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The Wonder Project 01


Trudy Lane

on 26 April 2010

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Transcript of The Wonder Project 01

how to:
contextualise art online Trebor Scholz Jon Ippolito Share, share widely Thoughtmesh Curating Immateriality Investigation of Participation / Collaboration SCANZ 2011 - starts soon! Questions & responses to discussion I saw a tv show that said it was volcanoes adding the extra carbon
Every generation has it's battles, like the population issue earlier
Yes, printing on recycling paper and green design is the way to go
Do [the scientists] know we are doing it yet?
How many scientists are in which camp?
Online skeptics ­ criticism of IPCC process and various discussions
weak, unproductive soil
chemical fertilisers & pesticides
large-scale manufacturing
global export
food security issues biodiversity
organics & permaculture
rich, productive soil
local production
local transportation
local distribution Answers to these and other FAQs are available at IPCC website... Scientist/activist:
Bill Mckibbon & 350.org Older generations:
Talking with mum and aunty isabel
about life in Miranda in their generation Why did this film make a difference? Rob Hopkins talks of an 'end of surburbia' moment Psychology of taking on board world-shaking ideas The head, the heart, the hands Addiction theories Scientists:
Gavin Kenny who did a project with artists and farmers
David Wratt, who is NIWA's chief scientist Farmers & Horticulturalists:
Soil Carbon conference - farmers and scientists Activists:
Climate Change Camp Taranaki Tangata Whenua:
Those at Parihaka who are wanting to start up a permaculture way of providing at Parihaka Rural neighbours:
Annie ­ organic orchard and publisher
Adrienne - social enterprise operation
Jill & Brian - local transport company
Keith - bird sanctuary
Permaculture experts
Permaculture co-creator, David Holmgren The shock of seeing the illusory nature of a civilisation completely dependent on a declining resource Leading SCANZ team Suggesting as investigating our relationship
to nature, as a basis for SCANZ 2011 The Wonder Project a test text Perspective
therapy Sustainability & Permaculture Peak Oil Interdisciplinary
& Dialogue Questions Psychology - future research Man's perception of
his relationship with nature What are the cultural roots? Envisioning Positive Futures The era of plentiful, low-cost petroleum is approaching an end. […] Oil is the lifeblood of modern civilization. It fuels most transportation worldwide and is a feedstock for pharmaceuticals, agriculture, plastics and a myriad of other products used in everyday life. The earth has been generous in yielding copious quantities of oil to fuel world economic growth for over a century, but that period of plenty is changing. Robert L. Hirsch, "The Inevitable Peaking of World Oil Production," XVI. No. 3 (2005). currently finalising a collaborative topic statement will announce widely shortly will be publishing of research on intercreate site interested in interdisciplinary collaboration interested in practises that can extend beyond the gallery space and engage widely What am I working on? What roles might the intricate practises of contemporary art be capable of playing in times of urgent global issues? It is believed that our very civilisation is under grave threat due to environmental conditions we have created. Atmospheric warming and depleting energy resources reveals a host planet increasingly out of balance. In an era of such urgency, where does this leave art and artists? What are the artistic strategies and practises open to artists concerned with these issues and can our current art systems keep up with the urgency required? Our belief in perpetual growth and a right to an ever-increasing material prosperity may be one culturally enforced paradigm at the heart of the imbalance. Implying a required cultural shift, might these kinds of spaces be those in which the cultural harbinger of the artist has the abilities to play an increasing role? Perpetual growth
vs. a limited biosphere Consumerism Consumption Energy depletion Fossil fuel energy reliance Energy / oil conflicts Economic instability Food health risks
from mass production Overpopulation Curatorial strategies Less flying people around
More longer or mid-term projects
More locally-based projects
Projects involving wider communities
Greater use of online networks for dialogue, art-making, and curating
Greater support of projects that take place beyond exhibition spaces
Possible Artistic Strategies http://www.slate.com/id/2224425/sidebar/2224682/

Scenarios, ranked from most to least popular

1. Loose Nukes
2. Peak Oil
3. Antibiotic Resistance
4. China Unloads U.S. Treasurys
5. Israel-Arab War
6. Obesity
7. Peak Water
8. Overpopulation
9. Wealth Gap
10. Synthesized Super Virus
11. Red vs. Blue
12. Decadence
13. Theocracy
14. Rising Sea Levels
15. Dirty Bombs
16. Megadrought
17. Laziness
18. Default on Debt
19. Nine Nations
20. Socialist Revolution
21. Electromagnetic Pulse
22. Suicidal Tyrant
23. Corporate Takeover
24. Obama as God
25. Supervolcano
26. Dec. 21, 2012
27. Food Supply
28. The Rapture
29. Big Brother
30. Alien Invasion
31. Math and Science
32. Asteroid
33. Climate Migration
34. Deficit Spending
35. Christianity
36. Russia Hits the Button
37. Voluntary Human Extinction
38. Hyperinflation
39. Gay Marriage
40. Military Overstretch
41. Robot Overlords
42. Racial Warfare
43. Intelligent Design
44. Ocean Acidification
45. Canada Fails
46. Mexico Fails
47. Patriot Act
48. The Matrix
49. Unitary Executive
50. Decline of Civic Spirit
51. Gray Goo
52. Militant Islam
53. North American Union
54. Oldocracy
55. Supercollider
56. Heat Shock
57. Isolation of Elites
58. Pax Sinica
59. "The Bubba Effect"
60. Super-AIDS
61. Hurricanes
62. Mercenary Armies
63. Floods
64. Swine Flu
65. Ice Age
66. Modified Organisms
67. India and Pakistan
68. End of English
69. Information War
70. State Bankruptcies
71. Oil 2.0
72. World Currency
73. The End of History
74. Neo-Humans
75. Outer Space Emigration
76. Nationalized Industries
77. One-Party Rule
78. Mass Incarceration
79. Cascadia and Novacadia
80. Cronyism
81. Globalization
82. Social Security
83. Bottled Water
84. Isolationism
85. Rods From God
86. State Sovereignty Movements
87. Privatization
88. World Government
89. Suburban Slums
90. Complexity
91. Internal Guerrilla Warfare
92. Push-Button Warfare
93. New Madrid Earthquake
94. Tropical Diseases
95. Alaska and Hawaii
96. Texas Secession
97. La República del Norte
98. Foreign Invasion
99. Media Piracy
100. Geographical Sorting
101. Abandonment
102. Axis of Evil
103. Wall Street Cleverness
104. Food Contamination
105. Al-Qaida
106. Multiculturalism
107. Vermont Independence
108. Pax Europa
109. Europe Fails
110. Climate Wars
111. Cars
112. Bureaucracy
113. Alien Species
114. Nuclear Waste
115. Space Harvesting
116. Wildfires
117. Unilateralism
118. Money Virus
119. Illegal Immigration
120. Space Attacks
121. Cloning
122. Military Coup
123. Transnationalism
124. FDIC Fails
125. Smallpox
126. Cell Phones
127. Pesticides
128. Tax Revolts
129. Gerrymandering
130. Geoengineering
131. Tribalism
132. Diet
133. Space Race
134. Geothermal Energy
135. Neo-Colonialism
136. Transition Cities
137. Drug Boom
138. Space Debris
139. End of Homeownership
140. Opt-In Government
141. Emigration
142. Declining Military Standards
143. Pax Indica
144. Anthrax

Choose Your Own Apocalypse (Slate Survey) Trudy Lane Hello, my name is... I am investigating both curatorial and artistic strategies
which are able to explore, reveal and respond to the cultural roots of our growing energy crises and ecological imbalances.

This research will be directly applied to the organisational work for the SCANZ residency event in February 2011, in New Plymouth, and it's surrounding activities.

In this presentation I hope to give you a sense of where the ideas for the next SCANZ are coming from, and the directions in which they are developing. Miranda farmhouse as 'Wonder House' Early Research Overview of topic Curators:
Emma Bugden of Artspace
Zoe Drayton of Audio Foundation
& Interdisciplinary Luminous Green Workshop Luminous Green is a series of gatherings about a possible future; about a human world, that is enlightened, imaginative, electrified and most importantly – living in a fertile symbiosis with the rest of the planet.

Luminous Green
http://www.luminousgreen.org/ Participatory
& Networked Practises Bourriaud, Nicolas. Relational Aesthetics. Collection Documents Sur L'art. Dijon: Les Presses du réel, 1998. Hosking, Rebecca. "A Farm for the Future." Natural World. Ed. Tim Marton. United Kingdom: BBC Productions Bristol, 2009. 50 minutes. Ed. Tim Green & Rebecca Hosking. Suzuki, David T., Amanda McConnell, and Adrienne Mason. The Sacred Balance : Rediscovering Our Place in Nature. 3rd ed. Amherst, N.Y.: Prometheus Books, 2007 Mouffe, Chantal. "Artistic Activism and Agonistic Spaces." Art & Research 1.2 (2007). Change, Intergovernmental Panel on Climate. "Climate Change 2007: The Physical Science Basis. Contribution of Working Group I to the Fourth Assessment Report of the Intergovernmental Panel on Climate Change." Climate Change 2007. Ed. S. Solomon, D. Qin, M. Manning, Z. Chen, M. Marquis, K.B. Averyt, M.Tignor and H.L. Miller. Cambridge, United Kingdom and New York, NY, USA: Intergovernmental Panel on Climate Change, 2007. Kester, Grant H., Conversation Pieces: Community and Communication is Modern Art, University of California Press, 2004 The Yes Men. "New York Times Se". New York, USA, November 12, 2008. “Yes Men” Spoof NYT, Denounce Iraq War in Latest Hoax. December 10 2008. <http://www.nytimes-se.com/>. Curating Immateriality : The Work of the Curator in the Age of Network Systems. DATA Browser 03. Ed. Joasia Krysa. Data Browser. Brooklyn, NY: Autonomedia, 2006. 189-208. Reproduceable Global Warming Gift Economies Christoph Spehr’s ‘free cooperation’. Christoph argues that the three key conditions for creating free cooperation could be summarized as the need for all rules of a space to be negotiable, that people are able to refuse to cooperate, and that a participant be able to exit easily, taking with her what she brought . Axelrod’s studies of the ‘Prisoners Dilemma’ also identifies three conditions necessary for the possiblity of cooperation – that people will meet again in the future, be able to identify each other, and have information about each other’s previous behaviour Christoph Spehr, Eine Grundlegung Der Freien Kooperation, Gleicher Als Andere. (Berlin: Karl Dietz Verlag, 2003). Robert Axelrod, The Evolution of Cooperation (New York: Basic Books, 1984). M. S. Granovetter, "The Strength of Weak Ties," American Journal of Sociology 78.6 (1973). The fundamentals of these relational practises are grouped under such calming and peaceful ideas as ‘learning to inhabit the world in a better way’ and ‘valuing others and their viewpoints directly’. Equally I am drawn to the idea of the artistic practise as ‘the invention of relations between consciousness’ and that each artwork is a ‘proposal to live in a shared world’. I am interested in his historical contextualisation of art’s previous roles of drawing closer man’s relationship with nature. His discussions of Friedrich Nietzche’s life possiblities and Felix Guattari’s production of subjectivity relate to my interest in art’s ability to produce momentary fluidities of perception that can prove useful in nudging otherwise hardened cultural paradigms. He in turn argues that the exhibition space functions as a kind of live feedback zone, creating a ‘form of conviviality’, which can ‘tighten the space of relations’. This emerges into an argument that the artwork creates a ‘social interstice’ – a term borrowed from Marx who originally used it to describe a space in human relations which fits harmoniously into an overall system, whilst still suggesting other trading possiblities other than the status quo. Chantel’s concept of agonism is based on the idea of ‘the ineradicability of antagonism’ and that there is a hegemonic nature to every form of consensus. She sees this however as the core of a vibrant democracy – ‘a struggle of opposing hegemonic projects which can never be resolved rationally’ As a gallery-based game, relational practices are cut off by an institutional divide from those who could use them. Who are the consumers of relational art? The cultural élite of the dominant classes, primarily, supplemented by the socially ambitious.It’s not that experiments in forms and models of sociability are not needed today – they certainly are. But to be politically relevant and effective, such experiments need to be grounded in (or at least actively linked to) social movements and struggles. (And there is no social progress without contestation and struggle: this for us is a basic materialist truth that makes any blanket refusal of “conflict” problematic.) Radical Culture Research Collective (RCRC), A Very Short Critique of Relational Aesthetics, 2007, Essay, Available: http://transform.eipcp.net/correspondence/1196340894. Just as I think it is illusory to aim at a step-by-step transformation of society, so I think that microscopic attempts, of the community and neighbourhood committee type, the organisation of day-nurseries in the faculty, and the like, play an absolutely crucial role I find I am more interested in developing long-term personal investments and deep local engagements. Could more long-term engaged practises be made viable for institutions via such means as Trebor Scholz’s ‘extreme sharing networks’ ? Could these help create socio-curatorial practices, which can grow ‘narrow and deep’, as Emma also asks? I may be hunting here for a sustainability model for art practise generally ¬– modelled on biodiverse and localized natural ecologies, to develop creative practises on a wide variance of scale and complexity. In many ways this can be seen to be in keeping with the simultaneous need for the localisation of food production, to wean our over reliance on travel on the globalized petrochemical infrastructure. Key points: Food security issues due to Peak Oil, the need for other means of food production and transport, looking for ways to work with nature rather than against it, use biodiversity, develop permaculture, & forest gardens Unprepared for the severity of his own findings, eminent energy expert Robert L. Hirsch completed a report for the US Government in 2005 studying the global oil production vs. consumption patterns, resulting in an opening statement of:The peaking of world oil production presents the US and the world with an unprecedented risk management problem. As peaking is approached, liquid fuel prices and price volatility will increase dramatically and, without timely mitigation, the economic, social and political costs will be unprecedented. Viable mitigation options exist on both the supply and demand sides, but to have substantial impact, they must be initiated more than a decade in advance of peaking A farm for the future - BBC documentary The film created a change of perspective: Transformational
Learning User-generated Content User-generated Categorisation Research Sharing Knowledge Sharing Social Media Research Reputation economies experimentation with:
wikis, blogs, social networks, social bookmarking,
media sharing sites, etc Strong and Weak Ties:In mathematical sociology, interpersonal ties are defined as information-carrying connections between people. Interpersonal ties, generally, come in three varieties: strong, weak, or absent. Weak social ties, it is argued, are responsible for the majority of the embeddedness and structure of social networks in society as well as the transmission of information through these networks. Investigating Relational Aesthetics Interventionist
Tactical use of media
Community-based, dialogic
Sustainable, mid or long term projects
Envisioning of positive sustainable futures
Interdisciplinary & collaborative
Engaging with existing networks & energies
Can exist beyond the exhibition space
Can build networks
Reproduceable, distributable
of Denial Transformational
Learning Cognition
& Consciousness further
methodologies Why the
huge divide? Globalism too much carbon in the air,
not enough in the soil Envisioning of
positive futures http://www.intercreate.org/ we invite you to sign up to RSS feed via email, for updates thanks. FoAMISEA 2008, Singapore Stress & Trauma online/offline near/distant known/unknown SCANZ Residency Event 2 week bi-annual artist residency
NZ & International artists
Workshops & skill-sharing
Exhibition & presentations

Interest in art, technology, science
Encourages interdisciplinarity
Held in New Plymouth The Worldwide Confederation of Wonder Collectors http://www.wondercollectors.org/ Networked An evolving artistic & curatorial strategy for cultural reimagining
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