Important

Due to issues with email at Intercreate which our service providers are working on, please cc any applications to i.clothier@witt.ac.nz. Thanks.

The concept of a third space – a zone of hybridity – traverses the cultural landscape from the writing of Homi Bhabha in the mid 1990s, to Sony advertising (see hypertext.rmit.edu.au/dac/papers/mcguire.pdf). Hybridity is now embedded in creative and cultural production and consumption.

A space of hybridity can assimilate potentially any set of concepts. SCANZ 2013 3rd Nature seeks to develop a fresh space, carrying memes from previous SCANZ events (which have all had an emphasis on environment) and other Intercreate projects that have involved scientists, indigenous peoples and artists working together. We are aiming to build new knowledge and establish legacies around this work, unencumbered by old perspectives and now distant categories.

We ignore the environmental crisis at our peril. Integrating the indigenous perspective, creative, environmental and scientific views on the environment is essential for continued human habitation of the planet. From these trajectories, it is possible to conceive of a fresh hybrid space, composed of overlapping elements.

We ask tangata whenua, artists, technologists, teachers, environmentalists, scientists, philosophers, educationalists, indigenous peoples, technologists and lecturers to contact us with ideas for talks, discussions, presentations, residency projects, exhibition ideas for gallery space and a botanic garden. And to join us on the weekend of January 1st – 3rd 2013 at a hui to share knowledge and build resources.

Important dates:
Early expression of interest due: February 15 2012
Residency proposed dates: Saturday 19 January to Monday 4 February 2013
Symposium proposed dates: February 1-3 2013

3RD Nature involves creativity and innovation at the intersection of three critical interfaces:

*Acknowledging the environmental crisis
*Engaging with Maori and indigenous peoples
*Engaging with Earth Sciences and the Hybrid Arts

These three intersecting dialogues provide space for a Third Nature, a fresh space for engaging with new knowledge and approaches vital to a sustainable civilisation.

PROJECT COMPONENTS: RESIDENCY; EXHIBITIONS – MUSEUM, BOTANIC GARDEN; PECHA KUCHA NIGHT; PRESENTATION EVENING; SYMPOSIUM; CATALOGUE

1. RESIDENCY
The residency commences with an overnight stay at historic Owae marae.  To assist residents raising funds, there several opportunities for exhibition, symposium and/or presentation.

Over the two week period of the residency, there will open labs for cross fertilization at WITT Art Space. The public are welcome to attend but much of the cross fertilisation will occur among residents, in terms of projects and discussion.

2. EXHIBITIONS AT PUKE ARIKI INTEGRATED MUSEUM AND LIBRARY
Six places are available for exhibition projects. This would consist of work in a similar vein to the residency project but already completed and able to be installed on the first weekend.

3. EXHIBITIONS PROJECTS IN PUKEKURA PARK, A BOTANICAL GARDEN
Four places are available for works suitable to display in the local botanic garden. These are all outdoor venues. Work of a botanical nature referencing the Third Nature theme, or utilising an existing three data sensor network connected to an Open Mesh box, will be sought.

4. PECHA KUCHA NIGHT
A special edition of Pecha Kucha featuring SCANZ participants will happen during the residency.

5. PRESENTATION OF PROJECTS – WITT ART DEPARTMENT
This is a one night event where projects can be presented and discussed. This occurs on the Saturday night of the final weekend, as a component of the symposium. Participation is voluntary and the event will be publicised.

6. SYMPOSIUM
The symposium will consist of four sections each providing it’s own contribution: creativity, earth sciences, tangata whenua, and environmental. There will be one stream only so all participants can be involved in all discussion.  Seating will be in round table format, with panel presenters among the audience to facilitate discussion.

7. CATALOGUE
A small catalogue will be produced and include four peer reviewed papers from the symposium.

Down the Open Call here SCANZ 2013 3rd Nature call

Uncontainable-second-nature

Given the intercultural bridge, works from art and science are recontextualised as cultural texts symbolic of belief systems. Discipline is not fixed, but fluid in a transformational environment. In the exhibition, digital and post-digital exist in a state of hybridity.

Included are works by Julian Oliver, recipient of the Golden Nica at Prix Ars Electronica in 2011, Lisa Reihana, Julian Priest, Sonja van Kerkhoff, Sophie Jerram and Dugal McKinnon, Rachel Rakena, Jo Tito, Associate Professor Mike Paulin (Zoology), Paul Moss and Te Huirangi Waikerepuru.

The show opens at Dawn on September 14th at Cumhuriyet Art Gallery Taksim Square Istanbul and runs to October 12th as part of ISEA 2011 Istanbul.
 

From the Bottom of an Ocean of Air, 2011 from Tega Brain on Vimeo.

Artist and scientist Ramon Guardans traces pollutants and their effect on local and global populations, health and environments and examines the relevance of different ways of life in understanding exposure. He has been involved for 20 years in international action on atmospheric and marine pollution including the Stockholm Convention on Persistent Organic Pollutants (POPs) and the Arctic Monitoring and Assessment Program (AMAP). Ramon was joined by roboticist Kirsty Boyle and environmental engineer and media artist Tega Brain in conducting experiments within the atmospheric environments of New Plymouth, Taranaki during the SCANZ 2011: Eco sapiens creative residency.

The intrepid team is currently undergoing further investigations in Noosa on Australia’s Sunshine coast, as part of the Floating Land event.

Where was the Wind? Installation view.

During the SCANZ 2011: Eco sapiens creative residency, Artist and Scientist Ramon Guardans took an air sample at the same time each day of the two week residency, sealing and placing it within a growing installation for the project.

These captured air samples were traced in time using the NOAA HYSPLIT model to reveal their surprisingly variable and global recent travels. An indicator of the great oceans of air that we live beneath – and the tiny viewing window we have on these vast and ever-changing forces – what we call weather. The visualisation of these phenomena which know no national boundaries, speaks to an essentially inescapable condition of interconnectedness between the biospheres of the earth and between ourselves. It equally brings to mind the folly of expecting that the impacts of global conditions such as climate change can be successfully mitigated via nationalistic or even continental mechanisms.

In Ramon’s own words, he asks:

Where was the air we breath now yesterday and the day before… ?

Air masses move over long distances in the atmosphere, and change their properties (temperature, humidity, pollutant load etc) along the way.

A given air mass can be followed over several days as it travels and mixes with other air masses.

Using the global meteorological information obtained from weather stations and satellites it is possible to calculate the “backward trajectory” of an air mass, and see where the air we breathe today was some hours, or days ago.

In a sense what we are doing here is “playing the film backwards” and seeing where the recent story of the air in our lungs started some days ago.

A map is calculated and drawn for each day and paired with an air sample for that day.

The calculations are made using the HYSPLIT model from NOAA (The US weather service) each small triangle on the trajectory represents a 6 hour interval and the larger triangles represent 24 hour intervals, the distance between the marks indicates the speed at which the air mass travels.

How-to – Tracing Wind Trajectories

1. Find the GPS coordinates for your location.
(http://itouchmap.com/latlong.html)

2. Run the NOAA HYSPLIT trajectory model
(http://ready.arl.noaa.gov/hysplit-bin/trajtype.pl?runtype=archive)
Use default settings…

3. Next: Location
Location: Enter Latitude and Longitude

4. Model Run Details Page
Trajectory direction: backward
Start a new trajectory every: [increasing this will increase the number of lines showing]

Ramon Guardans – Artist and scientist Ramon Guardans traces pollutants and their effect on local and global populations, health and environments and examines the relevance of different ways of life in understanding exposure. He has been involved for 20 years in international action on atmospheric and marine pollution including the Stockholm Convention on Persistent Organic Pollutants (POPs) and the Arctic Monitoring and Assessment Program (AMAP).

Fernery Tunnel 1, Pukekura Park, New Plymouth

light, sweet, cold, dark, crude_Aotearoa (2011)
Audiovisual microevent
Ælab
Fernery House 1, Thursday Jan 27th, 21h-22h.
Pukekura Park

Due to space constraints in the Fernery House 1, only 5 people can
circulate at a time.

light, sweet, cold, dark, crude (LSCDC) (2006-ongoing) is a study of
wastewater management systems, of water in various states of
composition, decomposition and recomposition. This work draws from Dr.
John Todd’s Eco-Machines which work with plants, fish and algae,
without the addition of human-made chemicals to create regenerative
processes.

For this New Zealand version, the microevent consists of live video
and audio based on underground water movement in Pukekura Park. The
artists have been exploring its water flows and this understanding
will impact the video and audio they perform.

Special thanks to Chris Connelly and Donna Christiansen from the Park,
SCANZ Eco sapiens and SCANZ organizers Trudy Lane, Ian Clothier, Nina
Czegledy, Thilani Nissanga, Waitara marae and the water beings,
Cameron McKechnie, Kylie Hignett, Neil Penno (TSH audio), Megan Smith.

The artists acknowledge support from the Canada Council for the Arts,
the Conseil des arts et des lettres du Québec and PAFARC-UQAM for the
production of LSCDC.

www.aelab.com
www.toddecological.com

Ælab is an artistic research unit from Montreal, Quebec, Canada.
Founded in 1996 by Stéphane Claude and Gisèle Trudel, Ælab is a
research collective that works other collaborators on a regular basis.
Ælab designates production projects in a more anonymous context,
clearly reflecting their focus on an ecological and technological
conscience rooted in the arts and sciences. Stéphane Claude is an
electronic musician and sound engineer. Gisèle Trudel is a media
artist and professor at the École des arts visuels et médiatiques at
the Université du Québec à Montréal. Their work is shown
internationally.

The work invites an acute sensitisation to this place solely through the often ignored senses of sound. The 20 minute experience reveals remnant sonic layers of this environment and explores stories of water, breath, place and environmental action.

‘Remnant Breath’ is the first showing of a work in progress. The project will evolve into an interactive garden of ephemeral sound growing and conversing with the natural environment.

Walks start at either 9pm or 10pm and last around 20 minutes  - please arrive on time as it will not be possible to join the walk late.

Enter the Te Henui Walkway from the Lemon Street Entrance (close to Watson Street)  - right next to the entrance to the Te Henui Graveyard on Lemon Street.

Presented as part of the SCANZ 2011: Eco sapiens events which have brought over 20 local national and international artists to Taranaki.

MAPS

View Remnant Breath in a larger map

A little about the current focus of PLUME :  We’re interested in

Subliminal odours and unconscious sensing

Hedonics: relating to or considered in terms of pleasant or unpleasant sensations

Valence: referring to the emotional value associated with a stimulus

-A very important part of that would be in finding out what it is in the human plume that human receptors can detect or not

Prior to this, in 2010 The Sensory Lab at Plant and Food Research   guided Raewyn in sensing and creating standards used to determine fragrance/ flavour thresholds –that is the limits at which flavours and fragrances  are perceived. This was for Internettraces: The Internet as a Winetasting 2009.

Internettraces : Raewyn Turner &  Mary Griffiths

4000 Varieties of Orange is in collaboration with Brian Harris who works in robotics and engineering, explores secondary (the smell of place, food we eat)  + tertiary (playground of perfumes and deodorants), human smell.

We’ve  designed a food tasting event to be held New Plymouth at Eco Sapiens and its theme will have a focus on food monocultures and fragrance/flavour biodiversity.

Our intention is to create delicious foods using a limited palette of four staple foods and a large palette of food flavourings.

At SCANZ Ecosapiens headquarters we set up a kitchen and have begun to create  flavoured pies.

We’ll make pies from the  4 staple foods and flavour them with nature-identical flavours.

Formula Foods is generously providing flavours for the project.( Thanks Formula Foods!)  Formula Foods

The recipes and flavours will be drawn from the recipes from Mrs Beeton’s Everyday Cookery and Housekeeping book ( around  the  turn of last century).

An example from Mrs Beeton’s book : November : ‘Things in Season’

Fish: brill, cod, crabs, eels, haddocks, oysters, pike, soles, turbot, whiting

Meat: Beef, mutton, veal, doe venison

Poultry: Chickens, fowl, geese, lark, pidgeons, pullets, rabbits, teal, turkeys, widgeon, wild duck

Game: Hares, partridges, pheasants, snipe, woodcock

Vegetables: Beetroot, cabbages, lettuces, late cucumbers, onions, potatoes, salading, spinach, sprouts-various herbs,

Fruit: Apples, bullaces, chestnuts, filberts, grapes, pears, walnuts

We researched historic food ingredients and presentation, focusing on the creation of hand raised pies and sprung metal pie moulds.. During the seventeenth and eighteenth centuries, pies were made in very elaborate shapes. Ivan Day’s Historic Food.

Months before EcoSapiens we started experimenting in Auckland. We wanted to get the flavouring to work and develop pastry recipes to create pie sculpture

eg

Hot water pastry for hand – raised pies:

4 cups flour

1 cup suet or shreddo

hot water to mix

pinch salt

Below: Our first pie creation in celadon green with gold leaf detail,  was filled with shaped tofu pieces fired with organic red onions and garlic. The filling was flavoured with drops of beef, chicken and bacon flavourings. The lid was hand modelled.

We found a wild apple tree on

the side of the road between

Waitaanga and Ohura.

It was laden with fruit which

provided us with apples for

our first pie experiments.

Flavouring the pies was a challenge due to the complexities of combining texture, fragrance, flavour and visual attraction.  We sought advice from award-winning chefs on recipes to create tasty pie fillings which we then adapted for the project( using soy instead of meat.)

An example of one of the pies was where we’d used chicken, beef and bacon flavourings to substitute for bird flesh. The filling was mock chicken—a type of soy protein.

When the pie was opened we noticed a definite shift from the visual pleasure of the pie to olfcto/gustatory displeasure.

We decided to utilize readily available food that would give a more pleasant taste experience – the sort of food that is readymade and available in supermarkets and already had a positive hedonic value, eg sponge cake made with wheat flour.

Our tastes are changing and adapting due to a vast diversity in fragrances and flavours being added to food. New associations are being made. Similarly our sense of colour is changing as we become accustomed to the concept of ‘millions of colours’, and the colour spectrum of coloured light—red, blue and green, on computer screens.

4000 Varieties of Orange ( in progress): Each piece of cake is individually flavoured.

We’ve started tasting authentic  flavours alongside synthetic flavourings.  We found that the synthetic flavourings are more real than the real flavour—they’re molecular constructions that convey the IDEA of flavour, thereby creating illusions.

The table centrepiece :A further experiment in progress is an ‘apparatus’ intended as an interactive flavour dispensing  table display stand–photos coming soon.

‘Nothing is allowed an odour of its own, even food

The deodorising of things…to smell like ‘ nothing’

…smells of the denial of imagination’

( Bamford, Christopher, Green Hermeticism 2007

Tuesday January 25th, 8.30pm at the New Plymouth Observatory, Marsland Hill, Robe Street

In the era of increased scientific debate about the terraforming of Mars (a process of chemical warming of the frozen Martian climate) in order to sustain a future human population, the Areosphere and Atmosphere project enacts a sensorial connection between Earth and Mars. Materially, the project draws on the historical naming of the two planets’ polar regions by earthly colonists, science fiction imaginings and satellite mapping. As we contend with an anthropogenic climate crisis in our own bio-system, the work ruminates such ‘Big Science’ proposals as the deliberate staging of artificially produced climates in other parts of the solar system. The project will be projected on the dome of the New Plymouth Observatory on Tuesday 25 January 8.30-11pm.

Nina Czegledy, an independent media artist, curator and writer, has collaborated on international projects, produced time based and digital works and has led and participated in workshops, forums and festivals worldwide. Electromagnetic Bodies, Digitized Bodies Virtual Spectacles and the Aurora projects reflect her art, science and technology interest. These projects focus on the changing perception of the human body and are presented via on-line and on-site events in Canada and internationally. On behalf of the Leonardo SpaceArt Network Czegledy recently coordinated a space art workshop in conjunction with the Impact of Space on Society IAA Conference – in March 2005, Budapest.

Nina Czegledy Biography

Janine Randerson – New Zealand-based new media artist Janine Randerson explores the interface between the bio-system, meteorology and technology. In 2008, she was in Denmark for an art residency studying radio and satellite- tracking data of Arctic bird and mammal species at DMU (The Danish Environmental Research Institute). She has recently completed a currently a doctorate at the University of Melbourne. Janine works with a range of time-based media including 16mm film, digital audio and video and computer programmed interaction design. Her art practice includes both site-specific work and single channel video.

Janine Randerson projects and information

Announcement:
From 8:30pm – midnight, January 25th 2011 at New Plymouth Observatory

Address: top of Marsland Hill, Robe St, New Plymouth

The debut launch of ‘Areosphere and Atmosphere’ will take place as a late night screening event at the New Plymouth observatory, Marsland Hill, New Plymouth. A double audio-visual projection including an experimental sound composition will be played on the dome.

While we wait for darkness to fall, an informal panel discussion between the artists Nina Czegledy and Janine Randerson and astronomers John Calcott and Paul Moss will take place. We will focus on the polar regions of Mars and Earth, from Science fiction imaginings to ‘terraforming’.

This event is open to the public, as well as New Plymouth Astronomical Society members and SCANZ artists-in-residence. Come along!

To see full project description, see here:
Areosphere and Atmosphere

Green smoothie preparations, step 1

Using bike pedal-powered smoothie blenders and various food-foraging expeditions, Dhyana creates a connecting device between the power of fresh nutrient-rich food, and the pragmatic politics of finding or growing sources of fresh food today. Expeditions to/from the local farmers markets, community gardens, enviroschools efforts and other local growing spots will be explored, as well as trips to seek out other local food sources, such as several council-tended gardens which are specifically grown to be foraged.

You are invited to participate:

Please keep an eye on this project page if you would be interested to join in with Dhyana project and either make yourself a bike blender, come for some biking excursions, or simply try out her best recipes. Below are some of the current opportunities where Dhyana will be out and about with her smoothies and bikes.

Participate as part of the Festival of Lights

23 January, 7-9pm – Band Rotunda

If you see a glowing bike blender it is Dhyana Beaumont and her fabulous green smoothies! Say hello and check out what green smoothies are and what the taste sensation is like. You might find your kids love vegetables after all.

109 Devon St W-  (SCANZ Central)

18-29 January

Make a green smoothie on a bike blender, view re-blended :: remixed video moments of previous LIVE FOOD CAFE ventures.  Check back for times for group foraging to the public orchards, times may vary according to need.  If you have an idea to discuss or are interested to join in on workshops, please let Dhyana know via the
workshop registration form or drop by SCANZ Central.

Farmers Markets

22-30 January, 9am-12pm – Sunday Farmers Markets
Dhyana will also be at the weekend Farmers Markets in New Plymouth on the 22nd and 30th of January.

VIDEOS
MAKING GREEN SMOOTHIES :: RAW FOOTAGE

LIVE FOOD CAFE (raw footage) from Dhyana Beaumont on Vimeo.

MAKING GREEN SMOOTHIES :: MIXED

LIVE FOOD CAFE from Dhyana Beaumont on Vimeo.

MAKING GREEN SMOOTHIES:: BIKE BLENDER :: MIXED

bike blender mashup 01 from Dhyana Beaumont on Vimeo.

LIVE FOOD CAFE :: presentation from Dhyana Beaumont on Vimeo.

LIVE FOOD CAFE FLYER:: call 4 participation

New LIVE FOOD CAFE promo

 

LIVE FOOD CAFE front flyer

LIVE FOOD CAFE back flyer

opening of the hive taranaki:: 5th Dec:: bike blender in action

Dhyana Beaumont has exhibited nationally as a painter since 1992. Recent study involved Masters of Fine Arts investigating socially responsible art with an environmental edge, incorporating video installation in site-specific contexts.  Masters projects were a response to the Wellington Bypass cutting through the top of Tonks Ave and Cuba St. Projects were intervention or event based for projecting at street parties, projection nights to raise awareness about rebuilding community, voting strategy nights, installations on the streets, CBC film raising night pro sustainable communities peaking in a presentation at a Green Party Convention.

She later Collaborated in video installation project for the Fringe called “VanTV: Transforming Video on Wheels” involving projection in public spaces.

Blog

http://livefoodcafe.blogspot.com/

Refer to my blog for further information/inspiration
This blog is a thinking out loud space and involves my research to get this project alive.

http://vimeo.com/dhyana

link to my videos – recent videos will be titled as live food cafe
http://vimeo.com/18046744 (raw footage)

http://vimeo.com/18044675
(mixed video)

actual videos – raw footage is unmixed video
mixed video::  poetic doco using layers of transparent footage using Chaos Lab a VJ program being developed by Cameron Mckechnie