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SCANZ 2015 programme

2015Graphic01-final
This is the final programme for SCANZ 2015 events running from Friday 30th January to Sunday February 1st.

 


 

SCANZ 2015 INTERNATIONAL CELEBRATION OF WATER AND PEACE

Artists and performers from Aotearoa New Zealand, Australia, Canada, America, Vanuatu and Nanavut Territory

Night time projections Pukekura Park 9-11pm Friday 30th January, starting at the Boat Shed Lawn

For further information in the form of short descriptions of the works to be projected, read more here.

 


 

International Day in Puke Ariki Landing and Huatoki Plaza 11am – 4pm Saturday 31st January

 

11-4pm Artworks will be displayed along the Huatoki stream, from the sea end up to Redcoat Lane.

Allan Giddy (NZ/Australia) has an installation where the Huatoki meets the sea. Tracey Benson (Australia) will be at Huatoki Plaza to demonstrate her augmented reality installation Words for Water. USA artists James Werner and Ava Werner have a GPS locative work and an installation respectively in Sir Victor Davies Park. Prim Rose Wari (Vanuatu) has woven work near the Red Coat Lane bridge, along with Vicki Smith from the West Coast of the South Island.

11am – 4pmFluid City, artists from the University of Auckland with activities for all ages, up in Huatoki Plaza.

11am – 4pm – Children’s art about Water and Peace, made at the Quirky Creative workshops during the week.

11am – 12.30 – find out all about water for kids of all ages with Kevin Archer, TRC Education Officer and Chris Fowles. The session includes looking at water samples for the tiny creatures living there and finding out how healthy the water samples are. Chris and Kevin will be there in thigh waders and take samples from the Huatoki Stream. They will be on Puke Ariki landing.

1.00pm – Dance performances in the lower area of Huatoki Plaza.

2pm – Launch of the Vanuatu Women’s Water Music DVD beginning in Huatoki Plaza and moving to at Puke Ariki landing.

2.30pm – Riverside cinema – video by artists on water and peace under the road at Puke Ariki landing.

7.00pm – 11pm Riverside cinema – video by artists on water and peace under the road at Puke Ariki landing.

 


 

Walking hui-symposium on water and peace 11am – 4pm Sunday 1st February, meet at Huatoki Plaza

Take part in discussions about water and peace, and hear artists talk about their work.

RAIN VENUE: ART / F BLOCK, WITT (20 Bell Street, New Plymouth)

11-4pm Artworks along the Huatoki stream (see above for details). If it rains, the Walking Symposium will be held up at the WITT campus – meeting at F Block.

7.00pm – 11pm Riverside cinema – video by artists on water and peace under the road at Puke Ariki landing.

Come along and join any event for as long as you like, there is no need to book

Sponsored by Intercreate.org, Creative New Zealand, Te Matahiapo, TSB Community Trust, Western Institute of Technology at Taranaki and the Intercreate.org community

 


 

Quirky Creative – SCANZ 2015 Water and Peace Programme

The following programme is for ages 5+ to adult – bring the family!

Mon 26 Jan 1-4pm
Vessels: Mosaic baths for birds or bees, or mosaic glass water bottles

Tue 27 Jan 10am-1pm
Psychedelic Hippy Day: Tie-dye shirts with a peace message

Wed 28 Jan 1-4pm
Raindrop Art: Glistening drops to display later at Huatoki Plaza

Fri 30 Jan 10am-1pm
Art Abandonment
: Tiny projects made to be abandoned and found

Sat 31 Jan 11am-4pm

Visit the Quirky Kids space at the Huatoki Plaza

Programmes held at Creative Focus, Block C, WITT

Booking is essential due to limited spaces. For more info contact Quirky Creative.

SCANZ 2015 water and peace map

Clicking on the photograph below will take you to a map and folder of images of the Huatoki stream walkway from the sea to Redcoat Lane. This is the path of the locations of SCANZ2015 water*peace artworks, presentations and installations.

The map shows the locations for art works, performances and activities that occur on the final weekend of SCANZ2015 – Saturday 31st of January in Huatoki Plaza (11am – 4pm), and Sunday 1st of February (11am – 4pm) along the Huatoki from the sea to Redcoat Lane. There are also night time projections in Pukekura Park on Friday 30th of January, 9pm to 11pm.

SCANZ2015 sites

Below are the photographs in a slideshow.

Call for water*peace presentations

Photo of Wai by Jo Tito

Photo by Jo Tito

Intercreate.org is seeking submissions for a walking symposium to be held on Sunday 1st of February 2015 in Nga Motu New Plymouth as part of SCANZ2015.

We seek presentations based on water and/or peace along the following thematic threads: indigenous awareness, beyond the physical, states of flow, bodies of water, science and measurement, commentaries on peace.

Presentations will be given in the open air along the Huatoki stream walkway. As will be apparent from the discussion threads, a diverse and inclusive hui/symposium is sought. Presenters will be grouped into panels with each person speaking for 10 minutes followed by discussion.

To apply please go to http://tinyurl.com/scanz2015. Submissions are open until December 1st.

Images of the Huatoki walkway can be found here.

SCANZ is a partnership between Intercreate, Creative New Zealand and the Western Institute of Technology at Taranaki.

 

The challenge to publicly funded organisations brought on by climate change

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?

This article is based on a presentation given to the Aotearoa Digital Artists 2014 symposium and I thank them for providing the context to bring these thoughts together.

Before I begin, following my work with tangata whenua (in particular Te Matahiapo) I will introduce myself by saying I am a hybrid Polynesian who comes from the sea. I live in Te Ika a Maui (the North Island of New Zealand).

Te Ika a Maui. Image: ESA.

Te Ika a Maui. Image: ESA.

I was born in Te Wai Pounamu (the South Island).

South Island

Te Wai Pounamu showing Otautahi (Christchurch). Image: ESA/NASA

I have strong affiliations to Norfolk Island (pink circle) and Pitcairn Island (green circle). To island separate by vast swathes of Te Nui Moana a Kiwa (also called the Pacific Ocean). I say I come from the sea because it is the sea that connects these places.

Norfolk Island (pink circle) and Pitcairn Island (green circle).

Norfolk Island (pink circle) and Pitcairn Island (green circle).

My mother was born on Norfolk Island, and she met my father there in 1946 by swimming into him in Emily Bay – another reason I say I come from the sea.

Emily Bay

Emily Bay, Norfolk Island. Source: http://aloha-apartments.com/norfolk-gallery/

Due to this heritage and the Mutiny on HMAV Bounty saga, I can whakapapa to Tahiti. This is important in some situations, particularly to tangata whenua.

Matavai Bay

Matavai Bay (Tahiti) and Tahitian Boats. The source is Plate 2 of Volume 4 of John Hawkesworth’s Account of the “Voyages…in the Southern Hemisphere,” the official account of James Cook’s voyages, published in London in 1773. Source: http://libweb5.princeton.edu/visual_materials/maps/websites/pacific/cook1/cook1.html

I am also heavily involved in intercreate.org and particularly in the project SCANZ2015:water*peace. At Intercreate we often refer to the need to develop the culture of a sustainable civilisation.

SCANZ water and peace

SCANZ water and peace graphic.

And along with collaborators, I am an artist working in the electronic arts. Following is an image of the test set up for World Tree Ensemble: tiny_garden exhibited at grey ) ( area in Croatia. The work is by me and Andrew Hornblow.

tiny garden

“tiny_garden” test set up. Source: http://ianclothier.com/tiny_garden.

Preliminary note

Firstly, I would like to acknowledge the many people with whom I have collaborated, the many thinkers, writers and artists who have influenced my own thinking.

Secondly, one of the many subjects under discussion today, is the idea of interdisciplinarity. While there are many projects and activities that are interdisciplinary, there are fewer articles that discuss ideas directly from an interdisciplinary perspective, so I thought this would be a good situation to see what both science and art have to contribute.

Consequently, this article will initially look at surfing and the characteristics of culture, then DNA and Plate Tectonics, followed by the culture around knowledge. Following from this will be a look at the creative and cultural sector in the context of work by Marina Abramovic and Ulay. Donna Haraway’s critique of the naming of the current geological era as the Anthropocene is then referred to, prior to a consideration of where responsibilities lie in this era of climate change.

1. Surfing and the characteristics of sub cultures

In 1976, Stephen Wayne Hull presented a sociological view of surfing culture which outlined the reason why surf culture could be distinguished as a distinct sub culture, in what we would call today a hybrid culture. The basis for this was that surfing had it’s own rules governing behaviour, specific terms and custom language, dress codes and preferences for certain types of food and creativity. I mention this here as language, collegiality, rules governing behaviour, dress and consuming food and genres of creativity apply to other sub cultures within society.

2. DNA, Plate tectonics and the culture of knowledge

There is a contrast between the development of scientific knowledge in regard to understanding the structure of DNA, and the acceptance of Tectonic Plate Theory.

While the long timeline of DNA manipulation can be traced to 9000 years ago in Mesoamerica with the selective breeding of maize, in modern genetics there was a crucial period between 1944 and 1953 when an accumulative sequence of research events resulted in Watson, Crick, Wilkins and Franklin identifying the double helix structure. The period prior to 1944 was referred to as “intellectual chaos” by Watson, as much research was being done in the dark: researchers had data but simply couldn’t understand how it all fitted together. It was only when Watson and Crick decided to try and build a model, that the structure was defined.

For many this story of the development of knowledge around DNA, carries an assumption that this applies across science: separate teams working in specialist laboratories incrementally resolve issues leading to a break through that is acknowledged in the field and subsequently society in a rapid progression. We shall soon see that this concept does not hold in all situations.

To both diverge and dovetail with the comments about culture and surfing, in the preface to Recombinant DNA which is cited above, James D Watson referred specifically to “a scrapbook like compilation of the largely sociopolitical events that occurred there” when discussing a 1975 conference on the guidelines for the use of recombinant DNA techniques, highlighting the non-data based associations around knowledge.

Indeed academic disciplines do use specific terms and language, have expected behaviours (going to conferences and reading journals, for example), collegiality, fairly rigid guidelines for presenting language and over coffee, it is likely that a preference for consuming certain types of food and creativity can be found (I mean here coffee, Jazz and Classical music). While academia does not have dress codes aside from predominantly covering up, these other traces of sub cultural profile indicate that science like other aspects of human activity, has a culture.

To return to the theme of the structural operation of scientific methodology, the theory of Continental Drift was first proposed by meteorologist Alfred Wegener in 1912, whose book The Origin of Continents and Oceans was published in 1915. This idea was not orthodox at the time, and as a result even though it was the right idea, the concept was completely dismissed. Wegener lacked an explanation for the forces required and had to battle the holders of orthodox ideology.

Then in 1929, Arthur Holmes suggested thermal convection for geological plates. Once again, this was dismissed by the majority of scientists and both were ignored until the 1960s. Anyone who has presented unorthodox ideas at symposia will understand the full force of antagonism that comes from challenging paradigms.

In 1962, Harry Hess published The History of Ocean Basins, outlining what became known as ‘sea floor spreading.’ In part this was a consequence of the use of radar in WWII and the development of marine geology afterwards.

Frederick Vine, Drummond Matthews and Lawrence Morley then confirmed spreading using electromagnetic field data around ocean ridges. John Tuzo-Wilson in 1965 proposed transform faults. The processes for drifting continents were then in place, and for much of the 1960’s an either/or situation was cited in textbooks. Through the 1970’s and 80’s a gradual transition took place, with new adherents finding positions of authority and transforming the taught ideology.

Consequently, there was a period of 50 years when the right ideas were ignored. Then there was a slow and generational transition toward acceptance. So why didn’t plate tectonics follow the DNA model of development?

One answer lies in the Watson’s reference to the conference on guidelines around recombination. Around a knowledge base, a community is formed. This community will have shared information sources such as reading the same journals and attending the same conferences. Friendships develop, based on shared views of the data. If the members of the community hold all the positions of authority in regard to papers and conference submissions, then this becomes the orthodox viewpoint. The greatest single factor in changing the orthodox viewpoint is a combination of accumulated knowledge and generational change as the adherents of old ideologies move on. This longer process appears to more adequately describe the development and acceptance of Continental Drift.

Consequently knowledge has points of connection to culture, in terms of the world view of the individual and the culture of the community around the knowledge. This contention may seem novel in some situations, however it is borne out in for example, the development and acceptance of Chaos Theory between the 1970s and the end of the millennium. This contention is also supported by a review of knowledge and nation (whose origin is in place, though this can be transported): Indian knowledge is indeed different from Chinese knowledge.

What I draw from this is that the culture of science simply was not ready for plate tectonics for 50 years. This can be seen in academia throughout the 20th century where the development of new ideas required older generations to move on, rather than the correct idea changing the beliefs of those holding the standing orthodox opinions. The aim here is not to bring doubt on scientific method but to elucidate the precise structure of that endeavour and the associated connections that arise in an analysis based in integrated systems.

I will now park this speculation on science and culture, and venture over to the creative sector, and look at what is going on there.

3. Creative and cultural sector

By the time they arrived for ANZART in Christchurch in 1981, Marina Abramovic and Ulay were renowned for their arrow piece The Other: Rest energy.

To experience Witnessing, the audience filed silently into the Great Hall of the Arts Centre, and formed a line around the perimeter of the room. In the middle of the space (but not the centre) Abramovich stood on a plinth and pointed to Ulay who stood on the floor. This work had a duration of three hours, and was typical of their endurance performances which placed physical tension and strain on the artists.

To fast forward to 2010, during Abramovic’s The artist is present Ulay appeared as one of the line of people who could spend some time and space with the now solo female artist. She sat at a desk in the middle of the space, and the audience lined up around the perimeter, to consider, photograph and contemplate the piece.

I am not here providing a critique of either art work, but rather drawing attention to the fact that the set up is almost exactly the same. The artist as central, the audience as viewers who are separated by space, behaviour and hierarchy. The centrality of the artist and a dichotomy between artist and viewer in a way that upholds hierarchies is typically Modernist in approach.

This is despite the art world shifting in ideological terms over this same time period, from Modernism to Postmodernism and on to the multicultural, hybrid, remixed, multiplicitous, media saturated, internet based, user generated type ideologies of the current era.

The song remains the same in the art world. The culture of modernism has not broken down as the primary adherents have not yet moved on in generational terms, and the practices of a lifetime persist. Once again the aim of this reflection is not to negatively critique the creative sector or the cited creative projects, but to elucidate the structures at play in and around the creative sector. As it happens, I quite like Abramovic’s work.

4. Donna Haraway and the anthropocene

Haraway

Screen grab of the Vimeo page for the video discussed.

In this video (particularly the first 3 minutes 25 seconds) Haraway is speaking on issues around the naming of the current geological era and when it should be considered to have commenced, where the discussion it seems likely will result in this geological period being known as the anthropocene. This is ironic, as she points out while critiquing the timing of the start of this period (called by some the Capitalocene). In putting forward a concept of Chthulucene, she provides a summary of contemporary intellectual and research based activity, one that is opposed to some of the values seen in the creative sector above, though which will be familiar to the community around the electronic arts.

In a framework based on the human impact on the Earth, Haraway declares: “I propose that it has become literally unthinkable to do good work in any interesting field with the premises of individualism, methodological individualism and human exceptionalism.”

Clearly there is for Haraway a dissonance between environmental discourses and creative approaches endorsed in the upper echelons of the art world such as the Museum of Modern Art (an institution for which I have some affection).

5. Responsibilities

To now draw all of this together, it is pertinent to ask: is the culture around art and creativity ready for sustainability?

There are many instances of artist driven initiatives on the environment (Caroline Robinson, Janine Randerson and Natalie Jeremijenko for example) and some instances of galleries and art organisations (the Govett-Brewster, Te Tuhi, and TheBigIdea.co.nz) but as a whole art institutions are supported and funded completely outside of a discourse on the environment. The contention I am making is that this not good enough, particularly for publicly funded institutions and organisations.

Changing culture possibly rates as the hardest task we can set ourselves, and the best way to do that is to start today.

What we really need is a kind of approach that doesn’t turn us all into policemen, carving society in two halves: the ‘correct’ and the ‘incorrect.’

Replicating the binary power structures of modernity will not assist us with the change that is sought. We need a culture that is inclusive.

We need to unite environmentalism and driving around in cars, in ways that reconstruct our relationship to the environment and builds a culture of sustainability. As electronic artists and educators yes there is a role to play here.

Just as it is important that humanity engages with the environment, it is likewise important that governments and organisations do likewise, along with the organs of government and projects funded by central, regional and local bodies.

In some sense the lack of resolution of climate change problems is driving us to a position whereby soon there will be no choice: we will have to, for the sake of our own survival.

Future of electronic arts survey

Intercreate survey graphic

Intercreate.org survey: the future of electronic and digital arts

 

The survey has now closed, thank you for your participation and interest.

Please direct any comments or questions to ian dot clothier at intercreate dot org.

Digitsed salmon from a model by Claire Brunet and collaborators

Digitized 3D Objects and Audio Signal Convergence by Claire Brunet, Susan Fryberg and Toby Gifford

Salmon computer model

Digitsed salmon from a model by Claire Brunet and collaborators

Recordings of water, specifically chosen to make audible water’s numinous quality, are modified through signal processing mechanisms that are derived from digitised 3D objects. These will be played back along a public waterway, through solar powered speakers, as part of the SCANZ temporary public art works section. Projections of 3D forms data using a portable power generator are linked to the concept of water and its sustainability, and supported by sound. A stretched white net will be used as a projection screen.

Through exploring the ways in which the data from the digitized objects and forms are transformed and translated from nature to code to signal processing mechanisms, we investigate the plural condition of the digital medium. The work explores both interactions with digital data impact on ar1ists’ perception and interaction with the natural environment and foster a plurality of creative approaches. From a research/creation experiential mode of inquiry we investigate the ways in which the digitalisation of spatial, temporal and sonic modalities, impacts on interdisciplinary artistic concepts.

The Project team comprises the following artists: Claire Brunet, sculptor working with 3D digital technology who is completing a PhD on the impact of 3d digital technology and technological environment on sculpture installation art; Susan Frykberg, a composer of electro/acoustic music who often combines feminist, spiritual and social ideas in her work, and Toby Gifford, a music technologist sound designer and acoustic musician who has completed his PhD in interactive music systems, will offer technical support. The project we propose for Water and/or Peace residency and temporary public work (residency with public exhibition project) presents a multidisciplinary approach to the ways in which artists and the audience adapt to a creative experience.

The project combines music and sculptural forms data inside a digital context where sound, space, time and materiality are explored through a digital medium. It addresses an ecological and trans-national discourse, referencing water as an essential element of life. Original recordings, images and 3D objects are sourced from the physical space and location of the three artists – Canada, New Zealand and Australia. Sonic material from recordings of waters will be modified through granular synthesis and digital signal processing, through data obtained from a digital representation of manipulated data forms.

A number of software platforms will be used for this including Max and Ableton Live. Water sounds, changed by the data obtained through scanned elements from nature, parallel the interrelationship of the fish and water. Solar powered speakers will be used to make audible the sonic material.

Image projection will include a digital representation of manipulated data of a salmon form. The fish is an iconic figure of Canadian marine life and is also present in New Zealand and Australia. It is a visual metaphor for the complexity of the living condition. As a way to express the paradoxical aspect of life, the fish species selected also symbolizes the strength of nature’s instinct for survival. On site access to a portable power generator will supply energy for the data projector, allowing projections of 3D forms in nature. A stretched white net will be used as a projection screen.

This sound/projection multimedia installation project will enable us to explore new ways of looking, inventing, imagining and expressing past, present and future perceptions and interactions witl1 tl1e world in which we live. The main focus of our work is nature, transformation and change, through which we address ecological issues via the theme of water.

huatoki-walkway3

Huatoki walkway: history unveiled

It is interesting that following a river cuts across the urban city landscape and the corresponding histories of place. Nature and heritage are often obscured when the experience of place is  dominated by being in buildings, and walking, taking a bus or driving the streets. To follow a river is to connect them all.

This is across the street from the car parks and the entrance to the Huatoki walkway proper

This is across the street from the car parks and the entrance to the Huatoki walkway proper

This is the under pass to which the sign is adjacent

This is the under pass to which the sign is adjacent

 

The track is quite wide at points, with the banks off to the left. Once again looking upstream

The track is quite wide at points, with the banks off to the left. Once again looking upstream

 

This looks like a collection of boulders, but once was a large marker rock used by local iwi (tribes). It was dynamited in the colonial era

This looks like a collection of boulders, but once was a large marker rock used by local iwi (tribes). It was dynamited in the colonial era

 

On the opposite bank of the river are the footings of an old water powered flour mill

On the opposite bank of the river are the footings of an old water powered flour mill

 

Another pile of boulders, another dynamited marker rock

Another pile of boulders, another dynamited marker rock

 

The area of the stream bank around the second rock

The area of the stream bank around the second rock

 

Looking back downstream toward the area of the second rock

Looking back downstream toward the area of the second rock

 

Grinding stones from the several mills that once were located here

Grinding stones from the several mills that once were located here

 

The view looking upward toward the end of the town centre part of the walkway. If needed further sites are located beyond

The view looking upward toward the end of the town centre part of the walkway. If needed further sites are located beyond

 

Signpost marking the end of this passage of the walkway

Signpost marking the end of this passage of the walkway

 

Start again
Previous

 


 

SCANZ2015:water*peace-call

Photo of Wai by Jo Tito

Photo by Jo Tito

.

Celebrating International Peace Day with a call for projects on Water and Peace

This is the call page for SCANZ2015:water*peace. Below is information about project types, application process and the submission link.

Water is essential to survival, revered and respected worldwide for its power, curative and creative abilities. Water as a resource has become intensely politicised and monetised, in contrast to the view that access to fresh water is a fundamental human right. Peace is also essential to the sustainability of humans on Earth. Join us to discuss and put forward positive, connecting views on water and peace that engages our community. This is the first call for projects and residency with submissions due November 8, 2013 (this allows for planning and fundraising). A second call with revised dates will be issued shortly. Read more about the ideas behind the project…

 


 

2015Graphic05web

 


 

Project components

Noho marae

SCANZ2015: water*peace will be the fifth SCANZ residency and starts in January 2015. It will commence with noho marae (overnight stay) at Parihaka, world renowned as a site of peaceful protest. The stay coincides with the 18th and 19th, when Te Whiti and Tohu, leaders of the peace movement are celebrated.

 


 

Open residency

This will be followed by a two week open, creative and interdisciplinary residency. It is our hope that tangata whenua, indigenous peoples, New Zealanders and other global citizens will be able to take part.

We are suggesting that artists, environmentalists, technologists, scientists, writers, performers, dancers, permaculturalists and people interested in the positive aspects of water and peace, all take part. Anyone can submit a project in one or more of the categories listed further down this page.

 


 

Temporary works in public space

We would like to have five to seven temporary works in public space, shown for one day or overnight on the final weekend of the residency. These will be sited along a river walkway. No power will be provided at the sites, so solar, wind, and water powered projects are suitable (battery and static install are two further options).

 


 

Day of public activities about water, water quality and peace

We are seeking proposals for a day of activities that engage our local community in issues around water and peace.

 


 

Night time building projections

We are seeking projection works about water or peace, to be projected on to the side of a local building in the evening.

 


 

SCANZ hui

On the final weekend of the residency there will be a SCANZ hui. Day one is at WITT, the local polytechnic and allows for presentations that require technology, the internet, projectors etc. Day two is a walking symposium to view the artworks and have thematic discussions in the environment of the river walkways.

A separate call for hui/symposium presentations will be made at a later date, through the same application page on Easy Chair.

 


 

Categories of projects

Water and/or Peace residency and temporary public work (residency with public exhibition project)
Water and/or Peace residency (residency without an exhibited project)
Water and/or Peace temporary public work (no residency, public exhibition project)
Public activity day project
Night time projection on building
Online exhibition
Pure research

 


 

Process

Applicants should download the pdf application form by clicking the link below. This should be filled out and attached to the application made at EasyChair.

IMPORTANT: Fill out the SCANZ application pdf first, then go to Easy Chair and make yourself a log in. After entering your contact information, project title and submission abstract (max 500 words, target 350) with keywords, tick the appropriate category and topic. Upload the completed SCANZ pdf form in the field that says ‘Paper’. In the field that says ‘Attachment’ upload a .pdf, .doc, .docx or .txt which contains a a one page CV and a project image.

A two stage process will be used. Successful applicants will then be able to apply for accommodation and/or food subsidies from Intercreate. It will also be possible to apply for micro budgets for the public event one day of activities and river walkway art works.

This first call for applications is currently closed for review. A second call will be made, and announced via our email list, on Facebook and Twitter.

 


 

Submission page and useful links

Background to the project and issues of water and peace.

This short video is made by the people of Parihaka about Parihaka.

Pdf SCANZ2015 Application Form. Right click and download the form, open it in Acrobat and fill it out (Mac users, you cannot use Preview, it has to be Acrobat). Then attach the SCANZ form to your EasyChair submission.

We prefer pdf if possible at this stage. If you do not have Adobe Acrobat, scroll to the bottom of this page and there is a link to a Word file.

The Easy Chair submission page. The url in full is https://www.easychair.org/conferences/?conf=scanz2015

If you do not already have an Easy Chair log in, you will need to get one – the page you go to will prompt you, and once you have activated your account you will go to the SCANZ 2015 link.

 


 

Social media

Intercreate is adapting its online communication channels. Here is how to stay informed and tailor the way you connect with us:

Like us on Facebook and receive all Intercreate news & updates on events

Follow us on twitter to engage hybrid, interdisciplinary issues covering: art + technology + science + environment + cultural bridging

Join our Placestories project to share resources & discussion about SCANZ 2015 Water * Peace

 


 

SCANZ2015WordApplicationForm

 

scanz2015:water*peace-call

Call for projects

2015Graphic05web

Water*peace

Water is essential to survival, revered and respected worldwide for its power, curative and creative abilities. Water as a resource has become intensely politicised and monetised, in contrast to the view that access to fresh water is a fundamental human right. Peace is also essential to the sustainability of humans on Earth. Join us to discuss and put forward positive, connecting views on water and peace that engages our community. This is the first call for projects and residency with submissions due November 8, 2013 (this allows for planning and fundraising). Read more…

Noho marae

SCANZ2015: water*peace will be the fifth SCANZ residency and starts in January 2015. It will commence with noho marae (overnight stay) at Parihaka, world renowned as a site of peaceful protest. The stay coincides with the 18th and 19th, when Te Whiti and Tohu, leaders of the peace movement are celebrated.

Open residency

This will be followed by a two week open, creative and interdisciplinary residency. It is our hope that tangata whenua, indigenous peoples, New Zealanders and other global citizens will be able to take part.

We are suggesting that artists, environmentalists, technologists, scientists, writers, performers, dancers and people interested in the positive aspects of water and peace, all take part. Anyone can submit a project in one or more of the categories listed further down this page.

Temporary works in public space

We would like to have five to seven temporary works in public space, shown for one day or overnight on the final weekend of the residency. These will be sited along a river walkway. No power will be provided at the sites, so solar, wind, and water powered projects are suitable (battery and static install are two further options).

Day of public activities about water, water quality and peace

We are seeking proposals for a day of activities that engage our local community in issues around water and peace.

Night time building projections

We are seeking projection works about water or peace, to be projected on to the side of a local building in the evening.

Online exhibition

Links to water and peace resources online will be collated. Included will be a curated selection of online projects about water and/or peace.

SCANZ hui

On the final weekend of the residency there will be a SCANZ hui. Day one is at WITT, the local polytechnic and allows for presentations that require technology, the internet, projectors etc. Day two is a walking symposium to view the artworks and have thematic discussions in the environment of the river walkways.

A separate call for hui/symposium presentations will be made at a later date, through the same application page on Easy Chair.

Categories of projects

Water and/or Peace residency and temporary public work (residency with public exhibition project)
Water and/or Peace residency (residency without an exhibited project)
Water and/or Peace temporary public work (no residency, public exhibition project)
Public activity day project
Night time projection on building
Online exhibition
Pure research

Process

Applicants should download the pdf application form by clicking the link below. This should be filled out and attached to the application made at EasyChair.

IMPORTANT: Fill out the SCANZ application pdf first, then go to Easy Chair and make yourself a log in. After entering your contact information, project title and submission abstract (max  500 words, target 350) with keywords, tick the appropriate category and topic. Upload the completed SCANZ pdf form in the field that says ‘Paper’. In the field that says ‘Attachment’ upload a  .pdf, .doc, .docx or .txt which contains a a one page CV and a project image.

A two stage process will be used. Successful applicants will then be able to apply for accommodation and/or food subsidies from Intercreate. It will also be possible to apply for micro budgets for the public event one day of activities and river walkway art works.

This first call for applications is due on November 8, 2013. While this is early, it will allow successful applicants to commence planning and fundraising. A second call will be made at a later date.

 

Useful links

Background to the project and issues of water and peace.

This short video is made by the people of Parihaka about Parihaka.

Pdf SCANZ2015 Application Form. Right click and download the form, open it in Acrobat and fill it out (Mac users, you cannot use Preview, it has to be Acrobat). Then attach the SCANZ form to your EasyChair submission.

EasyChair submission page.

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