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The Wonder Project 02

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Trudy Lane

on 30 April 2010

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Transcript of The Wonder Project 02

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contextualise art online Trebor Scholz Jon Ippolito Share, share widely Thoughtmesh Curating Immateriality Investigation of Participation / Collaboration Want to be a Wonder Agent? The Wonder Project Energy and Ecology Research 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? 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 Our Miranda farmhouse as a 'Wonder House' Online Participation Dialogic Aesthetics 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. Mouffe, Chantal. "Artistic Activism and Agonistic Spaces." Art & Research 1.2 (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 and Everyday 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. 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. I am interested in developing long-term personal investments and deep local engagements. 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. 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
Envisioning of
positive futures come and talk to me or sign up to be an agent on the site. thanks! FoAMISEA 2008, Singapore online/offline near/distant known/unknown Residency Event
SCANZ 2011: Eco sapiens 2 week bi-annual artist residency
NZ & International artists
Workshops & skill-sharing
Exhibition & presentations
Conference

Interest in art, technology, science
Encourages interdisciplinarity
Held in New Plymouth The Worldwide Confederation
of Wonder Collectors wondercollectors.org … the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever the scale chosen by the artist.
– Nicolas Bourriaud Deep local and political … the Social Practice artist is also affecting the world, setting things in motion, fostering connections between people, organizing everyday life so that it can be seen as engaging and meaningful.
– Harrell Fletcher Curatorial & Artistic Strategies food security issues The shock of seeing the illusory nature of a civilisation completely dependent on a declining resource Peak Oil Cultural perceptions of
our relationship with nature What are the cultural roots? Perpetual growth
vs. a limited biosphere The issues 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 Global Warming 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 A farm for the future - BBC documentary The film created a change of perspective: too much carbon in the air,
not enough in the soil A space for sharing your personal wonders over....
• dinners
• weekend retreats
• creative residencies
• workshops and classes Fig. 1 The Dynamics of Ecological Crisis, Gregory Bateson
Gregory Bateson, Steps to an Ecology of Mind : Collected Essays in Anthropology, Psychiatry, Evolution, and Epistemology (Northvale, N.J.: Aronson, 1987). ”Musei Wormiani Historia", from the Museum Wormianum depicting Ole Worm's cabinet of curiosities. BoingBoing – ‘A Directory of Wonderful Things’ – which focuses on cyberpunk, steampunk, counter cultures, gadgets, hacking and futuristic memes, is currently one of the world’s most popular blogs. Moments of wonder and awe are also understood as experiences potentially so vast, so profound, they in effect can demand we broaden our worldview to accommodate them (psychologists Keltner and Haidt). Maggie Buxton, Trickster, Transformation and Transdisciplinary Engagement (2009). Harrell Fletcher, Some Thoughts on Art and Education, 2007,
Available: http://www.harrellfletcher.com http://greenbench.org/project/slowflow/2010 Slow Flow 2010 Wonder Agents The Worldwide
Confederation of
Wonder Collectors Cows as forested animals... Purple Carrots ... Birds who fly non-stop for 7 days... Raewyn Turner
& Richard Newcomb Janine Randerson
& Keith Woodley Julian Priest & Family Luke
Duncalfe Harrell Fletcher
& Artspace Local greenies
gathering What am I doing? The urgencies of our age require we work together in new ways. The Eco sapiens Project seeks to strategically explore complexity and wonder in the perception of natural systems as a potentially interdisciplinary bridging concept – designed to encourage dialogue and creative play. As networked social and knowledge sharing spaces are interwoven with physical interactions, the project will act as a creative project development space, resource centre, distribution platform and social aggregator. In these forms it seeks to find sustainable curatorial and artistic modes of enquiry, which might grow and push the boundaries of the worldviews encountered.



In an exploration of personal wonders, The Eco sapiens Project seeks to create inspiring models of encounter between specialised cultures of knowledge that investigate natural systems and our place in them. Relational, dialogic, and social practises will inform a series of dinners, retreats and residencies held at the researcher’s farmhouse and it’s rich surrounds. An interdisciplinary exchange of viscerally recognisable readings of complex processes in nature will be investigated as a way to create new cognitive windows of systemic understanding. As a research hub, creative project development agency, resource provider, distribution platform and social aggregator on-site and online, the project seeks to explore a sustainable curatorial and artistic mode of enquiry. In seeking the growth of worldview boundaries the project seeks to encourage interdisciplinary collaborative capacities that might help us both alleviate and adapt to the complex ecological effects of global climactic change.
Trudy Lane Hello, my name is... Reimagining our relationship to nature through the sharing of everyday natural wonders. Geological time ... Soil Clocks ... Wunderkammers / Cabinets of Curiosity The Museum of Jurassic Technology, curated by David Wilson. Residencies, Retreats & Dinners Recent: Future: The urgencies of our age require we work together in new ways.

In an exploration of personal wonders, The Wonder Project seeks to create inspiring models of encounter between specialised cultures of knowledge that investigate natural systems and our place in them. Relational, dialogic, and social practises will inform a series of dinners, retreats and residencies held at the researcher’s farmhouse and it’s rich surrounds.

An interdisciplinary exchange of viscerally recognisable readings of complex processes in nature will be investigated as a way to create new cognitive windows of systemic understanding.

As a research hub, creative project development agency, resource provider, distribution platform and social aggregator on-site and online, the project seeks to explore a sustainable curatorial and artistic mode of enquiry.

In seeking the growth of worldview boundaries the project aims to encourage interdisciplinary collaborative capacities that might help us both alleviate and adapt to the complex ecological effects of global climactic change.
A collective online space for sharing everyday natural wonders. A project in two spaces / places... • Define wonders further? How to frame for wonder agents...

• Arrange dinners... or just emerge? Specify topics?

• Visual design and work on collectors website

• Deeper details of the concepts encountered...

• Economic sustainable reality... www.wondercollectors.org Energy from chemical reactions run this Soil Clock by Marieke Staps. A DIY something to experiment with at home? No problem can be solved from the same level of consciousness that created it
~ Albert Einstein The Sublime A pre-requisite for an art work that manifests a counter-consciousness is that the separation which existed between the artist and the audience is closed, that they become mutually engaged, to the point where the audience become the rationale in both the making and reception of the work.
— Stephen Willats, Society through Art Social Practises
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