Receive SMS Online for Free: A Secure Gateway to Digital Privacy

In an era dominated by digital interactions, safeguarding personal information has become paramount. When it comes to online communication, the demand for personal phone numbers raises concerns about privacy and security. The solution? Receiving SMS online for free through temporary phone numbers, offering a shield between your private life and the digital realm. This article explores the dynamics of using temporary numbers, providing insights into their advantages and a step-by-step guide for seamless integration.

Navigating the Landscape of Temporary Numbers

Choosing to receive SMS online for free involves tapping into the realm of temporary or disposable phone numbers, aptly known as “burner” numbers. These serve as a protective barrier, ensuring that your primary contact details remain confidential. Selecting a reliable platform is the initial step in embracing this privacy-conscious approach. It’s crucial to opt for services with a proven track record, positive user reviews, and a variety of offerings catering to different needs and regions.

Once a reputable service is chosen, the process of obtaining a temporary number is user-friendly and straightforward. Users typically go through a quick registration process, providing minimal information. The platform then issues a temporary number that can be used for various online activities, safeguarding the user’s personal phone number from potential security threats.

The Step-by-Step Guide to Receiving SMS Online for Free

Understanding how to seamlessly integrate temporary numbers into your digital routine is essential for harnessing their full potential. Here’s a comprehensive guide to walk you through the process:

1. Choosing a Reputable Service

Start by researching and selecting a platform renowned for providing secure and reliable temporary phone numbers. Consider user reviews, the platform’s reputation, and the breadth of services offered. Ensure that the platform supports the specific regions or country codes relevant to your needs.

2. Obtaining a Temporary Number

The registration process is typically quick and hassle-free. After selecting a platform, proceed to register and obtain a temporary number. This number becomes a secure conduit for receiving SMS messages without exposing your primary phone number to potential risks.

3. Using the Temporary Number

Put the temporary number to use in scenarios where a phone number is required for verification or communication. Whether signing up for new accounts, authenticating your identity, or receiving one-time codes for secure access, the temporary number acts as a protective shield for your personal information.

4. Disposing of the Number

Once the purpose is served, it’s time to dispose of the temporary number. Reputable platforms offer options to deactivate or release the temporary number, ensuring it cannot be exploited for further communication. This step adds an extra layer of security, reinforcing the privacy aspects of using temporary numbers.

Advantages Galore: Why Opt for Temporary Numbers?

The decision to embrace temporary phone numbers for receiving SMS online for free brings forth a plethora of advantages, making it a compelling choice for privacy-conscious individuals navigating the digital landscape.

1. Privacy Protection at Its Core

At the heart of utilizing temporary numbers lies the advantage of enhanced privacy. By substituting your primary phone number with a temporary one, you proactively shield your personal contact information, mitigating the risk of privacy infringements.

2. Fortified Security Measures

Temporary numbers contribute to heightened security, especially in scenarios where multi-factor authentication or identity verification is paramount. The temporary nature of these numbers reduces the risk of unauthorized access to your accounts, ensuring a secure digital experience.

3. Unmatched Flexibility and Convenience

Flexibility is a key feature of temporary phone numbers, allowing users to engage with online platforms without the need to disclose permanent contact details. This flexibility proves especially convenient when exploring new services or testing platforms without committing to a long-term association.

4. Say Goodbye to Unwanted Communication

Leveraging disposable numbers grants users freedom from the annoyance of unwanted communication, such as telemarketing calls or spam messages. Once the temporary number has fulfilled its purpose, it can be effortlessly discarded, putting an end to any further communication through that channel.

In conclusion, the strategy of receiving SMS online for free through temporary phone numbers stands as a pragmatic and privacy-centric approach to digital interactions. As technology evolves, integrating such solutions into our online practices becomes essential for maintaining control over personal information while enjoying the conveniences of the digital world.

SCANZ2013: skype bridge

This special session of 3rd nature involves six presentations from Europe.  It occurs on Friday, February 1, 2013 8-9 pm, from Belgium, Germany, Spain and Austria and simultaneously Saturday, February 2, 2013, 8-9 am in Taranaki, Aotearoa New Zealand. This session occurs immediately after the Tomo Whakaari (Dawn Opening) for the 3rd nature exhibition has completed.


  1. Maja Kuzmanovich
  2. Verena Kuni
  3. Lorena Lozano
  4. Reni Hofmuller
  5. Annemie Maes
  6. Lenka Dolanova and Michal Kindernay


Vegetal culture

Maja Kuzmanovich, Brussels, Belgium


At the epicenter of culture, gardening and technology we might be able to see how plants can become organisational principles for human society in the turbulent times of the 21st century. Although we have to scavenge the fringes of contemporary society, we can observe many healing effects that humans can have on their surroundings through a symbiotic collaboration with plants. People offer a helping hand to a struggling habitat through “natural farming” (Fukuoka 1990). Others design whole lifecycle systems inspired by natural processes, based on the art and science of bio-mimicry. However, on a systemic level, we still don’t know how to overhaul wasteful human behaviors en masse. How do we encourage a more resilient culture, so that humans and non-humans can continue living, preferably together? How do we stimulate a fertile entanglement of culture, gardening and technology that can give the rise to diverse and holistic communities of practice? Communities, are capable of forging symbiotic relationships between postindustrial human societies and the rest of the earth. Composting bitterness to grow beauty.

Maja photo


Maja is a generalist, with a background in Design Forecasting and Interactive Media. Maja is the founder, principal invigorator and chef de cuisine of FoAM. Prior to FoAM, she experimented with MR & VR in research institutes across Europe (GMD, CWI, Starlab), lectured (HKU), as well as collaborated with technological arts collectives such as Post World Industries and Pips:Lab. Her particular approach to people & technology has been recognized by the MIT’s Technology review & the World Economic Forum, awarding her the titles of Top 100 Young Innovator (1999) & Young Global Leader (2006). Her current interests span alternate reality storytelling, pata-botany, resilience, speculative culture and techno-social aspects of food & food systems.


Electro-Culture Revisited

Verena Kuni, Frankfurt, Germany


If technologies have always formed and informed our attitudes towards and relationships with nature, this is also true for the way we’re commuting and communicating the latter. But what does this mean exactly when looking at “human-plant relationships in the electronic circuit” – and at (DIY-) experiments with electricity, electronic media and network technologies in gardening and agriculture?

Verena Kuni photo


Verena Kuni is scholar in the field of history and theory of art and media cultures and professor for Visual Culture at Goethe University, Frankfurt Main. Since 1996 she is lecturing, researching and teaching at universities and art academies in Europe and beyond. From 1995 to 1999, she co-curated the video section of Kasseler Dokumentarfilm and Video Festival, where since 1999 she is director of the yearly interfiction summit for art, media, and network cultures. Her research is dedicated a. o. to transfers between material and media cultures; media of imagination and technologies of transformation; alternate realities; urban biotopes; DIY and prosumer cultures; games, play and toys as tools. She has published widely (print & online) on contemporary arts & media, their histories and futures. Since 1997, she also runs her own radio shows.


Econodos, a laboratory in the open fields

Lorena Lozano, Gijon, Spain


Econodos (a laboratory in the open fields) is an open platform for creators, artists and designers working on art and nature relationships. It is a knowledge exchange network that tries to visualize new ways of dialogue with the biosphere and to develop eco-technologies. In an inter-disciplinary and multi-technique way, it integrates design, architecture, biology, music and informatics. It works in the field of communication, social mediation, research, documentation and creation, developing collaborative activities (workshops, exhibitions, artistic interventions, social participation dynamics and public spaces-debates). The nodes operate as a knowledge-net, focused on the ecological, social and technological challenges that today’s society is faced with, while being anchored in three ecological registers –environment, social relations, human subjectivity. Projects developed are based upon new paradigms of the relationship between humans and nature, the increasing importance of urban agriculture and the role of art as innovative imagination and communication instruments.

Members: Lorena Lozano (biologist and artist), Rubén Suárez (designer) and Javier Palacios (marine biologist and programmer)

Projects: ecoLAB:

Is an experimentation laboratory at the intersection between ecology, art and open electronics. It is a project that generates subjectivities and dynamics in relation to the biosphere and its ecosystems, through the implementation of eco-technologies (high-tech and low-tech). it works at LABoral Centro de Arte y Creación Industrial, Gijón, Asturias.  Greencity: Urban recepies in the limits between the urban and the rural; self-sufficiency, autoconstruction, DIY, harvesting the city, greening the surroundings. The same gardens: How are the artistic perspectives used politic tools on the praxis of social and environmental praxis? ¿Can aesthetics play a key role on these processes? How and why contemporary artists use new and emergent green spaces in the cities? To what extent are these visions another utopia fantasy? Biohacking: Reflections abut life, interpersonal relationships and philosophical meaning. How can scientific advances change the way we understand ourselves and our human beings ideals? What does the development of biotechnology mean for the human species in how we relate to each other and perceive the non-human environment? To what extent do the powerful new ways of manipulating life, separate the capacity for production and reproduction of living beings from the environment and the communities that they are historically immersed in?



Graduated in Biology, specialized in Botany, Universidad de Oviedo, Asturias, Spain (1998). BHons degree in Fine Art, specialized in Sculpture and Environmental Art, Mackintosh School of Art, Glasgow University, Scotland (2007) Master in History and Sociocultural Analysis, Universidad de Oviedo (2012). Currently coordinates the project ecoLAB at Laboral Centro de Arte y Creación Industrial (Gijón) and is PhD Universidad de Oviedo in “Nature, Art and Society”. From 2007 to 2010, collaborated in Barcelona with the teams Ciutats Ocasionals, Sitesize and Idensitat on artistic and interdisciplinary projects on landscape and public space in contemporary cities. Have done artist residencies at Museum Manuel Felguérez (2007, Zacatecas, México) and Rubha Phoil Permaculture Centre (2005, Island of Skye). Worked for five years at The Hidden Gardens (regeneration and community project at Tramway, Glasgow). Trained in the fields of landscaping and social work in Switzerland and Majorca from 1999 to 2001.


Aims and objectives of ESC: Production, Work-lab/Communication/Networking, Presentation and Documentation

Reni Hofmuller, Graz, Austria

Possibility Grid

This title is programmatic for all the work we (the whole ESC-Team) do on a daily basis. In daily life, the decisions we take, the way we treat our surroundings, shows who we are. It was also the title of a show in 2011.

The central task of ESC is to produce and present art; the main emphasis is on the precise observation and seismographic capture of artistic processes that examine sociopolitical developments (information technology and biotechnology, socioeconomic systems) and new technologies (hardware and software).

Connected Open Greens

The topic of Connected Open Greens is the implementation of contemporary art pieces by usage of gardening situations, especially looking into micro-sociological and ecological systems related to time as starting points for the development of new artistic practices. Community gardens provide access to fresh produce and plants as well as access to satisfying labor, neighborhood improvement, sense of community and connection to the environment. They are publicly functioning in terms of ownership, access, and management, as well as typically owned in trust by local governments or nonprofits. (Wikipedia) This approach should be used to introduce contemporary time-based art into local communities and environments that usually are not part of the artistic focus. Urban gardening thereby becomes a method to find alternative communication strategies for contemporary art. At the same time, technological and organizational knowledge from artists enters into the world of community-based local work. Inspirations for these strategies are collected from other art project and the TIK-partners, especially from OKNO with their experiences with their open green experiments.

Reni Hofmuller


“I want freedom, the right to self-expression, everybody’s right to beautiful, radiant things.” Emma Goldman”

Based in Graz, Austria, Reni works as a media artist and activist, musician, composer, performer, organizer and  activist in the fields of usage of (new) media, technology and politics in general, engaged in development of contemporary art. Co-founder of ESC (artistic director), Radio Helsinki (community radio in Graz),, member of Institute of Media Archeology, 42 (artists group), /etc.


City Bee Monitoring

Annemie Maes, Brussels, Belgium

It is remarkable to see how a bee population functions and evolves in accordance to the human activites we are developing around them: gardening and urban agriculture. Honeybees are very responsive to the different biotopes that we share they are good bio-indicators. Therefore we want to gather insight into what constitutes the diversity of our surrounding living place and research this on a deeper level. We developed yet different tools for identifying the specificity and relatedness of plants, insects and human activities. Adding new sensor networks to our Connected Open Greens distributed garden database, we hope to portray the surround Brussels Canal Zone, as it is changing over time into a continuous productive urban landscape. With this new project, Corridors, in which city honeybees play the leading role, we want to research how the sustainability of cities can be increased in the future, and how citizens can be actively involved.

Annemie Maes


Annemie Maes, media artist and activist, holds master degrees in fine arts and cultural studies. Her artistic research and cultural activism projects are publicly presented as ‘politics of change’ with a focus on actual topics as ecology and women empowerment. Most of the projects are linked to the problematization of new art in public space, from a socio-cultural background. Annemie Maes is co-founder of Okno, an artist-run organization working with media art and ecology. Her recent research work focuses on Corridors & Connected Open Greens, both transdisciplinary projects at the intersection of art, biology and green technology.


KRA – Kravín Rural Arts

Lenka Dolanova and Michal Kindernay, Kravin, Czech Republic

KRA – Kravín Rural Arts is an emerging residency center based in a former cow-house in a small Czech village. Based in rural area, we are forced to work with “indigenous” people, the “locals”. The necessity to confront various “cultures” is obvious. Our aim is to use the means and tools of arts to challenge the local 3 ecologies (environmental, mental, social, as described by Félix Guattari). We fight the mortification of traditions by inserting new living traditions. We organize walks with artists sonifying fences and trees. Walking is the basic tool for acquiring pieces of local knowledge, “solvitur ambulando”, solving problems by walking and talking. We urge other artists to play on barrels, on the wind, on local broadcasting system. We construct beehives. We input ourselves as artists and researchers, into our community, using camouflage of beekeepers, gardeners, denizens, who we became. While city bees have allegedly more honey than village bees, citizens consume more products from “farmers’ markets” than villagers. The villages are losing their apples, pears and cherries. The diversity, variability and fruit-fullness is what we are fighting for, armed with unholy trinity: ecology + media + art.

– KRA = floe

– KRÁ = “caw” or “kaah”, sound of raven

– KRAVÍN = cowhouse

Lenka DolanovaMichal Kindernay photo


Yo-yo is a non-profit organization started in March 2009 by collective of artists, curators and organizers. Since 2012 it is divided into two interconnected branches – Yo-yo urban and Yo-yo rural -, based in Prague and Hranice u Malče (Vysočina). Yo-yo is initiating and supporting the experiments at the intersection of art, ecology and media, across the rural and urban contexts. Our aim is to explore the new spaces for art, outside of the official art centers. Since 2010, it has been involved in developing the KRA (Kravín Rural Arts) project of residency center in the village Hranice u Malče in Vysočina region of the Czech Republic – a space for creation, meetings, and discussion, dedicated above all to ecological media arts.

SCANZ 2013: Martian Diaspora – a discussion on what culture can mean to a spacefaring civilization

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Author: Haritina Mogosanu


Between the 21 April and 5 May 2012 a piloted Mars analogue expedition was organised by KiwiSpace Foundation at the Mars Desert Research Station in Utah. During the expedition, the crew undertook various analog experiments and interacted daily with students from New Zealand via the Mission Control Portal at Carter Observatory and the Mission Support Portal on the KiwiSpace website. From the expedition, resources for the New Zealand Science Curriculum – Earth and Space Sciences and Te Puutaio section of Te Marautanga O Aotearoa (the Maori Science Curriculum) are being developed.

To engage the public in the mission, an interactive ESRI ArcGIS Online application was created which allowed users to follow the crew’s movements and explore the environment in Utah through an elevation profile viewer. GPS tracks, geotagged photos and various points depicting experiment sites and blog posts were highlighted on the map allowing the public to follow the journey as it progressed.

Also during KiwiMars 2012, a joint operations simulation (Antipodes) between the OeWF (Austria), KiwiSpace (New Zealand) and the Mars Society (USA) was undertaken.
Antipodes was a world premiere experiment simulating a loss of communication with Earth. A parallel landing party on the other side of Mars was requested to take over the coordination of an ongoing Extra-Vehicular Activity via their habitat, relayed via a satellite in Martian orbit until Earth was able to reestablish contact again.

In this paper we present an overview of the experiments, reflections on hybridised culture in space and recommendations for the future development of non-Earth habitats for multicultural groups.

Wai installation

Wai at 516 Arts

In the foreground is “Puwai Rangi Papa” by Leon Cmielewski and Josephine Starrs; on the wall is a shot from “The Wasteland” by Sharmila Samant. On the right is “Pou hihiri” by Te Urutahi Waikerepuru

Audio was an important part of the project. Click the link to hear audio by Andrew Thomas and Darren Ward. Darren Ward AndrewThomas

Wai installation shot
On the wall is Julian Priests’ “Sink”, with the Cmielewski and Starrs animation on the floor and Sharmila Samant’s piece projected on the wall.

Wai installation photo

Detail of “Pou Hihiri” by Te Urutahi Waikerepuru


Wai installation photo

“Puwai Rangi Papa” by Leon Cmielewski and Josephine Starrs was project on the floor


Wai installation photo Wai seen through an adjacent art work

SCANZ 2013: From second to third nature – building cultural bridges between Mātauranga Māori and Western science

Author: Ian Clothier


In 2011 at ISEA Istanbul “Te Kore Rongo Hungaora: Uncontainable second nature” brought together for the first time, Mātauranga Māori (traditional Māori knowledge pre-colonisation) and Western science in the context of electronic art. Kaumatua (respected elder) Dr Te Huirangi Waikerepuru contributed “Te Taiao Māori” and Associate Professor Mike Paulin of the Zoology department in Otago University, exhibited a blu ray disc of selected portions of his “Computational Visualization of the Electromagnetic Sensory World of Sharks”.

These two works were selected along with eight others, in accordance with five curatorial themes: cosmological context, all is energy, life emerged from water, anthropic principle and integrated systems.

This paper provides images of the works in the exhibition and describes the ways in which the works intersected the themes. An unexpected outcome of the project was to find that the interconnections were many, rather than few.

SCANZ 2013: Body Imperfect

Authors: Mark Harvey, Dermott McMeel, Becca Wood, Mark Jackson, Maria O’Connor


“As we sit here at this table and try to think about what we are going to talk to you about we just can’t quite come up with something because we keep being distracted by the feeling of these uncomfortable seats, our bad air and the hot sun probing into our necks. Our bodies can’t take it. Our foolish bodies. We need some technology. Any technology. Anything that can give us a quick fix. Our bodies are so difficult for our lifestyle and our environment. What we want are perfect bodies that don’t need technological interventions. So we’ll just have to make do.” (Crunch, 2012)

Body Imperfect will explore through choreographic performance and architectural/spatial studio practices and theoretical discourse the concept of what it means to test the human body from an audience’s perspective as an imperfect albeit difficult and polluting site in relation to technology. Rather than exploring the notion of the ideal body that is so often associated with disciplines like dance modernism and prosaic spatial ergonomic posture diagrams for the ‘ideal’ use of your work environment and furniture, we will explore the audience’s embodied environment through technological interventions that might not fit within normalized Western codes of acceptability and usefulness – via ‘the foolish body’. We will explore how this can interface through technologies, both in spirit and through digital apparatuses and interventions.

Foolishness in this sense might be conceived of through the actions of Maui the trickster, and other like-minded assassins of our sensibilities as elucidated by Lewis Hyde (1999). Maui through cunning reveals the ridiculous, hidden within the so-called day-to-day and public spectacle – of for instance the ridiculousness of his brothers who mocked him before he fished up the Te Ika a Maui (the fish of Maui, the North Island). We posit that it is not just if Maui and Fyodor Dostoyevsky’s ‘the Idiot’ (1992) go to a dance party in West Auckland, fall in love and procreate by mistake and regret it, but when we add in a mix of Frederich Nietzsche’s (1974) call to play the fool in The Gay Science (2001), Michel Foucault’s ‘techniques of the body’ (1975, 1978-1979), the ever pervasive Gilles Deleuze and Felix Guattari’s ‘bodies without organs and desiring machines’ (1972), some deodorant, some breath freshener and some bifocals so as to reconsider a sense of spatiality, the foolish body becomes a device for scrutinizing the environment, creative practice and technology.

Each panelist will offer up their current obsessions with the imperfect and body, technology and the performance environment in relation to Maui the trickster, using one or more of the above notions as a point of reflection and/or departure. We will present on the potentials that fooling around with MP3 players, and light sound and touch sensors can bring to messing with the choreographic expectations and environment of participating audience members with lighting, sound and their own somatic responses. We do not promise a pleasant journey but we aim to offer some revitalized readings and approaches on how we can interface with our corporeal identities when they are dispersed, intersected, multiplied, decentered and dematerialized by prosthetic technologies and related reflections. Questions asked by us will include what it means to play with: tensions between expectations of performance and environment and the real of the body with technology, scales of the body in relation to techno-desire, and how did we get ourselves into this mess in the first place.

Co-conveners and co-panelists: Dermott McMeel (architecture and technology researcher, School of Architecture, NICAI, The University of Auckland) and Mark Harvey (performance artist, Dance Studies NICAI, The University of Auckland)

Invited co-panelists: Becca Wood (Dance Studies, U of A), Mark Jackson (Spatial Design, AUT) and Maria O’Connor (Spatial Design, AUT). Consultant: Te Oti Rakena (School of Music, U of A/ Taranaki iwi).

SCANZ 2013: Wānanga-Symposium abstracts

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Feb 1st–3rd, 2013

Developing the culture to create a sustainable civilisation

Following is a list of abstracts selected for the SCANZ 2013 3rd nature wānanga-symposium. It is not quite complete yet. This page also has registration information and  an outline of the wānanga schedule.

Mātauranga Māori (for international viewers) refers to traditional Māori knowledge pre 1840s colonisation. The boundary of Mātauranga Māori and science is significant at (formerly) Crown Research Institutes in Aotearoa New Zealand and world leading in terms of integrating indigenous knowledge and Western science as a part of daily operations and core research activity. This integration is a feature of recent projects in the creative sector, and forms one foundation of the 3rd nature project. There are instances worldwide of this occurring, and the wānanga-symposium will provide a range of solutions to issues of working across cultures and disciplines, from several countries. For those interested in understanding more Te Reo (Māori language), there is a dictionary at:


Potential grouping and paper title
Mātauranga Māori, Science and Art
Dr Te Huirangi Waikerepuru Keynote 1
Alex Kmoch, Sheena Mannering-Tawera, Diane Bradshaw, Paul White and Hermann Klug A groundwater resources portal for New Zealand
Ian Clothier From second to third nature: building cultural bridges between Mātauranga Māori and Western science
Te Kipa Kepa Brian Morgan, Tumanako N. Fa’Aui and Robyn Desma Manuel Decision making at the Interface: Mauri and its contribution to the Rena Recovery
Margaret Smith & Fiona Clark Sustaining Waitara Waterways 
Josh Wodak Comprehending Complexity: Art in the Anthropocene 
Ricardo Dal Farra & Leah Barclay Balance-Unbalance: Arts + Science x Technology = Environment / Responsibility
Te Matahiapo Māori Society
Lesley Pitt A Pakeha social work view: liberation starts right here
Donna Willard-Moore An integral theory analysis of barriers to an ecologically sustainable civilization
Maja Kuzmanovich; Verena Kuni; Lorena Lozano; Reni Hofmuller; Annemie Maes; and Lenka Dolanova with Michal Kindernay Skype bridge – live presentations from Europe
Nina Czegledy Keynote – reFraming Nature
Nigel Helyer and Mary-Ann Lea Under the icecap
Cecelia Cmielewski Remote interventions
Mark Harvey, Dermott McMeel, Becca Wood, Mark Jackson, Maria O’Connor Body Imperfect
Indigenous cultures
Kura Puke and Stuart Foster The substance of experience
Gabriel Vanegas Logics of nature-driven technologies in a place Called America
Leah Barclay SONIC ECOLOGIES: Practice-led intersections of sound art, science and technology in global communities
Ana Terry & Don Hunter Un Litro de Agua
Deborah Lawler-Dormer He Poi, pattern, collaboration and electronic art installation
Melanie Cheung The Brilliant Brain Cell Show: Using Art for Neuroscience Education
Data, art and ecology
Vicki Sowry Echology: Making Sense of Data
Pinar Yoldas The very loud chamber orchestra of endangered species
Brian Degger Make, Do, Mend and Hack (MDMH) the biotechnologies of the 3rd Nature
Elise Smith and Anne Scott Technology meets Ecology – Where have all the little blue penguins gone?
Jock McQueenie The Art of Engagement
Christine Fenton, Tengaruru Wineera, Nina Czegledy, Mike Fenton Policy recommendations from the SCANZ residency session on working across boundaries of culture and discipline
Haritina Mogosanu Martian Diaspora – a discussion on what culture can mean to a spacefaring civilization 


Registration information

Registration includes dinner on Friday night at Owae marae, plus light lunch on Friday, Saturday and Sunday, plus morning and afternoon tea. Early bird registration before December 14 2012 for waged people is $345 (student/unwaged $245), the full registration from December 15 is $395 (student/unwaged $295). One day registrations are $120 (Early bird) or $150 (from December 15).

Click here to register for the the wānanga-symposium.

The Friday night dinner is also a Wonderlogue event led by Trudy Lane, which involves interdisciplinary discussion.


Wānanga-symposium Schedule

Fri 1 Feb Day 01 Wānanga-Symposium
8am All: Depart WITT/Te Henui Lodge accommodation for Owae Marae
Morning tea
Afternoon tea
6pm Wonderlogue Dinner with Trudy Lane
9pm Depart Owae Marae for WITT
Sat 2 Feb Day 02 Wānanga-Symposium
6am All: Depart WITT for Puke Ariki
6.28am Toi Whakaari (Dawn Opening) of 3rd nature exhibition
Tea, coffee and biscuits
Live presentations from Europe
Return to WITT
Afternoon tea
5pm Day 02 Wānanga-Symposium ends
Sun 3 Feb Day 03 Wānanga-Symposium
9am Wānanga-Symposium
Morning tea
Pukekura Park projects
Afternoon tea
3pm-4pm Poroporoaki (closing reflection) at WITT
4pm onwards Continued informal discussion and socialising


Thematic framework

Integrating indigenous perspectives with creative, environmental, scientific and academic views on reality is essential to a sustainable future. At the same time, computing and digital media are changing our relationship to culture and the environment.

On the one hand digital technology allows us to analyse and display data in new ways, as when anthropologists use language databases to shed light on the movement of culture.

On the other hand digital technology adds to our senses, and extends them beyond the body to the forests and the land. Scientists, artists and others are transforming the environment into an organism, as Maori and indigenous peoples have always known it to be.

SCANZ 2013: 3rd nature brings together diverse people to discuss how to approach working together across culture, discipline and media. We must work together to resolve the issues emerging at the boundary between fresh knowledge and deep knowledge, beginning with sharing knowledge and projects.

Presentations and projects which highlight cross cultural interchange and/or computing and electronics projects and/or the hybrid arts were sought. The ensuing discussion and presentations will be shared in a special edition of Leonardo Electronic Almanac, the online publication of Leonardo – the leading Massachusetts Institute of Technology journal.


Who should attend?

Tangata whenua, indigenous peoples, scientists, artists, environmentalists, academics, philosophers, educationalists, musicians, teachers, technologists, and those concerned about sustainability, the future of Earth and humanity. Tangata whenua –people of the land – are indigenous to Aotearoa New Zealand.

The first day of the hui will be held at Owae marae. Keynote speakers are Dr Te Huirangi Waikerepuru (Aotearoa New Zealand) and Intercreate International Research Fellow Nina Czegledy (Canada & Hungary). The second and third days are to be held in Te Piere o te Rangi on the Western Institute of Technology at Taranaki campus and in Pukekura Park.


Register now

Registration information and the preliminary schedule can be found here.

SCANZ 2013: A groundwater resources portal for New Zealand

Authors: Alex Kmoch, Sheena Mannering-Tawera, Diane Bradshaw, Paul White and Hermann Klug


New Zealand’s freshwater resources are extremely valuable but at the same time barely understood. Most of the surface waters are already allocated and groundwater resources are more and more demanded by society. With 80% of the presently allocated groundwater resources, agricultural business is demanding a share of already allocated water (White, 2006). However, New Zealand’s groundwater resource properties, like storage capacities or groundwater recharge are not well known. This might cause unsatisfactory and unsustainable developments. The regional councils in New Zealand are responsible for freshwater management, working under a common national legal framework, the management of water quality, water consents and water quantity measurement is a regional responsibility and so is data collection and storage.

Iwi/Māori have a well-recognised relationship with the natural environment which spans many centuries and is the result of interaction and adaptation with native flora and fauna of Aotearoa/New Zealand. Integral to this relationship is water which sustains life and is a taonga (treasure) with significant cultural and physical dimension. This is reflected through the on-going desire of many iwi/Māori groups to have a role in the way water is managed in New Zealand to ensure its sustainable utilisation moving forward (Kawharu, 2002). The development of scientific research tools and models that incorporate mātauranga Māori (Māori knowledge) and te reo Māori (the Māori language) are also beneficial to iwi/Māori resource policymakers, planners and decision makers.

GNS (Institute of Geological and Nuclear Sciences) has been collecting and compiling Māori terms on hydrology, geology and geothermal phenomena to, amongst other things, explore the contribution that traditional indigenous knowledge can make to the research outcomes and model development by identifying the cultural significance of groundwater and the associated cultural links with surface water (Tipa and Tierney, 2003, Boast, 1991). The potential benefits of creating research tools that utilise te reo Maori and mātauranga Māori (within government institutional settings) includes generating increased uptake in and familiarity with te reo Māori and exposure of te reo Māori as a minority language to broader audiences. Further research could identify gaps in the dual knowledge systems (either the western scientific knowledge paradigm, or mātauranga Māori) that could be explored as an outcome of this combined research (De Bres, 2008).

In order to provide a seamless spatial and multi-purpose view of collected groundwater related datasets, the SMART project joins forces to establish a valuable basis for groundwater analysis and decision support tools (Kmoch et al., 2012, Klug et al., 2011). One of the project’s objectives is to build a web-based data and knowledge portal and attached three-dimensional web visualisation tool according to OGC and ISO compliant standards (OGC, 2012).

To support te reo Māori and mātauranga Māori within the SMART portal web mapping and catalogue application, we evaluate a multi-language concept to incorporate semantic web methodologies to map and connect English and Māori terms and descriptions of presented natural phenomena as well as metadata and descriptive text within the application (Lutz et al., 2009). Beside a language template system for in-application-navigation use, a vocabulary web service based on a RDF/SKOS (Simple Knowledge Organisation System) database and an OGC CSW Catalogue server will be implemented to express structure and content of concept schemes such as thesauri, classification schemes, taxonomies, metadata and other types of controlled vocabulary. RDF/SKOS will be used to document, link and merge concepts/terms to be with other spatial and non-spatial data (Antoine Isaac and Ed Summers, 2008). Evaluation of the lexicon’s effectiveness will be measured in part by its ability to be applied successfully to the SMART portal web mapping and cataloguing application.

SCANZ 2013: The substance of experience

Authors: Kura Puke and Stuart Foster


Within the Turkish landscape, the elevated minarets or ‘light houses’ provide a visual focal point and a spatial trajectory through aural extensions created by the cyclical call of the adhan. A revered kaumatua, who attended ISEA2011 in Istanbul, spoke of his experience of this ancient and entrenched practice as “stirring” and “touching the soul”

This effect may be similar to the customary Maori call ‘karanga’ with its two-fold function; to communicate audibly across a physical distance, and, a spiritual call that engages the wairua . For the participants, this call may ignite ‘te puna roimata’ or ‘the wellspring of tears’ as this aural invocation petitions, beyond time and space, to the ancestors and ultimately to the source of life itself.

These allegories to the metaphysical, may be best communicated in visual-aural modes, where content is transmitted through media interconnectivity and received through wide ranging perceptions and understandings. In prompting metaphysical notions or discourse, these visuals participate in envisioning change.

The collaborative project titled ‘Tipi Rangi: Traversing the heavens’ is a sound-carrying laser light, where the relay of beams transport ancient vocal expression and audible environmental sounds, in a visual trajectory through the landscape.

Creative crossovers in science, technology, art and indigenous worldviews create new knowledge, towards integrated understandings of our contemporary ecological situation. These insights are crucial to cultivating meaningful, sustainable environmental wellbeing.

This project explores the potential toward deeper understanding of matter through electronics, forging dynamic relationships and producing captivating images, audio and performative expression. These motivations set the stage for transdisciplinary learning and communication to take place.

In the research of light, sound and other energies, exploration and discovery through technology allows the invisible to be made visible and the intangible, tangible. These are the realms of science and art, understandings of measuring and expressing narratives of these energies. Maori knowledge or matauranga has identified, interlinked and organized these phenomena within a complex but inclusive genealogical framework. The implication is, that every individual is connected to each other, to all things, and to nature itself, therefore the environment must be treated accordingly.

Notions of the metaphysical are fundamental to an indigenous view, and increasingly re-occurring in a western view, as scientific information cannot deliver these understandings but a convergence offers new knowledge pathways.

The continuation of karanga as a post colonial re-balancing of cultural identity for the collective and specifically women is a critical element in the dynamic contribution to matauranga Maori. In an increasingly younger, indigenous demographic, creating relevant meaningful visual culture is an imperative. Karanga sent forth through light, transmitting the voice as vibration can assert cultural value, identity and technology. The outcomes may be useful to those communities as inclusive learning opportunities and a tool for expressing mana

In the emerging global culture, creative products can travel, further innovating and creating new knowledge formed through both the weight of scientific data and the substance of experience.

Week one residency

This schedule has been placed online for discussion. The plan is below. It is possible it has to change.
Fri 18 Jan Day 01 Parihaka
10am Representative group arrives at Parihaka
2pm Depart Parihaka
9-4.30pm SCANZ admin open (most residency artists arrive)
8.30pm “Niko Ne Zna” Balkan Gypsy brass extravaganza
Sat 19 Jan Day 02 Parihaka
10am All: Arrive at Parihaka
2pm Depart Parihaka
3pm Whakawhanaungatanga at WITT
8pm Ash & Aidan; Shaun Preston
Sun 20 Jan Day 01 Residency
10am All: Welcome at F Block studios
Town orientation tour – electronics, hardware, galleries, park
Housekeeping and dinners schedule
Afternoon free
2pm, 8pm, 10pm; 8.30pm Tamashi Taiko Drummers; Sam Manzana and the Afro Beat Band
Mon 21 Jan Day 02 Residency
9-4.30pm SCANZ admin open
10am All: Group meeting, F block art studios
Housekeeping, questions
Contextual discussion
Today’s theme: Low cost electronics, programming LED with picaxe
Guest: Andrew Hornblow
12noon Lunch
1pm Open time, project work etc
4.30pm Dinner team gather
6pm, 7pm? Dinner
8pm, 8.30pm Country music night
Tue 22 Jan Day 03 Residency
9-4.30pm SCANZ admin open
10am All: Group meeting, F block art studios
Housekeeping, questions
Contextual discussion
Today’s theme: Raranga (weaving)
Guest: TBC
12noon Lunch
1pm Open time, project work etc
4.30pm Dinner team gather
7pm Dinner
7.45pm; 9pm Dave Ritchie Smith; Andy Bassett and the Mondegreens
Wed 23 Jan Day 04 Residency
9-4.30pm SCANZ admin open
10am All: Group meeting, F block art studios
Housekeeping, questions
Contextual discussion
Today’s theme: Eco activism and Waitara waterways
Guests Fiona Clark, Margaret Smith
12noon Lunch
1pm Open time, project work etc
4.00pm Dinner team gather
6pm Dinner
8pm City of New Plymouth Caledonian Pipe Band
Thur 24 Jan Day 05 Residency
9-4.30pm SCANZ admin open
10am All: Group meeting, F block art studios
Housekeeping, questions
Contextual discussion
Today’s theme: Geolocating science, art and Maori knowledge
Guest Elise Smith
12noon Lunch
1pm Open time, project work etc
4.30pm Dinner team gather
7pm Dinner
7pm The Spice Boys; Titanium; Highly Flammable
Fri 25 Jan Day 06 Residency
9-4.30pm SCANZ admin open
10am All: Group meeting, F block art studios
Housekeeping, questions
Activities as required
Open time, project work e
Go to week two of residency