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An overview of SPURSE project to design a Multi-Species Landscape @ Pitzer College (2013-14). The text was written as chapter for: Art as Social Action: An Introduction to the Principles and Practices of Teaching Social Practice Art (2018)
Proceedings of the Participatory Design Conference 2022 - Volume 2
Participatory design has traditionally foregrounded humans as agents and stakeholders in design processes. While the notion of 'design ecologies' have gained prominence as an understanding of the particular entanglements, processes of design are part of, the role of nature and other species remains an under investigated area. In the light of increasing states of planetary crisis, and its ubiquitous effects on design and planning we ask how designers may take more-than human rights into consideration and connect with more than human interests and agencies for participation. In doing this, we foreground questions on how other species may emerge as co-creators of experiences and knowledge and collaborators in making livable environments. Drawing on two cases of spatial design (Amager commons, Copenhagen, Denmark and river Viskan, Borås, Sweden) we explore how we may rethink urban commons and their use as cases that call for attention to multispecies collaboration and design.
The genre of " ecological art " , as originally conceived in the 1990's on the basis of practices that emerged from the late 1960's onwards, covers a variety of artistic practices which are nonetheless united, as social-ecological modes of engagement, by shared principles and characteristics such as: connectivity, reconstruction, ecological ethical responsibility, stewardship of interrelationships and of commons, non-linear (re)generativity, navigation and dynamic balancing across multiple scales, and varying degrees of exploration of the fabric of life's complexity.
2021
This is an article about land art that constructs habitats of refuge or survival shelters. The art of constructing forest sanctuaries, as a form of social media, is a resourcing of found materials transformed into personal and social places of significance. Amidst COVID-19 restrictions, nature became everyone's place to be and public parks were an essential common place for combining and finding a place apart to come together. What emerged in the forests of Phoenix Park, Dublin, was the construction of landmarks for protection and solace. As bushcraft and public artforms, these dens act as declarations of personal security and social constructions, occupying both a boundary and an invitation. They are landmarks for solitary pursuits and social encounters; transformative locations for introspection and the communal sharing of a forest
The Bulletin of the Ecological Society of America, 2018
Acta geographica Slovenica
In the face of worldwide population growth, increasingly intensive agriculture, depopulation of marginal and less favoured areas, and growing rural-urban migration, two contrasting trends are becoming more pronounced: land abandonment on one hand and intensification of agricultural land on the other hand. Considering the complexity of mentioned issues, which result in landscape impoverishment, biodiversity loss, and a decline in crucial ecosystem services, it is essential to prioritise sustainable governance and management of landscapes and natural resources. Alternative approaches are needed to address these challenges. In this special issue, we focus on the potentials of commons and collective actions in sustaining landscape management and natural resource governance. The term "commons" refers to the way communities collectively manage local resources. Collective action refers to the coordinated efforts and cooperation of a community.
The Journal of Public Space, 2020
The environmental problems of climate change and species decline can feel overwhelming. Individuals are often at a loss, questioning what impact they can actually have. Through chART Projects, we have witnessed the dramatic effect of community-engaged art as a direct path to environmental action and impact on local ecosystems. During the 27thInternational Ornithological Congress, bird enthusiasts from around the world focused their attention on Vancouver, Canada. This article is a reflection on how chART took advantage of this assembly, creating an ambitious venture aiming for a sustainable effect on the public’s relationship to urban birds. As the Crow Flies was a public art project bringing creative connections to urban birds directly into the hands of the public. Works included sited-sculpture, community-engaged interventions, projections, workshops, performances, and 6,000 ceramic crows. chART’s founder, Cameron Cartiere has been working with an interdisciplinary team to address...
Ecosystem Services 21 (2016) 319–328, Special Session on Cultural Ecosystem Services: Frontiers in Theory and Practice, 2017
This paper introduces arts-led dialogue as a critical alternative to the prevailing instrumental and deliberative approaches to environmental valuation and decision-making. The dialogue, directed by an artist in collaboration with a community of participants, can comprise a single event, such as a workshop, or unfold over a period of years. Rather than seeking closure on a predetermined problem, its intentions are typically to explore a subject or problem in original, challenging or provocative ways, which question the truth claims of any one discipline, at times with unexpected, emancipatory outcomes. We locate arts-led dialogue between deliberative and interpretive approaches to environmental decision-making, and within the history and theory of socially-engaged art, and analyse its key features: its purpose, participation, audience, format, content, and changes in values and identities through transformative learning. We illustrate these features by reporting on a creative enquiry into the shared, plural and cultural values associated with the Caledonian pinewoods of Scotland, focusing on the Black Wood of Rannoch in Highland Perthshire. The conclusions highlight two distinctive features: a commitment to critical dialogue and open exchange, and the character and experience of the artist who directs the process.
2014
The interfaces of nature and culture define the ultimate life support for human well-being. They constitute a common; they are fundamentally shared. The commons of nature-culture are places which make up everyday language and poetics through landscape metaphors and other common topoi. But the commons have many senses, not all of them commonsensical or commonplace. The adjective common describes something that is in joint use or possession; public, shared alike. In the early 2000s the related legal concept “Creative Commons” was formed to promote – often noncommercial – sharing of otherwise copyright-protected material. The interface of nature and culture is the shared life of ecosystems and creativity alike. This workshop proposes to think about the past and present as well as the Future of the Commons to investigate individual and collective life conditions and cultural production. Here is a field where nature and culture cross: ecological boundaries and ecosystem changes will inev...
This paper analyses how the current concept of landscape, which overcomes a scenery-based characterisation and a confinement to classical aesthetics and art, relates to the notions of the common good, commons and commons pool resources (CPRs). I consider landscape as a complex process in which human beings (with their history and culture) and their environment are mutually defined. On the basis of this approach to landscape studies, and by considering contemporary documents on landscape (i.e. the European Landscape Convention, the Latin American Initiative for Landscape and the Unesco Florence Declaration) I analyse the similarity between the notion of landscape and the concepts of common good, the management of commons and the commons pool resources institutions. Through theoretical research supported by practical examples (e.g. community gardens) I argue that landscape can be defined as a common good, can include the commons, and the collective management of lands and common pool resources institutions. The paper relies on an excursus through the theories and legal documents, with a specific regard to the theoretical foundations of these different notions. The analysis carried out in the paper leads, in the end, to the possibility of defining the ‘right to landscape’. Even if the concept is new in the literature, and a right to landscape is not recognized as a right per se, it is already implicated and studied in many international rights laws. Three approaches to landscape as a right have been distinguished: the right to landscape as a perceived landscape (a collective right), as a right to the environment, and a right for addressing human rights. I integrated these approaches by arguing that landscape is a domain in relation to which human rights can be claimed, and that landscape can be considered as a right to which human beings are entitled.
Biblioteca Revistei Ideei, București, 1922
Paper presented at the EUROCALL 2017 Conference (Southampton, United Kingdom, Aug 23-26, 2017), 2017
Trabajos de Prehistoria 81(1), 2024
Supply Chain Management: An International Journal, 2018
Revista de Estudios Sociales
Journal of Contemporary Pharmacy
Journal of Shahrekord University of Medical Sciences, 2020
Technology audit and production reserves, 2024
Enfoque UTE, 2017
Journal of Pest Science, 2021
Genetics and Molecular Research, 2019