same online map.

Elise Smith spoke about the little blue penguin project. The society has been gathering data on the penguins, and placing it online using maps. The aim is for Maori knowledge and creative projects to be added to the same online map.

Anne Scott

Anne Scott from the Marine Society discussing the aims of society projects. Thanks to Martin Drury for the images.

SCANZ 2013: harakeke-flax-raranga-weaving

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Photograph by Terri Ripeka Crawford

 

Today the residency theme was harakeke/raranga (flax/weaving). Jo Tito led the day with a local weaver. First up was harakeke gathering then some making. The image above was taken using a lens provided by Deborah Lawler-Dormer.

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Photo by Tracey Benson

Jo tito and Mako Jones, who led the day, gathering the harakeke. Part of the day involved hearing what harakeke means to Maori.

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Photo by Tracey Benson

 

Nigel Helyer and Darko Fritz at Puniho with woven works.

SCANZ2013: Parihaka

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SCANZ 3rd nature artists with members of the Parihaka community after we shared a meal. A memorable two days for all engaging with culture and korero about Peace and restoring positive relationship with the environment.

Receive SMS Online for Free: A Secure Gateway to Digital Privacy

In an era dominated by digital interactions, safeguarding personal information has become paramount. When it comes to online communication, the demand for personal phone numbers raises concerns about privacy and security. The solution? Receiving SMS online for free through temporary phone numbers, offering a shield between your private life and the digital realm. This article explores the dynamics of using temporary numbers, providing insights into their advantages and a step-by-step guide for seamless integration.

Navigating the Landscape of Temporary Numbers

Choosing to receive SMS online for free involves tapping into the realm of temporary or disposable phone numbers, aptly known as “burner” numbers. These serve as a protective barrier, ensuring that your primary contact details remain confidential. Selecting a reliable platform is the initial step in embracing this privacy-conscious approach. It’s crucial to opt for services with a proven track record, positive user reviews, and a variety of offerings catering to different needs and regions.

Once a reputable service is chosen, the process of obtaining a temporary number is user-friendly and straightforward. Users typically go through a quick registration process, providing minimal information. The platform then issues a temporary number that can be used for various online activities, safeguarding the user’s personal phone number from potential security threats.

The Step-by-Step Guide to Receiving SMS Online for Free

Understanding how to seamlessly integrate temporary numbers into your digital routine is essential for harnessing their full potential. Here’s a comprehensive guide to walk you through the process:

1. Choosing a Reputable Service

Start by researching and selecting a platform renowned for providing secure and reliable temporary phone numbers. Consider user reviews, the platform’s reputation, and the breadth of services offered. Ensure that the platform supports the specific regions or country codes relevant to your needs.

2. Obtaining a Temporary Number

The registration process is typically quick and hassle-free. After selecting a platform, proceed to register and obtain a temporary number. This number becomes a secure conduit for receiving SMS messages without exposing your primary phone number to potential risks.

3. Using the Temporary Number

Put the temporary number to use in scenarios where a phone number is required for verification or communication. Whether signing up for new accounts, authenticating your identity, or receiving one-time codes for secure access, the temporary number acts as a protective shield for your personal information.

4. Disposing of the Number

Once the purpose is served, it’s time to dispose of the temporary number. Reputable platforms offer options to deactivate or release the temporary number, ensuring it cannot be exploited for further communication. This step adds an extra layer of security, reinforcing the privacy aspects of using temporary numbers.

Advantages Galore: Why Opt for Temporary Numbers?

The decision to embrace temporary phone numbers for receiving SMS online for free brings forth a plethora of advantages, making it a compelling choice for privacy-conscious individuals navigating the digital landscape.

1. Privacy Protection at Its Core

At the heart of utilizing temporary numbers lies the advantage of enhanced privacy. By substituting your primary phone number with a temporary one, you proactively shield your personal contact information, mitigating the risk of privacy infringements.

2. Fortified Security Measures

Temporary numbers contribute to heightened security, especially in scenarios where multi-factor authentication or identity verification is paramount. The temporary nature of these numbers reduces the risk of unauthorized access to your accounts, ensuring a secure digital experience.

3. Unmatched Flexibility and Convenience

Flexibility is a key feature of temporary phone numbers, allowing users to engage with online platforms without the need to disclose permanent contact details. This flexibility proves especially convenient when exploring new services or testing platforms without committing to a long-term association.

4. Say Goodbye to Unwanted Communication

Leveraging disposable numbers grants users freedom from the annoyance of unwanted communication, such as telemarketing calls or spam messages. Once the temporary number has fulfilled its purpose, it can be effortlessly discarded, putting an end to any further communication through that channel.

In conclusion, the strategy of receiving SMS online for free through temporary phone numbers stands as a pragmatic and privacy-centric approach to digital interactions. As technology evolves, integrating such solutions into our online practices becomes essential for maintaining control over personal information while enjoying the conveniences of the digital world.

SCANZ2013: skype bridge

This special session of 3rd nature involves six presentations from Europe.  It occurs on Friday, February 1, 2013 8-9 pm, from Belgium, Germany, Spain and Austria and simultaneously Saturday, February 2, 2013, 8-9 am in Taranaki, Aotearoa New Zealand. This session occurs immediately after the Tomo Whakaari (Dawn Opening) for the 3rd nature exhibition has completed.

Authors

  1. Maja Kuzmanovich
  2. Verena Kuni
  3. Lorena Lozano
  4. Reni Hofmuller
  5. Annemie Maes
  6. Lenka Dolanova and Michal Kindernay

 

Vegetal culture

Maja Kuzmanovich, Brussels, Belgium
http://fo.am/search/?term=vegetal+culture

Abstract

At the epicenter of culture, gardening and technology we might be able to see how plants can become organisational principles for human society in the turbulent times of the 21st century. Although we have to scavenge the fringes of contemporary society, we can observe many healing effects that humans can have on their surroundings through a symbiotic collaboration with plants. People offer a helping hand to a struggling habitat through “natural farming” (Fukuoka 1990). Others design whole lifecycle systems inspired by natural processes, based on the art and science of bio-mimicry. However, on a systemic level, we still don’t know how to overhaul wasteful human behaviors en masse. How do we encourage a more resilient culture, so that humans and non-humans can continue living, preferably together? How do we stimulate a fertile entanglement of culture, gardening and technology that can give the rise to diverse and holistic communities of practice? Communities, are capable of forging symbiotic relationships between postindustrial human societies and the rest of the earth. Composting bitterness to grow beauty.

Maja photo

Bio

Maja is a generalist, with a background in Design Forecasting and Interactive Media. Maja is the founder, principal invigorator and chef de cuisine of FoAM. Prior to FoAM, she experimented with MR & VR in research institutes across Europe (GMD, CWI, Starlab), lectured (HKU), as well as collaborated with technological arts collectives such as Post World Industries and Pips:Lab. Her particular approach to people & technology has been recognized by the MIT’s Technology review & the World Economic Forum, awarding her the titles of Top 100 Young Innovator (1999) & Young Global Leader (2006). Her current interests span alternate reality storytelling, pata-botany, resilience, speculative culture and techno-social aspects of food & food systems.

 

Electro-Culture Revisited

Verena Kuni, Frankfurt, Germany
www.kuniver.se
www.under-construction.cc
www.gunst.info

Abstract

If technologies have always formed and informed our attitudes towards and relationships with nature, this is also true for the way we’re commuting and communicating the latter. But what does this mean exactly when looking at “human-plant relationships in the electronic circuit” – and at (DIY-) experiments with electricity, electronic media and network technologies in gardening and agriculture?

Verena Kuni photo

Bio

Verena Kuni is scholar in the field of history and theory of art and media cultures and professor for Visual Culture at Goethe University, Frankfurt Main. Since 1996 she is lecturing, researching and teaching at universities and art academies in Europe and beyond. From 1995 to 1999, she co-curated the video section of Kasseler Dokumentarfilm and Video Festival, where since 1999 she is director of the yearly interfiction summit for art, media, and network cultures. Her research is dedicated a. o. to transfers between material and media cultures; media of imagination and technologies of transformation; alternate realities; urban biotopes; DIY and prosumer cultures; games, play and toys as tools. She has published widely (print & online) on contemporary arts & media, their histories and futures. Since 1997, she also runs her own radio shows.

 

Econodos, a laboratory in the open fields

Lorena Lozano, Gijon, Spain
http://www.laboralcentrodearte.org/en/recursos/personas/lorena-lozano

Abstract

Econodos (a laboratory in the open fields) is an open platform for creators, artists and designers working on art and nature relationships. It is a knowledge exchange network that tries to visualize new ways of dialogue with the biosphere and to develop eco-technologies. In an inter-disciplinary and multi-technique way, it integrates design, architecture, biology, music and informatics. It works in the field of communication, social mediation, research, documentation and creation, developing collaborative activities (workshops, exhibitions, artistic interventions, social participation dynamics and public spaces-debates). The nodes operate as a knowledge-net, focused on the ecological, social and technological challenges that today’s society is faced with, while being anchored in three ecological registers –environment, social relations, human subjectivity. Projects developed are based upon new paradigms of the relationship between humans and nature, the increasing importance of urban agriculture and the role of art as innovative imagination and communication instruments.

Members: Lorena Lozano (biologist and artist), Rubén Suárez (designer) and Javier Palacios (marine biologist and programmer)

Projects: ecoLAB: http://www.laboralcentrodearte.org/en/plataformacero/ecolab

Is an experimentation laboratory at the intersection between ecology, art and open electronics. It is a project that generates subjectivities and dynamics in relation to the biosphere and its ecosystems, through the implementation of eco-technologies (high-tech and low-tech). it works at LABoral Centro de Arte y Creación Industrial, Gijón, Asturias.  Greencity: Urban recepies in the limits between the urban and the rural; self-sufficiency, autoconstruction, DIY, harvesting the city, greening the surroundings. The same gardens: How are the artistic perspectives used politic tools on the praxis of social and environmental praxis? ¿Can aesthetics play a key role on these processes? How and why contemporary artists use new and emergent green spaces in the cities? To what extent are these visions another utopia fantasy? Biohacking: Reflections abut life, interpersonal relationships and philosophical meaning. How can scientific advances change the way we understand ourselves and our human beings ideals? What does the development of biotechnology mean for the human species in how we relate to each other and perceive the non-human environment? To what extent do the powerful new ways of manipulating life, separate the capacity for production and reproduction of living beings from the environment and the communities that they are historically immersed in?

Lorena

Bio

Graduated in Biology, specialized in Botany, Universidad de Oviedo, Asturias, Spain (1998). BHons degree in Fine Art, specialized in Sculpture and Environmental Art, Mackintosh School of Art, Glasgow University, Scotland (2007) Master in History and Sociocultural Analysis, Universidad de Oviedo (2012). Currently coordinates the project ecoLAB at Laboral Centro de Arte y Creación Industrial (Gijón) and is PhD Universidad de Oviedo in “Nature, Art and Society”. From 2007 to 2010, collaborated in Barcelona with the teams Ciutats Ocasionals, Sitesize and Idensitat on artistic and interdisciplinary projects on landscape and public space in contemporary cities. Have done artist residencies at Museum Manuel Felguérez (2007, Zacatecas, México) and Rubha Phoil Permaculture Centre (2005, Island of Skye). Worked for five years at The Hidden Gardens (regeneration and community project at Tramway, Glasgow). Trained in the fields of landscaping and social work in Switzerland and Majorca from 1999 to 2001.

 

Aims and objectives of ESC: Production, Work-lab/Communication/Networking, Presentation and Documentation

Reni Hofmuller, Graz, Austria
http://esc.mur.at/

Possibility Grid

This title is programmatic for all the work we (the whole ESC-Team) do on a daily basis. In daily life, the decisions we take, the way we treat our surroundings, shows who we are. It was also the title of a show in 2011.

The central task of ESC is to produce and present art; the main emphasis is on the precise observation and seismographic capture of artistic processes that examine sociopolitical developments (information technology and biotechnology, socioeconomic systems) and new technologies (hardware and software).

Connected Open Greens http://esc.mur.at/opengreensgraz.html

The topic of Connected Open Greens is the implementation of contemporary art pieces by usage of gardening situations, especially looking into micro-sociological and ecological systems related to time as starting points for the development of new artistic practices. Community gardens provide access to fresh produce and plants as well as access to satisfying labor, neighborhood improvement, sense of community and connection to the environment. They are publicly functioning in terms of ownership, access, and management, as well as typically owned in trust by local governments or nonprofits. (Wikipedia) This approach should be used to introduce contemporary time-based art into local communities and environments that usually are not part of the artistic focus. Urban gardening thereby becomes a method to find alternative communication strategies for contemporary art. At the same time, technological and organizational knowledge from artists enters into the world of community-based local work. Inspirations for these strategies are collected from other art project and the TIK-partners, especially from OKNO with their experiences with their open green experiments.

Reni Hofmuller

Bio

“I want freedom, the right to self-expression, everybody’s right to beautiful, radiant things.” Emma Goldman”

Based in Graz, Austria, Reni works as a media artist and activist, musician, composer, performer, organizer and  activist in the fields of usage of (new) media, technology and politics in general, engaged in development of contemporary art. Co-founder of ESC (artistic director), Radio Helsinki (community radio in Graz), mur.at, member of Institute of Media Archeology, 42 (artists group), /etc.

 

City Bee Monitoring

Annemie Maes, Brussels, Belgium
http://opengreens.net/category/opengreens/city-honeybees

It is remarkable to see how a bee population functions and evolves in accordance to the human activites we are developing around them: gardening and urban agriculture. Honeybees are very responsive to the different biotopes that we share they are good bio-indicators. Therefore we want to gather insight into what constitutes the diversity of our surrounding living place and research this on a deeper level. We developed yet different tools for identifying the specificity and relatedness of plants, insects and human activities. Adding new sensor networks to our Connected Open Greens distributed garden database, we hope to portray the surround Brussels Canal Zone, as it is changing over time into a continuous productive urban landscape. With this new project, Corridors, in which city honeybees play the leading role, we want to research how the sustainability of cities can be increased in the future, and how citizens can be actively involved.

Annemie Maes

Bio

Annemie Maes, media artist and activist, holds master degrees in fine arts and cultural studies. Her artistic research and cultural activism projects are publicly presented as ‘politics of change’ with a focus on actual topics as ecology and women empowerment. Most of the projects are linked to the problematization of new art in public space, from a socio-cultural background. Annemie Maes is co-founder of Okno, an artist-run organization working with media art and ecology. Her recent research work focuses on Corridors & Connected Open Greens, both transdisciplinary projects at the intersection of art, biology and green technology.

 

KRA – Kravín Rural Arts

Lenka Dolanova and Michal Kindernay, Kravin, Czech Republic
http://yo-yo-yo.org/en/

KRA – Kravín Rural Arts is an emerging residency center based in a former cow-house in a small Czech village. Based in rural area, we are forced to work with “indigenous” people, the “locals”. The necessity to confront various “cultures” is obvious. Our aim is to use the means and tools of arts to challenge the local 3 ecologies (environmental, mental, social, as described by Félix Guattari). We fight the mortification of traditions by inserting new living traditions. We organize walks with artists sonifying fences and trees. Walking is the basic tool for acquiring pieces of local knowledge, “solvitur ambulando”, solving problems by walking and talking. We urge other artists to play on barrels, on the wind, on local broadcasting system. We construct beehives. We input ourselves as artists and researchers, into our community, using camouflage of beekeepers, gardeners, denizens, who we became. While city bees have allegedly more honey than village bees, citizens consume more products from “farmers’ markets” than villagers. The villages are losing their apples, pears and cherries. The diversity, variability and fruit-fullness is what we are fighting for, armed with unholy trinity: ecology + media + art.

– KRA = floe

– KRÁ = “caw” or “kaah”, sound of raven

– KRAVÍN = cowhouse

Lenka DolanovaMichal Kindernay photo

Bio

Yo-yo is a non-profit organization started in March 2009 by collective of artists, curators and organizers. Since 2012 it is divided into two interconnected branches – Yo-yo urban and Yo-yo rural -, based in Prague and Hranice u Malče (Vysočina). Yo-yo is initiating and supporting the experiments at the intersection of art, ecology and media, across the rural and urban contexts. Our aim is to explore the new spaces for art, outside of the official art centers. Since 2010, it has been involved in developing the KRA (Kravín Rural Arts) project of residency center in the village Hranice u Malče in Vysočina region of the Czech Republic – a space for creation, meetings, and discussion, dedicated above all to ecological media arts.

SCANZ 2013: Martian Diaspora – a discussion on what culture can mean to a spacefaring civilization

SCANZ graphicArts Council logoGeon logoian clothier logo

 

 

 

 

Author: Haritina Mogosanu

Abstract

Between the 21 April and 5 May 2012 a piloted Mars analogue expedition was organised by KiwiSpace Foundation at the Mars Desert Research Station in Utah. During the expedition, the crew undertook various analog experiments and interacted daily with students from New Zealand via the Mission Control Portal at Carter Observatory and the Mission Support Portal on the KiwiSpace website. From the expedition, resources for the New Zealand Science Curriculum – Earth and Space Sciences and Te Puutaio section of Te Marautanga O Aotearoa (the Maori Science Curriculum) are being developed.

To engage the public in the mission, an interactive ESRI ArcGIS Online application was created which allowed users to follow the crew’s movements and explore the environment in Utah through an elevation profile viewer. GPS tracks, geotagged photos and various points depicting experiment sites and blog posts were highlighted on the map allowing the public to follow the journey as it progressed.

Also during KiwiMars 2012, a joint operations simulation (Antipodes) between the OeWF (Austria), KiwiSpace (New Zealand) and the Mars Society (USA) was undertaken.
Antipodes was a world premiere experiment simulating a loss of communication with Earth. A parallel landing party on the other side of Mars was requested to take over the coordination of an ongoing Extra-Vehicular Activity via their habitat, relayed via a satellite in Martian orbit until Earth was able to reestablish contact again.

In this paper we present an overview of the experiments, reflections on hybridised culture in space and recommendations for the future development of non-Earth habitats for multicultural groups.

Wai installation

Wai at 516 Arts

In the foreground is “Puwai Rangi Papa” by Leon Cmielewski and Josephine Starrs; on the wall is a shot from “The Wasteland” by Sharmila Samant. On the right is “Pou hihiri” by Te Urutahi Waikerepuru

Audio was an important part of the project. Click the link to hear audio by Andrew Thomas and Darren Ward. Darren Ward AndrewThomas

Wai installation shot
On the wall is Julian Priests’ “Sink”, with the Cmielewski and Starrs animation on the floor and Sharmila Samant’s piece projected on the wall.

Wai installation photo

Detail of “Pou Hihiri” by Te Urutahi Waikerepuru

 

Wai installation photo

“Puwai Rangi Papa” by Leon Cmielewski and Josephine Starrs was project on the floor

 

Wai installation photo Wai seen through an adjacent art work