Light and Dark Networks consist of two online data performances taking place anywhere on Whitney.org during sunrise and sunset in New York City, and are directed by actual weather and environmental changes in the New York City area. The two performances are inspired by the structures of natural networks: one aboveground (spider web), the other one underground (mushroom’s mycelium). In the video segments of the piece Endlicher impersonates a spider and several mushroom characters…

The piece looks at networks as living organisms — be they spider webs, mycelium, or the Internet — constantly changing by different artificial or natural parameters. Taking a closer look at the nature of the Internet itself this piece playfully examines how our physical and virtual existence is embedded in networks…

The project takes over the entire Whitney Museum’s website for 30 seconds daily at SUNRISE and SUNSET in New York City, so make sure to get there early. For exact times of daily sunrise and sunset please go to whitney.org/Sunset.

If you like to receive reminders before each performance, follow Ursula on twitter!

For detailed information on Light and Dark Networks go to http://lightdarknetworks.ursenal.net.

Let yourself get entangled…

Human understanding of the rapidly changing environments of the North and South Poles — and the realities of climate change — has been radically transformed by a host of innovations afforded by the digital technologies. Far Field presents essays from artists and scholars who address the shift in our collective cultural understanding through a selection of the most significant artistic, scientific, technological, and philosophical interpretations of the poles over the past decade. Amply illustrated and including fascinating first person accounts of projects at the poles, this cutting-edge volume will have important implications for contemporary cultural studies and the critical study of climate change.

Chapter titles

1] Introduction
Jane D. Marsching and Andrea Polli

2] Every New Thing: The Evolution of Artistic Technologies in the Antarctic — or How Land Arts Came to the Ice
William L. Fox

3] Magnets of the Fantastic: The North Pole Observed
Jane D. Marsching

4] Pages From The Book of the Unknown Explorer
Judit Hersko

5] Antarctic Diaries Excerpt
Simon Faithfull

6] Ground Truth [Focus: The Antarctic Dry Valleys]
Andrea Polli

7] London Fieldworks: Polaria Fieldwork and Installation
Jo Joelson and Bruce Gilchrist

8] Disappearing Ice and Missing Data: Climate Change in the Visual Culture of the Polar Regions
Lisa E. Bloom and Elena Glasberg

9] Between Ecotopia and Ecotage: Polar Media
Peter Krapp

10] Nonorganic Life: Frequency, Virtuality and the Sublime in Antarctica
Susan Ballard

11] Inhabiting the Extreme or Making Antarctica Familiar
Annick Bureaud

12] Voices, Lines, Cracks and Data-Sets: Formations of a New ‘Idea of the Canadian North’
Leslie Sharpe

13] Airspace [Focus: McMurdo Station, Antarctica]
Andrea Polli

14] Systemness: Towards a Data Aesthetics of Climate Change
Tom Corby

Concept:: Technology can no longer be understood as an alterity (otherness) that stands in opposition to biological and social relationships. Going about our regular practices of everyday living we inhabit complex technological spheres of life that require a different, a more ‘ecological’ understanding of our relationship to technology. In analogy to the ‘deep ecology’ movement, philosopher David Rottenberg recently suggested that the notion of ‘deep technology’ relates user and context in an ecological, symbiotic way [1]. Similarly, the idea of ‘inhabiting’ technological ecologies emphasises our connectedness to our environment (material, natural, technological) and our dependence on the resources available in that environment (material, energetic, biological, cultural). Mastering these conditions, which necessarily transcend the personal experience, is vital to our survival on this planet.

The concept of technological ecologies as spheres of life invites a more careful consideration of the relationships between the natural and the artificial - or even the collapse of the boundaries between them - in favour of looking at such techno-ecologies as complex assemblages, comparable to how for instance philosopher Bruno Latour treats them. Our perspective should, however, not be limited to these technological ‘actors’. In The Three Ecologies (1989) Felix Guattari expresses his worries about the intense techno-scientific transformations the Earth is undergoing. Guattari observes an ecological disequilibrium generated by these transformations, which leads to a general reduction of human and social relationships and the sustainability of the living environment.

According to Guattari it is the relationship between subjectivity and its exteriority - be it social, animal, vegetable or cosmic - that is compromised, in a sort of general movement of ‘implosion’. He warns against a merely partial realisation of the severity of these changes and inadequate responses that may come from a purely technocratic perspective. It is the ways of living on this planet that are in question, according to Guattari, in the context of the acceleration of techno-scientific mutations and exponential demographic growth. Only an ‘ethico-political’ articulation ‘between’ the three ecological registers that he identifies - the environment, social relations, and human subjectivity - would be able to clarify these questions.

The paradox is that these techno scientific transformations are both the source of the current ecological disequilibrium, and even so the only realistic means to address and potentially resolve the problems they create. Somehow, however, we cannot seem to make them work.

Siegfried Zielinski has pointed out that one important fallacy to overcome is to view the course of technological development as ‘progress’, or to consider our current state of technological sophistication as the best possible and necessary outcome of a predictable historical trajectory. In his ‘Variantology’ project Zielinski makes a radical break with any idea of technological progress or determinism [2]. The Variantological approach emphasises that at any point technological development (and human development along with it) is contingent (it can go anywhere). Variantology does not look for ‘master media’ or ‘imperative vanishing points’. Instead it seeks out the moments of greatest possible diversity and individual variation. It operates in carefully chosen periods of particularly intensive and necessary work on the media,# across different cultural and physical geographies - exploring the ‘deep time relationships of the arts, sciences and technologies’.

Finally, an exploration of inhabitable technological ecologies needs to take into account the phantasmatic dimension of technological apparatuses and systems. Such a more psychographic understanding of the depth of technology aims to uncover hidden, or not immediately visible or discernible psychological layers attached to the technological apparatuses - perhaps we might refer to this as a ‘technological unconscious’ - that underpin human experience and our subjective ties with technological environments. It considers technology not only as an extension of the body but also as an extension of our deepest desires. It explores the void between the ‘real’ and that what is mediated by systems of language, media, and technology. It acknowledges the existence of a ‘third body’ (Klaus Theweleit) [3] that inserts itself between us and the (technological) objects. This third body only emerges in our interaction with these objects, but it is neither held by us nor by the objects alone.

Beyond questions of finite resources and obvious forms of pollution and environmental degradation, attempts to develop sustainable relationships with technology and our living environment should take into account far more complex layerings of the way we inhabit our current technological ecologies. Such a deeply informed ethical and philosophical perspective is indispensable if we hope to find less hazardous routes into the future.

Eric Kluitenberg, Amsterdam, June 6, 2011

Notes:

1 - www.wired.com/wired/archive/3.10/rothenberg.if.html
2 - http://entropie.digital.udk-berlin.de/wiki/Variantology
3 - www.debalie.nl/player/balieplayerpopper.jsp?movieid=93125&videofragmentsid=ank2

We welcome submissions — articles, conceptual and artistic texts, conference papers and visual contributions — from artists, theorists, designers, environmental scientists, technologists, activists and
other lateral thinkers who are engaged with issues of social and ecological sustainability, and who are interested in a deeper understanding of technology.

Length of texts: between 2500 and 8000 words (i.e. 20 000 - 45 000 characters). Submitted texts should include: 1) short abstract (ca. 250 words, i.e. 1500 characters), 2) 5 - 6 keywords, and 3) short bio of the author (ca. 100 words, i.e. 800 characters). References should be either in APA or Harvard style. Language for submissions: English (all texts will be translated into Latvian as well).

Please send abstracts and texts to the editors: Eric Kluitenberg (epk (at) xs4all.nl) and Rasa Smite (rasa (at) rixc.lv)

Launched in 2010, the Coal Prize is a leading event in France on art and sustainability. Each year it rewards a project by an artist involved in environmental issues. Its goals are to promote and support the vital role which art and creation play in raising awareness, supporting concrete solutions and encouraging a culture of ecology. Many artists who are pioneers in that field participate in this event.

The 2012 Coal Prize will reward entries that focus on rural issues and farming. It gathers a wide range of stakes, such as: landscape changes, loss of biodiversity, intensive agriculture, heritage, access to land etc. Coal invites artists to reinvest and rethink these crucial topics, for a new approach considering complexity and complementarities of ecosystems.

The prize carries an award of 10 000 EUR. Entrance is by open submission and the winner will be selected out of ten short-listed by a jury of well-known specialists in art, research, ecology and sustainable development. All proposals should be submitted to Coal before February 12, 2012. The award of the 2012 Coal Prize will take place on March 15, 2012 at Le Laboratoire, a private art center specializing in the blending of art and science and partner of the Coal Prize.

Jury:

• Anne-Marie Charbonneaux, President of the National Centre of Fine Arts (CNAP)
• David Edwards, Founder of Le Laboratoire
• Pascal Yonet, Director of Le Vent des Forêts
• Jean-Guy Henckel, Director of Réseau Cocagne
• Raphaël Ménard : Director of Elioth, Egis Group
• Fabrice Bousteau : Editor-in-chief of Beaux Arts magazine

Organiser:

The Coal Prize is organized by Coal, the Coalition for art and sustainable development. Created in 2008 by professionals in contemporary art, sustainable development and research, Coal curates exhibitions and projects combining art and environment, promotes a new generation of artists focusing on environmental and societal issues and supports the key role which creation and culture play in raising awareness and concrete changes.

Partners:

The Coal Prize is supported by the French Ministry of Culture and Communication, the French Ministry of Ecology and Sustainable Development, the National Centre of Fine Arts (CNAP) and Le Laboratoire.

Submission:

The application has to be uploaded on Coal server before February 12, 2012: www.projetcoal.org/upload

The Coal Prize aims to encourage innovative practices. Project proposals can take any form. They have to be new or still in process but not achieved. The Coal Prize award can be a part of a more important funding of the proposed project. Applicants will be judged on the originality and artistic value of their proposal as well as their ability to understand the issues, to raise awareness and to initiate societal dynamics.

The application should include the following:

• Curriculum vitae and portfolio,
• Summary and illustrated description of the entry, detailing its artistic aspects and its relevance to the environmental and rural issues,
• Note on technical aspects and estimated budget.

More details on how to apply here.

Contact:

Lauranne Germond, Curator, Coal Prize
contact [at] projetcoal.fr | + 33 (0)1 75 57 95 63
2 rue Caffarelli | 75003 Paris

RR02 consists of a series of five postcards documenting Pentecost’s research and travels in Mexico, along with a poster and archival envelope.

Claire’s report back from the cornbelts documents the impact of genetic drift that has crossed national and species boundaries to contaminate corn in Mexico. We are sending out this mailing from the source of that contamination, where the Chicago Board of Trade is surrounded by hundreds of miles of monoculture commodity corn and soybeans. We hope Claire’s project offers some kind of symbolic antidote, as it crosses state and national borders against the current of industrial agriculture.

In general RR news:

We talked with Abigail Satinski, of Threewalls, for the Bad At Sports blog. Read it here.

RR presented RR01 at the first MDW Fair in Chicago this past Spring, where we met some of you!

This Fall, Matthew Friday’s A Map Without Boundaries (RR01) was included in an exhibition titled “Ecocultures” at George Mason University. The show brought “together current cultural productions at the intersections of the arts, sciences and the practice of everyday life to explore the interdependence of our social and biological systems,” as part of a conference on ecological inequalities and interventions. Find out more here.

Subscriptions

We welcome new subscriptions! Just visit the RR website and click on “subscriptions” (we can take Paypal and now Dwolla), or contact us by email.

New subscribers will also receive Matthew Friday’s A Map Without Boundaries (RR01) until there are no more.

Thanks for your time!

Ryan Griffis & Sarah Ross
Regional Relationships

Networked: Dialogue and Exchange in the Global Art Ecology brings together leading artists, curators, art managers, funders and policy makers from over 40 countries to debate the increasing role of cultural networks in supporting artists and organisations world-wide.

The conference marks the 30 anniversary of the founding of Triangle Network, an international network of artists and organisations around the world, that facilitates dialogue and exchange through workshops, residencies and exhibitions. In 30 years, Triangle has worked with over 70 organisations and 4,200 artists in more than 60 countries across Africa, the Middle East, Asia, Europe, USA, Latin America and Australia.

Opening the conference, Triangle Network founders — artist Anthony Caro and collector Robert Loder — will be in conversation with artist and Triangle Trustee Sonya Boyce. This is followed by sessions focusing on a range of case studies and timely questions tackling the principles and ethics that guide cultural networks, as well as some of the opportunities and challenges faced by artists and art organisations around the world.

Led by Alessio Antoniolli, Director of Triangle Network and Gasworks, the conference is held at and sponsored by Bloomberg, London, with support from Arts Collaboratory, Arts Council, England, and Prince Claus Fund.

Conference speakers include: Alessio Antoniolli, Director, Triangle Network & Gasworks (UK); Hege Aasgaard, MIMETA (Norway); Jason E. Bowman, New Work Network (UK); Sonia Boyce, Triangle Network (UK); Marc ter Brugge, Arts Collaboratory (Holland); Diana Campbell, Creative India (India); Anthony Caro, Triangle Network (UK); Zenzele Chulu, Insaka (Zambia); Maria Daïf, Art Moves Africa (Morocco); Ade Darmawan, Ruangrupa (Indonesia); Sonya Dyer, Artist (UK); David Elliott, Triangle Network (UK); Charles Esche,Van Abbe Museum (Holland); Stephen Escritt, Counterculture Partners (UK); Rose Fenton, Free Word, (UK); Gertrude Flentge, DOEN (Holland); Kate Fowle, ICI (USA); Paul Goodwin, independent curator (UK); Manick Govinda, ArtsAdmin (UK); Vít Havránek, Tranzit (Czech Republic); Carole Karemera, Arterial Network (South Africa); Danda Jaroljmek, Kuona Trust (Kenya); Diala Khasawnih, Makan (Jordan); Todd Lester, FreeDimensional (USA); Sophie Leferink, 1MinuteVideo (Holland); Tayeba Lipi, Britto (Bangladesh); Robert Loder, Triangle Network (UK); Christa Meindersma, Prince Claus Fund (Holland); Ana Maria Millan, Helena Producciones (Colombia); Peter Moertenboek and Helge Mooshammer, Networked Cultures (UK); Boris Ondreička, Tranzit (Slovakia); Davide Quadrio, Art Hub (Asia); Jonathan Robinson, The Hub (UK); Moira Sinclair, Arts Council, England (UK); Anna Somers Cocks, The Art Newspaper (UK); Pooja Sood, Khoj Delhi (India); Ana Tomé CCE, (Mexico); Mark Vennegoor, ResArtis (Holland); Mary Ann de Vlieg, IETM (Belgium); Shelagh Wright, Demos Associate (UK).

Tickets to the conference have now been sold out. Video recordings of all sessions will be made available online soon after the conference — bookmark www.trianglenetwork.org to access these.

The #TrainingYRHuman participatory physical installation will début in beta form at the Animal Influence media art exhibition at Emily Carr University of Art + Design’s Intersections Digital Studios, November 2011. Thank you to University of Rochester for support of this project. More info >>

AntiTesi in collaboration with the Superintendence for Cultural and Environmental Heritage of Trapani, is announcing a Call for Proposals for Sound installations to present at Ex Stabilimento Florio delle Tonnare di Favignana e Formica in Favignana Island. This call is connected to the Eighth edition of the Live!IXem festivals of music, sound and electronic arts.

The aim is to highlight the works of those artists who, involved in an experimental and creative exploration, use sound, integrating it with electronic audio-visual and digital design for Art installations in specific sites. Another aim is to witness the new aesthetic in contemporary art through a new way to conceive and carry out works within (or outside) of architectural spaces.

In this regard, the spaces that will host this could not be more appropriate: the former Florio Tuna factory on the island of Favignana in Sicily, the largest of the Mediterranean, which takes its name from a family of entrepreneurs that at the beginning of the twentieth century was the great protagonist in Sicily, the Belle Epoque. The ancient structure located in the largest of the Egadi islands, were obtained after the recent restoration of museum space, a conference room with 400 seats and a guest room.

To make this call even stronger there will be a collaboration between Live!iXem and OpenSound a platform that brings together seven European partners to create a project for cooperation and exchange that puts the sound in the middle of a series of outreach and artistic initiatives.

Open Sound is in fact a Grundtvig project for mobility and partnership in the training supported by the EU through through the agency LLP - Life Long Learning Programme. Thanks to this partnership, Sicily will be the first venue where the festival will converge with some of the major representatives linked to the European art scene and musical sound research. During the festival, workshops will be conducted by some of the guest artists (the access to workshops is free of charge): this will contribute to become familiar with the locations of the former Florio Tuna factory on the island of Favignana.

SUBMISSIONS

We encourage proposals for site specific Sound Installations that will have to be set up in one of the locations of the Ex Stabilimento Florio della Tonnare di Favignana e Formica in Favignana Island Italy.

Subscription and participation to the call are free of charge.

It will be necessary to explore the locations through specific preparatory visits during Live!iXem Festival 2011, from 8 to 11 december 2011.

Suggested topics for presentations include, but are not limited to:

• Best practices in Sound and architecture
• Techniques used for Sound/Art Installation
• Sound and environment/Sound ecology
• Site specific
• Software & network management
• History & aesthetic theory of Sound Art/Installation
• Teaching & pedagogical strategies
• Hardware (audio, interface, computers, loudspeakers)
• Software environments & frameworks
• Artists/Composers‚ perspectives on their own works

The deadline for submission is February 26, 2012, but preliminary and preparatory visits will take place btw 8-11 dec 2011.

People use large amounts of water for drinking, cooking and washing, and even more for producing things such as food, paper, cotton clothes, and almost every other physical product. Usually, the amount of freshwater that goes into making a product – its virtual water content – far exceeds the amount contained in it at the end of the process. The water footprint of a person, company or nation is not unlike their ecological footprint. It is defined as the total volume of freshwater that is used to produce the commodities, goods and services that they consume. Based on data gathered by Hoeckstra et al. on the water footprints of nations, designer Timm Kekeritz created a set of infographics to make the issue of virtual water and the water footprint perceivable. In collaboration with his colleague Frank Rausch, the Virtual Water iOS app was created in 2010. Its design is minimalistic, using only silhouettes and elegant typography, and featuring the elegant typefaces, TheSans and TheSerif by Luc(as) de Groot. The design has became popular worldwide, published in newspapers, magazines, websites and blogs around the globe.