2. Mel Chin What is “environmental art?” -- Informs and interprets nature and its processes, or educates us about environmental problems -- Is concerned with environmental forces and materials, creating artworks affected or powered by wind, water, lightning, even earthquakes -- Re-envisions our relationship to nature, proposing new ways for us to co-exist with our environment -- Reclaims and remediates damaged environments, restoring ecosystems in artistic and often aesthetic ways Source: greenmuseum.org
51. Luminous Green 'Luminous Green' is a series of gatherings about the world. About the world that supports life today and about the possible worlds that can support more luminous life in the future. With these events, the interdisciplinary laboratory FoAM calls upon the creative sector to enrich the public debate around environmental sustainability, ethical living and eco-technology. “ Reflecting on the role of the arts, design and technology in an environment of turbulence”
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55. There are many worlds and many realities in our universe. When one reality, or one world-view is superimposed on another, it is inevitable that social, economic and cultural problems arise. Hierarchies of worlds are constructs of a bygone era. Ecologies of worlds should guide us in considering our future. We imagine this future to be responsive, adaptive and interconnected. We abandon the static and universal designs of the industrial era and move towards a world of malleable materials, objects and spaces.
Read / refer to a Profusion of terms by Sam Bower, director of Green Museum: http://www.greenmuseum.org/generic_content.php?ct_id=306
http://www.ghostnets.com/bio.html http://www.ghostnets.com//ghostnets/science.html Ecological artist Aviva Rahmani’s art work has reflected environmental and social concerns throughout her forty-year career. Her projects range from complete landscape restorations to museum venues that reference painting, sound and photography. Early influences on her work include interdisciplinary classical studies, activism, city planning and the merging of science with aesthetics.
Ghost Nets , an art project, has created a replicable model for sustainable restoration, including fresh and salt water marshland systems. It is on the reclaimed land of a former coastal dump site. To complete the project, we collaborated on theoretical models with Michele Dionne, PhD, Chief Researcher at Wells National Estuarine Research Reserve (NERR), bioengineers from The Bioengineering Group (TBG) and the local community to study wetlands linkage issues. This model of wetlands restoration and working habitat is in the Gulf of Maine, beleaguered by degradation and encroachment. Art, humanity's most potent tool for opinion making, has been excluded from strategic recommendations about wetlands loss. Ghost Nets's ultimate goal is expanded, open dialogue with urban centers desensitized to their dependence on rural resources, particularly in the Gulf of Maine. Strategies include publishing, writing, filming, a public exhibition, and scientific needs assessments.
The Virtual Concerts evolved from a 2006 summer “Virtual Residency,” part of the “ Virtual Cities & Oceans of If ,” connecting Geumgang, Korea, New Delhi, India, Pescia, Italy and Vinalhaven Island, Maine with blogging, podcasting and emails. The project linked on-the-ground events and virtual experience, exploring long-distance collaboration and culminating in two marathon podcasts on consecutive days, each 12 hours long, in August 2006. The entire residency was documented on the Ghost Nets blog. From 2006- 8, the podcast format evolved as an on-line public think tank: the Virtual Concerts using talkshoe.com.
After framing the subject in terms of both biology and art, Tactical Biopolitics discusses such topics as race and genetics (with contributions from leading biologists Richard Lewontin and Richard Levins); feminist bioscience; the politics of scientific expertise; bioart and the public sphere (with an essay by artist Claire Pentecost); activism and public health (with an essay by Treatment Action Group co-founder Mark Harrington); biosecurity after 9/11 (with essays by artists' collective Critical Art Ensemble and anthropologist Paul Rabinow); and human-animal interaction (with a framing essay by cultural theorist Donna Haraway). Contributors : Gaymon Bennett, Larry Carbone, Karen Cardozo, Gary Cass, Beatriz da Costa, Oron Catts, Gabriella Coleman, Critical Art Ensemble, Gwen D'Arcangelis, Troy Duster, Donna Haraway, Mark Harrington, Jens Hauser, Kathy High, Fatimah Jackson, Gwyneth Jones, Jonathan King, Richard Levins, Richard Lewontin, Rachel Mayeri, Sherie McDonald, Claire Pentecost, Kavita Philip, Paul Rabinow, Banu Subramanian, subRosa, Abha Sur, Samir Sur, Jacqueline Stevens, Eugene Thacker, Paul Vanouse, Ionat Zurr.
Revival field: http://www.satorimedia.com/fmraWeb/chin.htm Though he is classically trained, Chin’s art, which is both analytical and poetic, evades easy classification. Alchemy, botany, and ecology are but a few of the disciplines that intersect in his work. He insinuates art into unlikely places, including destroyed homes, toxic landfills, and even popular television, investigating how art can provoke greater social awareness and responsibility. Unconventional and politically engaged, his projects also challenge the idea of the artist as the exclusive creative force behind an artwork. “The survival of my own ideas may not be as important as a condition I might create for others’ ideas to be realized,” says Chin, who often enlists entire neighborhoods or groups of students in creative partnerships.
http://www.luminousgreen.org/
http://f0.am/about/
http://www.andreapolli.com/ currently works in collaboration with atmospheric scientists to develop systems for understanding storm and climate through sound (called sonification). Recent projects include: a spatialized sonification of highly detailed models of storms that devastated the New York area; a series of sonifications of climate in Central Park; and a real-time multi-channel sonification and visualization of weather in the Arctic. In 2007/2008 she spent seven weeks in Antarctica on a National Science Foundation funded project. http://www.90degreessouth.org
