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		<title>What can art bring to soil care?</title>
		<link>https://thackara.com/knowing/what-can-art-bring-to-soil-care-2/</link>
		
		<dc:creator><![CDATA[Kris]]></dc:creator>
		<pubDate>Fri, 01 Nov 2024 15:38:31 +0000</pubDate>
				<category><![CDATA[care]]></category>
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		<guid isPermaLink="false">https://thackara.com/?p=15674</guid>

					<description><![CDATA[<p>It’s not about more data or less - it is about the social contexts in which data is collected, discussed, and acted upon. The same lesson applies, I think, to discussions about ‘nationwide’ and ‘local’. We need to operate at both scales.</p>
<p>The post <a rel="nofollow" href="https://thackara.com/knowing/what-can-art-bring-to-soil-care-2/">What can art bring to soil care?</a> appeared first on <a rel="nofollow" href="https://thackara.com">John Thackara</a>.</p>
]]></description>
										<content:encoded><![CDATA[<div class="fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling" style="--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-flex-wrap:wrap;" ><div class="fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap" style="max-width:1248px;margin-left: calc(-4% / 2 );margin-right: calc(-4% / 2 );"><div class="fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-flex-column" style="--awb-bg-blend:overlay;--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-text fusion-text-1"><p style="text-align: center;"><span style="color: var(--awb-text-color); font-family: var(--awb-text-font-family); font-style: var(--awb-text-font-style); font-weight: var(--awb-text-font-weight); letter-spacing: var(--awb-letter-spacing); text-align: var(--awb-content-alignment); text-transform: var(--awb-text-transform); background-color: var(--awb-bg-color); font-size: 28px; line-height: 38px;" data-fusion-font="true"> </span></p>
<p><span style="font-size: 24px;"><span style="color: var(--awb-text-color); font-family: var(--awb-text-font-family); font-style: var(--awb-text-font-style); font-weight: var(--awb-text-font-weight); letter-spacing: var(--awb-letter-spacing); text-align: var(--awb-content-alignment); text-transform: var(--awb-text-transform); background-color: var(--awb-bg-color); line-height: 38px;" data-fusion-font="true">This t<span style="line-height: 35px;" data-fusion-font="true">hree-way dialogue – </span></span><strong style="color: var(--awb-text-color); font-family: var(--awb-text-font-family); font-style: var(--awb-text-font-style); letter-spacing: var(--awb-letter-spacing); text-align: var(--awb-content-alignment); text-transform: var(--awb-text-transform); background-color: var(--awb-bg-color); line-height: 35px;" data-fusion-font="true">Karin Fink, Marguerite Kahrl, and John Thackara</strong><span style="color: var(--awb-text-color); font-family: var(--awb-text-font-family); font-style: var(--awb-text-font-style); font-weight: var(--awb-text-font-weight); letter-spacing: var(--awb-letter-spacing); text-align: var(--awb-content-alignment); text-transform: var(--awb-text-transform); background-color: var(--awb-bg-color); line-height: 35px;" data-fusion-font="true"> &#8211;<br />
</span><span style="color: var(--awb-text-color); font-family: var(--awb-text-font-family); font-style: var(--awb-text-font-style); font-weight: var(--awb-text-font-weight); letter-spacing: var(--awb-letter-spacing); text-align: var(--awb-content-alignment); text-transform: var(--awb-text-transform); background-color: var(--awb-bg-color); line-height: 38px;" data-fusion-font="true"><span style="line-height: 35px;" data-fusion-font="true">took place on the occasion of<br />
</span></span><span style="color: var(--awb-text-color); font-family: var(--awb-text-font-family); font-style: var(--awb-text-font-style); font-weight: var(--awb-text-font-weight); letter-spacing: var(--awb-letter-spacing); text-align: var(--awb-content-alignment); text-transform: var(--awb-text-transform); background-color: var(--awb-bg-color); line-height: 38px;" data-fusion-font="true"><span style="line-height: 35px;" data-fusion-font="true">HABITAT: THE RELATIONAL SPACE OF BEING<br />
at Simondi Gallery in Turin<br />
(September-Nove</span>mber 2024 </span><a style="font-family: 'Alegreya SC'; font-weight: 500; letter-spacing: var(--awb-letter-spacing); text-align: var(--awb-content-alignment); text-transform: var(--awb-text-transform); background-color: var(--awb-bg-color); line-height: 38px;" href="https://simondi.gallery/en/exhibits/138-habitat-lo." data-fusion-font="true" data-fusion-google-font="Alegreya SC" data-fusion-google-variant="500">HABITAT</a><span style="color: var(--awb-text-color); font-family: var(--awb-text-font-family); font-style: var(--awb-text-font-style); font-weight: var(--awb-text-font-weight); letter-spacing: var(--awb-letter-spacing); text-align: var(--awb-content-alignment); text-transform: var(--awb-text-transform); background-color: var(--awb-bg-color);" data-fusion-font="true"><span style="line-height: 38px;" data-fusion-font="true">)</span></span></span></p>
<p><strong style="font-size: 20px;" data-fusion-font="true">Marguerite Kahrl</strong>: The collective exhibition <em>Habitat: The Relational Space of Being</em> probes the visible and invisible networks surrounding and connecting living systems. It provides an opportunity to reflect upon advocacy and embodied experience as we consider how to repair and maintain the infrastructure on which we and other nonhuman entities depend. For example, soil health is the foundation of our habitat and health, yet this vital connection has often been overlooked. While some people maintain a distant relationship with soil and may consider it unclean, we now understand that soil microorganisms are essential for the evolution of our gut microbiome and immunological resilience <a class="fusion-one-page-text-link" href="#id1">1</a>. How do we determine our soil&#8217;s health <a class="fusion-one-page-text-link" href="#id2">2</a>, and what insights can we gain from it as we reframe our relationship with the natural world?</p>
<p><strong style="font-size: 20px;" data-fusion-font="true">John Thackara</strong><span style="font-size: 20px;" data-fusion-font="true">:</span> This exhibition has been a timely incentive for me to reflect on my own changing relationship with soil. I’ve spent a good chunk of my life as an author and curator trying to understand why we humans continue to trash the planet with such careless abandon. Several decades on &#8211; I’m a slow learner! &#8211; the notion of a metabolic rift between us humans and the living world now makes good sense. We’re cognitively and culturally separated from the living systems we live among. Seen in this way, I don’t think that I “maintained” a distant relationship with nature. Rather &#8211; along with a few hundred million of my fellow over-educated humans &#8211; I was preoccupied with other concerns &#8211; and these concerns existed mainly in my head: ideas, concepts, arguments, language, reputation, and money. The biggest revelation for me is that we don’t have to argue for a better relationship with nature or provide evidence that it would be a good idea. Those relationships are innate in us all. We just need to do it &#8211; reconnect. There’s soil a few centimeters under these typing hands. A few meters from this desk, I can walk on soil in my bare feet. I just need a trigger to do so. And that’s where art comes in.</p>
<p><strong style="font-size: 20px;" data-fusion-font="true">Karin Fink</strong><span style="font-size: 20px;" data-fusion-font="true">:</span> I believe that we have gradually distanced ourselves from the natural world, prioritizing intellect and technological advancements. Now, we long for a connection with nature and wilderness. Slowing down and incorporating our capacities could help us create a different presence in the world. Human curiosity and willingness to build and explore (which triggered the distancing development) are still necessary resources. By combining technological, infrastructural, and organizational abilities with a slower pace of life, both as individuals and communities, we could make room for a different way of living. The current societal and ecological crisis presents us with many uncertainties, and we can learn something from the field of soil science.</p>
<p>The Swiss government writes: “In Switzerland, the majority of soils recorded to date are agricultural soils. Today, however, sufficient qualitative soil information is only available for around 13% of agricultural land, which means there is no solid ground for making decisions on the sustainable use of soils. In 2020, in addition to adopting the Swiss Soil Strategy, the Federal Council therefore also issued a mandate for nationwide soil mappin<span style="font-family: 'Alegreya SC'; font-weight: 800;" data-fusion-font="true" data-fusion-google-font="Alegreya SC" data-fusion-google-variant="800">g.” </span><a class="fusion-one-page-text-link" href="#id3">3 </a></p>
<p>Why do I quote this? I find it interesting that even in 2024, soils are a big unknown to us humans. Even more, it makes me quite hopeful that the government is willing to explore and expand its range of knowledge. The program is quite costly, and the Swiss Confederation is willing to pay for it. Bruno Latour sketched this out in Down to Earth:</p>
<p>“What to do? First of all, generate alternative descriptions. How could we act politically without having inventoried, surveyed, measured, centimeter by centimeter, being by being, person by person, the stuff that makes up the Earth for us?” (&#8230;) We must agree to define a dwelling place as that on which a terrestrial depends for its survival while asking what other terrestrials also depend on it. (&#8230;) It is a matter of broadening the definitions of class by pursuing an exhaustive search for everything that makes subsistence possible. As a terrestrial, what do you care most about? With whom can you live? Who depends on you for subsistence? Against whom are you going to have to fight? How can the importance of all these agents be ranked?”. <a class="fusion-one-page-text-link" href="#id4">4 </a></p>
<p>These questions help us gain a better understanding of soil and learn how to navigate when the knowledge produced by industrialized society is being reconsidered. We are beginning to recognize its limitations. As Latour writes, “We need alternative descriptions.” What might these alternatives look like?</p>
<p>All that mapping &#8211; of soils or relations &#8211; might make us see, but what will make us do? What will make us heal the metabolic rift? And in what ways? We are trained mappers but need to be trained healers. And here, art can build a bridge&#8230; What might contemporary mapping of the unknown look like? How can we draw from human curiosity, the love for building and creating and making, and the desire to achieve more? How might art help us process it?</p>
<p><strong><span style="font-size: 20px;" data-fusion-font="true">JT</span> </strong>That Swiss government statistic is startling: “qualitative soil information is only available for about 13% of agricultural land”. That number raises questions: what does ‘qualitative’ mean? And why does it matter that so much land remains so thinly understood?</p>
<p>I would like to think, Karin, that your government recognizes that soil care and repair are not just technical matters but also social and cultural ones. If that is correct, then I commend a new word to your colleagues that I recently discovered— “ethnopedology” <a class="fusion-one-page-text-link" href="#id5">5 </a>. It’s a research practice that compares local people’s knowledge about their soils to scientists’ knowledge.</p>
<p>There’s enormous interest and investment at the moment in planetary observation at different scales &#8211; from satellite observation to microbiome analysis. It’s now becoming possible to monitor every forest, every tree, and every city block on Earth on a daily basis. Its advocates say such real-time ecological dashboards can be a game-changer in planetary care. I’m not so sure. For me, it is a contested question whether (or not) exposure to more (and new kinds of) data causes citizens to behave differently &#8211; for example, to care more for their local soils and ecosystems.</p>
<p><strong style="font-size: 20px;" data-fusion-font="true">MK</strong> The process of mapping data supports policy-making and enables us to gain insights that can help us protect our ecosystems. However, to change our behavior, we need to do more than simply rely on short-term measurements and analytical tools. The need a variety of responses to transform our culture and explore new forms of shared action and coexistence. Many artists and designers have taken up this challenge with local projects emphasizing care, repair, maintenance, and adaptation of the commons. We must move past observing the climate crisis to feeling it in our bodies and processing this with actions. Collective actions can help us untangle colonial paradigms and shift emphasis from ‘rational knowing’ and power-over dynamics to ‘embodied knowing,’ intuitive skills, connection, and touch.</p>
<p>This new paradigm of action is showcased in “The Great Repair,” <a class="fusion-one-page-text-link" href="#id6">6 </a>, a publication and traveling project examining the contradictions between growth and ecology. It addresses how architecture can be a reparative force for the socioecological crisis and investigates whether repairing politics and aesthetics from a decolonial, feminist, and posthuman perspective can offer a meaningful alternative. Kader Attia, one of the contributing artists/curators, touches on repair as a form of agency.</p>
<p>“Thinking about repair has become a tool for revealing the ways in which we are all still living in the colonial laboratory. But I think it is important for research into this topic to always begin with a physical object or tangible context – an object, a building – and then slowly branch out into theoretical reflection. Not vice versa. What often happens today is that we theorise a lot and then grasp for examples that incarnate what we are arguing. It is like the idea of care. We talk about care, and then we organise dinners. We should organise the dinner first and get in touch with the materiality of that tangible experience. And then, slowly, through a collective individuation process, we share ideas and feelings and dare to imagine.” <a class="fusion-one-page-text-link" href="#id7">7 </a></p>
<p>I see ethnopedology as one of Latours&#8217; &#8220;alternative descriptions.&#8221; It combines local and scientific knowledge about soil while acknowledging different cultural conventions, perceptions, uses, and management styles.</p>
<p>For Irrigators: Underground Conversations, I built and buried irrigation vessels in neighbors&#8217; gardens to investigate and share irrigation and cultivation practices. Within a 10-km radius, I noticed significant differences in soil types, management, and absorption. The objects served as a tool to access local knowledge, build soil fertility, create a network of users, and showcase their diverse gardening techniques.</p>
<p><strong><span style="font-size: 20px;" data-fusion-font="true">KF</span> </strong>We have enough knowledge about our soils and the ecosystems at risk. Nevertheless, I still see the old ways of observing, mapping, and charting as a way to learn about the otherness of an entity (a body, a system?) like soil. I watch scientists take their samples &#8211; to do so, first, they have to access the land and converse with the landowners and farmers. This “nationwide” exercise is as much about gathering data as it is about conversations between different worlds. As you, Marguerite, did in Underground Conversations, I hope that the scientists not only measure humidity and pH but also collect information about the long-term observations from the people they meet on the land. Setting out to chart the unknown territory of soils is as much about the storytelling as the facts. Over time, a picture of the land will emerge, revealing areas where the soil needs restoration or protection from erosion and where the chemical properties are out of balance and need rest. Repairing soils is extremely time-consuming, sometimes requiring decades to replenish. To overcome such long periods, we need good stories to tell – stories that pass on knowledge about what is going on in a specific patch. Objects like the irrigation pots may act as a reminder.</p>
<p><strong><span style="font-size: 20px;" data-fusion-font="true">JT</span> </strong>It’s not about more data or less &#8211; it is about the social contexts in which data is collected, discussed, and acted upon. The same lesson applies, I think, to discussions about ‘nationwide’ and ‘local’. We need to operate at both scales. I recently met someone involved in efforts to clean up Chesapeake Bay in the US &#8211; a forty-year-long effort. More than 200 organizations are involved in just one platform, Choose Clean Water. After years of people blaming each other for causing the problem, a focus on hyper-local stream repair seems to be providing common ground. Finally, instead of talking about nutrient reductions in a Bay many miles away, they can talk about improvements in streams where their kids and grandkids play. According to Karl Blankenship, in the piece I just read, the following actions are local, too: targeted areas are typically stream segments that are only a couple of miles long and drain watersheds of 1,000–5,000 acres with 10–15 landowners.<a class="fusion-one-page-text-link" href="#id8"> 8 </a> Acts of care are local and embodied &#8211; but when many of those actions are added together, the results can be system-wide.</p>
<p><strong style="font-size: 20px;" data-fusion-font="true">MK</strong> Social context matters. Community engagement is crucial for local development, but what happens when it is driven by fear of pollution, outsiders, climate change, or maintaining privilege? What if we genuinely had to adapt to our chosen habitat? How can such hyper-local repair acts influence the “Not in My Backyard” movement- which opposes or resists change in communities? Dr. John Todd, the founder of the New Alchemy Institute (NAI) <a class="fusion-one-page-text-link" href="#id9"> 9 </a>, believes that by combining the knowledge accumulated in the last 100 years, we can achieve things we never thought possible. He emphasizes that &#8220;we don’t have to invent anything; we just have to pay attention to what’s been learned.” <a class="fusion-one-page-text-link" href="#id10">10 </a> NAI interpreted ecosystems, such as the ‘living machine,’ to filter water by imitating the functions of marshes, ponds, and streams. This type of design can help us sense whole systems and their qualities, patterns, and potential.</p>
<p>So, how can we pay attention and become enchanted to act? This is where artists come into play. With their ability to question, confront, engage, and captivate, we may better understand and interpret our habitat and its environmental and social contexts.</p>
<h3 class="" style="--fontsize: 30; line-height: 1.4; --minfontsize: 30;" data-fontsize="30" data-lineheight="42px">NOTES</h3>
<p><a class="fusion-one-page-text-link" id="id1" href="1">1 </a> Marja I. Roslund, “Scoping review on soil microbiome and gut health—Are soil microorganisms missing from the planetary health plate?”, British Ecological Society, (2024): (online).<br />
In <a href="https://besjournals.onlinelibrary.wiley.com/doi/10.1002/pan3.10638" target="_blank" rel="noopener noreferrer">besjournals.onlinelibrary.wiley.com/doi/10.1002/pan3.10638</a> (last accessed 01/08/2024)</p>
<p><a class="fusion-one-page-text-link" id="id2" href="2">2 </a> We have discovered that soil and human gut bacteria share functional similarities. Soil-tasting ceremonies or the Museum of Edible Earth could be interesting parameters to monitor and accentuate this relationship.</p>
<p><a class="fusion-one-page-text-link" id="id3" href="3">3 </a> Karin Fink translation from <a href="https://www.bafu.admin.ch/bafu/de/home/themen/boden/fachinformationen/bodenkartierung.html" target="_blank" rel="noopener noreferrer">bafu.admin.ch/bafu/de/home/themen/boden/fachinformationen/bodenkartierung.html</a> (last accessed 18/07/2024).</p>
<p><a class="fusion-one-page-text-link" id="id4" href="4">4 </a> Latour, B. (2018), Down to Earth: Politics in the New Climatic Regime. Paris: Polity Press.</p>
<p><a class="fusion-one-page-text-link" id="id5" href="5">5 </a> N. Barrera-Bassols, J.A. Zinck. “Ethnopedology: a worldwide view on the soil knowledge of local people,” ScienceDirect (2002): (online). In <a href="https://www.sciencedirect.com/science/article/abs/pii/S001670610200263X" target="_blank" rel="noopener noreferrer">sciencedirect.com/science/article/abs/pii/S001670610200263X</a> (last accessed 25/07/2024).</p>
<p><a class="fusion-one-page-text-link" id="id67" href="6">6 </a> The Great Repair – Politics for the Repair Society (online).<br />
In <a href="https://archplus.net/en/archiv/english-publication/The-Great-Repair/#article-7081" target="_blank" rel="noopener noreferrer">archplus.net/en/archiv/english-publication/The-Great-Repair/#article-7081</a> (last accessed 15/07/24).</p>
<p><a class="fusion-one-page-text-link" id="id7" href="7">7 </a> Kristina Rapacki, “Interview with Kader Attia”. The Architectural Review, (2024): (online).<br />
In <a href="https://www.architectural-review.com/essays/profiles-and-interviews/interview-with-kader-attia" target="_blank" rel="noopener noreferrer">architectural-review.com/essays/profiles-and-interviews/interview-with-kader-attia</a>.(last accessed 15/07/24).</p>
<p><a class="fusion-one-page-text-link" id="id8" href="8">8 </a> Karl Blankenship, “Will A Focus On Stream Health Help Boost The Chesapeake?” Bay Journal (2024): (online).<br />
In <a href="https://thebaynet.com/will-a-focus-on-stream-health-help-boost-the-chesapeake/" target="_blank" rel="noopener noreferrer">thebaynet.com/will-a-focus-on-stream-health-help-boost-the-chesapeake/</a> (last accessed 22/07/2024).</p>
<p><a class="fusion-one-page-text-link" id="id9" href="9">9 </a> <a href="https://newalchemists.net/publications/new-alchemy-1971-1991/" target="_blank" rel="noopener noreferrer">newalchemists.net/publications/new-alchemy-1971-1991/</a>(last accessed 22/07/2024).</p>
<p><a class="fusion-one-page-text-link" id="id10" href="10">10 </a> Steve Rose, “The New Alchemists: Could the Past Hold the Key to Sustainable Living?” The Guardian (2019): (online).<br />
In <a href="https://www.theguardian.com/lifeandstyle/ng-interactive/2019/sep/29/the-new-alchemists-could-the-past-hold-the-key-to-sustainable-living" target="_blank" rel="noopener noreferrer">theguardian.com/lifeandstyle/ng-interactive/2019/sep/29/the-new-alchemists-could-the-past-hold-the-key-to-sustainable-living</a> (last accessed 22/07/24).</p>
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<p>The post <a rel="nofollow" href="https://thackara.com/knowing/what-can-art-bring-to-soil-care-2/">What can art bring to soil care?</a> appeared first on <a rel="nofollow" href="https://thackara.com">John Thackara</a>.</p>
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		<title>Shelter Without A Concrete Roof</title>
		<link>https://thackara.com/perception/when-shelter-doesnt-have-to-have-a-concrete-roof/</link>
		
		<dc:creator><![CDATA[John Thackara]]></dc:creator>
		<pubDate>Sat, 18 Oct 2014 21:54:02 +0000</pubDate>
				<category><![CDATA[perception]]></category>
		<guid isPermaLink="false">http://www.doorsofperception.com/?p=6330</guid>

					<description><![CDATA[<p>Public performance in Kisangani. Image © Studios Kabako Studios Kabako, a dance company from Africa, is the winner of this year’s 2014 Curry Stone Design Prize, an important international award. Using dance, theater, and music, Studios Kabako help local communities envision positive alternatives in a city that has known devastating armed conflict over many years.   [continue ...]</p>
<p>The post <a rel="nofollow" href="https://thackara.com/perception/when-shelter-doesnt-have-to-have-a-concrete-roof/">Shelter Without A Concrete Roof</a> appeared first on <a rel="nofollow" href="https://thackara.com">John Thackara</a>.</p>
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										<content:encoded><![CDATA[<p><a href="http://www.doorsofperception.com/notopic/when-shelter-doesnt-have-to-have-a-concrete-roof/attachment/public-performance-in-kisangani-image-studios-kabako/" rel="attachment wp-att-6338"><img fetchpriority="high" decoding="async" class="alignnone size-medium wp-image-6338" src="http://www.doorsofperception.com/wp-content/uploads/2014/10/Public-performance-in-Kisangani.-Image-©-Studios-Kabako-440x293.jpg" alt="Public performance in Kisangani. Image © Studios Kabako" width="440" height="293" srcset="https://thackara.com/wp-content/uploads/2014/10/Public-performance-in-Kisangani.-Image-©-Studios-Kabako-300x199.jpg 300w, https://thackara.com/wp-content/uploads/2014/10/Public-performance-in-Kisangani.-Image-©-Studios-Kabako-440x293.jpg 440w, https://thackara.com/wp-content/uploads/2014/10/Public-performance-in-Kisangani.-Image-©-Studios-Kabako.jpg 530w" sizes="(max-width: 440px) 100vw, 440px" /><br />
</a><em>Public performance in Kisangani. Image © Studios Kabako</em></p>
<p><a href="http://currystonedesignprize.com/#node/92">Studios Kabako</a>, a dance company from Africa, is the winner of this year’s <a href="http://currystonedesignprize.com">2014 Curry Stone Design Prize</a>, an important international award. Using dance, theater, and music, Studios Kabako help local communities envision positive alternatives in a city that has known devastating armed conflict over many years. The company has pioneered a form of development that is based on social creativity rather than real estate plays.</p>
<p>Based in Kinsangani, the Congolese performance and theater studio was founded by Faustin Linyekula in 2001 to address social memory, fear, and hope in the aftermath of civil war. During a decade of urban interventions and cultural activities, the studio has enabled a flourishing an ecosystem of dance activities. Studios Kabako are pioneers of a new way to practice ‘rebuilding’ that ‘s based far more on human energy than on pouring concrete.</p>
<p>“Many world regions face terrible fratricidal wars” explained Emiliano Gandolfi, director of the Curry Stone Prize. “We must learn to envisage an alternative to the culture of destruction”. Faustin Linyekula’s work demonstrates the remarkable results that can happen when the transformative power of art is applied to the ways we practically create a sustainable future.</p>
<p>When Linyekula founded the studio young Congolese people, especially, were living without hope &#8211;  too preoccupied by daily survival to imagine an alternative. As recounted by the renowned theater and opera director, Peter Sellars,“Faustin is training a generation of kids to challenge everything about their surroundings. He has created an energy among youth in Kisangani that insists on moving forward. His work is never self-pitying, there’s always this alertness, this awakeness, that has the spirit of challenge in it. It refuses to say ‘Oh, poor Africa.’ It says, ‘OK, pull your life together. Lift your own game’.”</p>
<p>As a platform, Studios Kabako is light and mobile. Although the studio maintains studios in the city centre, it takes its work to the rural fringes and to vacant areas of Kisangani in the form mobile performances. Studio Kabako is currently working on plans for more facilities within the city that combine environmentally friendly technologies, communal living systems and new educational models, all of which are unprecedented in this region.</p>
<p>“Culture is one of the most powerful means of providing a shelter for a community. That shelter doesn’t have to be a concrete roof.” Synthetized Suad Amiry, founder of RIWAQ, winner of the CSDP award in 2012, and member of this year’s jury.</p>
<p>(The author, John Thackara, was also a member of the jury).</p>
<p>The post <a rel="nofollow" href="https://thackara.com/perception/when-shelter-doesnt-have-to-have-a-concrete-roof/">Shelter Without A Concrete Roof</a> appeared first on <a rel="nofollow" href="https://thackara.com">John Thackara</a>.</p>
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		<title>Artefact as Campfire: Where People and Living Systems Meet</title>
		<link>https://thackara.com/perception/artefact-as-campfire-where-people-and-living-systems-meet/</link>
		
		<dc:creator><![CDATA[John Thackara]]></dc:creator>
		<pubDate>Sat, 09 Mar 2013 07:53:38 +0000</pubDate>
				<category><![CDATA[perception]]></category>
		<guid isPermaLink="false">http://www.doorsofperception.com/?p=4401</guid>

					<description><![CDATA[<p>(Photo: Mapping a bioregion with plants – Joachim Robert Cyanotype workshop at FuturePerfect 2012) In what ways can design help people interact with living systems in ways that help both of them thrive? And, what small practical steps might one take to test the effect of small actions on the system as a whole? These   [continue ...]</p>
<p>The post <a rel="nofollow" href="https://thackara.com/perception/artefact-as-campfire-where-people-and-living-systems-meet/">Artefact as Campfire: Where People and Living Systems Meet</a> appeared first on <a rel="nofollow" href="https://thackara.com">John Thackara</a>.</p>
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										<content:encoded><![CDATA[<p><a href="http://www.doorsofperception.com/art-perception/artefact-as-campfire-where-people-and-living-systems-meet/attachment/joachim-robert-cyanotype-workshopfp2012/" rel="attachment wp-att-4410"><img decoding="async" class="alignnone size-full wp-image-4410" title="Joachim Robert Cyanotype workshop at FP2012" src="http://www.doorsofperception.com/wp-content/uploads/2013/03/Joachim-Robert-Cyanotype-workshopFP2012.png" alt="" width="639" height="419" srcset="https://thackara.com/wp-content/uploads/2013/03/Joachim-Robert-Cyanotype-workshopFP2012-300x196.png 300w, https://thackara.com/wp-content/uploads/2013/03/Joachim-Robert-Cyanotype-workshopFP2012-440x288.png 440w, https://thackara.com/wp-content/uploads/2013/03/Joachim-Robert-Cyanotype-workshopFP2012.png 639w" sizes="(max-width: 639px) 100vw, 639px" /></a></p>
<p>(<em>Photo: Mapping a bioregion with plants &#8211; Joachim Robert Cyanotype workshop at FuturePerfect 2012</em>)</p>
<p>In what ways can design help people interact with living systems in ways that help both of them thrive? And, what small practical steps might one take to test the effect of small actions on the system as a whole?<span id="more-4401"></span></p>
<p>These two questions inform a Doors of Perception workshop that takes place in August as part of the <a href="http://www.futureperfect.se/en/ ">FuturePerfect Festival</a> in Sweden.</p>
<p>Stockholm’s Archepelago is looking for ways to grapple with an array of complex issues &#8211; waste, water, forests, sewage, sanitation, and so on. These issues have one thing in common: they are all situations in which people interact with other living systems. Climate and social scientists describe these interactions between people and living systems as <em><a href="http://www.stockholmresilience.org/21/research/what-is-resilience/research-background/research-framework/social-ecological-systems.html">social-ecological systems</a>.</em></p>
<p>Interactions between the social and the ecological are emerging  in a wide variety of collaborative efforts around the world. Often working at at the scale of a bioregion, people are exploring how to meet daily life needs in ways that enhance, rather than degrade, natural and social assets.<strong> </strong></p>
<p>Real-life examples include: <em>farmers’ markets</em> being turned into hubs for learning and knowledge exchange in regional food economies; the <em>collection of food waste</em> for composting and soil regeneration organized as social enterprises; renewable textile production connecting with recycling activities and managed as an ecosystem at the scale of the<em> fibreshed</em>; tree planting and care, watershed regeneration, sustainable urban drainage, blue-green corridors, and pollinator pathways, undertaken collaboratively as social forms of <em>green infrastructure<strong>.</strong></em></p>
<p>In recent times we&#8217;ve explored, in a variety of Doors of Perception workshops, how design might contribute to these complex real-world activities. Each event has been unique to its place and time &#8211; but they usually involve three stages:</p>
<p>a) we make some kind of map of actors, and the relationships between them, to represent the ecosystem in a way that can be shared. This artefact becomes our ‘campfire’;</p>
<p>b) we invite stakeholders to present a question or challenge that is bugging them &#8211; for example, the links between just two actors, or nodes, in a broader system &#8211; and look for ways to enhance that connection. (During this phase we encourage participants to find out if practices from other cultures, and other times, have the potential to be adapted locally);</p>
<p>c) we design the means by which feedback from the system can be monitored and perceived on an ongoing basis.</p>
<p>In August, we will run a Doors of Perception workshop as part of the FuturePerfect Festival in Sweden. It takes place on the island of<a href="http://grindawardshus.se/   "> Grinda</a> in the <a href="http://en.wikipedia.org/wiki/Stockholm_archipelago">Stockholm Archipelago.</a></p>
<p>We are partnering in the activity with a group of Swedish design schools and universities; their teams will form the core of the xskool. Some places will be available for independent visitors to the festival. Details on registration and other matters will follow soon.</p>
<p>The post <a rel="nofollow" href="https://thackara.com/perception/artefact-as-campfire-where-people-and-living-systems-meet/">Artefact as Campfire: Where People and Living Systems Meet</a> appeared first on <a rel="nofollow" href="https://thackara.com">John Thackara</a>.</p>
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		<title>Collapse of civilization tango</title>
		<link>https://thackara.com/perception/collapse-of-civilization-tango/</link>
		
		<dc:creator><![CDATA[John Thackara]]></dc:creator>
		<pubDate>Sun, 20 Mar 2011 20:59:38 +0000</pubDate>
				<category><![CDATA[perception]]></category>
		<guid isPermaLink="false">http://wp.doorsofperception.com/?p=766</guid>

					<description><![CDATA[<p>They say that the last days of Rome were culturally rich - and the same seems to be the case in our own times. Choreographer Valerie Green and Dance Entropy, a New York City-based experimental dance troupe, will shortly premier a new work, Rise and Fall, that's about collapsing civilizations, the raw ugliness of industrialization,   [continue ...]</p>
<p>The post <a rel="nofollow" href="https://thackara.com/perception/collapse-of-civilization-tango/">Collapse of civilization tango</a> appeared first on <a rel="nofollow" href="https://thackara.com">John Thackara</a>.</p>
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										<content:encoded><![CDATA[<p><img decoding="async" alt="the-long-descent.jpg" src="http://www.doorsofperception.com/archives/the-long-descent.jpg" width="200" height="300" /><br />
They say that the last days of Rome were culturally rich &#8211; and the same seems to be the case in our own times.<br />
Choreographer Valerie Green and Dance Entropy, a New York City-based experimental dance troupe, will shortly premier a new work, Rise and Fall, that&#8217;s about collapsing civilizations, the raw ugliness of industrialization, and gross consumption.<br />
The dance is inspired in part by  John Michael Greer&#8217;s book <a href="http://www.amazon.com/Long-Descent-Users-Guide-Industrial/dp/0865716099">The Long Descent</a> whose cover, it must be admitted [above], has definite dance-like qualities.<br />
[Greer <a href="http://thearchdruidreport.blogspot.com/2008/09/effluent-society.html the way">is by no means a dramatizer.</a> On the contrary, he is scornful of those &#8216;doomers&#8217; who say that <a href="http://www.doorsofperception.com/archives/2008/09/pass_the_phugoi.php"> a sudden civilizational collapse is imminent.</a> Greer&#8217;s argument is that said collapse is already well underway and is likely to become the new normal for for us all].<br />
Rise and Fall, which sets out to develop &#8216;a non-traditional movement vocabulary&#8217;, charts a non-linear path through industrialization, modernization, terror, decline, population dissipation, and &#8216;the knowledge to begin again&#8217;.<br />
If Rise and Fall sounds like a challenging work of dance, its music appears to be well-matched. It&#8217;s by a group called the <a href="http://tonecasualties.com/">Tone Casualties.</a> A former record label,  their  most celebrated album was <a href="http://drugie.here.ru/achtung/kismeten.htm ">Wake Up Gods</a> by the Macedonian band Kismet.<br />
Under the slogan &#8216;INSANITY IS FREEDOM COMFORMITY IS DEATH&#8217; Kismet&#8217;s music is described as &#8216;industrial-ethno-gothic for following Millennium&#8217;.<br />
<img decoding="async" alt="ToneCasualties.jpg" src="http://www.doorsofperception.com/archives/ToneCasualties.jpg" width="250" height="249" /><br />
If you are in the NYC area, and in search of a family night out, see Rise and Fall on 31 March at <a href="http://www.dixonplace.org/index2.html">Dixon Place Experimental Theatre</a> at 7:30 pm, or on 8 and 17 April at the <a href="http://www.greenspacestudio.org/GreenSpaceBlooms.html">Green Space Studio.</a></p>
<p>The post <a rel="nofollow" href="https://thackara.com/perception/collapse-of-civilization-tango/">Collapse of civilization tango</a> appeared first on <a rel="nofollow" href="https://thackara.com">John Thackara</a>.</p>
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		<title>Can thermal perception change behaviour?</title>
		<link>https://thackara.com/perception/can-thermal-perception-change-behaviour/</link>
		
		<dc:creator><![CDATA[John Thackara]]></dc:creator>
		<pubDate>Fri, 11 Mar 2011 07:16:34 +0000</pubDate>
				<category><![CDATA[perception]]></category>
		<guid isPermaLink="false">http://wp.doorsofperception.com/?p=764</guid>

					<description><![CDATA[<p>A premise of Joseph Giacomin's new book Thermal is that global warming is hard to ignore when you view the world through thermal eyes. Hard, but not impossible, to ignore. We humans are skilful evaders of uncomfortable truths. The premise of the author's reseach group at Brunel University in the UK, Perception Enhancement Systems, is   [continue ...]</p>
<p>The post <a rel="nofollow" href="https://thackara.com/perception/can-thermal-perception-change-behaviour/">Can thermal perception change behaviour?</a> appeared first on <a rel="nofollow" href="https://thackara.com">John Thackara</a>.</p>
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										<content:encoded><![CDATA[<p><img decoding="async" alt="51ozvIiIQBL._SL500_AA300_.jpg" src="http://www.doorsofperception.com/archives/51ozvIiIQBL._SL500_AA300_.jpg" width="300" height="300" /><br />
A premise of Joseph Giacomin&#8217;s new book <a href="http://www.amazon.co.uk/Seeing-World-Through-21st-Century/dp/1901092844/ref=sr_1_1?ie=UTF8&#038;s=books&#038;qid=1296762964&#038;sr=8-1
">Thermal</a> is that global warming is hard to ignore when you view the world through thermal eyes.<br />
Hard, but not impossible, to ignore. We humans are skilful evaders of uncomfortable truths.<br />
The premise of the author&#8217;s reseach group  at Brunel University in the UK, <a href="http://www.perceptionenhancement.com/">Perception Enhancement Systems,</a> is that leveraging our sensory systems through the use of advanced technology can enhance our understanding.<br />
Our dilemma is this: although technologically-enhanced images can, potentially, enhance our understanding, human behaviour is more complicated. Misleading &#8216;gut instincts&#8217;, and personal associations and biases, can be more influential than perceived facts in influencing our energy habits.<br />
<img decoding="async" alt="thermal2.png" src="http://www.doorsofperception.com/archives/thermal2.png" width="300" height="300" /><br />
It emerged at Garrison Institute&#8217;s <a href="http://www.garrisoninstitute.org/index.php?option=com_content&#038;view=category&#038;id=195:climate-mind-and-behavior-videos&#038;layout=blog&#038;Itemid=1193"> climate, mind and behavior</a> conference last year that enhanced perceptual tools are only part of the answer.<br />
We also need to draw on knowledge emerging from behavioral and neuro-economics, and cognitive science research. Researchers in those domains &#8211; often in a businesss, not environmental context -are investigating ways to steer individual and group decision making.<br />
As this writer has discovered, too, in exploring <a href="http://www.doorsofperception.com/archives/2010/11/in_the_air.php"> the relationship between metrics and aesthetics,</a> it is not a simple matter of cause [an evocative image] and effect [changed behaviour].<br />
This is not to diminish the affective power of some images in Thermal. There are *so* many things we do not see &#8211; for example, the contribution of chldren to global warming&#8230;.<br />
<img decoding="async" alt="thermal3.png" src="http://www.doorsofperception.com/archives/thermal3.png" width="300" height="350" /><br />
Besides, I also learned in the pages of Thermal pages that the average street light or home lamp emits less than three percent of the inputted energy in the form of light, with nearly all the rest ending up as heat.<br />
Technical note [from the author&#8217;s website]: These 20&#215;240 pixel JPEG images were shot using a 60 Hz thermal imaging camera; it is similar in appearance to a camcorder. Pseudocolour is used to indicate the variations in temperature &#8211; bright red-orange for the hottest temperature and dark blue for the coolest.</p>
<p>The post <a rel="nofollow" href="https://thackara.com/perception/can-thermal-perception-change-behaviour/">Can thermal perception change behaviour?</a> appeared first on <a rel="nofollow" href="https://thackara.com">John Thackara</a>.</p>
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