Ko Tatou te Tangata: talk

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Glen Skipper at Te Rewa Rewa pa

Glen Skipper (wearing leather hat) talks about the history, spirit and energies of Te Rewa Rewa pa.

As part of Intercreate’s Media Art Project Ko Tatou te Tangata a series of meetings and discussions with local iwi Ngati Tawhirikura were held, co-ordinated by Kura Puke and Stu Foster. One of the consequences of these discussion was that local historian and Puke Ariki Poutiaki Taonga Glen Skipper gave a talk about Te Rewa Rewa pa, at the pa site. One aim of the Media Art Project is to direct a laser from Katere Ki Te Moana marae to Te Rewa Rewa pa. The laser will carry audio contributed by local tangata whenua (people of the land, as Maori refer to themselves). The pa, now uninhabited, is a large site on the New Plymouth foreshore.

The two sites are connected by whakapapa (genealogy) people and history. Where once there was large settlement at Te Rewa Rewa, now the closest marae is Katere, which is several kilometres away. To direct laser light across the whenua (land), through the night sky carrying traditional knowledge and awareness is to re-awaken connection to place, and the project has facilitated this process greatly.

When standing on Te Rewa Rewa, the look and feel is that of farmed land, with a large open flat space at a good height for local visibility and indeed the land is leased to a farmer presently. Pieces of history are everywhere, with small entrances to mid 20th century structures, and pits in the flat plateau. The story of this land, its people, events, the politics, intrigue, comings and goings rise from hidden earth as Skipper takes us further into this place and it’s surrounds. Here, buried from everyday consciousness and awakened by the project are the many energies that constitute the living past, the veil having been lifted in the most delicate way by the efforts of Puke and Foster.

SCANZ2015:water*peace-call

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Photo of Wai by Jo Tito

Photo by Jo Tito

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Celebrating International Peace Day with a call for projects on Water and Peace

This is the call page for SCANZ2015:water*peace. Below is information about project types, application process and the submission link.

Water is essential to survival, revered and respected worldwide for its power, curative and creative abilities. Water as a resource has become intensely politicised and monetised, in contrast to the view that access to fresh water is a fundamental human right. Peace is also essential to the sustainability of humans on Earth. Join us to discuss and put forward positive, connecting views on water and peace that engages our community. This is the first call for projects and residency with submissions due November 8, 2013 (this allows for planning and fundraising). A second call with revised dates will be issued shortly. Read more about the ideas behind the project…

 

 

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Project components

Noho marae

SCANZ2015: water*peace will be the fifth SCANZ residency and starts in January 2015. It will commence with noho marae (overnight stay) at Parihaka, world renowned as a site of peaceful protest. The stay coincides with the 18th and 19th, when Te Whiti and Tohu, leaders of the peace movement are celebrated.

 

 

Open residency

This will be followed by a two week open, creative and interdisciplinary residency. It is our hope that tangata whenua, indigenous peoples, New Zealanders and other global citizens will be able to take part.

We are suggesting that artists, environmentalists, technologists, scientists, writers, performers, dancers, permaculturalists and people interested in the positive aspects of water and peace, all take part. Anyone can submit a project in one or more of the categories listed further down this page.

 

 

Temporary works in public space

We would like to have five to seven temporary works in public space, shown for one day or overnight on the final weekend of the residency. These will be sited along a river walkway. No power will be provided at the sites, so solar, wind, and water powered projects are suitable (battery and static install are two further options).

 

 

Day of public activities about water, water quality and peace

We are seeking proposals for a day of activities that engage our local community in issues around water and peace.

 

 

Night time building projections

We are seeking projection works about water or peace, to be projected on to the side of a local building in the evening.

 

 

SCANZ hui

On the final weekend of the residency there will be a SCANZ hui. Day one is at WITT, the local polytechnic and allows for presentations that require technology, the internet, projectors etc. Day two is a walking symposium to view the artworks and have thematic discussions in the environment of the river walkways.

A separate call for hui/symposium presentations will be made at a later date, through the same application page on Easy Chair.

 

 

Categories of projects

Water and/or Peace residency and temporary public work (residency with public exhibition project)
Water and/or Peace residency (residency without an exhibited project)
Water and/or Peace temporary public work (no residency, public exhibition project)
Public activity day project
Night time projection on building
Online exhibition
Pure research

 

 

Process

Applicants should download the pdf application form by clicking the link below. This should be filled out and attached to the application made at EasyChair.

IMPORTANT: Fill out the SCANZ application pdf first, then go to Easy Chair and make yourself a log in. After entering your contact information, project title and submission abstract (max 500 words, target 350) with keywords, tick the appropriate category and topic. Upload the completed SCANZ pdf form in the field that says ‘Paper’. In the field that says ‘Attachment’ upload a .pdf, .doc, .docx or .txt which contains a a one page CV and a project image.

A two stage process will be used. Successful applicants will then be able to apply for accommodation and/or food subsidies from Intercreate. It will also be possible to apply for micro budgets for the public event one day of activities and river walkway art works.

This first call for applications is currently closed for review. A second call will be made, and announced via our email list, on Facebook and Twitter.

 

 

Submission page and useful links

Background to the project and issues of water and peace.

This short video is made by the people of Parihaka about Parihaka.

Pdf SCANZ2015 Application Form. Right click and download the form, open it in Acrobat and fill it out (Mac users, you cannot use Preview, it has to be Acrobat). Then attach the SCANZ form to your EasyChair submission.

We prefer pdf if possible at this stage. If you do not have Adobe Acrobat, scroll to the bottom of this page and there is a link to a Word file.

The Easy Chair submission page. The url in full is https://www.easychair.org/conferences/?conf=scanz2015

If you do not already have an Easy Chair log in, you will need to get one – the page you go to will prompt you, and once you have activated your account you will go to the SCANZ 2015 link.

 

 

Social media

Intercreate is adapting its online communication channels. Here is how to stay informed and tailor the way you connect with us:

Like us on Facebook and receive all Intercreate news & updates on events

Follow us on twitter to engage hybrid, interdisciplinary issues covering: art + technology + science + environment + cultural bridging

Join our Placestories project to share resources & discussion about SCANZ 2015 Water * Peace

 

 

SCANZ2015WordApplicationForm

 

Pattern Recognition – Vicki Smith and Aroha Timoti-Coxon

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Project Proposal

Tukutuku panels between the poupou in many wharenui are a beautiful series of patterns, the holders of memory and complementary to the story told in the kowhaiwhai, and whakairo that also decorate the walls and roof. They are complex patterns of single or crossed stitches that reveal their information to those who can look beyond the seemingly random pattern.

A black-and-white photograph of two unidentified Māori women working on tukutuku panels (woven panels) inside Rangiātea, the Anglican church at Ōtaki on the lower west coast of the North Island of New Zealand taken by Walter R Oliver around 1947 and its negative measures 5 cm x 7 cm. Accessed from TePapa Image Collection.

QR or Quick Response codes are also holders of information to the discerning viewer or those who have the technology to unlock the code embedded in the pattern of squares. This can be a scanner or reader usually on a late generation mobile phone or tablet.

This project proposes to take the craft of tukutuku and to create panels that are accessible via QR readers to be installed around the city. The first stage would be to explore the tukutuku panels of the Owae marae to hear their stories and to understand how these are told. Through researching the meaning and gaining an understanding of patterns and themes used locally it is hoped the memories are shared as well the objectives for the iwi, and the environment around them.

The information gathered will then be situated online and a QR code created to access this, referencing the world wide web as the biggest repository of ‘woven information’ [Tukutuku-Ao-Whanui].

The final stage of the project will be the creation and installation of the QR/Tukutuku within the city and environment of Taranaki. The act of creation of the work in public space will serve to engage the local community in conversation about issues of environmental impact locally and to seek to build connections with the future and creative solutions.

The artist would prefer to work through this process alongside manu whenua of Mankorihi pa and as a workshop with local youth. Ideally exploring the possibility of creating the QR codes with enough coding information but also flexible enough to emulate in some manner the patterns of environment or environmental dislocation they refer to.

For more information please see: Pattern Recognition Project Page

 

Vicki Smith is an interdisciplinary artist, educator, digital storyteller and community agent using a range of creative tools. She is one of a global collective of artists who began performing through networked environments in the last millenia and is co-creator of UpStage (a realtime online performance environment) that is ‘made in NZ’ and internationally acknowledged especially through the annual festivals she co-curates.

Vicki is an observer, explorer and navigator siting one of her current works on an 11 metre sailing vessel – Kiritea. She has always been interested in how digital spaces can be site and tools for exploring traditional technologies. Through her online activities, she is part of an arts and education community that is global.

Aroha Timoti-Coxon is a weaver who currently lives in Hokitika, she is Ngai Tahu (Te Runaka o Makaawhio). In 2004 Aroha spent two months working on the Tukutuku panels at Te Tauraka Waka a Maui. She has taught at most of the local schools (including the ICARUS project Raraka Wanaka). Aroha has also taught Tuahiwi Marae, and wanaka with high school rangatahi over the christmas holidays 2008 – 2009. Aroha has taught at staff at Department of Conservation as well as the Driftwood and Sands Symposia. Vicki and Aroha have worked on several projects together since first meeting at a Raraka Wanaka (Weaving workshop) that Aroha ran through Karoro Learning in 2008.

 

 

Darko Fritz

Internet Error Messages – Darko Fritz

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An on-going series of works / projects of different nature, each making use of texts of internet error messages, i.e. Web Server Result (HTML Error) Codes / HTML Error Codes / WWW Error Messages / HTTP Status Messages. Installed using plants and materials commonly used locally in municipal or other official plantings of the area.

 

Gather – Kate Genevieve and David Montgomery

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Project Proposal

This work will emerge out of a conversation between interested members of the Maori community and artists, Kate Genevieve and David Montgomery, and consider how members of this community situate themselves in the second decade of the 21st Century.  Kate will bring to this conversation her research into experiments devised within contemporary neuroscience to explore the neural bases of time perception.  The resultant installation will explore Maori notions through technology associated with contemporary neuroscience’s explorations.

Through Gather they intend to explore marginalised traditional ways of experiencing time as opposed to the West’s clock time, using the engaged bodily experience of participants.   The immersive environment seeks to manipulate participant’s experience of subjective time by using animated visuals and soundscapes that respond to the audience’s real-time heart beat in the space.  Through combining bio-sensor technology with multi-sensory and haptic exploration of the botanical gardens, the intention is to destablise the body’s normal experience of time and its sense of being separate from the environment.

The film footage will incorporate patterns from the plant life of the site and, drawing upon David Montgomery’s expertise as an experimental film maker working with natural specimens, create experimental animation from the Park’s vegetation.  The visuals will incorporate leaves and plants from the Botanical Gardens, and draw on local knowledge of the gardens and the different plant species from across the globe that thrive together.

 

Background

As Artist in Residence at the Sackler Centre for Consciousness Science at the University of Sussex, UK, Kate Genevieve has been collaborating with scientists investigating consciousness and the subjective feelings of presence and embodiment, and researching the methodologies and technologies science is using to approach subjectivity.  Her work within the centre has used immersive visuals as a means of investigating presence through the bodily experience of participants, often incorporating particular experiments into narrative performances.  An example of this is the interactive performance, NO PLACE, a walking meditation on presence within constructed environments that extended and pushed at the techniques of the “rubber-hand illusion”.

Recently Kate has been working with pulse-sensor technology to respond to the Centre’s work on how increased interoceptive awareness correlates with heightened feelings of presence.  This work led her into a particular interest in considering how bodily experience effects temporal experience.  With reference to experiments probing the neural correlates of time perception, as found in the research of neuroscientists Patrick Haggard and David Eagleman, Kate is now beginning to explore heart-beat responsive immersive environments to explore how heart beat feedback effects time perception.

The Gardens interestingly represent one instance of the blending of indigenous New Zealand culture and British culture, both in its history and its botanical life.  Gather seeks to respond to this site through incorporating the plant life of the Botanical Gardens into the visual experience.  Experimental film maker David Montgomery developed an animation technique using found objects, such as flowers, leaves, shells, and seed pods, while studying Digital Arts and Sciences at the University of Florida.  As Artist in Residence at the Exploratorium he created animated loops from the flowers of the Pohutukawa tree and conducted initial research which he will develop through Gather into the links between particular flowers and trees and Maori folktales.

 

Aims

Whilst contemporary western brain science and philosophy is key to Gather, the aim of this art practice is to widen out neuroscience research from its focus on standard western experiences of time and subjectivity.  Their attempt is to take neuroscience research into the world, into places not represented within science studies: outposts, islands, places and communities distant from the lab and the FMRI machine.   We hope that this effort towards cross-cultural and cross-disciplinary dialogue might suggest directions for returning science, as Merleau-Ponty puts it, “to the site, the soil of the sensible and opened world such as it is in our life and for our body…”[Eye and Mind].

Gather will be installed within the Pukekura Park Bandstand, a constructed and symbolic site that represents the spread of a Victorian mode of formalising and containing nature and experience. Installing Gather within the bandstand, that curiously British ornamental construction scattered round the globe in the Victorian era, involves a serious attempt to broaden and perhaps undo a production focussed, urban, industrial understanding of time and space that the bandstand signifies.

Exhausted by identity politics that lead to fixed binaries – western/non-western, art/science, male/female, technology/nature – their working processes seek out common ground.  This work is born from and results in communication and collaboration and will use digital technologies to create multi-sensory experiences that facilitate and suggest alternative (rather than new) ways of being in spaces.  The exact set up of the performance must emerge out of specific meetings, conversations and exchanges between groups of people and sites during the residency.

Brickets – Pierre Proske and Damian Stewart

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Project Proposal

The outcome of this project is to sonify environmental data through a series of small solar powered audio-visual devices. Each device will be roughly the shape and size of a brick, hence their name – Brickets.

The devices collectively create an ecology of cricket-like sounds in a outdoor setting. Each Bricket  contains an electronic circuit that produces digitally generated chirps that resemble the sounds made by crickets or frogs. Each device also contains a series of LED lights that glow every time the device produces a chirp.

The devices are also capable of listening to their environment, communicating among themselves and receiving information every time another device chirps. The regularity of the chirping depends on the time of day (they become active at dusk) and the responses of the neighbouring Brickets. Different devices will tend to couple more strongly with their neighbours, producing pockets of synchrony as the population of Brickets moves between chaos and a common period of calling.

When a Bricket generates a sound, a ring of LEDs light up in sequence on the device’s face, visualising the duration of the playback of the chirp. While active, the Brickets have an interactive component as passing pedestrians will be able to influence the rhythm of the chirping by standing over the bricks or waving a limb over them. Brickets charge up their batteries using their in-built solar panel during the daylight hours, and then expend the energy as sound and light during the night.

One presentation opportunity for the Brickets would be to connect them to the daily water consumption of a building or area. Recent improvements in water and power data collection and measurement could enable this.  Just as frogs call after prolonged rain, so too would the Brickets sing if the building’s water use fell below a daily threshold. The devices would begin to call after dusk, and would serve as positive reinforcement to encourage thrifty water usage.

Brickets – proposal image

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