Water e-Motion: Transformative Views

WATER VIEWS: CARING AND DARING 3WDS14 – WATERWHEEL WORLD WATER DAY SYMPOSIUM 2014 WAVES, RIPPLES, & SPLASHES Water Views: Caring and Daring – Waterwheel World Water Day Symposium 2014 – 3WDS14 ISBN: 978-0-9925610-0-0 Editor: Suzon Fuks Assistant Editor: Silvana Tuccio Associate Editors: Dawn Albinger, Gillian Kehoul, James Cunningham, Julie Robson, Molly Hankwitz, and Sarah Jane Pell Guest Authors: Alberto Vazquez, James Cunningham, Lila Moore, Liz Bryce, Molly Hankwitz, Russell Milledge, Suzon Fuks, West D.L. Marrin, and Zsuzsanna Soboslay Graphic Design: Inkahoots / Book Production: Suzon Fuks Published by Igneous Incorporated, Australia, March 2015 The information and opinions expressed in these papers are solely of the authors and should not be considered as having the endorsement or support of the publisher. Compilation Copyright © 2015 by Igneous Incorporated. Copyright of the individual papers are retained by the authors. For permission requests, please contact: Igneous Incorporated 3/27 Waverley Street, Annerley, Queensland 4103, Australia This e-book brings together the works presented between March 17 and 23 at the Waterwheel World Water Day Symposium 2014 – 3WDS14. 450 participants, including children, youth, communities, TED talkers, scientists, activists and artists, from 34 countries and five continents, responded to the theme ‘Water Views: Caring and Daring.’ They interacted with audience “live” on the Internet and in 18 physical venues (“nodes”), through Waterwheel, an online platform dedicated to water. The 2014 symposium integrated youth participation and intergenerational dialogue with ‘Voice of the Future.’ Waterwheel’s unique video-conferencing / media-mixing system, the Tap, allowed presenters and audience to be on the same web-page experiencing “liveness” with the potential for creativity. The symposium was free of charge and, being online, saved on travel costs, accommodation and venue, thereby reducing its carbon and water footprints. Transversal knowledge and multidisciplinarity across cultures and languages shaped the content and structure of the e-book. The nine, richly illustrated sections contain three types of entries, based on the presentation given as part of the Waterwheel World Water Day Symposium 2014: “Splash”– project overview, “Ripple”– detailed project description, and “Wave”– peer-reviewed article on original research. My immense gratitude goes to assistant editor Silvana Tuccio, the associate editors, contributors, reviewers and Inkahoots. Suzon Fuks Created in 2011 by an Australian team – Inkahoots, Igneous and Suzon Fuks –Waterwheel responds to the need on a global level to share resources around water awareness, management and celebration. Waterwheel’s international community is growing exponentially every year, as is the Waterwheel World Water Day Symposium, its biggest annual event. The symposium was cochaired by Amin Hammami (Tunisia) and Suzon Fuks (Australia/ Belgium) for three years in a row, from 2012 to 2014. 3 WATERWHEEL WORLD WATER DAY SYMPOSIA PARTNERS 2012–2013: University of Sousse in Tunisia under the direction of Professor Hichem Rejeb; 2013: Queensland College of Art Galleries of Griffith University (Brisbane) and Five Colleges (Massachusetts); 2014: World Water Museum Installation & Technohoros Gallery (Athens), Cantoalagua (Bogota), Inkahoots & Igneous (Brisbane), CEIArtE—UNTREF, IQlab & Reciclarte (Buenos Aires), Hayward Area Recreation and Park District (California), Boultek (Casablanca), Bonemap & James Cook University (Cairns), Columbia College (Chicago), Bildungsbüro & Aktionstag (Coburg), Ear to the Earth (NY), Lieu Multiple & Espace Mendes (Poitiers), University of Arts, Studio for Transdisciplinary Projects & Research (Poznan), Milk Bar & WEAD—Women Environmental Artists Directory (San Francisco), De Saisset Museum of Art and History (Santa Clara University), Bamboo Curtain Studio (Taipei), Centre of Contemporary Arts (Torun), ESAD—Ecole Supérieure d’Audiovisuel et de Design (Tunis), and Houghton Valley—Lifting the Creek (Wellington). 3WDS14 TEAMS The Selection Committee was composed of professors, teachers, researchers, scientists and artists: Alejandra Ceriani (Buenos Aires), Amin Hammami (Tunis), D.L. “West” Marrin (San Diego), Dobrila Denegri (Torun), Ian Winters (San Francisco), Irina Novarese (Berlin), Joanna Hoffmann-Dietrich (Poznan / Berlin), Lauren Elder (San Francisco), Leah Barclay (Brisbane), Mary Gardner (Byron Bay), Molly Hankwitz (San Francisco), Paula Vélez (Paris / Medellín), Ricardo Dal Farra (Montreal / Buenos Aires), Silvana Tuccio (Syracuse / Melbourne), Suzon Fuks (Brisbane). Youth Committee: Liz Bryce (Christchurch), Keti Haliori (Athens), Mariana Carranza & Jasmin Müller-Alefeld (Coburg), Michele Guieu (San Jose), Suzon Fuks (Brisbane). Technical Guides and Translations Team: Alberto Vazquez & Riccardo Dal Farra (Buenos Aires); James Cunningham & Suzon Fuks (Brisbane); Hedva Eltanani (Tel Aviv); Katarina Djordjevic Urosevic (Belgrade); and Amin Hammami (Tunis). 4 CONTRIBUTORS Aaliwica, Abdellah Hassak alias Dubosmium, Adam Czarnecki, Albertinum Gymnasium, Alberto Vazquez, Alejandra Ceriani, Alexander Schellow, Alexandrinum Gymnasium, Ali Sanderson, Alireza Hejazi, Amber Hansen, Amin Hammami, Amorgos elders, Amy Sharrocks, Ana Labastida et al, Ana Laura Cantera, Andrea Mikeska, Andrea Selwood, Andres Salazar Quintero, Angela Morelli, Anna Lewandowska-Czarnecka, Anna Yen, Annie Abrahams, Aristi Costopoulou, Ashhar Farooqui, Atefeh Khas, Attakkalari dancers (Ronita Mookerji and Sylvester Mardi), Australian Voices, Ben Pederick, Benjamin Burke, Bonemap, Bonnie Hart, Camilla Boemio, Carine Fortin, Carlotta Brunetti, Carmen Hutting, Casimirianum Gymnasium, Catalina Salguero, Catherine Lee, Cheryl Colopy, Christian Bujold, Corinne Weber, Cristabel Tapia, D.L. West Marrin, Daniel Njoroge, Dave McArthur, David Monicci, Dr Te Huirangi Waikerepuru, Dr. Reinhard Reiter, Eklavya Prasad, Elizabeth Zetlin, Elvis Marangon, Emmanuel Fleitz, Engineers without Borders - Berlin, Eric Leonardson, Esther Moñivas, Fabian Kesler, Fabricio Costa Alisedo, Fatine Jarrad, Fernando Godoy, Fo Wilson and students from Columbia College Chicago, Garth Paine, Geoff Hume-Cook, Glenda Pickersgill, Gofrey, Grant Corbishley, Grundschule Neuses, Hector Buitrago, Helen Anastasiou and children from Interactive European School, Himanshu Kulkarni, Hydromemories, Ian Clothier, Ian Winters, Ines Hoepfel, Irina Novarese, Ivan Pavlov, Jacques Perconte, Jaime Del Val, James Cunningham, Jan Vladyka, Janelle Vaughn Dowell, Jasmin Muller-Alefeld, Jason Lim, Jauk, Javiera Mansilla Saez, Jean-Noel Montagne, Jeff Turpin, Jelena Lalic, Jennifer Koney, Jenny Fraser, Jenny Rattenbury, Jeroen van der Linde, Jesus Landin-Torrez, JJ McNeal, Jo Hardy, Joanna Hoffmann-Dietrich, Joanna Rosinska, Joel Chadabe, John G. Boehme & students from Camosun College, Jolian Solomon, Joolie Gibbs, Josephine Starrs, Juan Andres Moreno, Juanita Ariza, Juergen Freund, Julie Rousse, Karl Metchkin, Katarina DJ Urosevic and students of Veselin Maslesa Primary School, Katarzyna Hoffmann, Katarzyna Kucharska, Kate Lee Short, Keti Haliori, Khemais Benhamida, Kiwi Henare, Kj Joy, Krista Franklin, Lauren Elder, Lea Petrou & 4th grade students of the International School of Piraeus, Leah Barclay, Leon Cmielewski, Lila Moore, Lisa Dali alias Nezha, Liz Bryce, Ljiljana Novak, Lorraine Beaulieu, Lynette Lancini, Magdalena Parnasow-Kujawa, Maggie Wenger, Mahesh Vinayakram, Mana Salehi, Marco Pezzotta, Margaret Shiu, Mari Keski-Korsu, Maria Krumm, Maria Papanikolaou, Mariana Carranza with Kinderund Jugendtheater, Marika Boutou, Martina Essig, Mary Armentrout, Mary Chege, Mclean Fahnestock, Meld, Michal Rybak, Michael Canuel, Michele Guieu, Michele Guieu & students from Cumberland Elementary School, Michelle Atherton, Miljana Peric, Minty Donald and Nick Millar, Miranda Munro, Mirela Abramovic Dordijevski, Mohamed Tahiri, Molly Hankwitz, Mrs Munyiva, Museum of Natural History- Coburg, Nancy Ceridwyn, Naoufel Souayah, Nicholas Ng, Nicole Roethig, Nina Haft, Oliver Walker, Olivier Naudin, Oscar Caicedo, Pascale Barret, Patrick Loeffler, Patrick Treguer, Paula Vélez Bravo, Peggy Hofman, Pegi MarshallAmundsen, Peter Hall, Pierre Christophe, Piibe Piirma, Piotr Slomczewski, Rebecca Youdell, Rhonda Truscott, Ricardo Dal Farra, Riccardo Bertan, Rob van Kranenburg, Rodrigo Rudge Ramos Ribeiro, Russell Milledge, S.Shakthidharan, Sadie Harmon, Sarah Colbert, Sarah Jane Pell, Sergey Jivetin, Sharyn Lowth, Shelly McArdle, Siham El Rharbi, Silke Bauer, Silvana Tuccio, Simon Linke, Siprian, Sladana Zivkovic, Stella Chiu-Freund, Stephan Wolf, Susan Greene, Susan Sentler, Suzon Fuks, Te Urutahi Waikerepuru, Therese Collie, Tiffany Tonel, Toby Gifford, Tom Beyer, Tracey M. Benson, Ulay, Uli Westphal, Valya Stergioti, Vicki Smith, Vinny Bhagat, Viola Thiele, Virginia Gathoni, William Waterway, Wu Mali, Yaser Murtaja, Yvonne Senouf, Zoe Nikitaki and Zsuzsanna Soboslay. Water Views: Caring and Daring ‡ Waterwheel World Water Day Symposium 2014 ‡ 3WDS14 CONTENTS 1. Opening........................................................ 011 OPENING – OVERVIEW by James Cunningham.........................012 OPENING – OVERVIEW by Liz Bryce................................013 – ‘100 Names for Water’ by Ulay – Splash .................................................................. 014 – ‘Last Drop’ by Jason Lim – Splash ........................................................................... 016 – ‘Little Streams Make Big Rivers’ by Suzon Fuks – Ripple ........................................... 018 2. Voice of the Future............................................ 027 VOICE OF THE FUTURE – OVERVIEW by Suzon Fuks...................028 YOUTH PERSPECTIVE – OVERVIEW by Liz Bryce......................029 – ‘Ask the Flask’ by Keti Haliori – Ripple .................................................................... 030 – ‘Haiku Workshop on Water’ by Patrick Treguer, Lieu Multiple Team, Paula Vélez (Version Française p. 37) – Ripple ........................................................................... 033 – ‘Spheres en Bouteille’ by Lorraine Beaulieu (Version Française p. 44) – Ripple ............ 042 – ‘Water Conservation Awareness Posters’ and ‘Watercolors of Bay Area Landscapes’ by Michele Guieu – Ripple ...................................................................................... 046 – ‘Message in a Bottle – Concept’ by Corinne Weber, Yvonne Senouf for Meld – Ripple.... 050 – ‘One Hundred Boats, One Hundred Waters’ by Lea Petrou – Ripple............................. 055 VOICE OF THE FUTURE – OVERVIEW by Alberto Vazquez..............059 – ‘Coburg Node’ by Jasmin Müller-Alefeld, Mariana Carranza – Ripple ........................... 060 – ‘Mares y Malabres’ by Mariana Caranzza – Ripple ..................................................... 065 – ‘Five Precious Letters’ by Virginia Gathoni – Splash................................................... 068 – ‘Promises to Children of the Future’ by Helen Anastasiou – Splash ............................. 070 – ‘Lake ZOO’ by Katarina Djordjevic Uroševic – Splash ................................................. 072 – ‘Walk Along the Water’ by Jelena Lalic – Splash ........................................................ 074 3. Activism, Art & Science........................................ 077 – ‘Canary Coffee’ by Mari Keski-Korsu – Splash .......................................................... 078 – ‘Ark0 and the OSWASH (Open Source Washing Machine)’ by Paula Vélez, Jean Noël Montagné, Rob van Kranenburg – Splash ................................................................ 080 – ‘Sounding Zameen’ by Leah Barclay – Splash .......................................................... 082 – ‘Rights’ by Elizabeth Zetlin – Splash ........................................................................ 084 – ‘Drinking Water and Sanitation Challenges in North Bihar’ by Eklavya Prasad – Splash . 086 – ‘The Mary Flows On’ by Glenda Pickersgill, Joolie Gibbs – Splash ............................... 088 ACTIVISM, ART & SCIENCE – OVERVIEW by Lila Moore...............090 – ‘Water Sense’ by Alireza Hejazi – Ripple ................................................................. 091 – ‘Flood Language’ by Joolie Gibbs – Ripple ............................................................... 096 – ‘The Paperboat Project’ by Mr. & Mrs. Gray – Ripple ................................................ 102 – ‘Magnificent Object Workers’ by Anna Yen, Jeff Turpin, Therese Collie – Ripple............ 108 BERLIN NODE – OVERVIEW by James Cunningham.....................112 – ‘One Hour, One River – Berlin Node’ by Irina Novarese, the Hydromemories artistic group, Engineers Without Borders Germany – Ripple ................................................. 113 – ‘Reflections Built on Water’ by Riccardo Bertan, Elvis Marangon – Ripple ................... 119 – ‘Water e-Motion: Transformative Views’ by Dr. Lila Moore – Wave ................................ 122 4. Art & Science.................................................. 131 ART & SCIENCE – OVERVIEW by Dr D.L. “West” Marrin..............132 – ‘Hybrid Practices – from General to Specific’ by Piibe Piirma – Wave .......................... 134 – ‘Fuel Cells in Art Projects’ by Ana Laura Cantera (Versión Española p. 143) – Wave ..... 140 6 Table of Contents – ‘H2O: Emergencias’ by Esther Moñivas Mayor – Wave ............................................... 146 – ‘Understanding and Communicating about Water via Spatial and Temporal Patterns’ by Dr. D.L. “West” Marrin – Splash.......................................................................... 154 – ‘Flow – Poznan Node’ curated by Joanna Hoffmann-Dietrich, assisted by Piotr Słomczewski – Wave .............................................................................................. 156 ECOLOGY – ‘The Strategies of Plicosepalus Acaciae to Get Free Water in the Desert Environment’ by Naoufel Souayah – Splash .................................................................................. 178 – ‘Watercaring for Trout Breeding in Upper Bavaria’ by Carlotta Brunetti, Dr. Reinhard Reiter – Splash ...................................................................................................... 180 VISUAL NARRATIVES – OVERVIEW by James Cunningham...............182 – ‘Mapping the Tomato: Visual Narratives of Daily Food Consumption’ by Peter Hall – Ripple ............................................................................................ 184 – ‘Mutatoes’ by Uli Westphal – Ripple ........................................................................ 187 – ‘You Eat 3,496 Liters of Water Daily’ by Angela Morelli – Splash ................................ 192 – ‘Perceiving the Links among Water, Food and Choice’ by Dr. D.L. “West” Marrin – Wave 194 5. Hydrology – Past & Future...................................... 203 INDIA, GREECE, TUNISIA & CA, USA – ‘Participatory Groundwater Management, in North Bihar’ by Dr. Himanshu Kulkarni, Eklavya Prasad – Wave .......................................................................................... 204 – ‘Yamuna Beach Project’ by Vinny Bhagat, Ashhar Farooqui – Splash ........................... 206 – ‘Zameen’ by Attakkalari dancers, S. Shakthidharan, Leah Barclay, Jehan Kanga – Splash 208 – ‘Understanding Conflicts around Floods in India’ by Eklavya Prasad, K. J. Joy – Wave .. 210 – ‘Contemporary Development Betrays Ancient Brilliance in Water Management’ by Cheryl Colopy – Wave ......................................................................................... 220 – ‘Greek Node’ curated by Keti Haliori – Ripple ........................................................... 226 – ‘The Water-Oracle of Apollo on the Island of Amorgos’ by Zoe Nikitaki – Wave.............. 232 – ‘The Story of Water in Three Major Sites in Tunisia’ by Khémais Benhamida – Wave ..... 240 – ‘Tunis Node’ curated by Amin Hammami – Splash .................................................... 246 – ‘What?! Sharks in My Backyard? – Hayward Node’ by Jennifer Koney, Maggie Wenger, Nancy Ceridwyn – Splash........................................................................................ 248 PATTERNS & CYCLES – OVERVIEW by Dr. D.L. “West” Marrin.........250 – ‘The Art of A.R.T.’ (Adapting to Rising Tides) by Lauren Elder – Splash ....................... 252 – ‘New Definition of Earth’s Water Cycle’ by William Waterway – Splash ......................... 254 – ‘Water Forms – Great Sandy Strait’ by Jolian Solomon – Splash .................................. 256 – ‘The Aral Sea Disaster’ by Karl Metchkin – Ripple ..................................................... 258 – ‘Rebuilding Connection between Small Rivers and Local Societies Due to Contemporary Needs in Vistula Mouth’ by Adam J. Czarnecki, Rodrigo R. Ramos Ribeiro, A. Lewandowska-Czarnecka – Wave.......................................................................... 260 URBAN WATER – ‘Pour une gestion durable de l’eau’ par Fatine Jarrad – Splash ................................... 266 – ‘Between Commercialisation and Devalorisation of Water! “The Guerrab” as a Research Tool in the Moroccan Society’ by Siham El Rharbi (Version Française + English Abstract) – Wave ........................................................................................ 268 6. Conservation & Transmission.................................... 277 PAST & FUTURE – OVERVIEW by Molly Hankwitz.....................278 – ‘World Water Museum’ by Keti Haliori – Ripple ......................................................... 280 – ‘Museum of Water’ by Amy Sharrocks – Splash ......................................................... 284 – ‘Ao. Aoo. Oo. Oooa. Eooao. Eau’ by Emmanuel Fleitz, Pierre Christophe – Splash......... 286 – ‘The Future of Water in Poitou-Charentes’ by Carine Fortin – Splash ........................... 288 – ‘Joining Rivers’ by Alireza Hejazi, Aristi Costopoulou – Ripple .................................... 290 7 Water Views: Caring and Daring ‡ Waterwheel World Water Day Symposium 2014 ‡ 3WDS14 – ‘Absorbing Red Photons’ by Michelle Atherton – Ripple ............................................. 293 – ‘Deep Like The Rivers’ by Fo Wilson, Andrea Mikeska, Cristabel Tapia, Janelle Vaughn Dowell, JJ McNeal, Sarah Colbert – Ripple ............................................................... 296 WATER & MEMORY – OVERVIEW by Russell Milledge..................300 – ‘Hydrologies+History::Water and Memory – Milkbar Node’ curated by Molly Hankwitz – Ripple.................................................................................................. 302 – ‘Water Rights in Gaza & Maia Mural Brigade’ by Susan Greene – Ripple ...................... 306 – ‘Speaking Tributaries’ by Ana Labastida, Kate Lee Short, Sadie Harmon, Jesus Landin-Torrez – Ripple ........................................................................................... 312 – ‘See, Sea – An Exploration of Memory and Time’ by Susan Sentler – Wave .................. 314 7. Care & Dare.................................................... 323 CONNECTING TO CREEKS — OVERVIEW by James Cunningham............324 – ‘Fresh Meets Salt’ by Jo Hardy, Rhonda Truscott, Sharyn Lowth, Shelly McArdle – Ripple 326 – ‘Art as Environment – A Cultural Action at Plum Tree Creek: Mending Broken Land with Water’ by Margaret Shiu & Wu Mali – Wave .............................................................. 329 – ‘Putawai: Lifting The Creek – Wellington Node’ by Ella Cavander, Jan Vladyka, Grant Corbishley, Geoff Hume-Cook, Dave McArthur, Miranda Munro, Jenny Rattenbury, Andrea Selwood – Wave .......................................................................................... 336 FLUID VALUES – OVERVIEW by Suzon Fuks..........................346 – ‘Fluid Values – Cairns Node’ curated by Bonemap – Ripple ........................................ 348 – ‘Hine Pu-Wai-Ora’ by Te Urutahi Waikerepuru – Ripple .............................................. 351 – ‘Water from a Hybrid Polynesian Context’ by Ian Clothier – Wave ................................ 355 BEYOND LANDMARKS – ‘Words for Water: Gathering’ by Tracey M Benson – Ripple ......................................... 362 – ‘Maldives Match-Up ‘ by Josephine Starrs, Leon Cmielewski – Ripple ......................... 367 – ‘Hybrid Cartographies’ by Camilla Boemio – Ripple ................................................... 371 – ‘Ringbalin – River Stories’ by Ali Sanderson, Ben Pederick – Splash ........................... 382 NEEDS AND TRENDS – ‘Humid Balance’ by Dr. Ricardo Dal Farra – Ripple ................................................... 384 – ‘Cantoalagua 2014: A Unique Voice – Bogota Node’ by Hector Buitrago, Catalina Salguero, Juanita Ariza, Oscar Caicedo, Juan Moreno (Versión Española p. 389) .......... 388 – ‘Sip. Do Not Gulp.’ by Michele Guieu – Ripple.......................................................... 391 – ‘The Image and Sound of Water in the Persian Garden’ by Mana Salehi – Wave............ 395 – ‘Acqua, Luce, Ortigia: The Culture of Water Environments – Overview’ by Dr. Silvana Tuccio – Wave........................................................................................................ 403 8. Performance.................................................... 411 PERFORMANCE PERCEPTION – OVERVIEW by Zsuzsanna Soboslay........412 – ‘Metamorphosis’ by Atefeh Khas – Splash ................................................................ 414 – ‘Hydrontology’ by Jaime Del Val – Ripple .................................................................. 416 – ‘Getting Intimate with Moolabin’ by James Cunningham – Wave ................................. 420 – ‘As Water is to Water’ by Zsuzsanna Soboslay – Wave ............................................... 426 PERFORMANCE – OVERVIEW by James Cunningham.....................440 PERFORMANCE – OVERVIEW by Lila Moore...........................441 – ‘Ebb & Throw’ by Bonnie Hart – Splash .................................................................... 442 – ‘The Empress’ Tears’ by Pegi Marshall-Amundsen, Suzon Fuks – Splash ..................... 444 – ‘Guddling* About: Experiments in Vital Materialism with Particular Regard to Water’ by Minty Donald, Nick Millar – Splash ..................................................................... 446 – ‘Performative Class’ by John G. Boehme & Intermedia ART Students from Camosun College – Splash .................................................................................................... 448 – ‘Sour Amane’ by Nezha Rhondali – Ripple (Version Française p. 454)......................... 450 Table of Contents PERFORMANCE CONNECTIVITY & RESEARCH — OVERVIEW by Molly Hankwitz 458 – ‘Bay Requiem: A Work in Progress’ by Nina Haft, Ian Winters – Ripple ........................ 459 PERFORMANCE CONNECTIVITY & RESEARCH – OVERVIEW by Alberto Vazquez 463 – ‘S P E A K 4.0 / LIQUID’ by Alejandra Ceriani, Fabián Kesler, Fabricio Costa Alisedo, Javiera Saez Mansilla (Versión Española p. 468) – Ripple .......................................... 464 OCEAN SYNAPSE – OVERVIEW by Zsuzsanna Soboslay.................470 – ‘Ocean Synapse: A Transhemisphere Performance Exploring Convergence Phenomena as Bodies in Drift’ by Sarah Jane Pell, Benjamin Burke – Wave .................................. 471 – ‘Envisioning, Performance and Poetic Design as Research Approach to Predict Future Convergence Between Bodies, Technologies and Water’ by Sarah Jane Pell, Benjamin Burke – Wave ........................................................................................................ 477 – ‘Bonemap’s Fluid Hybridisation’ by Russell Milledge, Rebecca Youdell – Wave ........... 482 9. Hydrosonics.................................................... 493 HYDROSONICS – OVERVIEW by Suzon Fuks...........................494 – ‘Hydrosonics – New York Node’ curated by Leah Barclay, with Joel Chadabe, Tom Beyer, The Australian Voices, Mahesh Vinayakram, David Monacchi, Garth Paine, Eric Leonardson – Ripple ........................................................................................ 496 – ‘Hydrographies: 607km’ by Ferando Godoy Monsalve (Versión Española p.506) – Wave . 502 – ‘Remembering Chinaman Creek’ by Nicholas Ng, Amber Hansen – Wave ..................... 511 – ‘Voluminous HydroLogic’ by Sergey Jivetin – Ripple .................................................. 518 – ‘Imaginary Concerts’ by Dr. Ricardo Dal Farra (Versión Española p. 522) – Ripple ........ 520 – ‘Mille Lumières’ by Julie Rousse, Jacques Perconte – Splash ..................................... 524 – ‘River Listening’ by Toby Gifford, Simon Linke – Splash ............................................. 526 Appendices........................................................ 529 – Call for Proposals ................................................................................................... 530 – Call for Proposals for Voice of the Future – Youth Participation ................................... 534 – Media Release ....................................................................................................... 540 9 Water Views: Caring and Daring ‡ Waterwheel World Water Day Symposium 2014 ‡ 3WDS14 WATER E-MOTION: TRANSFORMATIVE VIEWS Dr Lila Moore Advanced Research Associate at Ionion Node, Planetary Collegium, School of Art and Media, Faculty of Arts and Humanities, Plymouth University and Lecturer in Spiritual Cinema, Spirituality in Film and New Media, Department of Mysticism and Spirituality, Zefat Academic College, Israel Abstract 7KLVSDSHUGLVFXVVHVDIHZÀOPVLQZKLFKLPDJHVRIZDWHUGDQFHDQG PRYHPHQWSOD\DNH\UROHDQGJHQHUDWHWUDQVIRUPDWLYHYLHZV,WH[SORUHV DQGUHÁHFWVRQSRHWLFGHSLFWLRQVRIZDWHUWKDWKHUDOGHGDWUDQVIRUPDWLRQ in art and consciousness, and screen-based images and technology which can induce empathy towards water creatures and sensitivity towards the ZD\VZDWHULVEHLQJSHUFHLYHGWUHDWHGDQGVKDUHG7KHH[SORUDWLRQ EXLOGVRQ0D\D'HUHQ·VVHPLQDOWKHRU\RIWKHULWXDOLVWLFIRUPLQÀOPDQG the relevance of ritual in media activism online, as theorized by Gene Youngblood. It is also supported by research of kinesthetic empathy, with VSHFLDOUHIHUHQFHWRHPSDWK\VWLPXODWHGWKURXJKZDWFKLQJGDQFHLQÀOPV and movement choreographed for the screen. On this basis, I identify a FRPPRQDHVWKHWLFWUHQGWKDWXQGHUOLQHVGHSLFWLRQVRIH[WLQFWLRQWKURXJK water from Hiroshima to Fukushima. I analyze the formal style and demonstrate the crucial role of recent visuals and approaches undertaken by artists, scientists and activists, jointly involved in transforming and equalizing humanity’s relationship with water and the environment, HJ¶7KH'ROSKLQ'DQFH3URMHFW·)XUWKHUDFFRXQWLVSURYLGHGRQWKH LQWHUUHODWLRQVRIÀOPULWXDODFWLYLVPDQGJOREDOLQWHUDFWLYLW\RQOLQH EDVHGRQP\FUHDWLYHH[SHULPHQWVHQWLWOHG¶:DWHUH0RWLRQ· This study identifies and analyzes aesthetic depictions of water that heralded a shift in art forms and consciousness. It explores filmic images which can generate empathy to water creatures and sensitivity towards the ways water is being perceived, treated and shared. It asks: Can film as an art form in this day and age not only impress the viewers through aesthetic expression, but be capable of generating an activist agenda alongside an empathetic outlook in the viewers? I engage with this query in the framework of viewing, and interacting with, films linked to water and the environment online, on mobile screens and through relatively small-scale screening devices and settings. This query is positioned within the historical and theoretical context of artists’ films starting with the seminal ideas of Maya Deren. In ‘An Anagram of Ideas on Art, Form and Film,’ Deren emphasizes her argument concerning the unique function of form in art. She states that, “the distinction of art is that it is neither simply an expression of pain, for example, nor an impression of pain, but is itself a form which creates pain (or whatever its emotional intent)” (Deren, 1946, p. 17). For art to fulfill this requirement, she identifies and develops the “ritualistic form” as an aesthetic method and “as an exercise, above all, of consciousness” (Deren, 1946, p. 17). However, the reality of modern consciousness, she argues, is unique and unlike other moments in time and history. The comprehension of modern existence is shaped not only by scientific inventions but by, and together with, “the inventions of new art instruments” (Deren, 1946, p. 17). Although Deren refers to modern art forms of her era and particularly to cinema, it is worthwhile to revisit her ideas in relation to developments in screen technology and up-to-date collaborations between artists, scientists and activists. The ritualistic form in film derives from the ancient traditions of tribal rituals where the shamans possessed all the knowledge required for life and living, and art was part of a ritualistic and magical system with destructive, restoring and healing powers. Magical tools were artistic creations based on profound knowledge designed to bring about an outcome; they were utilized for killing an enemy, healing a sick person or bringing rain, etc. (Deren, 1946, p. 15). 122 3. Activism, Art & Science Deren makes a clear distinction between the roles of the scientist, the shaman and the artist in the modern age. Science, she argues, is more capable of revealing reality than art. Her argument is still valid in the 21st century, as factual knowledge of the Earth and the Cosmos derives from the instruments and methods of science and technology. Deren offers a bold comparison between the different agencies of art and science by comparing the destructive capabilities of science and the atom bomb to the flimsy attempts of surrealist artists to destroy bourgeois cultural norms (Deren, 1946, p. 10). She therefore proposes to integrate science and technology in the framework of art. Artists can take an active role in re-designing and transforming reality by utilizing a method of “conscious manipulation designed to create effect” (Deren, 1946, p. 20). The ritualistic form in art is “the human instrument which makes possible a comprehension and a manipulation of the universe in which man must somehow locate himself” (Deren, 1946, p. 20). As such, the ritualistic form is designed to assist contemporary people in understanding the changing world in which they live, it can offer meanings for their existence, and help them relocate and redefine their position and identity in an unstable environment or universe, which they cannot control. In formal terms, according to Deren, the ritualistic form in film is based upon the fact that: ... anthropologically speaking, a ritual is a form which depersonalizes by the use of masks, voluminous garments, group movements, etc., and, in so doing, fuses all individual elements into a transcendent tribal power towards the achievement of some extraordinary grace. Such communal efforts are usually reserved for the accomplishments of some critical metamorphosis, and, above all, for some inversion towards life; the passage from sterile winter into fertile spring, mortality into immortality, the child-son into the man-father. (Deren, 1965, p. 6) In terms of film, this is achieved as time, a transformative element, created by the film-maker’s manipulation of camera shots. The filmic notion of time unifies all actions and elements into a dynamic form. The film’s form, like a ritual form, serves to control and manipulate all the elements WAVE involved in order to “transcend and transfigure them” (Deren, 1965, p. 6). The ritualistic form conveys the idea that human beings are not the source nor the center of any drama, dilemma or condition. It depersonalizes individuals not with the intention to destroy them but in order to offer them greater views beyond their perceptual limits (Deren, 1946, p. 20). Hence, in the ritualistic form, we are not concerned with specific individuals and personal stories but with personas, archetypes and collective phenomena. I consider the ritualistic form in film as a holistic approach that aims at freeing individuals from the confines of their preconceived ideas and personal preferences. Moreover, it positions human beings and their technologies as integral parts of a dynamic ecosystem. From this perspective, the view of the relationship between contemporary humanity and water can transform as well into a holistic and equalizing set of possibilities in an ecosystem where all components thrive together. Water, especially the sea, is a central image in Deren’s films, a visual metaphor and archetype mirroring the life of the psyche. It has a ritualistic and initiatory purpose, particularly in ‘Ritual in Transfigured Time’ (Deren, 1965, p.10). In this film, which exemplifies Deren’s concept of ritualfilm, the protagonist portraying a widow enters the sea in the last stage of her initiation rite and this is where she transforms into a bride. The water in the film represents the quintessence of transformations in nature, and the organic and metaphysical embodiment of life, death and rebirth. Moreover, every element involved in the ritual is influenced by the process of change, “the sea itself changes because of the larger changes of the earth” (Deren, 1965, p. 31). The Poetry of Extinction: From Hiroshima to Fukushima My first vision of earth was water-veiled. I am of the race of men and women who see all things through this curtain of sea, and my eyes are the color of water. [….] I remember my first birth in water. All round me a sulphurous transparency and my bones move as if made of rubber. I sway and float, stand on boneless toes listening for distant sounds, sounds beyond the reach of human ears, see things beyond the reach of human eyes. Born full of memories of the bells of the Atlantide. (Nin, A., 1958, p. 3) 123 Water Views: Caring and Daring ‡ Waterwheel World Water Day Symposium 2014 ‡ 3WDS14 In her diary entry dated August 1945, Anaïs Nin mentions the Hiroshima and Nagasaki bombings alongside her first encounter with Maya Deren on the beach whilst filming ‘At Land.’ She writes: “It seems unbelievable that we can go on living, loving, working, in a world so monstrous and this is because we do not know how to curb the savagery of war, how to control history [...] What can we do?” (Nin, 1971, pp. 76–77). Both Deren and Nin express a sense of limitation concerning their ability to influence history and culture particularly as artists. Nin (1971, p. 77) expresses her helplessness, and Deren illustrates both the destructive and alluring powers of the atom bomb and the scientific method in comparison to the unconvincing attempts of artists to shock or destroy (Deren, 1946, p. 10). Anaïs Nin and Ian Hugo’s film ‘Bells of Atlantis’ (1952) is based on the water imagery that runs through Nin’s novel The House of Incest (1958). The lost continent on film is depicted through visual poetry that metaphorically denotes the landscape of a world destroyed, submerged in a sea of blood and water contaminated by radiation. The rusty seascape and the futuristic, electronic soundscape by Louise and Bebe Barron can be seen as reflecting the poetry of extinction and the ecological holocaust that characterize the global landscape of the 20th century. It also continues to reflect current images of brutality in terms of visual and sonic surface and depth, texture and feeling. The current of terror that underlies the images in the ‘Bells of Atlantis’ can be found in images of the tsunami in Japan and the Fukushima nuclear disaster in 2011. I identify the underlying current of terror by juxtaposing and comparing images of amateur videos taken during the tsunami in Japan and the Fukushima nuclear disaster in 2011, images derived from a new documentary on Fukushima’s radioactive water leak by Japanese news agency NHK, (‘Radioactive Water — Fukushima Daiichi’s Hidden Crisis,’ 2014), and the visual style of the film ‘Bells of Atlantis’ (1952). Amateur videos of the Fukushima nuclear disaster are available on YouTube, though they are removed and uploaded from time to time. They share a common visual and auditory language that is characterized by a jerky, handheld video/mobile phone camera, distressing sounds of sirens, people screaming and shouting, stormy water and the noises of collision and breaking down of objects such as fences, cars and buildings. The scenery appears grayish and gloomy and the images are somewhat blurred and out of focus. The civilized landscape, marked by buildings, fences and electricity cables, is crumbling down under the forceful waves of the sea. These videos frequently show people being carried to their death whilst others are watching, unable to help, such as in the video entitled ‘Japan Tsunami Swallows Car With Passengers Trapped Inside — RIP’ (mihdd, 2011). The NHK’s documentary depicts the ongoing radiation leak caused by the disaster from inside Fukushima Daiichi Nuclear Power Plant. It follows an investigation team that utilizes a remote-controlled boat equipped with a camera to show images of contaminated water flowing down a wall inside Reactor 1’s containment vessel. The video images show a dark and rusty underwater environment agitated by radiation which is signaled by flashing white dots and stains. The juxtaposition of images from these different sources illustrates similarities in tone, texture and feeling. The overall impact of the images gives the impression that they belong to the same apocalyptic vision and story of the world, factually and poetically depicting the mythic war between humanity, technology and nature, which is carried and reflected by water in a physical and metaphorical sense. The Dolphin Dance Project ‘The Dolphin Dance Project,’ based on the work of dancer, choreographer and medical doctor Chisa Hidaka, provides an approach to the ocean environment and its creatures which is not only original in terms of its aesthetics, but transformative in its ability to effectively generate kinesthetic empathy. The project’s films depict spontaneous, creative and intelligent interactions between humans and wild dolphins, presenting a significant and pioneering inter-species choreography (The Dolphin Dance Project, 2012). The paradigm shift involved in this inter-species communication is described in the project’s website as: “wild dolphins and humans communicating through dance, collaborating as equals and upending assumptions about who is ‘us’ and who is ‘animal’” (The Dolphin Dance Project, 2012). The project’s capacity to overcome the viewer’s ingrained perception of the split between the animal and 124 3. Activism, Art & Science the human is particularly impactful as a visceral experience in 3D film. According to the project’s data, it is also the first 3D film ever made of humans and wild dolphins dancing together (The Dolphin Dance Project, 2013). I have repeatedly watched the 3D film sample provided by the project and found that in comparison to the project’s 2D films, my kinesthetic involvement in, and empathy with, the events on screen was enhanced. Research of kinesthetic experience in film demonstrates the various ways empathy is induced in the viewers through the depiction of movement. For example, Bolen (2012) in her article entitled ‘Kinesthetic Empathy in Charlie Chaplin’s Silent Films’ implies that despite moments of intense and complex cognitive, visceral and emotional involvement with the events on screen, the audience remains in a sitting position. The viewer expresses empathy through laughter, by sobbing or by sensing physical and emotional reactions to the movement on screen in her/his body, such as anxiety or relief, though in a passive, reflective way. In the case of the 3D film sample, one of my immediate findings was a strong sense that as a viewer, I am invited to physically participate in the dance. In each viewing, I felt compelled to move with the movements on screen that, due to the 3D effect, appear to be entering my physical space, crossing the divide between me (the viewer) and the screen, and between the viewer and the dance on screen. I have noticed that I follow the motion of the dancers and the dolphins with my awareness, not identifying with any particular being, just sensing the motion and emotion that the dance generates. Intrigued by the impact of the 3D footage, I have continued exploring this experience independently with a couple of 11-year-old girls and to this point have noticed similar reactions. The girls joined the dance spontaneously and moved in the room whilst watching and turning toward and away from the screen. According to Rose V. Ketter (personal communication, December 12, 2013), a movement and dance specialist, the majority of children often mimic dance they watch on screen. Ketter, who has worked with thousands of school children in Israel, utilizing video images of movement, implies that it is likely that a 3D film would add an immersive element that would amplify the children’s experience of the movements on screen. It will, therefore, increase their ability to empathize with the dolphins as equal partners; as empathy to other people or animals, according WAVE to Ketter, is induced through an embodied imitation of their physical movements and gestures. The notion that an immersive environment generated by 3D images can activate the viewers in a manner that is different from 2D film viewing, is part of a broader research context which is concerned with “how evolving technologies affect both our experiences and our conceptualisations of kinesthetic empathy” (Reynolds, 2012, p. 259). Drawing on Whatley’s findings, Reynolds (2012) states that: … environments are immersive in the sense that the spectator is no longer positioned outside the piece, and is indeed no longer a spectator but, similar to computer gaming, is a ‘visitor’ in the virtual space… through which s/he then moves, as if ‘taking a journey.’ […] At the same time, this immersive space has the effect of troubling the boundaries and distinctions between doing and watching and also between the virtual and the real, which can be unsettling and ‘uncanny.’ (pp. 260–261) At this stage, my research explores the girls’ interaction with the dolphins and dancers as active participants in an immersive environment, and observes movements and behaviors that express empathy for the animals or a sense of connection with them. The plan is to add additional girls in the next phase of the research, as I currently avoid group interactions and focus on an individual contact with the dolphins. The aim is to find out in what ways immersive 3D environment amplifies a sense of mutuality with dolphins, and whether it can increase the generation of empathy and empathic relations. There is also an interest in exploring the boundaries, not only between the real and the virtual, but between the human and the animal. Overall, only a small percentage of people out of the world’s population will get to physically dance or communicate with real, i.e., not virtual, dolphins in their lifetime. Therefore, ‘The Dolphin Dance Project,’ which incorporates science and aesthetics, provides a screen-based and immersive interaction which can be educational and hopefully transformational. 125 Water Views: Caring and Daring ‡ Waterwheel World Water Day Symposium 2014 ‡ 3WDS14 Transformative Views I have been utilizing images of water in dance-ritual films, in which the elements, the natural environments, and the human body and psyche, interact, e.g., my practice-based PhD (Moore, 2001) involved the making of a dance film entitled ‘Gaia – Mysterious Rhythms,’ which was formally and thematically structured as a rite of passage and transformation undertaken by a young woman. I have regarded water in the above-mentioned film, and in other works (e.g., Spirit Tree, 2004), as a metaphor for spiritual quest, but also as thirst in a real sense, as in shortage of water, global warming, and the quest for a balanced relationship with the environment. My interest in the healing and transforming aspects of ritualistic forms and images on screen has been combined with a growing sense of activism. This has been amplified by present options available for the integration of art, ritual, technology and activism in small-scale, though global settings. ‘Water e-Motion’ (2013–2014) is a creative concept and a series of short films which I have been making and experimenting with in conjunction with global and local, online and offline activist causes. The term suggests that the planetary currents of water, the artificial currents of electricity, and the electronic transference of data and communication, through their combined powers, carry and enable the motion and evolution of human life and consciousness. In August 2013, I released a short film entitled ‘Fire and Water Ceremony’ for online viewing as part of a local and global event, comprised of water and fire rituals for peace in Syria. )LJ ¶)LUHDQG:DWHU&HUHPRQ\·VKRUWÀOPIRURQOLQHYLHZLQJE\/LOD0RRUHPDGHLQ response to the call ‘Cry out for the feminine to rise up and stop the war in Syria’ (2013) 126 3. Activism, Art & Science ‘Cry out for the feminine to rise up and stop the war in Syria’ (2013) was organized by Shemuel Yeshurun, an Israeli activist who called for a shared solidarity with, and the empowerment of, the women and children of Syria. In addition to local ceremonies in Israel, people from around the world joined the event online. The ceremony involved fire and water, and the instructions for the ritual were posted on the event’s Facebook pages. According to Yeshurun (personal communication, February 21, 2014), the choice of water in relation to the ceremony derives from the fact that, as a natural element, water precedes culture and ideologies. Water is a shared point of origin that connects human beings with one another on the basis of their humanity. The short film provided online participants access to the archetypal imagery and ritualistic movements underlying the ceremony, and a technological way to engage with the event and feel a connection to a community. Youngblood (1986) describes the revival of rituals and myths in advanced technological environments by artists and “the challenge [...] to constantly recreate ‘situations of support’ that confirm the contemporary validity of ritual and myth, that revitalize symbols of human continuity so they possess an aliveness and vitality and relevance for us.” Participation in a ritual through a mobile screen and/or in a personal and intimate viewing space can become a deeply-felt experience. In the instance of ‘Fire and Water Ceremony,’ the interaction aims to generate empathy towards water as a primal element that carries, reflects, and equalizes environmental, political and spiritual associations and factors. Therefore, empathy and activist actions could be activated via direct interaction with images, technology, and the kinesthetic WAVE experience involved. )LJ¶:DWHUH0RWLRQ·²¶ZDWHUDVPHWDSKRULFLPDJHU\RIWKHÁRZRIHOHFWURQLF communication and the sharing of the internet as a global democratic resource.’ The concept of ‘Water e-Motion’ engages with Youngblood’s media activism, vision of ‘The Build,’ and the making of images for media “lifeworlds” as a replacement for mass media (Youngblood, 2013). As a growing number of people from around the world spend longer hours communicating in new media “lifeworlds,” water as metaphoric imagery of the flow of electronic communication and the sharing of the internet as a global democratic resource becomes clearer. Curtis suggests that perhaps Maya Deren would have found appropriate the viewing of “chamber cinema” on DVD at home or on a portable device like iPad (Curtis, 2013, p. 17). Small-scale artists’ films, as with “chamber cinema” online, can reach audiences on a large global-scale, though the viewing settings remain small and intimate. These factors make it possible for artists’ films with activist purpose to be delivered directly to the viewer and be watched in a personal living space or by a small group of keen viewers. ‘Water e-Motion’ recalls the shared flow of water and electronic communication with an awareness of care for others, including other species and natural elements, beyond geographical/national borders and social/racial prejudices. The dance of water and light depicts patterns in motion in a space 127 Water Views: Caring and Daring ‡ Waterwheel World Water Day Symposium 2014 ‡ 3WDS14 without visible borders or a clear notion of an above and below. (See Figures 3 & 4) It evokes the infinite and unbound possibilities which lie in the internet and the streaming cinematic image. The flow reflects human consciousness and the urgency to transform the dominant worldview of the split between nature, human beings, and technology into empathic and holistic views of water as the source for the diversity and well-being of life on earth. )LJ¶:DWHUH0RWLRQ·²ZDWHUDVPHWDSKRULFLPDJHU\RIWKHÁRZRIHOHFWURQLF communication and consciousness. AUTHOR BIOGRAPHY Lila Moore is an artist film-maker, screen-choreographer and scholar. She holds a PhD degree in Dance on Screen, which incorporates her creative practice, from Middlesex University, 2001. She likewise holds an MA in Independent Film and Video from Central Saint Martins College of Art and Design, London, 1989. In 2004–2006, she was an Associate Research Fellow at London Metropolitan University, and has presented research papers in academic conferences, (2009–2013). She has lectured, curated film screenings, and exhibited in universities and cultural organisations internationally. Her work explores the interaction of body, psyche, nature and the world through performative screen-texts and screendance. She is an Advanced Research Associate at Ionion Node, Planetary Collegium, School of Art and Media, Faculty of Arts and Humanities, Plymouth University and Lecturer in Spiritual Cinema, Spirituality in Film and New Media, Department of Mysticism and Spirituality, Zefat Academic College, Israel. REFERENCES & LINKS Bolens, G. (2012). ‘Kinesthetic Empathy in Charlie Chaplin’s Silent Films.’ In D. Reynolds & M. Reason, (Eds.), Kinesthetic Empathy in Creative and Cultural Practices (pp. 143–156). Bristol, England: Intellect. USA. Curtis, D. (2013). ‘On the Search for Ideal Viewing Conditions.’ Millennium Film Journal, 58(1), 12–17. Deren, M. (1946). An Anagram of Ideas on Art, Form and Film. New York: Outcast Chapbooks. Deren, M. (1965). ‘Letter to James Card.’ Film Culture, 39, 28–32. Deren, M. (1965). ‘Ritual and Ordeal.’ Film Culture, 39, 10. Deren, M. (1965). ‘Ritual in Transfigured Time.’ Film Culture, 39, 5–6. 128 3. Activism, Art & Science Dolphin Dance Project. (2012). Retrieved from http://www.dolphin-dance.org/dolphin-dance/Home.html (accessed 6 January 2015) Dolphin Dance Project. (2013, November 3) Dolphin Dance in 3D. [Blog post]. Retrieved from http://thedolphindance.wordpress.com/2013/11/03/dolphin-dance-in-3d/ (accessed 6 January 2015) mihdd. (2011, March 31) ‘Japan Tsunami Swallows Car with Passengers Trapped Inside – RIP’. [Video file]. Retrieved from https://www.youtube.com/watch?v=19p8NAqHBVg (accessed 6 January 2015) missingsky102. (2014, February 8). NHK Documentary: ‘Radioactive Water – Fukushima Daiichi’s Hidden Crisis’ [Video file]. Retrieved from https://www.youtube.com/watch?v=Vi024RmFlEc (accessed 6 January 2015) Moore, L. (2001). Dance on screen (Unpublished doctoral dissertation). Middlesex University, London, UK. https://www.cyberneticinstitute.com/screendance-academic Moore, L. (Producer/Director/Choreographer). (2001). ‘Gaia – Mysterious Rhythms’ [Dance film]. UK. Retrieved from https://vimeo.com/47706894 Moore, L. (Producer/Director/Choreographer). (2004). ‘Spirit Tree’ [Dance film]. [Video file]. Retrieved from https://vimeo.com/246133761 Moore, L. (Producer/Director/Choreographer). (2013). ‘Fire and Water Ceremony’ [Ritual film]. [Video file]. Retrieved from https://vimeo.com/manage/videos/73398308 (accessed 6 January 2015) Nin, A. (1958). The House of Incest. Swallow Press, Ohio University Press. Reynolds, D. (2012). ‘Technological Practices: Kinesthetic Empathy in Virtual and Interactive Environments, Introduction’. In D. Reynolds & M. Reason (Eds.), Kinesthetic Empathy in Creative and Cultural Practices (pp. 259–262). Bristol, England: Intellect. USA. Youngblood, G. (1986). ‘Virtual Space: The Electronic Environments of Mobile Image’. InternationalSynergy Journal #1. Retrieved from http://www.ecafe.com/museum/is_journal/is_journal.html (accessed 6 January 2015) Youngblood, G. (2013). ‘Secession from the Broadcast’ [PDF document]. Retrieved from Lecture Notes Online Web site: http://www.secessionfromthebroadcast.org (accessed 6 January 2015) Youngblood, G. (2013). ‘Secession from the Broadcast: the Internet and the Crisis of Social Control’. Millennium Film Journal, 58(1), 174–191. Screen recording of the Tap presentation: http://water-wheel.net/media_items/view/4876 (unavailable 25/02/2023) 129 WAVE Nin, A. (1971). The Diary of Anaïs Nin, 1944–1947. New York: Harvest/Harcourt Brace Jovanovich.