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EcoArtTech Interview by ArtSlant

2014 June 9
by Shared by Steve Rust

Those who enjoyed the previous post on this blog about EcoArtTech may enjoy this recent interview with founders Leila Christine Nadir and Cary Peppermint with the online magazine ArtSlant.

Here’s a link to the full article and an excerpt:

“AC [Interviewer Alicia Chester]: So there is no nature, and what we think of [as nature] is an ideal of nature.

CP [Cary]: Nature is a construction, just like gender.

LN [Leila]: That’s why we work with that idea of a wild, pristine nature with irony. If what looks like nature isn’t even nature, let’s just treat the city streets like nature, because it would actually help the environment more to do that––because then we may pay attention to flushing our toilets, where our trash is going, how much carbon emissions our houses are creating––rather than leaving the “real” nature, the myth of nature, to protect these wild, mountainous spaces, which needs to be done…but my point is, wilderness and nature are myths… The entire planet has been built, and rebuilt, and un-built, and built again. You can even go into the idea that we’re disembodied when we’re interacting with online spaces––we’re not. We’re still in a body. Our body is still doing something, even if it’s sedentary––that’s embodied. We are living what we’re doing online. Even if we think that, somehow, because we’re not physically moving, it’s disembodied, it’s not. It’s assuming there’s a mind-body distinction that does not exist.

 

Cli-Fi Blockbusters Hit Theaters

2014 May 29
by Shared by Steve Rust

Currently, yet another remake of Godzilla is stomping its way through the summer blockbuster season. The film is part of a recent trend in cinema that has been dubbed “cli-fi” by environmental activist Dan Bloom. Godzilla, Into the Storm, and Snowpiercer are among the films highlighted in a recent issue of Time magazine. Here’s a link to the article by Lily Rothman and a brief excerpt:

“These films are far from the first to give the idea of climate change its due in the fear department . . . but they arrive on the crest of a new wave of optimism about the power of fiction.

. . .

“The term [cli-fi] started to gain traction in the past year, showing up in news reports and classrooms, where courses like Stephanie LeMenager’s graduate seminar The Cultures of Climate Change, at the University of Oregon, explore what’s behind the intuition that stories can make a difference. . . . LeMenager says fiction has and advantage: hope. ‘Literature always imagines a world elsewhere, even when it’s imagining this one. It’s a stimulant to a sense of possibility that is very hard to maintain given the facts of climate change,’ she says. ‘In the world of fiction, no future is inevitable.'”

New Issue of ‘Public Culture’ on Environmental Visualization

2014 May 22
by Shared by Steve Rust

The latest issue of the journal Public Culture centers on the topic of environmental visualization.

Here is a link to the issue and a short excerpt from the introduction “Environmental Visualization in the Anthropocene: Technologies, Aesthetics, Ethics” by Allison Carruth and Robert P. Marzec:

From climate change models to the World Wildlife Fund (WWF) “Species Tracker,” environmental visualizations are political and politicized as much as aesthetic and aestheticized. Digital infrastructures (like the data centers that run the cloud and the global positioning systems [GPS] that generate high-resolution images of the earth’s surfaces) and digital media (including computer-generated imagery in filmmaking and viral online videos) have come to color our sight lines perhaps even more extensively than industrial technologies defined the landscapes of the nineteenth and twentieth centuries. Contemporary acts of visualizing environmental crises and environmental solutions often hide, moreover, the ecological footprint of image-making technologies themselves, which tend to promise the transparent representation of empirical facts or shared experiences. For instance, the infographics (or “infovis”) that large environmental NGOs commission to mobilize publics cultivate what Houser, in her essay, calls “a connect-the-dots aesthetic, constituted by an aerial perspective and finite lines, that privileges simplicity, transparency, and speed.” Consider, too, the photojournalistic coverage of the Belo Monte Dam project in Amazonian Brazil and the indigenous opposition movement that culminated in a 2012 summit in Rio de Janeiro. Marzec’s essay examines this struggle to make a postcolonial intervention in the imperial “view from above,” which makes claims of empirical knowledge and accurate spatial modeling and which mass media perpetuates in situating events like the Rio summit on the larger stage of planetary politics. As the media anthropologist Faye Ginsburg (2008: 289) emphasizes, inquiries like Houser’s and Marzec’s invite us to ask, “Who has the right to control knowledge and what are the consequences of the new circulatory regimes introduced by digital technologies?”

CFP: 2015 International Environmental Communication Association Conference

2014 May 19
by Shared by Steve Rust

Bridging Divides: Spaces of Scholarship and Practice in Environmental Communication

The 2015 Conference on Communication and Environment (COCE)
Boulder, Colorado, USA
June 11-14, 2015
Web:
http://theieca.org/coce2015
Twitter:
#coce2015

Email: coce2015 at theieca dot org

Conference Hosts: J. Harrison Carpenter and Dale Miller
Program Chairs: Maxwell Boykoff and Julie Doyle

CU Boulder mountainsThe 13th biennial Conference on Communication and Environment (COCE) will take place in Boulder, Colorado in June 2015. Boulder sits near the American continental divide. The divide extends from the northern-most tip of Alaska to the southern reaches of Chile. From one vantage point, this divide seems permanent with its rocky ridges that cause water to flow on one side to the Atlantic and on the other, the Pacific. So too with its longstanding influence on continental weather patterns and the different ecosystems that have followed the rock, water, and weather. Yet, from another vantage, the divide is ever-changing. The line of rock that tells the water which way to go wears away and shifts over time as it interacts with weather, human activity, and geological forces. The resulting changes to water flows and downstream ecological communities can be subtle or great. Only one thing is for certain though: all waters eventually flow into one great global ocean.

We would like to meet you in Colorado, near the “Great Divide,” to address, discuss, deliberate and bridge the many divides, challenges, and opportunities facing environmental and sustainability communication practitioners, researchers, artists, students, teachers, and organizations.

We invite you to consider, for example, the following divides within the landscape of environmental and sustainability communication, and how we might bridge them:

  • environmental communication theory AND practice
  • scholars AND practitioners of environmental communication
  • differing theories of change in environmental communication
  • different environmental discourses
  • advocacy intentions AND policy outcomes
  • the many disciplines, arts and sciences that inform the field
  • environmental attitudes AND behaviours
  • aspirations for public participation AND actual opportunities
  • media watchdogs AND media lapdogs
  • environmental science knowledge AND actual public understanding
  • cultures that see, experience, and value the world differently from each other
  • communities facing environmental conflicts
  • media representations AND environmental literacy
  • different environmental, social, and cultural values
  • differing political alternatives to address environmental issues

Submission Guidelines

We welcome submissions of scholarly papers, practice reflections, artwork, panels, posters, and workshops.  While we are especially seeking submissions that relate to the conference theme, we will also accept non-thematic submissions. Submitters will be asked to indicate this at the time of submission.

 All submissions must:

  • Be written in English.
  • Include a cover page with the type of submission; title; author(s)/contributor(s) names, affiliations, and contact information; and a list of 3-5 keywords.
  • Be single-spaced.
  • Be formatted according to APA guidelines when appropriate.
  • Contain no identifying information other than what is on the cover page.

Scholarly Papers

Scholarly paper submissions should be original works of research and analysis that emphasize contributions to knowledge.

  • Submit an abstract of 500 words that clearly explains research questions, methods, conclusions and contributions to knowledge.
  • Do not submit full papers at this time.
  • If accepted, full papers must be submitted by May 1, 2015.

Practice Reflections

Practice reflections should be critical considerations by practitioners of their own projects and campaigns, and should emphasize novelty and applicability in other contexts.

  • Submit a self-reflective summary of 500 words on your project or campaign; the reflection should critically examine the goals, strategy, tactics, messages and results.
  • Submissions should highlight new thinking and new developments in the practice of public engagement in environmental communication.

Works of Art

Submissions by artists of their own work (paintings, photography, sculpture, dance, music, comedy, digital art or other new media art, etc.) are encouraged if the work addresses some aspect of environmental issues or human relationships with the rest of the natural world, and especially if it specifically reflects on communication. The art will be considered for exhibition and performance during the conference.

  • Submit a description of your art, including, dimensions, and installation or performance requirements; append photographs as necessary; do NOT submit the original work.
  • When appropriate, submissions should explain the artist’s intentions for the work by way of an “artist’s statement.”
  • If a video is required to explain the work, then provide a link to where the video can be viewed online.

Panels

Panel submissions should focus on a unified topic. They can either be panels of scholarly papers, panels of practice reflections, panels of artists, discussion panels or combinations of these. Keep in mind that panels must fit into what will likely be 90-minute sessions.

  • Submit a descriptive panel proposal of 500 words, including a rationale for the panel.
  • For panels that include individual presentations, include titles and abstracts of 500 words for each presentation.
  • List the authors of the individual presentations on the cover page with their titles when appropriate.

Posters

Poster submissions can address any area of environmental communication scholarship, practice, or creation and can be submitted in lieu of scholarly papers, practice reflections and artwork.

  • Submit a 250-word abstract or summary of the poster, including any relevant  details described above (depending on type of poster).
  • Include visual elements of the poster where necessary

Workshops

Workshop submissions should focus on practical training in some area of environmental communication practice, scholarship, teaching, design, or artistic production.

  • Submit a 500 to 1000-word description of the workshop, including time required, a rationale, and learning outcomes.
  • Submissions should explain clearly how attendees will participate, and must include a summary of activities, as well as the names and affiliations of all trainers.

Submission and Review Process

In the past, the Conference on Communication and Environment has received many more submissions than it has been able to accept. We don’t know what the ratio will be this time, but we expect it to be competitive.

  • Submissions are due by 11:59 PM Eastern Daylight Time, Monday, September 15, 2014.
  • All submissions must be in PDF format. Please ensure any photos are optimized before creating the PDF.
  • All submissions must be uploaded through the IECA web site at the following URL: http://theieca.org/coce2015.
  • Author identification should be limited to cover page.

All submissions except workshops will be reviewed anonymously and rated individually. Reviews will be based on overall quality, as well as the following criteria when appropriate: importance and relevance of topic; potential contribution to knowledge; useful synthesis of current knowledge; potential contribution to practice; creative innovation; and relevance to the conference theme.

Workshop submissions will be evaluated for their potential value to conference participants.

Conference Proceedings

Conference Proceedings will be published by the International Environmental Communication Association following the conference. All accepted scholarly papers, practice reflections, panel papers, and posters will be eligible for inclusion in the Proceedings.  For inclusion, full papers must be received by May 1, 2015. Full papers should follow all previously stated guidelines other than length. Full papers must be no longer than 7500 words (including abstract and bibliography) and should be submitted in Microsoft Word format.

Poster presenters are invited to submit a short paper of less than 1500 words to be included in the Conference Proceedings. For inclusion, these short papers must be received by May 1, 2015.

Important Dates

  • 15 May 2014 ~ Theme announced and call for submissions distributed
  • 15 September 2014 ~ Deadline for all submissions
  • 5 December 2014 ~ Acceptance notification
  • 5 December 2014 ~ Registration opens
  • 31 March 2015 ~ Early-bird registration closes
  • 1 May 2015 ~ Full papers and proceedings submissions due
  • 10 June 2015 ~ Pre-conference events
  • 11 June 2015 ~ Conference begins in Boulder, Colorado
  • 15 June 2015 ~ Conference excursions (optional)

Notes about Membership and Costs

We don’t yet know what the conference will cost. We expect to have that information available by the time decisions are made on submissions.

Conference presenters (in all categories) must be members of the IECA in 2015. All IECA members (except those in the professional category) receive discounts on conference registration. Membership information can be found here: http://theieca.org/membership

All conference attendees must pay for their own travel, accommodation and conference registration. All attendees who need them are responsible for obtaining their own travel visas. We will provide invitation letters to those who request them. Send requests for letters to the conference co-chairs:  Dale.Miller@colorado.edu (link sends e-mail) and Harrison.Carpenter@colorado.edu (link sends e-mail).

About the IECA

Founded in 2011, but with roots going back to 1991, the International Environmental Communication Association (IECA) is a professional nexus of practitioners, teachers, scholars, students, artists and organizations engaged in research and action to find more ethical and effective ways to communicate about environmental concerns in order to move society towards sustainability. Our mission is to foster effective and inspiring communication that alleviates environmental issues and conflicts, and solves the problems that cause them. More at http://theieca.org.

Screening the Forest

2014 May 11
by scubitt

The Screening nature research group (a collaboration between Queen Mary, University of London, the University for the Creative Arts, the Whitechapel Gallery, and Goethe-Institut, London.) holds its final event on May 21st 2014 at the Horse Hospital in London, an opportunity to see some unfamiliar work on the forest: the blog for the project, which involves some other fascinating video and film work, is at http://screeningnature.com/

Here is the blurb for this event:

SCREENING THE FOREST–the closing event of the Screening Nature Network, May 21st, The Horse Hospital, 6pm

‘Whoever enters the forest leaves behind the open world’
William J Pomeroy*

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Sensory, colourful and widescreen, the forest is already naturally cinematic. In the past decade, this natural landscape has become a site of creative exploration for contemporary art filmmakers in Asia. Curating a programme of Asian cinema usually ends up with a selection of films grouped according to the supposed importance of their auteurs and to the identity and history of each nation. Screening the Forest takes nature as a point of departure. By placing the forest at the centre of a curatorial practice, we emphasize that cinema is not only culturally and aesthetically, but also naturally, constructed. Moreover, through certain aesthetic choices, this programme investigates the ways in which cinema communicates the sense of being in a forest in a mode that other art forms cannot.

The programme weaves together the cinematic forests of Thailand, Singapore, the Philippines and Taiwan (and in some cases, the forest refers to nothing but a world construed in its own territory).

Like the real forest where many genus of trees coexist, several short films and artist videos by up-and-coming filmmakers are curated in order to show a variety of themes and strategies each filmmaker adopts. Some filmmakers depict the forest in folklorish narrative form, while others treat the forest as experimentation in what has come to be known as ‘slow cinema’. Some use the forest as a site to access national trauma, while others trace the memory of cinema in their sojourning through the archival forest. These forests blur the lines between nation and nation, reality and dream, human and nonhuman, life and death, memory and forgetting.

The programme is curated by Tay Graiwoot Chulphongsathorn. The screening is also the closing event of the AHRC-funded project, the Screening Nature Network, a collaboration between the Department of Film Studies at Queen Mary, University of London, the University for the Creative Arts, the Whitechapel Gallery, Goethe-Institut, and the Horse Hospital.

The programme is approximately 80 minutes. Admission is free. The screening will be followed by music and drinks at the bar.

Image

 

Films in the programme:

Sharing the theme of the forest in local myth with Apichatpong Weerasethakul’s Tropical Malady, but made with a low budget aesthetic, Forest Spirit (2012, Dir. Teera Prachumkong / Thailand) tells the story of a folklorish forest where an evil spirit tricks a wanderer. In stark contrast, the forest in Endless Realm (2013, Dir. Eakalak Maleetipawan / Thai- land) is not a mythic but a contemporary one. Along Thailand’s border with its neighbouring countries, mountains and forests are always used as a natural demarcation. At first glance, the forest looks peaceful. But the longer we linger, the more we recognize the past violence hidden beneath. The film won the top prize at the Thai Short Film and Video Award in 2013.

The theme of the forest’s political resonance also runs through Not a Soul (2013, Dir. Jet Leyco, The Philippines). A man hides out in the mountains after accidentally killing a priest. But, the area is far from safe. Soldiers and rebels hunt one another there. The fateful location is visualised with a mixture of oppressive, moving and still, black-and-white archival images. Not a Soul was screened at the 2013 International Film Festival Rotterdam.

Continuing with the theme of the archive, The Legend in the Mist (2012, Tony Chun-Hui Wu, Taiwan) is a tribute to King Hu, the king of martial art cinema in East Asia. Originally screened as a three-channel video installation at the King Hu retrospective exhibition in Taiwan, the work is a montage of sequences from Hu’s classic Raining in the Mountain (1979) and Legend of the Mountain (1979). Experienced visual artist Tony Wu was inspired by the highly symbolic mist, which is often used by Hu. Mist is transient by nature. It paradoxically seems devoid of form, yet real. Mist can create atmospheres which are poles apart, from the poetic and romantic to the unsafe, precarious and empty. The assemblage of various misty and forest scenes highlights the ever-present theme of the Eastern poetic landscape, similar to ink washing paintings, in Hu’s films, as well as the creation of a Zen philosophy of life.

The programme is also haunted by the theme of death. Originally exhibited as a two-channel video projection at the Singapore Art Museum, Mirror (2013, Dir. Boo Junfeng, Singapore) was inspired by the artist’s visit to Bukit Brown Cemetery, where exhumations of over 3000 graves are taking place for the construction of a new highway, cleaving the old burial ground into two. This bifurcation is also visited upon the soldier, a recurring figure in Boo’s cinema: one serves the present-day armed forces; the other the Malayan Communist Party from the past. Finally, the programme ends with an immersive long-take Entropy Machine (2011, Dodo Dayao, The Philippines). The director describes his film as ‘a caveman movie about the world’. The film makes use of the garden of Eden metaphor, but remember that Eden is its own double-edged sword. It is a paradise and a crime scene both, and as such, it is the beginning of decay.

Book for free on Eventbrite

For further details, contact Tay Graiwoot Chulphongsathorn or Anat Pick: g.chulphongsathorn@qmul.ac.uk, a.pick@qmul.ac.uk

The venue: http://www.thehorsehospital.com/about/ visiting/ 

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New Book: Film and Everyday Eco-disasters

2014 May 6
by Shared by Steve Rust

Robin Murray and Joe Heumann have a new book out that looks fantastic – Film and Everyday Eco-disasters, published by the University of Nebraska Press. Here’s there rundown.

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Eco-disasters such as coal-mining accidents, oil spills, and food-borne diseases appear regularly in the news, making them seem nearly commonplace. These ecological crises highlight the continual tensions between human needs and the environmental impact these needs produce. Contemporary documentaries and feature films explore environmental-human conflicts by depicting the consequences of our overconsumption and dependence on nonrenewable energy.

Film and Everyday Eco-disasters examines changing perspectives toward everyday eco-disasters as reflected in the work of filmmakers from the silent era forward, with an emphasis on recent films such as Dead Ahead, an HBO dramatization of the Exxon Valdez disaster; Total Recall, a science fiction action film highlighting oxygen as a commodity; The Devil Wears Prada, a comment on the fashion industry; and Food, Inc., a documentary interrogation of the food industry. The authors evaluate not only the success of these films as rhetorical arguments but also their rhetorical strategies. This interdisciplinary approach to film studies fuses cultural, economic, and literary critiques in articulating an approach to ecology that points to sustainable development as an alternative to resource exploitations and their associated everyday eco-disasters.

Robin L. Murray is a professor of English at Eastern Illinois University. Joseph K. Heumann is a professor emeritus of communication studies at Eastern Illinois University. Murray and Heumann are the coauthors of Ecology and Popular Film: Cinema on the Edge; That’s All Folks: Ecocritical Readings of American Animated Features (Nebraska, 2011); and Gunfight at the Eco-Corral: Western Cinema and the Environment.

Ecology and Contemporary Nordic Cinemas

2014 April 27
by pkaapa

Apologies for any cross-posting

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New book publication announcement:

ECOLOGY AND CONTEMPORARY NORDIC CINEMAS

PIETARI KÄÄPÄ (University of Stirling)

Ecology and Contemporary Nordic Cinemas challenges the traditional socio-political rhetoric of national cinema by providing an ecocritical examination of Nordic cinema. In it, I use a range of analytical approaches to interrogate how the national paradigm can be rethought through ecosystemic concerns. The book also continues my fascination with Nordic cultural studies as I focus on a range of Nordic films, which I consider as national and transnational, regional and local texts, all with significant global implications. By synergizing transnational theories with ecological approaches, the study emphasizes the planetary implications of nation-based cultural production.

Ecology and Contemporary Nordic Cinema interrogates not only the role of nature in cinema, but also contemporary human habitations, global politics, ideological norms, and ecosystemic relations. While these are all of course vital aspects of Nordic cinemas, especially as nature and environmentalism feature centrally in Nordic self-conceptualisations, the scope of the book is, by necessity, concerned with the role of the human as part of a planetary ecosystem. This is the first study of its kind to cover the whole of the Nordic region and its multiple ecological intersections.
Table Of Contents

Introduction: Environmental history and Nordic film culture

Chapter 1. Nation-building in the Nordic context: Natural history?

Chapter 2. The role of nature in the deer western and the road movie

Chapter 3. The horror film in an ecological context

Chapter 4. Ecocritical approaches to children’s film

Chapter 5. Human ecology and the Nordic welfare state

Chapter 6. Green economics and the brownfields of the welfare state: crime thrillers and human ecology

Chapter 7. Intercultural approaches to Nordic cinema

Chapter 8. Ecocritical approaches to multicultural and minority cinemas

Chapter 9. Responsibility and the Nordic model: Global Nordicness and ecocosmopolitan exceptionalism

Chapter 10. Ecodocumentaries and the sense of global responsibility

Chapter 11. Representing the end times: Ecological melancholia and the end of the world

Openings and conclusions: Transvergent perspectives on Nordic ecocinema

Bibliography

Index
Reviews

“The quality and depth of the references in this book provide a new platform and focus for ecocinema scholarship. [with] fascinating chapters including studies of deer western and road movies; the horror film; children’s film; crime and urban eco-narratives, alongside specific Nordic multicultural and minority concerns, drawing from a broad corpus of films and documentaries. This multi-faceted and convincing study will inspire scholars and help to draw further comparisons with Hollywood and other national cinemas well into the future.” – Pat Brereton, Head of the School of Communications, Dublin City University, Ireland,

“Ecology and Contemporary Nordic Cinemas shows how film has helped create Nordic love for nature, but also how film works to conceal a Nordic history of the exploitation of nature. The study explores ecocritical approaches to genre, ideologies of the welfare state, globalization, transnationalism, and green activism in the cinema. All this is developed in a theory of transvergent ecocriticism, which helps the reader see newly emergent forms of environmental consciousness. Ecology and Contemporary Nordic Cinemas will be required reading for anyone interested in Nordic cinema or ecocriticism and film.” – Andrew Nestingen, Professor of Scandinavian Studies, University of Washington, USA

– See more at: http://www.bloomsbury.com/us/ecology-and-contemporary-nordic-cinemas-9781441192790/#sthash.iptHzRt7.dpuf

Preview of the text: http://bloomsburycp3.codemantra.com/widgets/9781441143211/EcologyAndConte.html

Douglas Gayeton’s new book ‘Local: The New Face of Food and Farming in America’

2014 April 25
by Shared by Steve Rust

A couple years back, I had the privilege of seeing draft versions of a phototext series by Douglas Gayeton that he had dubbed The Lexicon of Sustainability. Gayeton’s work has been featured on PBS and elesewhere. Now, a collection of Gayeton’s work will be published next month in book form by Harper Collins under the title, Local: The New Face of Food and Farming in America.

Combining stunning visuals with insights and a lexicon of more than 200 agricultural terms explained by today’s thought leaders, Local showcases and explores one of the most popular environmental trends: rebuilding local food movements.

Congrats to Douglas on this great work.