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.

lemon vernbena

Water, food and resources at SCANZ

lemon vernbena

Lemon verbena in October 2014 (left) and December (right). This kind of growth based on solar energy and water is one of the most outstanding characteristics of nature.

As SCANZ 2015 is about water and peace, we need to consider our resource usage. At this page on, you can scroll though products to find the calculated water footprint of that product. The global average of water required for one cup of coffee is 132 litres of water. Clearly we need to work on this and related issues in regard to our diet.

At the same time, at SCANZ we are not interested in being policemen in regard to the environment and environmental issues. We just want people to think about their consumption and make adjustments. At Intercreate we are seeking a space where we can all connect in regard to the environment.

As organisers of the SCANZ residency, we are working on ways to reduce our water footprint. We usually supply tea, coffee beans and a coffee grinder because our largely artist group loves coffee. However, for 2015 water*peace we are considering not supplying coffee on Fridays, and only providing locally grown herbal tea: lemon verbena. This is because the best way to reduce water footprint is to consume locally grown products. The verbena will be fresh and available through the week, and we can also access a small amount of fresh bergamot, the herbal leaf form which is similar to the flavour of Earl Grey.

In addition, rather than purchasing the coffee solely on the basis of taste, we will be purchasing Fair Trade Organic. This is because we do want to support those growers in the Fair Trade scheme, who often are local people rather than multinational companies.

We are very lucky to be having WITT involved in the residency as we have negotiated being able to pick from the communal garden in return for watering and tending. Anyone who is picking or gardening will be asked to treat resources carefully, and to never pick an entire crop. We are also intent on getting food from local suppliers as much as possible.

Huatoki Walkway announced as site for SCANZ water*peace art works

Huatoki walkway announced as site for SCANZ water*peace art works

The Huatoki walkway and Plaza are now reserved for SCANZ 2015:water*peace events. We are particularly pleased the New Plymouth District Council has supported our project in this way, as it means we will be able to locate creative works along the Huatoki walkway, for temporary exhibition on Sunday February 2nd 2015.

The Huatoki River is site of many stories, dating from pre-European times to industrial usages, through to the current walkway/recreational purpose. A range of site types can be offered to successful artists.

This is where the Huatoki meets the sea. This view is looking downstream. The The walkway crosses above

This is where the Huatoki meets the sea. This view is looking downstream. The walkway crosses above

This image captures a little better, the atmosphere of the area with the road going over the top

This image captures a little better, the atmosphere of the area with the road going over the top

Looking upstream from the previous photo. This part of the Huatoki runs in front of Puke Ariki museum and Library

Looking upstream from the previous photo. This part of the Huatoki runs in front of Puke Ariki museum and Library

A slightly better view of the lower part of the landing area, which is landscaped back up to the right, until Puke Ariki Museumis reached

A slightly better view of the lower part of the landing area, which is landscaped back up to the right, until Puke Ariki Museum is reached

Looking upstream from the landing, the Huatoki again passes under a road. Beyond the pipe and through the other side you can see where the stream drops 30-60cm (1-2 feet)

Looking upstream from the landing, the Huatoki again passes under a road. Beyond the pipe and through the other side you can see where the stream drops 30-60cm (1-2 feet)

Start at the other end

Call for water*peace presentations

Photo of Wai by Jo Tito

Photo by Jo Tito 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 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:

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:

I am also heavily involved in 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:

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


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 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.


Glen Skipper at Te Rewa Rewa pa

Artists, tangata whenua and locals in the environment of Taranaki, with the Waiwhakaiho River and Taranaki Maunga (mountain) in the background. This photo is from the recent Intercreate event “Ko Tatou te Tangata.”


Water is essential to survival, revered and respected worldwide for its power, creative and curative abilities.

Wai, water or flow is central to the worldviews of many indigenous cultures of Earth, and is of special significance to tangata whenua (the people of the land) of Aotearoa New Zealand.

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.

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.

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*peace begins on the with noho marae (overnight stay) at Parihaka in Taranaki, Aotearoa New Zealand. The 18th and 19th of each month are special days of the celebration of Te Whiti and Tohu, prophets of peace in colonial times. They were leaders during an infamous episode of New Zealand’s history, and Parihaka is today world renowned for the stance on peaceful protest in the face armed constabulary.

On the afternoon of the 19th, SCANZ participants will return to Nga Motu New Plymouth where they will stay and work on the campus of the Western Institute of Technology at Taranaki. Over a two week period they will collaborate, work with visit and be visited by locals, conduct workshops and create works and projects to be exhibited on the banks of the Huatoki River walkway.

There will be a public activity day,  viewing of the installations and night time projections in Huatoki Plaza. A walking symposium on the final day will follow the path of the works along the Huatoki up to Pukekura Park.



Saturday January 17th – participants arrive in Nga Motu New Plymouth. There is a welcoming on to the WITT campus.

Sunday January 18th – travel to Parihaka (depart 8am). Overnight stay at Parihaka. Group discussion in the evening with residents of Parihaka.

Monday January 19th – mid to late afternoon return to New Plymouth.

Tuesday January 20th – morning – first presentation by invited guests (likely to be a tangata whenua group).

Wednesday January 21st – morning – second presentation ( local electronics specialist Andrew Hornblow).

Thursday January 22nd – morning – third local presentation (environmental group).

Friday January 23rd – morning – fourth local presentation (likely to be a raranga/weaving session, may involve travel).

Saturday January 24th – day is open to explore Taranaki, do project work, take part in spontaneous collaboration or take a beach, coastal or mountain walk.

Sunday January 25th – day is open to explore Taranaki, do project work, take part in spontaneous collaboration or take a beach, coastal or mountain walk.

Monday January 26th to Friday January 30th – working on projects / collaboration / testing / installation / preparation for weekend presentation.

Saturday January 31st – Day of installation of projects along Huatoki walkway and or Pukekura Park. This is also the public activity day in Huatoki Plaza.  All applicable projects presented in the Plaza. Night time projections either in Huatoki Plaza or Pukekura Park.

Sunday February 1st – commence hui / walking symposium at 9am along the Huatoki walkway. Poroporoaki / reflections on the residency in the late afternoon.

Monday February 2nd – participants depart accommodation for outward bound travel.

Please note the above schedule may change and is subject to confirmation by appropriate organisations and individuals.


64% of electronic arts professionals think their engagement with the environment will increase in the next five years


Survey pie chart graphic

Survey question 8: Do you think your engagement with the environment will change in the next five years?

In a recent survey on the future of electronic arts undertaken by Intercreate, 64% of respondents indicated they believe their engagement with environmental issues will increase in the next five years. This is a striking statistic and indicates a rising level of concern among artists, for the environment.

Electronic artists most frequently use circuits, digital and computer technology in their work, but rather than the somewhat prejudiced view of geeks and hackers working all hours in technological bunkers, a considerable portion of the electronic arts community is concerned with the very real world issues of the human relationship to the environment. While this may have been speculated previously, the survey results confirm the speculation.

The survey was intended to measure attitudes about a range of issues, among the core group of participants and audience around and it’s Aotearoa-New Zealand based Intercreate Trust. While most respondents (62%) were artists, a further 32% identified themselves as a Creative or Cultural Sector professionals.

This is the first survey of it’s type conducted by Intercreate, and further are likely at regular intervals, to track changing trends in the electronic art sector. Data from the inaugural survey is still being processed and it will be several months before the full analysis is complete.




Future of electronic arts survey

Intercreate survey graphic 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.

Ko Tatou te Tangata: talk

Glen Skipper at Te Rewa Rewa pa

Glen Skipper (wearing leather hat) talks about the history, spirit and energies of Te Rewa Rewa pa.

As part of Intercreate’s Media Art Project Ko Tatou te Tangata a series of meetings and discussions with local iwi Ngati Tawhirikura were held, co-ordinated by Kura Puke and Stu Foster. One of the consequences of these discussion was that local historian and Puke Ariki Poutiaki Taonga Glen Skipper gave a talk about Te Rewa Rewa pa, at the pa site. One aim of the Media Art Project is to direct a laser from Katere Ki Te Moana marae to Te Rewa Rewa pa. The laser will carry audio contributed by local tangata whenua (people of the land, as Maori refer to themselves). The pa, now uninhabited, is a large site on the New Plymouth foreshore.

The two sites are connected by whakapapa (genealogy) people and history. Where once there was large settlement at Te Rewa Rewa, now the closest marae is Katere, which is several kilometres away. To direct laser light across the whenua (land), through the night sky carrying traditional knowledge and awareness is to re-awaken connection to place, and the project has facilitated this process greatly.

When standing on Te Rewa Rewa, the look and feel is that of farmed land, with a large open flat space at a good height for local visibility and indeed the land is leased to a farmer presently. Pieces of history are everywhere, with small entrances to mid 20th century structures, and pits in the flat plateau. The story of this land, its people, events, the politics, intrigue, comings and goings rise from hidden earth as Skipper takes us further into this place and it’s surrounds. Here, buried from everyday consciousness and awakened by the project are the many energies that constitute the living past, the veil having been lifted in the most delicate way by the efforts of Puke and Foster.