Developing the culture to create a sustainable civilisation

Intercreate is pleased to announce that SCANZ 2015 themed on Water & Peace, will take place in Taranaki from the second or third week of January 2015 until the first week of February. Supported by Creative New Zealand, this will be the fifth SCANZ residency.

We are currently looking at ways to explore the themes and engage with the local community. If you have ideas or suggestions we would welcome them.

We will continue to follow our basic core values:

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

Water is essential to survival, revered and respected worldwide for its power, curative and creative abilities. Water as a resource has become intensely politicised, with government and business wanting to sell, buy and exploit the resource for commercial gain with little thought given to future generations, conservation or preservation.

Water flows from the sky to the mountains, down the rivers, out to sea and up into the atmosphere where it is breathed in and merges with the human body. Waterways tell the stories of past habitation, of use as a generator of power, and as a recreational facility. The considered use of water is essential to sustainability.

Running water is found in the heritage of digital media. The history of intelligent machines can be traced through the computer back to the mainframe, calculators, programmable weaving looms, automatons and clepsydra – water clocks, which in pre Renaissance times were of extraordinary complexity. Water was also used to level ground prior to construction in ancient Egypt and the oldest water clocks for which there is evidence date from around 1400BCE.

Peace is also essential to sustainability. Without Peace, human actions benefit arms dealers, at the cost of civilian lives in places where water is among the scarcest of resources. For too long there have been too many people on Earth without access to clean water. Peace is a message we all must carry, in the sense of anti-war but also in the sense of justice and the right to harmonious living for all.

What are the strategies we need to activate an understanding of water in urban and rural areas, that goes past filling cups and glasses from the tap? How do we reinvigorate what water means, reinforcing the need for care, emphasising the right to clean water and harmony? What Peaceful uses can water be put to? Is it possible to train water to tell the stories of indigenous peoples, of communal heritage, of times past?

Join us on a journey to respond to these and other questions. We welcome input from Maori, artists, scientists, environmentalists, the public, indigenous groups, ethnic groups, schools, universities, polytechnics and businesses.

Send ideas for projects to ian dot clothier at intercreate dot org.

Te Taiao Māori by Dr Te Huirangi Waikerepuru in Te Takapou Whāriki o Taranaki. The words are from Dr Waikerepuru and form a chart of Māori cosmology. The lines in the background of the projection are rotating stars.

1. Te Taiao Māori 2011
Dr Te Huirangi Waikerepuru
Mātauranga Māori, animated text with photo-astronomy by Paul Moss
Running time: 4 minutes

Curated by Ian Clothier, the works in SCANZ 2013 3rd nature exhibition spiral from the Puke Ariki Museum gallery Te Takapou Whāriki o Taranaki (The Sacred Woven Mat of Taranaki) out onto level 2 and around the natural history and geology galleries, down the stairs on to the landing and beyond into Pukekura Park botanic garden. The photography is by Chris Hill, except where stated.

The electromagnetic sensory world of sharks by Mike Paulin, a Dunedin based Zoologist was projected onto a ‘sail’ that is part of the museum fixtures

The ‘sail’ onto which Paulins computer model was projected.

2. The Electromagnetic Sensory World of Sharks 2011
Mike Paulin
Video, computational database and model
Running time: 4 minutes 30 seconds

Josh Wodak’s visual metaphors for rising sea levels and their impact on islanders were displayed in the same section as stories of journeying across the Pacific and places of settlement

3. When I was a Buoyant 2012
Josh Wodak
Inkjet print on archival cotton rag
65 x 130cm for each diptych

Sonja van Kerkhoff and Sen McGlinn created a spiral structure enclosing the five monitor work Kāinga a roto, Kāinga a waho (Home Within, Home on the Outside)

4. Kāinga a roto, Kāinga a waho (Home Within, Home on the Outside) – Puke Ariki 2013
Sen McGlinn (Ngāti Pākehā, Ireland, England) and Sonja van Kerkhoff (Ngāti Pākehā, Holland, Scotland, Ireland)
Five videos
Running times: Various lengths

Janet Laurence worked with extinct and threatened bird species from the Puke Ariki Collections, including the Huia and a number of ‘skins’ of Kingfishers.

5. Love and Extinction 2013
Janet Laurence
Museum collection specimens, laboratory glassware, mesh, tubing, various fluids and solids
40cm x 122cm x 82cm

As Anne Pincus has pointed out, while Medusae are so intricate, jellyfish are in places reaching overpopulation proportions due to climate change.

6. Medusae (1 – 5) 2010 – 2012
Anne Pincus
Crocheted silver wire
Each approx. 15 x 15 x 50cm, hanging size variable

Lior (1 & 2) 2010 – 2012
Anne Pincus
Crocheted nylon fishing line
16 x 16 x 44cm, 25 x 25 x 45cm, hanging size variable

Cyanobacteria photosynthesise in the light of artist-scientist Hideo Iwasaki’s microscope video projected from underneath. Photo by Ian Clothier.

7. Photoautotropica 2011-2013
Hideo Iwasaki
Cyanobacteria, gels, glass, movie of motile cyanobacteria taken under the microscope
160cm x 40cm x, 80cm

Metamorphorest IV 2010
Hideo Iwasaki
Paper cutout
680 x 900

Galactic wind by Nina Czegledy and collaborators visualised and sonified galactic wind data, which controlled water squirted on to cymbals, making audio.

8. Galactic Wind 2013
Nina Czegledy, John Fass, Laszlo Kiss, Ramon Guardans, Martin Brown
Galactic wind data set, electronics, brass, cymbals, mechanical engineering and fluid
110cm x 75cm x 55cm

At the edge of water contrasted indigenous and industrialised notions of the environment and water.

9. At the Edge of Water 2012
Concept by Rulan Tangen with filmmakers Marion Wasserman/Elemental Designs and Louis Leray, for Dancing Earth Creations
Video
Running time: 15 minutes

Jo Tito captures both Maori and scientific notions of flow and the patterns of nature.

10. Wai 2012
Jo Tito (Iwi: Taranaki, Tūhourangi-Ngāti-Wāhiao, Ngāti Pikiao)
Video
Running time: 4 minute loop

Tracey Benson’s images are multiple views of Taranaki the maunga or mountain, aligning with the many meanings people ascribe to it.

11. Fauxonomy – Message to the Mountain 2013
Tracey M Benson
Mixed media

Trudy Lane took the audience through A Walk Through Deep Time – covering 4.57 billion years of Earth history.

12. A Walk Through Deep Time 2013
Trudy Lane and Halsey Burgund
iPhone app, network connectivity, audio, metal, vinyl

Layers of audio by Nigel Helyer referenced multiple notions of underworld and filled one end of the Fernery in Pukekura Park botanic garden.

13. Songs from the Underworld 2013
Nigel Helyer
Environmental sound installation, internet, data sensors and audio
Dimensions variable [Pukekura Park installation]

This data sensor by Pierre Proske measured soil moisture content, which was relayed to a set of output devices mounted on poles. Audio based on the data was output at dusk. Photo by Ian Clothier.

14. Brickets 2012
Pierre Proske
Electronics, RF transceivers, Audio, LEDs, solar panels
Multiple units 150mm x 90mm x 50mm [Pukekura Park installation]

Darko Fritz’s Reload-refresh-sync symbol in the Bowl of Brooklands in Pukekura Park makes a statement: time to refresh our relationship to the environment. Photo by Darko Fritz.

15. reload_refresh_sync 2013
Darko Fritz
Turf and computer iconography
10000mm diameter [Pukekura Park installation]

Intercreate Media Art Projects (MAP2014)

Introduction

Intercreate is commissioning two innovative art works to be realised in 2014. Funded by Creative New Zealand under the Kahikatea programme, the project has the support of the Govett-Brewster Art Gallery, the Festival of Lights, Pukekura Park botanic garden and several local organisations.

The Media Art Projects aim to inspire artists and creative teams to think boldly about combinations of cultural ideas and contemporary media technologies, that could be implemented in public space and/or Pukekura Park.  These projects are likely to involve working with local groups.

Artists are asked how they might explore one (or more) of four topical territories, using today’s array of networked, scientific and other media – and in such a way as to engage as wide as possible public.

These projects are open to Aotearoa New Zealand artists here and abroad. There is however, no provision for international airfares. New Zealand born collaborators working off shore are viewed positively.

 Values

We seek project proposals that respond to our core values. It is not necessary for projects to address all four of the values below, but they must address items 1 and 2, while 3 and 4 are optional.

1. Working with community groups and/or individuals

People putting forward proposals should identify a community group or person they would like to work with. This can be drawn from the list below, or groups or individuals can be proposed.

2. Media art

Projects need to engage with contemporary digital or electronic media in some demonstrable way.

3. Engaging with tangata whenua

Many Intercreate projects involve discussion and collaboration with tangata whenua.

4. Environment

Recognising our relationship to the environment. This is in a conceptual range from cultural understanding and scientific viewpoints to indigenous views, and hybridisations of these.

Topics

A. Cosmological context

The big picture – Te Taiao Maori, physics, astronomy, geology, chemistry and ideas of energy.

B. Complexity

An invitation to explore the chaos, complexity and the interconnectivity of our world, as seen in biological and cultural adaptation, for example.

C. Modernity

The third topic area is our contemporary context – exploring our day-to-day environment which is underpinned by international financial trading transactions, and satellites using atomic clocks to triangulate our position within metres. What are the psycho-social symptoms of our times and technology? What are the holes, quirks, confluences to exploit that might reveal these to us?

D. Identity

Identity forms the fourth topic area – our age of managing multiple online ‘profiles’ paralleled by on-site identities; hybridising cultures that merge knowledge and tradition; and data from our increasingly online social habits, accumulated and traded.

Community engagement

It is intended that artists will work with local groups and/or individuals in the process of their project. Following is a list of of groups and people with whom Intercreate has worked before, or contacted in regard to the Media Art projects. These give an idea of the kinds of groups envisaged to be involved. If any group or person wishes to involve those on the list below, please contact us so that we can establish links.

Artists are also welcome to suggest people and organisations of their own selection, and may wish to involve organisations or individuals in their own area if they reside outside of New Plymouth.

Feedback from suggested organisations will be sought as part of the selection process.

Nga Motu Marine Reserve Society
Friends of the Waitara River
Hive Environmental Centre
Taranaki Enviroschools programme (which is co-ordinated by Hive)
A class of gifted students from a local intermediate school
Pukekura Park botanic garden staff and environment
Andrew Hornblow (custom electronics specialist)

Locations

One project location is open, a second project has a specified location.

The open project could be any public space in New Plymouth – Pukekura Park, the walk way, potentially the landing at Puke Ariki, the foreshore or coastline. There are also a variety of micro-climates in and close to New Plymouth, and a number of cultural and natural spaces such as parks, community gardens, streams, rivers and surf beaches.

The second MAP project must resolve to an installation of a light and/or audio art work in the Fernery of Pukekura Park during the Festival of Lights in January/February 2014. The way light behaviour is interpreted,  might result from the process of discussing the project with local groups, for example. This project will be integrated with the planned placement of lights in the Fernery.

Songs from the Underworld by Nigel Helyer for SCANZ 2013 3rd nature was installed at one end of the Fernery, which has multiple spaces. Further photographs will be added once the current renovations are completed.

Project Types

Projects may involve the use of live data (sensors, or databases), mobile technologies and maps, walk projects, games, augmented reality, QR, social media, social and identity data, visual or audio and may encourage the use of freely and publicly available networked media, for public participation.

Timeline and submission process

Project Descriptions will be due on July 1^st.  This date will be strictly applied, as there are publishing deadlines involving the Festival of Lights project. The following are required:

1. Title, minimum 3 keywords, image, 300 word abstract
This information is entered into the submission page. Please also select the category of project – whether Open or Festival of Lights.

2. A .pdf max 750 word Project Description with additional images
It is important that the Project Description body text and file name DO NOT CONTAIN the names of the artist/s. We are blind reviewing the Project Descriptions. It is however, acceptable to state the name of any organisation it is proposed to work with, in the Project Description.

The .pdf is submitted via upload – the submission page has the appropriate button.

3. A word file or plain text file (.txt, .doc or .docx) containing short bio (200 words) and full cv (max four pages).
The file name and body text of your text or Word document should not include your name, to protect the blind review of submissions. Please call your file bio_cv. Use pronouns such as ‘the artist’ or ‘I’, ‘he’ or ‘she’.

Decisions by the selection panel will be made by August 1st, after which project activity can commence. Artists and collaborative teams will work at distance as required, with the lead project co-ordinator traveling to New Plymouth when necessary, to implement the project in January/February 2014 or as agreed. Please note that if one of the collaborative local groups is the intermediate class of school pupils, then the project would need to be realised during teaching terms.

Submission page

The project submission page is: https://www.easychair.org/conferences/?conf=map2014

Selection panel

Rhana Devenport, Director Govett-Brewster Art Gallery
Nina Czegledy, Senior Fellow University of Toronto and artist
Chris Connolly, Curator Pukekura Park
Anna Carrington, Festival of Lights (New Plymouth District Council)

DOCUMENTATION

Significant and appropriate documentation will be taken by the artists during the implementation period. This will be placed permanently online as a resource and distributed in an open and free way. At the same time as the projects are implemented, there will be associated events which bring members of the public into contact with the art works and involve open discussion on related topics.

Budget

The budget for the Fernery project during the Festival of Lights is $3000NZ. The budget for the other project is $6000NZ.

Queries to ian dot clothier at intercreate dot org

Shaman Don Patricio in the ‘Car Garden’, Albuquerque.

Being Light: art in the age of new consciousness explores light across the cultures and ideologies of Maori, Navajo, Mayan, Pueblo and Western Europe. Based on the idea that everything is interconnected, the exhibition includes works of art, cultural artifacts, whale song and living plants.

The new consciousness relates to combining indigenous cultures, art, science and technology. Currently involved are: Ian Clothier, Te Huirangi Waikerepuru, Te Urutahi Waikerepuru (all of Aotearoa New Zealand), Courtni Hale (Centre for Natural and Traditional Knowledge), Will Wilson, Agnes Chavez and Richard Lowenstein. We are in contact with Santa Clara Pueblo and have invited Mayan participation.

Works in the exhibition range from cultural artifacts, to photographs and live data (including tree voltage) from a tree in Opunake New Zealand.

It is considered by all involved that it is important to combine the awareness of indigenous cultures with art, science and technology as an essential component of resolving the environmental crisis.

Planned to run alongside the exhibition are a number of participatory events where people of all ages and cultures are welcome to celebrate the new consciousness. The project has several layers of involvement.

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.

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.”

Rulan Tangen ‘Walking at the Edge of Water’
Sunset at Back Beach, Paritutu, Taranaki Jan 26 2013
Photograph by Terri Ripeka Crawford

This is the middle weekend of the residency. Some went up the mountain, others gathered late in the day at Back Beach Paritutu.

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 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.

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

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.

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.

Photo by Tracey Benson

Nigel Helyer and Darko Fritz at Puniho with woven works.