I just returned from a visit to Cancun to clear the way for installation of the DNA Dividing sculpture into Punta Nizuc asap. It was a fabulous trip. Cleansing and liberating to feel the weight of waiting, some sort of peripheral crunching burden, dissolving and leaving light water vapors in its wake.
To follow the story, please visit here for the beginning. And here is today’s latest update on kickstarter.
Two incredible friends, well, many more than that when you look at all the people who will be required to bring these epic public art projects into being, are putting their creative energy towards expressing the reality of sea level rise and flooding. They are targeting urban places to interject something premonitory and visible. These artists are translating scientific data, personal observation, and human gut reaction into visionary humanitarian offerings. Using very different formats, they are inviting people to reflect about the effects of climate change and water events that will flow and submerge all in its path.
Heidi Quante used to be Creative Coordinator for 350.org. Now she’s teamed up with artist, Eve Mosher, to realize HighWaterLine in multiple locations. In 2007, Eve felt compelled to start chalking the streets in Manhattan, “I marked the 10-feet above sea level line by drawing a blue chalk line and installing illuminated beacons in parks. The line marks the extent of increased flooding brought on by stronger and more frequent storms as a result of climate change. I walked, chalked and marked almost 70 miles of coastline. As I was out in the public creating the work, I had a chance to engage in conversations about climate change and its potential impacts.” The fact that New York IS an Island, with highly deteriorated oyster reefs and no other sufficient breakwaters, makes it extremely vulnerable to storms, as experienced with Hurricane Sandy nearly a year ago.
Florida flood plains are being chalked this November, and London and Philadelphia are slated for 2014. Florida is in direct line for hurricanes and floods, so Eve and Heidi want to empower the neighborhoods that will be deluged by giving them means to physically mark the estimated perimeter of the floods. The project is as much about process as result. The chalk marker is passed from community to community to feed the grassroots project. So many people don’t feel welcome in making important decisions, or on the flip side, they feel entitled to overpower. This art is egalitarian. It creates a map in real space as a step to begin planning to divert catastrophe. The locals who will be directly affected are being given tools and ideas to further plot their own communally developed course of action in the case of disaster. HighWaterLine is a feat of community organizing through conceptual, public art.
Lars Jan, Director of Early Morning Opera and a TED Senior Fellow, is deep into the making of HOLOSCENES, a large-scale performance installation intended for urban public spaces. In this video, watch someone try to make ramen in am elevator-sized aquarium while water fills and drains, driven by a hydraulic system capable of pumping fifteen tons of water in one minute.
“The man ‘making ramen’ is simulating a behavior documented in a 10 minute video submitted by a Japanese graduate student in his dorm in Tokyo. This student is Shun Oka, previously my student at Swarthmore College. Apparently Shun makes ramen nearly everyday, and I have to admit he has his own particular way of going about it. There are more steps to making ramen than I could have ever imagined — very different from the instant version I associate with US college kitchens. By the end of the first time I watched his video, my mouth was watering. In turn, the creative team behind Holoscenes simulated this behavior and made our own video in which a figure is deluged repeatedly, but goes on making ramen all the while. Though I find the video more ostensibly humorous than others we’ve made so far, I also find this submission from Japan particularly resonant given the intrusion of the tsunami into the everyday at Fukushima.” – Lars Jan
Watching the videos, I feel zen, not panicked. It makes me want to practice getting out of a car if it gets tossed off a bridge in an earthquake. Something about breaking the horror into bite size vignettes is soothing and makes it possible to imagine the traumatic potentiality, or the reality for many along the coast, in a way that evokes the personal and mundane that is at the core of long-term design, viable approaches, and progressive solutions.
The beauty of the dancer -she looks like an hibiscus flower slowly blooming and wilting in a rain puddle- makes me breathe into my imagination and dispel any alienating fear that mucks up mental space. Lars’ work delivers eye-opening information through new media and seductive interactive means so all individuals can claim their vital roles in balancing world ecology.
A young woman in LA who still uses a land line.*
Artists synthesize and relay layered multi-sensory experiences so adeptly. These are just two examples of the growing cultural opportunities to recognize that both little and big actions are required to meet the future. Little acts really do have big impact to blow old paradigms out of the water.
With so many variables to consider, leaving things to the government, academic institutions, and people perceived as authority figures are common excuses to just wait and see, and then blame someone else, but with the US Government taking a break right now to squabble (embarrassing!), it’s a good time to remember the unique, often unsung, brilliance of our neighbors next door and online. What amazing brain power and community will is within reach to calmly consider how we might respond when overwhelming storms forcefully release our most valuable, powerful resource – water. (I’ll think about the sun in another post.)
*The sale of archival prints supports the continued development of the Holoscenes performance through 2015.
I’m talking about humans. Obviously there are multitudes of living cities made up of marine organisms populating and migrating to dwell in the sea, but will humans begin to colonize the ocean? Is it a good thing? A necessary thing? How will this exploration protect itself from adding to the demise of ocean and Earth health? Why is it taking so long?…lots of questions to think about on this frontier.
Ocean Cities are definitely part of the pioneering future. Both Trendhunter and Ecofriend featured the Syph above, a concept design proposal for a competition envisioning Australia 40 years from now.
I feel inner conflict between a sense of invading wilderness and striving to live in harmony with other species as we continuously sway the balance on our curious and precarious, uncertain path to sustaining biological evolution. The trillions of dollars spent to manufacture, engineer, and execute methods to kill people illustrate that the financial resources are there. From governments to wealthy private patrons, the desire has not been great to develop architecture and human habitat in the ocean.
Experimental short-term stays for science and education, as well as hotels, have been emerging for over 50 years. These carefully controlled environments could become prototypes for off-shore housing in areas like the Maldives that are likely to be the first victims of sea level rise.
According to BBC Future, visionary ocean explorer, Ian Koblick, was ready to bring on underwater habitats in the 1970’s. Now at 74, he admits that it is not likely in his lifetime to see his futurist vision realized. He is the owner and co-developer (with Neil Monney) of the Jules Undersea Lodge, which used to be the La Chalupa Research Laboratory, also developed and operated by Koblick, to study the continental shelf off the coast of Puerto Rico. From scientific investigation to contemporary tourism and mainstream ocean outreach, this habitat has served diverse populations of many species. It is an example of what might be possible if more interest and demand for underwater cities grows.
The conservationist in me meets up with the visionary progressive and hopes for more conscious exploration and development for this still young field: Pioneering not to conquer, but to cultivate new biomes in the ocean. It is another provocative dance between technology and survival for so many species on this burgeoning planet.
Electricity and water – they say to keep them apart, but sometimes they are great conductive partners for creative projects. On November 10th, I’ll be teaching a hands-on class, Electrolysis: Etching Tins with Saltwater and Electricity at Pioneer Works, Center for Art and Innovation, in Red Hook, Brooklyn. They have great art shows and concerts, unique events all the time, a beautiful outdoor garden gathering place, plus lots of intimate small classes. The exhibition galleries are constantly morphing and there are many talented artists in residence pushing the edges of materials and concepts at this vibrant space. I love it there!
There’s room for 8 students in my class, so please sign up while there is availability. This Steam Punk blog shows what we will be doing during the one day workshop. If you want to etch without using toxic chemicals, this is a good method to try. I will share a bit about Biorock as well, since Living Sea Sculptures use electricity through water, and I can’t really help myself from discussing this biological art and science interface made possible by chemistry and electrons. I look forward to this mini art lab where we bring traditional, tactile methods of making together with contemporary technological tools to simplify and detox the process.
The drawing below is not an etching, but it makes me happy today thinking about the details in the ocean. You could etch that.