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.
Jo tito and Mako Jones, who led the day, gathering the harakeke. Part of the day involved hearing what harakeke means to Maori.
Nigel Helyer and Darko Fritz at Puniho with woven works.
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.
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.
- Maja Kuzmanovich
- Verena Kuni
- Lorena Lozano
- Reni Hofmuller
- Annemie Maes
- Lenka Dolanova and Michal Kindernay
Maja Kuzmanovich, Brussels, Belgium
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 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.
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 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
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?
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
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.
“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
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, 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
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
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.
Author: Haritina Mogosanu
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 seen through an adjacent art work
Author: Ian Clothier
In 2011 at ISEA Istanbul “Te Kore Rongo Hungaora: Uncontainable second nature” brought together for the first time, Mātauranga Māori (traditional Māori knowledge pre-colonisation) and Western science in the context of electronic art. Kaumatua (respected elder) Dr Te Huirangi Waikerepuru contributed “Te Taiao Māori” and Associate Professor Mike Paulin of the Zoology department in Otago University, exhibited a blu ray disc of selected portions of his “Computational Visualization of the Electromagnetic Sensory World of Sharks”.
These two works were selected along with eight others, in accordance with five curatorial themes: cosmological context, all is energy, life emerged from water, anthropic principle and integrated systems.
This paper provides images of the works in the exhibition and describes the ways in which the works intersected the themes. An unexpected outcome of the project was to find that the interconnections were many, rather than few.
Authors: Mark Harvey, Dermott McMeel, Becca Wood, Mark Jackson, Maria O’Connor
“As we sit here at this table and try to think about what we are going to talk to you about we just can’t quite come up with something because we keep being distracted by the feeling of these uncomfortable seats, our bad air and the hot sun probing into our necks. Our bodies can’t take it. Our foolish bodies. We need some technology. Any technology. Anything that can give us a quick fix. Our bodies are so difficult for our lifestyle and our environment. What we want are perfect bodies that don’t need technological interventions. So we’ll just have to make do.” (Crunch, 2012)
Body Imperfect will explore through choreographic performance and architectural/spatial studio practices and theoretical discourse the concept of what it means to test the human body from an audience’s perspective as an imperfect albeit difficult and polluting site in relation to technology. Rather than exploring the notion of the ideal body that is so often associated with disciplines like dance modernism and prosaic spatial ergonomic posture diagrams for the ‘ideal’ use of your work environment and furniture, we will explore the audience’s embodied environment through technological interventions that might not fit within normalized Western codes of acceptability and usefulness – via ‘the foolish body’. We will explore how this can interface through technologies, both in spirit and through digital apparatuses and interventions.
Foolishness in this sense might be conceived of through the actions of Maui the trickster, and other like-minded assassins of our sensibilities as elucidated by Lewis Hyde (1999). Maui through cunning reveals the ridiculous, hidden within the so-called day-to-day and public spectacle – of for instance the ridiculousness of his brothers who mocked him before he fished up the Te Ika a Maui (the fish of Maui, the North Island). We posit that it is not just if Maui and Fyodor Dostoyevsky’s ‘the Idiot’ (1992) go to a dance party in West Auckland, fall in love and procreate by mistake and regret it, but when we add in a mix of Frederich Nietzsche’s (1974) call to play the fool in The Gay Science (2001), Michel Foucault’s ‘techniques of the body’ (1975, 1978-1979), the ever pervasive Gilles Deleuze and Felix Guattari’s ‘bodies without organs and desiring machines’ (1972), some deodorant, some breath freshener and some bifocals so as to reconsider a sense of spatiality, the foolish body becomes a device for scrutinizing the environment, creative practice and technology.
Each panelist will offer up their current obsessions with the imperfect and body, technology and the performance environment in relation to Maui the trickster, using one or more of the above notions as a point of reflection and/or departure. We will present on the potentials that fooling around with MP3 players, and light sound and touch sensors can bring to messing with the choreographic expectations and environment of participating audience members with lighting, sound and their own somatic responses. We do not promise a pleasant journey but we aim to offer some revitalized readings and approaches on how we can interface with our corporeal identities when they are dispersed, intersected, multiplied, decentered and dematerialized by prosthetic technologies and related reflections. Questions asked by us will include what it means to play with: tensions between expectations of performance and environment and the real of the body with technology, scales of the body in relation to techno-desire, and how did we get ourselves into this mess in the first place.
Co-conveners and co-panelists: Dermott McMeel (architecture and technology researcher, School of Architecture, NICAI, The University of Auckland) and Mark Harvey (performance artist, Dance Studies NICAI, The University of Auckland)
Invited co-panelists: Becca Wood (Dance Studies, U of A), Mark Jackson (Spatial Design, AUT) and Maria O’Connor (Spatial Design, AUT). Consultant: Te Oti Rakena (School of Music, U of A/ Taranaki iwi).
Feb 1st–3rd, 2013
Developing the culture to create a sustainable civilisation
Following is a list of abstracts selected for the SCANZ 2013 3rd nature wānanga-symposium. It is not quite complete yet. This page also has registration information and an outline of the wānanga schedule.
Mātauranga Māori (for international viewers) refers to traditional Māori knowledge pre 1840s colonisation. The boundary of Mātauranga Māori and science is significant at (formerly) Crown Research Institutes in Aotearoa New Zealand and world leading in terms of integrating indigenous knowledge and Western science as a part of daily operations and core research activity. This integration is a feature of recent Intercreate.org projects in the creative sector, and forms one foundation of the 3rd nature project. There are instances worldwide of this occurring, and the wānanga-symposium will provide a range of solutions to issues of working across cultures and disciplines, from several countries. For those interested in understanding more Te Reo (Māori language), there is a dictionary at: www.maoridictionary.co.nz
Registration includes dinner on Friday night at Owae marae, plus light lunch on Friday, Saturday and Sunday, plus morning and afternoon tea. Early bird registration before December 14 2012 for waged people is $345 (student/unwaged $245), the full registration from December 15 is $395 (student/unwaged $295). One day registrations are $120 (Early bird) or $150 (from December 15).
Click here to register for the the wānanga-symposium.
The Friday night dinner is also a Wonderlogue event led by Trudy Lane, which involves interdisciplinary discussion.
|Fri 1 Feb||Day 01 Wānanga-Symposium|
|8am||All: Depart WITT/Te Henui Lodge accommodation for Owae Marae|
|6pm||Wonderlogue Dinner with Trudy Lane|
|9pm||Depart Owae Marae for WITT|
|Sat 2 Feb||Day 02 Wānanga-Symposium|
|6am||All: Depart WITT for Puke Ariki|
|6.28am||Toi Whakaari (Dawn Opening) of 3rd nature exhibition|
|Tea, coffee and biscuits|
|Live presentations from Europe|
|Return to WITT|
|5pm||Day 02 Wānanga-Symposium ends|
|Sun 3 Feb||Day 03 Wānanga-Symposium|
|Pukekura Park projects|
|3pm-4pm||Poroporoaki (closing reflection) at WITT|
|4pm onwards||Continued informal discussion and socialising|
Integrating indigenous perspectives with creative, environmental, scientific and academic views on reality is essential to a sustainable future. At the same time, computing and digital media are changing our relationship to culture and the environment.
On the one hand digital technology allows us to analyse and display data in new ways, as when anthropologists use language databases to shed light on the movement of culture.
On the other hand digital technology adds to our senses, and extends them beyond the body to the forests and the land. Scientists, artists and others are transforming the environment into an organism, as Maori and indigenous peoples have always known it to be.
SCANZ 2013: 3rd nature brings together diverse people to discuss how to approach working together across culture, discipline and media. We must work together to resolve the issues emerging at the boundary between fresh knowledge and deep knowledge, beginning with sharing knowledge and projects.
Presentations and projects which highlight cross cultural interchange and/or computing and electronics projects and/or the hybrid arts were sought. The ensuing discussion and presentations will be shared in a special edition of Leonardo Electronic Almanac, the online publication of Leonardo – the leading Massachusetts Institute of Technology journal.
Who should attend?
Tangata whenua, indigenous peoples, scientists, artists, environmentalists, academics, philosophers, educationalists, musicians, teachers, technologists, and those concerned about sustainability, the future of Earth and humanity. Tangata whenua –people of the land – are indigenous to Aotearoa New Zealand.
The first day of the hui will be held at Owae marae. Keynote speakers are Dr Te Huirangi Waikerepuru (Aotearoa New Zealand) and Intercreate International Research Fellow Nina Czegledy (Canada & Hungary). The second and third days are to be held in Te Piere o te Rangi on the Western Institute of Technology at Taranaki campus and in Pukekura Park.
Registration information and the preliminary schedule can be found here.