3rd nature: Kura Puke

Kura Puke Image

“3-orange waharua a” is an earlier work by Kura Puke, who will present “Ka Wa Ka Wa” at 3rd nature. “Ka Wa Ka Wa” will be made for the exhibition.

The words on each of the exhibitor pages, will change as further discussion takes place and a greater awareness of the works results. We began by examining the works from the point of view of how some of them interconnect with each other in terms of content. This was so we could form a rationale of where in the collection might be a good position for the work.

Interconnections

The work of Kura Puke interconnects electronics through programming LED’s, and traditional Maori approaches to Toi (art), referencing tukutuku panels and other forms. “Ka Wa Ka Wa” is a reference to the native Kawakawa tree, and this is one connecting point to several works engaging with plants: the “Brickets” of Damian Stewart and Pierre Proske are located in trees, while Nigel Helyer’s work is located in Pukekura Park, as is Darko Fritz’s.

Another interconnective point is that the LED’s point to stars, and these are referenced in the works by Te Huirangi Waikerepuru and Nina Czegledy. Consequently this work by Kura Puke occupies a central interconnective point to the whole exhibition.

3rd nature: Josh Wodak

Wodak image

Josh Wodak. “2 degrees before 2028.” Digital image. 450mmx650mm. The image is based on projected sea level rise in the Pacific Ocean south of the equator. The red lines indicate less than two degrees increase in temperature (right hand side image) and higher than two degrees (left image).

Introduction

One of the underlying themes for the SCANZ 2013: 3rd nature project is that there is some urgency to bringing together the wisdom of diverse peoples, and bringing together diverse ways of doing things: global climate change is growing more significant every day. We must do something about this, and these works by Josh Wodak point directly at climate change.

Wodak has been researching the impact of rising sea levels on low lying Pacific Islands. This data is then projected onto the human form, and the red lines indicated sea level height.

Wanting to take part in world wide action to resolve global warming is why we have brought art, science, technology and indigenous knowledge together.

3rd nature: Anne Pincus

Anne Pincus image

Left: “Medusae”, 2010 Crocheted silver wire. Right: “Lior,” 2010 Crocheted fishing line.

Introduction

The subtle forms of jellyfish are delicately caught in these works, as if they were floating in air. These works relate to the computational model of sharks by Mike Paulin, the floating cyanobacteria of Hideo Iwasaki and the reference to animals in Janet Laurence’s work. Lighting is also a key factor.

One other reason for the inclusion of the Medusae was to reinforce a sense of multiple scales in the exhibition. In scaling terms, smallest are the bacteria by Hideo Iwasaki and the electronics of Pierre Proske and Damian Stewart, then there are these jellyfish by Pincus, the objects selected by Janet Laurence, up to the human scale of the Josh Wodak works and Mike Paulin’s shark. The landscape is referenced in the works by Tracey Benson, Darko Fritz, Nigel Helyer and Trudy Lane. Kura Puke’s LED works point to the stars, as does the galactic wind work by Nina Czegledy and collaborators, and finally “Te Taiao Maori (the Maori universe)” by Te Huirangi Waikerepuru has vast scales of space and time.

3rd nature: Mike Paulin

Shark image

Still image from “Computational Visualization of the Electromagnetic Sensory World of Sharks”

Introduction

While a computer model of a shark and the electromagnetic spectrum of the Earth may seem at odds with traditional Maori knowledge, as part of the Istanbul exhibition, connections were found. Embedded in the computer model is the scientific viewpoint that life emerged from water; the shark’s sensory system is integrated with it’s surroundings including the electromagnetic field which is an instance of integrated systems; and clearly the forces of energy are at play. These three themes – life emerging from water, integrated systems and ‘all is energy’ or energistic conceptions – can be seen in Te Taiao Maori by Dr Te Huirangi Waikerepuru.

3rd nature: Te Huirangi Waikerepuru

Te Taiao Maori

The chart of “Te Taiao Maori”, made for exhibition in Istanbul is in this version shown in Rio de Janeiro, animated with the star imagery of Paul Moss in the background.

Introduction

At Intercreate we are privileged to work with Dr Te Huirangi Waikerepuru. Dr Waikerepuru was been instrumental in getting Maori language – Te Reo – recognised, played a leading role in submissions on the radio spectrum (which led to Maori radio and Maori television) and currently is being pivotal in sharing knowledge among the world’s community. This is particularly important at this time, because many believe that listening to the indigenous voice on the subject of environment is central to resolving issues of climate change.

The animated version of Te Taiao Maori shares some of the traditional knowledge of Maori.

SCANZ 2013: From second to third nature – building cultural bridges between Mātauranga Māori and Western science

Author: Ian Clothier

Abstract

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.

SCANZ 2013: The Art of Engagement

Author: Jock McQueenie

Abstract

The Art of Engagement will address the role of the artist in technology mediated social participation with particular reference to partnerships between the arts, industry and communities in regional centres. This will be illustrated by examples from current projects in Queensland, Tasmania and Western Sydney. Having considerable experience in New Zealand, and in particular the Taranaki region, I would draw links between these examples and the local context.

SCANZ 2013: Body Imperfect

Authors: Mark Harvey, Dermott McMeel, Becca Wood, Mark Jackson, Maria O’Connor

Abstract

“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).

SCANZ 2013: Societal Acceptance of Ground-Source Heat Innovations for Rural Māori Communities with the example of Ngati Rangiwewehi

Authors: Gina Mohi, Paul White and Diane Bradshaw

Abstract

Iwi/Māori have a long association with New Zealand’s natural environment that is based on knowledge that has built up over time through centuries of interaction with the natural world. This includes the use of natural resources within many iwi/Māori communities. Mātauranga Māori (Māori knowledge) also includes tradition but is a broader collection of Māori knowledge, or set of subjects relating to esoteric and spiritual knowledge based in the past but often used and evolving in the present, for the future (Bradshaw and Faulkner, 2009).

Ground-source heat pumps (GSHPs) are an established technology, capable of delivering efficient heating and cooling utilising the immense renewable energy stored in the ground, ground water or surface water. They are being recognised as an alternative to fossil fuel systems and can offer significant reductions in the overall CO2 emissions. GNS Science Māori Strategy seeks to identify the opportunities of GSHP technologies as a consideration for housing or marae development. This technology has much to offer communities, particularly in rural areas because resource use is relatively benign. Also, this technology has much to offer Māori and the important rural marae that fulfil a crucial role in New Zealand communities.

In this paper, we describe a comprehensive framework for ground-source heat pump technologies in rural Māori communities aiming at societal acceptance of resource use and the technology associated with ground-source heat pumps. For these communities, resource utilisation must be consistent with long-term Māori custodial responsibilities. The framework is developed and tested with Ngāti Rangiwewehi and the Awahou Marae on the shores of Lake Rotorua.

 

SCANZ 2013: Viruses and mataitai – Achieving Shellfish Safety for Maori through collaborations with Crown Research Institutes

SCANZ graphicArts Council logoGeon logoian clothier logo

Authors: Emma Gibbs and Dr Gail Greening

Abstract

ESR (the Institute of Environmental Science & Research) has conducted a number of research projects in regard to Maori wellbeing, and presently has projects involving views on DNA evidence and sustainable decision making around foods. In 2003 a strong working relationship was established between scientists from ESR – a Crown Research Institute – and the Waitangi Marae Maori Committee. A survey was carried out to find out whether local shellfish were contaminated with human viruses from sewage which can cause disease in those who eat the shellfish. ESR has developed virus detection systems that show when shellfish are safe to eat. The research process necessitated professionals of all disciplines of the life sciences and tangata whenua getting together to aggregate, discuss and share their views, with the outcome being the development of a collaborative research process. This is suitable to approaches founded in Matauranga Maori.

The two year survey began in January 2004 and was funded by FoRST – the Foundation for Research, Science and Technology. Members of the Waitangi iwi collected pipi, cockles, oysters and mussels from two traditional local shellfish harvesting sites (Waitangi and Te Haumi) monthly for 2 years. The shellfish were sent to the ESR Environmental and Food Virology Laboratory, where shellfish were analysed for the presence of human viruses (adenovirus and norovirus) which cause gastroenteritis or ‘tummy bug’ and also for presence of viruses and bacteria which are indicators of faecal pollution.

Our research showed that these customary shell fishing beds were sometimes contaminated with human viruses, and that shellfish would be unsafe to eat at these times. Therefore consumption of these shellfish could be a threat to the health of the iwi. As a result of our research findings, from 2007 the local and regional councils and public health unit improved the efficiency of the sewage discharge processes and also the water quality in the area. It is now generally safe for the iwi to gather shellfish from these areas. The regional council funds a monthly virus monitoring programme carried out by ESR which indicates potential risk to iwi from viruses in shellfish. This study is an example of how scientists and Maori can work together to obtain the necessary scientific evidence to help with sustainable management of their shellfish resources.