Week two residency

This schedule has been placed online for discussion, it may need to change.
Sat 26 Jan Weekend 01
All: Free day
Evening show and tell/social event?
Sun 27 Jan Weekend 02
All: Free day
 6pm TROPFEST – world’s largest short film festival, bring picnic and
wine to the Bowl of Brooklands in Pukekura Park
Mon 28 Jan Day 07 Residency
9-4.30pm SCANZ admin open
10am All: Group meeting, F block art studios
Housekeeping, questions
Contextual discussion
Today’s theme: Mātauranga Māori (traditional knowledge)
Guests: Te Huirangi Waikerepuru and Te Matahiapo
12noon Lunch
1pm Open time, project work etc
4.30pm Dinner team gather
7pm Dinner
Tue 29 Jan Day 08 Residency
9-4.30pm SCANZ admin open
10am All: Group meeting, F block art studios
Housekeeping, questions
Contextual discussion
Today’s theme: Working across borders – Art, science and
indigenous knowledge
Guests: Dr Christine Fenton, Mike Fenton, Tengaruru
Wineera, Nina Czegledy
12noon Lunch
1pm Open time, project work etc
4.30pm Dinner team gather
7pm Dinner
Wed 30 Jan Day 09 Residency
SCANZ admin closed
10am All Group meeting, F block art studios
Housekeeping, questions
Contextual discussion
Today’s theme: Open
Guests: Residency artists?
12noon Lunch
1pm Open time, project work etc
4.30pm Dinner team gather
7pm Dinner
Thur 31 Jan Day 10 Residency
9-4.30pm SCANZ admin open
10am All: Group meeting, F block art studios
Housekeeping, questions
All day on project work
4.30pm Dinner team gather
7pm Dinner
Fri 1 Feb Day 01 Wānanga-symposium
8am All: Depart for WITT Owae Marae
Morning tea
Afternoon tea
7pm Wonderlogue Dinner with Trudy Lane
9pm Depart Owae Marae
Sat 2 Feb Day 02 Hui-Symposium
6am All: Depart WITT for Puke Ariki
6.28am 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
Mon 4 Feb Departure
Check out from Te Henui
Go  back to week one of the residency


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


Residency Project: Jo Tito – Earth Water Stones Light

Initially Jo’s project was just going to focus on WAI – WATER and where the science of water and te reo Māori meet.

Now, the project will also include: 

Earth Water Stones Light

EARTH – geology, harakeke, stones, geography

LIGHT – photography, photosynthesis, natural light

STONES – as storytellers, creative, healing, spiritual, connection

Jo will venture into different spaces and places within the Taranaki landscape to sing new waiata (songs),  to create art in the moment in harmony with nature, impermanent art works that over time will disappear into nature itself. She will document these creations through photography and moving image and will sing these new songs inspired by nature…

While in those spaces, she will also explore Māori concepts within nature, looking at the science of how water flows, the effect that light has on spaces within the landscape and on the living earth.

The process will be very organic, created alone and with others. Te Reo Māori will also weave intricately through these landscapes and will at some point meet with science. Again an organic process to find where that place and space is.

For more info on the project and Jo visit:


Residency Proposal: Korou Dance



Korou Productions is currently in the first phase of research and consultation for Ūkaipo – A new dance opera in Te Reo Māori.  SCANZ 2013 will be an welcome opportunity for the Ūkaipo kaupapa to connect with mana whenua and tangata whenua of the Taranaki rohe and attending interdisciplinary artists and scientists.

Ūkaipō Celebrates the divine feminine, the mother nurturer; mother nature.

In exaltation of the natural realms of Papatūānuku and Ranginui where earth meets sea and sky, we honour the sacredness of water, our relationship to the South Pacific, distant homelands of Hawaiki and new horizons. Cloaked in a korowai of sacred forest we re-connect to ancient consciousness in a new form.

Toitū te whenua, whatungarongaro te tangata.  Papatūānuku calls for tremendous healing.  Mankind continues to use the provisions of Papatūānuku in excessive amounts. People live and die, disappear, but land remains, what state are we, the current generations leaving our lands for future generations?

Ūkaipō Births a new art form, merging the traditional vocal genre of classical and Avant-Garde Opera, in Te Reo Māori with contemporary Māori dance theatre.  Envisaging the earthy creation of Rangi Mareikura: Heaven of the adorned sweet voiced singers.  Ūkaipō moves toward creating a celestial experience to affirm our physical, spiritual and intellectual interconnectivity with our intact but remnant environment.

Ūkaipō Will work within Māori and Tauira communities that promote environmental care and wish to expand their stories and their messages of resilience, conservation and sustainability.

Ūkaipō Will engage with allied art forms and artists that desire to share in the holistic and conscious approach to this new work including fine artists, body painters and special effects, sculptors, creators of taonga, adornment makers, glass workers and multi-media and computer graphics design.

Ūkaipō Is to be the first of its kind specifically designed to actively encourage a dedicated team of professional artists to engage in a Dance Opera in te reo Māori, and through wānanga outreach to communities in Aotearoa – both Rural and Urban.

Ūkaipō Is currently in Phase One Research supported by Creative NZ Te Waka Toi Arts Grant 2011.

Residency Project: Agnese Trocchi and Giovanna Dante

Back to the antipodes

Our project is on the razor edge between poetry, science and science-fiction. We will enquire into the anxieties and expectations of humanity in these days of uncertainty.

We will explore the collective subconscious and it’s relationship with the earth, the geodesic energies and the human settlements.

Our attempt is to use scientific and creative tools to represent the collective dreamspaces across two continents, one at the antipodes of the other.

“Back to the Antipodes“ is a reminder that if we want to give a chance to human beings to live in this planet we should go back to our roots which are deeply connected to the heart of the planet and to the heart of our subconscious.

“Back to the Antipodes” means that we are all interwoven and our attempt is to search for connections between New Zealand and Europe, both on a physical and on a psychical level.

Do the connections exist? How they may be represented?

With our project we are going to collect dreams from the collective subconscious fields in Italy and in New Zealand.

We will choose two different areas and we will focus on the ancient and contemporary human settlements. We want to enquire the etrurian areas (the former inhabitants of Italy 3000 years ago) in relationship with the original indigenous settlements in New Zealand.

To collect dreams from the contemporary humans we use different means: interviews, private audio-box, websites, social networks, private recordings.

We will develop an online platform and a questionary to engage with who will be willing to share their dreams with us.

In the second step we analyze the collected dreams to find recurrency of words, actions and elements.

With the data estrapolated from the analysis of dreams we create one or more tableau vivant to be filmed: the tableau vivant are moving postcards from the dreamscapes.

At the same time we are going to draw territorial maps in GIS environment of the two locations that we choosed for collecting dreams.

In the maps we are going to underline the dream-sources areas (the places from which the dreams arise) with a particolar attention to the distribution of different topics in dreams.

The outcome of the work will be a multimedia installation (video-audio-text) which will show the process of data collecting, the maps and the postcards from the dreamscape.

Residency Project: Cecelia Cmielewski

What is wind?
The art based research brings my thirty year history of cross cultural communications together in this project in concert with the cross fertilization facilitated through the WITT Art Space.

I will research exchanges of different knowledge systems – comparing and contrasting Maori and Indigenous environmental concepts with each other and western scientific ‘descriptors’. This first exploration will be kept very simple and look at an everyday experience by asking people “What is wind?”

The work would consist of interviews and data gathering (many of which I would complete in Australia before arriving in NZ) and ideally range between older experts and the younger generation. I intend to include some interviews taken during my visit to Northern India in October.

The outcome would combine photographic documentation (a portrait) with some text from the interviews and perhaps an illustration by the interviewee.

The topic that I am researching and producing is one that has yet to be well realised in a multi and cross cultural approach in Australia. The rich intersections between different cultures and their knowledge systems will expand the creative opportunities for those who participate and those who engage with the work. This project is the first phase to refine the methods and ways of presenting differing cultural perspectives on a seemingly simple question “what is wind?”

I will seek and obtain formal permissions from the participants prior to the research beginning which will add to the body of knowledge of ethical approaches in the arts.

The public are welcome to attend and much of the cross fertilisation will occur, in terms of projects and discussion. I will present an overview of my experience at a Friday seminar at SymbioticA, which is open to all Perth residents, and will contribute to the blog that is part of the SCANZ program. I will also present at the SCANZ symposium which will be published by Leonardo Journal.

The high level of international networking and collaboration, through working spaces and discussions, will produce opportunities that go beyond the time of the residency.

Residency Project: Josh Wodak

Image: >2 degrees before 2028, detail, photograph 45×65

My proposal for the residency is three-fold:

  1. – to participate in the Open Lab, in sharing perspectives and approaches to exploring environmental issues through interdisciplinary art+research
  2. – to participate in the low cost electronics workshop to build a rapid prototype of the LED light strip (described below)
  3. – to liaise with local community members and fellow participants to develop the following project, and to seek out potential participants for the project in New Zealand through SCANZ 2013.

‘Ocean Island’ is a series of staged video-portraits of 6 individuals from Tuvalu and Kiribati, now living in New Zealand in light of climate change effects on their islands of origin. Production would take place after SCANZ 2013, over two months, at locations determined by the participants.

The video-portraits symbolically depict futuristic sea level rise on today’s Pacific Islanders.

Each portrait is of a participant standing on shallow New Zealand sandbars with their body facing the camera, to appear to be figuratively ‘standing on water’, as they are filmed from the nearby shoreline with open ocean behind them. One arm is held outstretched, to symbolise the fable of King Canute holding back the rising tide. This stance and composition is illustrated in the photograph below.

A 3cm wide, 100cm long strip of 50 red LED lights is attached along their right arm, going from their fingertips to the their head. They stare at their fingertips for 2 minutes while the LEDs are lit up, from their fingertip and then increasing one-by-one to their head. This rising column of lights symbolises the sea level rising up their body, as per the sea level rise forecasted for the end of this century.

Staring at the fingertip while this symbolic flood height rises symbolises the cumulative passage of time and how each subject is metaphorically passing through the remaining 88 years of this century (represented by each successive LED light, like a growth ring on a tree or ‘lines of age’).

Speed and playback of each real-time 2 minute recording is manipulated to evoke the different ways sea level rise will occur if global temperatures increase more or less than 2 degrees by 2100. Each recording’s length will correspond to an equivalent temperature rise: e.g. Portrait A @1”45 seconds represents 1.75 degree increase, Portrait B @2”30 seconds represents 2.5 degree increase. Each video-portrait has a corresponding 2 channel sound collage of wind, rain, surf, thunder, hail and other weather phenomena (drawing on my practice in sound arts and classical training in music composition).

The video-portraits would be projected in vertical diptychs, with the left video projection showing a subject holding their right arm out and the right projection showing a subject holding their left arm out (like in photograph below). The exhibition would feature all 6 segments from 2 DVD players on a looping cycle, forming asynchronous relationships between neighbouring portraits, as their playback would shift in and out of phase with one another due to the slightly different length of each portrait.


Project proposal – Nigel Helyer

Nigel Helyer has been invited to develop an audio project utilising data sensors and Open Meshwork in Pukekura Park with a custom online data to audio translation. The system is permanently installed in New Plymouth’s botanic garden.

Currently, temperature, UV and people count data is collected. Other projects involve sensors monitoring tree voltage, the electromagnetic field, moisture and penguin data. Working out how to creatively utilise data is problematic and fruitful.

The system in Pukekura Park is the basis for a number of projects including Wai in Albuquerque for ISEA 2012. The Park Speaks established the system and was a collaboration involving Adrian Soundy, Andrew Hornblow, Julian Priest and Ian Clothier.

Project Proposal – Brooke Sturtevant-Sealover

Prototype 4.3
12” by 12” by approximately 24”- size varies according to the growth of the plant
Custom Built Circuits by Karl Palm, Plant, 2011

Project Proposal:


a) to study the interactions between the plants, other living organisms, and the environment,

b) to dialogue and/or collaborate with scientists

c) to create a set of traditional and/or allographic drawings based on collected data


I am particularly interested in complex relationships like the endemic mistletoe Peraxilla tetrapetala[1] has established to ensure its survival.  This mistletoe plant creates exploding flowers whose morphology allows native birds, such as the Bellbird, to nibble at the buds in a certain way to open the flower.  In exchange for the sweet nectar the bird inadvertently pollinates the blossom. This plant has also established an interesting relationship with two species of native bees that are the only known invertebrates to be able open an explosive, vertebrate-adapted flower. [2] In return for pollination, the Peraxilla offers the bees an untouched supply of nectar in over-harvested areas.  As a parasitic plant, the mistletoe is also dependent on the success of its host. These relationships exist in a unique delicate balance.

To study these relationships I will use custom-built galvanometers to measure the changes in electrical resistance within a selected group of plants. The changes in electrical resistance denote the plant’s physical responses to their ever-changing environment.  These changes will be monitored and recorded using a set of Arduino microcontrollers and laptop computers. I will also employ stop-motion cameras to follow the movement of the plants as well as the motion in the surrounding environment throughout the day.  To create my work, I will use a method of generative notation to explore the vital nature of the plant through the use of collected data and two, three and four-dimensional drawing strategies.  I have found that this method of working often produces new insights concerning the nature of the plant’s growth and intensions.

Is it possible through these methods of observation to determine if plants can sense a bee or bird’s proximity? Can other plants sense the opening of a neighboring plant’s blossom? How connected are the Peraxilla tetrapetala plants to their host? How do the established relationships of the host plant affect the growth and flowering of the Peraxilla tetrapetala?

Moving from the individual to the species as a whole- I will also work with a botanist from the Allan Herbarium, as well as other scientists to see what correlations exist between the climate changes (weather conditions, habitat disruption) and fluctuations in bird and bee populations (changes in amount of plant interactions), with the population of Peraxilla tetrapetala and its flowering density.  This research will also generate a series of drawings – much like the ones described above.


[1] If for some reason I would be unable to work with the Peraxilla tetrapetala, there are many other interesting relationships established between plants and other species. The Harakeke or Flax plant, for example, is home to several symbiotic insects that spend their entire life cycle on the plant. I would work with this plant or another in a similar way to what is described above.

[2] Ladley, J. J.; Kelly, D. (1995) Explosive New Zealand mistletoe. Nature 378: 766


Brooke Sturtevant-Sealover is an artist who establishes relationships with plants and investigates their intentions and life strategies. The drawings that emerge from this examination explore the changes in growth and morphology of the plant as well as how our relationship with plants is different from what is perceived. Her work is a product of the ever-changing relationships between the plant, the artist, and the carefully constructed environment surrounding the plant. Through the use of generative notation she explores the vital nature of the plant with the data collected from her investigations and two, three, and four-dimensional drawing strategies. Her method of working, which creates unintended visual results, leaves open the possibility for producing a new awareness concerning the nature of the plant’s growth and intentions.




Project Proposal – Ilka Blue Nelson

Project Proposal

“Weaving stories with deep thinking beyond the limits of the anthropocene, I am trying to recall myself in a more-than-human world.” – Ilka Blue

The great Storyteller Robert Bly says mythology feeds our soul in the same way that science feeds our brain. So while our minds expand with discoveries like quantum physics, our souls are starved in the modern world that has historically rejected mythology. The challenge is to remember our mythological bodies so we can evolve in relationship with the more-than-human world. Deep Ecologist John Seed calls this “evolutionary remembering”.

Ecocide is not only the death of natural habitats, as biodiversity dies we loose our own diversity. Nature sustains us beyond the physical realm. Contemporary societies are awaking to the complexity of our dependence on nature including: psychological, spiritual, societal and pedagogical needs. For centuries mythologies have revealed these significant connections between self and environment. For example, in Pakeha myths the forest represents the place where initiation rites occur in order to transform innocence into maturity. As global deforestation increases we physically loose essential ecologies as well as vital reference points for the maturation of our emotional intelligence.

The opportunity of this project is to share and interlace cultural mythologies (Maori and Pakeha) that uncover and strengthen the reciprocal connection between individual and environmental health. It is a participatory dialogue in resistance to a paradigm of ‘mono-sapiens’. The project stakes out diverse spaces as potential ecological strongholds that will be documented (by participants) using multi-media and published via the social media platform Placestories.
Ilka Blue is the resident Magician heading the transdisciplinary studio The Last Tree. With roots deep in Bundjalung Country Australia, we branch far & wide to work with community projects. We’re currently focused on discovering the potential of storytelling as a pattern recognition & adaptation tool used to remediate biodiverse ecosystems (cultural & biological). Our practice weaves deep ecology with mythological connections to a more-than-human world. The Last Tree and Ilka Blue share a penchant for patterns and boundless passion for our planet.