This article looks at the issue of the arts and climate change, from the perspective of art and science. On the one hand, scientific knowledge about climate change is complete. However, actual change is slow.
In the context of the art world, it is clear we are living in a post modern world. Consequently, art is understood not solely for its inherent characteristics (the modernist view) but for the way art works interconnect with culture (the postmodern view).
So what we have in terms of art and science is the knowledge required and the cultural theory in place, but slow change and an art world largely disconnected from the issues of climate change. Why might that be?
SCANZ2015:water*peace brings together people from diverse backgrounds,connecting everyone in a positive expression of our relationship with water and the power of peace.
Water is essential to survival. Wai, water or flow is central to the worldviews of many indigenous cultures of Earth. The scientific study of water and the onset of turbulence was central to the development of Chaos Theory. Today water monitoring in the environment has become important to sustainable approaches to water management.
Peace is also essential to the sustainability of humans on Earth.
This work will be a collaboration with other artists and consists of large moving mandala projections at night time coupled with sound created from elements of nature and a waiata composed specifically for these projections. Each element of the work is important and will contribute to the overall kaupapa of water and peace.
Intercreate has released its first survey on electronic and digital arts, looking into the near future (1-5 years) . While we might speculate on which issues are important, debate the virtues of exhibition in gallery or public space, and have preferences about creative development, using a survey allows us to get a strong picture of where our audience and colleagues are on these issues. We want to know what your thoughts on this are. Help us with this process by filling out the survey now – there are 20 multiple choice questions. Please also circulate this survey among your colleagues.
In this project recordings of water are modified through signal processing mechanisms derived from digitized 3D forms appropriated from nature, which themselves are transformed and projected on a white fishing net surface.
Three artists resident in Sydney but originating from England and New Zealand will work for two weeks with the New Plymouth central city area to enliven it for one or two evenings prior to the SCANZ walking symposium. Water is central to the site (between St Aubyns and Ariki) and the works focus their visual and sonic interventions around these features. In this context installation itself becomes a performative act with artists working within the site of an intended audience.
Public art should function within the public realm. Its critique negotiates a series of overlapping issues extending from urban hierarchies, diversity, to operations of power. For SCANZ2015, I propose to work within a community were water has a distinct significance either in terms of ancient/ indigenous knowledge, cultural values, metaphysical connections, or political/social contentions.
I am proposing to undertake practice-led research into the potential for audiences to have a meditative experience – to find ‘peace’ – when viewing water – Kate Richards
At the SCANZ 2015 residency we would seek to create a geographical cycle of storytelling with local traditional owners and investigate extensions of our current successful work Ringbalin River Stories as an international layer of geolocated narrative and knowledge.
As a part of our residency project we want to take field trips to connect with local traditional owners and investigate their methods of story telling and collaborate to make content such as short films, audio stories and photo stories which we would hope could be presented in a variety of forums and platforms.
For the SCANZ 2015 residency, we propose to redevelop the Fluid City content in relation to the local environment and cultures of the Taranaki region. This will be developed in the form of a short water film (for the roving cinema); interviews and stories from locals including tangata whenua from Parihaka marae, farmers, school children, artists, musicians, poets and other residents; and fragments of creative writing or environmental sound (for the roving vessel of stories); and fresh water samples collected from streams and other significant waterways around the Taranaki district (for the roving laboratory) – Charlotte Sundy and Alys Longley.