This is a free public lecture co-hosted by the MA in Creative Writing and the Research Centre of the Environmental Humanities.
We aew sharing this via EXTINCTIONSTUDIES@jiscmail.ac.uk
“Hello Extinction Studies List,
We’re excited to announce that DARK MATTER ISSUE #9 : “Grave Affliction and Possibility” is now live.
This issue is a collection of responses to Deena Metzger’s essay “Extinction Illness: Grave Affliction and Possibility,” which appeared in Tikkun in January. The premise of Metzger’s essay is that as the reality of human-caused mass extinction sinks in, we are all succumbing to what she calls “extinction illness.” Responses came in many forms: letter, formal essay, poetry, fiction, artwork—even a sermon. They are, as you’ll see, passionate, visionary, wildly divergent—and even uplifting. We think you’ll agree it’s an extraordinary collection.
Please share with your networks. Thanks!
Lise Weil, Editor”
Community-driven approaches for sustainable conservation and economic benefits: contradictory and complementary aspects of Ehirovipuka and Nyae Nyae conservancies in Namibia
Research Seminar by Dr Selma Lendelvo, Head of Life Sciences Division of the Multi-Disciplinary Research Centre of the University of Namibia
11th July, 4-5.30pm, CM.G24
Supported by the Centre for the Environmental Humanities
and the Global Academy of Liberal Arts
We are pleased to welcome Dr Lendelvo, Head of Life Sciences Division of the Multi-Disciplinary Research Centre of the University of Namibia, to give a research seminar at BSU, hosted jointly by the Global Academy of Liberal Arts and the Centre for Environmental Humanities. Dr Lendelvo sits on Namibia’s Nature Conservation Board (Ministry of Environment and Tourism) and is a national expert on the diverse benefits and tensions that can arise between wildlife conservation and local welfare in Namibia.
Seminar abstract: Wildlife conservation in community-led conservancies in Namibia has been adopted by rural communities over the past two decades. Despite the opportunities and challenges experienced by communities, the programme initiatives are becoming more and more imbedded in the local customary and livelihood systems. This talk presents a case study of two conservancies from distinct geographical and cultural environments but with related conservation outcomes and experiences. The constant wildlife management approach in the Ehirovipuka and Nyae Nyae conservancies could arguably be due to the presence of conducive wildlife habitats resulting from low human population densities and locations that border on National Parks. In these conservancies, there tends to be similar conservation practices including wildlife monitoring and managing hunting contracts over the years, and similar governance and benefit structures coupled with like-minded attitudes and perceptions towards conservation. Although the customs and traditional livelihoods of these communities are different, these two communities are characterised by nomadic or movement lifestyles. While the people in Ehirovipuka are pastoralists and move with the cattle over long distances in search of pasture and water, the Nyae Nyae area is inhabited by hunter-gatherers who travel long distance for hunting and collection of veld foods. Both have little reliance on crop production. Human-wildlife conflict (HWC) has been identified as a spill-over cost to communities resulting from conservation efforts, probably exacerbated by sharing borders with National Parks. Although not sufficiently quantified, the benefits from conservation in the two communities have been positively embraced and are used to mitigate against and reduce HWC. In conclusion, alternative economic opportunities from hunting, eco-tourism and enterprise development have strengthened local systems to support and improve community livelihood diversification and resilience. Also, the traditional knowledge systems resulting from historical co-existence with wildlife and landscape knowledge have been fortified with modern capacity and skills to generate successful local managers in these conservancies that are today applying adaptive and sustainable wildlife management approaches.
Wednesday 17th July 2019; 13:00 – 16:00
The Research Festival will showcase and celebrate research excellence across the university, increase awareness of current research activities in different departments and research centres, inspire and build future collaborations with colleagues and students, and explore how Bath Spa can continue to respond to global challenges facing the world today.
This day will provide a supportive forum for discussing ‘work in progress’ and scoping out new research ideas and innovations. The programme will include a series of sessions featuring research from across the University, bringing together new partners and collaborations across different fields. Sessions will be presented in a variety of formats, such as workshops, performances, panels, debates, and films. They will engage with the following themes:
Relationships between theory and practice in research
Co-production across the university community and beyond
Methodological approaches to research, including alternative and creative methodologies and research-led curricula
Research and enterprise/ industry
Research in the world
Research posters created by postgraduate research students at Bath Spa will be displayed in the Commons atrium for viewing over lunch and during breaks between sessions.
Further details of the programme will be available in due course.
Bath Spa University and the Environmental Humanities Research Centre are partners in the Bathscape Project.
Bathscape Landscape Partnership is a National Lottery Heritage Fund supported project aimed at reconnecting people with the natural landscape surrounding Bath.
See their latest Newsletter here for News, Events, The Walking Festival and Volunteer Opportunities.
Clive Adams was born in London in 1947. He studied at Bath Academy of Art (1966-70) and at Brighton Polytechnic before becoming lecturer in printmaking and foundation studies at Derby College of Art (1971-74).
He was gallery co-ordinator at Arnolfini, Bristol (1974-79), then the largest contemporary arts complex outside London, and worked on the move to the present habourside location. He initiated and hosted a series of major exhibitions including Howard Hodgkin, Ed Ruscha (1975), Jan Dibbets, Richard Long (1976), Robert Smithson (1977) and Carel Visser, Boyd Webb (1978). Many of these exhibitions travelled to other major galleries in Britain.
As director of Mostyn Art Gallery (1979-85) he supervised the restoration of the gallery, built in 1901, establishing it as Wales’s leading public exhibition space. Particular major exhibitions included Barry Flanagan, Edward Hopper (1981), J D Innes, Augustus John and Derwent Lees (1982) and David Nash (1983). For the exhibition ‘Turner in Wales’ (1984) the gallery was given a Prince of Wales Award.
He returned to London as managing director of Fabian Carlsson Gallery (1985-89). This new commercial gallery dealt in international contemporary and modern art, including works by De Kooning, Miro, Picasso, Rauschenberg and Warhol. It also represented younger European, American and Japanese artists. He took particular responsibility for the work of Andy Goldsworthy and was closely involved in his projects in Japan and at the North Pole.
Since 1974, Clive Adams has been a member of various committees including the arts panels of South West Arts (1974-77) and North Wales Arts Association (1979-85), Executive Council, Welsh Sculpture Trust (1982-85) and Fine Art Advisory Committee, British Council (1983-85). He is a member of the International Association of Art Critics and the International Association of Curators of Contemporary Art.
In Britain, he compiled the catalogue raisonnes of Andy Goldsworthy’s photographs (1989) and Peter Randall-Page’s sculpture (1992) for the Henry Moore Centre of the Study of Sculpture. In Japan, he co-ordinated the exhibition ‘Sun, Wind and Rain:the Awakening of British Landscape Painting’ (1992) with major loans from the Tate Gallery and other national collections. He was appointed one of the commissioners of Korea’s first international biennale (1995), being responsible for selecting work from the Middle East and African countries.
In 1997, he and his wife moved to Devon with the intention of establishing the Centre for Contemporary Art and the Natural World, devoted to exploring new understandings of our changing relationship to nature through the arts. In 2006 CCANW entered into a new partnership with the Forestry Commission in Haldon Forest Park nr. Exeter where it opened a Project Space. In 2013 it moved its base to the University of Exeter and Dr Daro Montag became Co-Director. From 2013-5 it delivered the ‘Soil Culture’ project, becoming the largest UK contribution to the UN International Year of Soils 2015.
Clive also held a Research Post at the University of Plymouth (1998-2002) and was Curator of Exhibitions for the South West of England Regional Development Agency (1999-2004). Curated exhibitions include ‘Love, Labour and Loss: 300 Years of British Livestock Farming in Art’, commissioned by Carlisle City Council for showings in Carlisle and Exeter (2002) and ‘The Impossible View?’ for The Lowry, the latter winning the Museums and Heritage Award for best UK temporary exhibition of 2003. He curated a second major exhibition for The Lowry ‘The Art of White’ (2006) and was one of the judges of the Jerwood Sculpture Prize in 2005.
Since 2016, CCANW has increasingly worked internationally and across disciplines. It is currently working with Ulsan National Institute of Science and Technology in South Korea on the Science Walden project, and advises the new Global Network of Water Museums on its engagement with the arts.
Betsy Damon is an internationally recognized artist based in New York whose work with water, site-specific sculptures, and performance has received widespread acclaim and publication. Since 1985, she has focused on water and ecological issues. She created the Living Water Garden in Sichuan, China, a six-acre urban park that has become an icon of natural water-cleaning systems (see illustration). Betsy is the founder of the non-profit Keepers of the Waters, through which she promotes environmental education, ecological planning, community projects and advocacy worldwide. www.keepersofthewaters.org
Forty years ago, Betsy Damon stepped outside her traditional art training and carved a unique path to work with the environment, communities, science and art. She began looking to her inner consciousness as a source of inspiration which initiated her public engagement, starting with gritty art performances on the New York City streets. She was engaged in the women’s movement of the 1970s, where she founded No Limits for Women Artists, a network to join and support female artists.
In 1985, after a cross-country camping trip with her children, Betsy found herself reconnected to the primal elements of the natural world –the sound of wind, the flow of water, the forest, the rain. This initiated the casting of a 250-foot dry riverbed, The Memory of Clean Water, which brought her attention to the invisible destruction that development was having on water sources. In the early evening, while casting the riverbed, Betsy looked up to realize that the stones of the riverbed were patterned like the stars of the sky, that everywhere were the patterns of water. She committed herself to learning everything about water, little did she know that 27 years later she would still be deeply entrenched.
Beginning with the creation of Keepers of the Waters in 1991, Betsy has continued to work towards creating community based models of water stewardship. Her work includes sculpture, teaching, lectures and workshops. In China, she created the nation’s first public art event for the environment, and most notably the Living Water Garden, a world renowned public park and natural water filtration model. In the US, she is continuously working with communities and grassroots groups, as well as completing art/ design commissions.
Betsy Damon’s inspiration comes from extensive research of sacred water sites, and her curiosity for the biology and earth sciences that compose living systems. Always seeking new ways to articulate the complexity of water and engage communities in caring for this precious resource, Betsy continues her passion.
AMY SHARROCKS is a live artist, sculptor and film-maker who invites people to come on journeys in which their own experience, communication and expression are a vital part. Her work gives careful consideration to the impact we have on each other and the world.
For 10 years she has been investigating people and our relationship to water: floating boats on swimming pools, swimming across London, dowsing rivers and gathering donations for Museum of Water. Museum of Water was in Somerset House for summer 2014, has since toured to over 50 locations worldwide, and has been visited by over 65,000 people. The Museum has spent two years in The Netherlands and Western Australia and was nominated for European Museum of the Year 2016.
The first major survey of Sharrocks’ work took place at Leamington Spa Art Gallery & Museum 2018-19, an acclaimed exhibition which gathered together photographs, sculptures, drawings, sonic and live works from over a decade of making. In 2014 Amy was one of 10 artists selected for Museums at Night; in 2015 she was shortlisted for the Arts Foundation Fellowship Award. In 2017 she organised the Fry’s Island Swim, a swim for 80 in the Thames River in the heart of Reading, and is currently encouraging people to sign up to Swim the Thames, a swim across the river in London. She is currently writing against dryness, about the experience of water and cities.
Sharrocks makes a lot of work about falling, looking at our daily trips and stumbles, the precariousness of life. She explores feelings of risk, daring and shame, and questions our need to be UP. In 2013 she won the Sculpture Shock prize from the Royal British Society of Sculptors for her work on falling. Her writing has been published extensively now, in academic journals as well as magazines and books. Her films have been shown across Europe and the Middle East; she has two books on her own work – SWIM and Museum of Water – and her work appears in various collections: Playing for Time, Live Art Almanac 1 & 4, Walking’s New Movement.
She is an activist for women’s rights and co-curator of WALKING WOMEN, a series of events in London and Edinburgh across 2016 highlighting the work of women walking artists, and of DAYLIGHT, a collaborative artwork in the form of a newspaper, bringing focus to women’s art, thinking and speculations, launched at the Wellcome Collection in October 2018. http://www.museumofwater.co.uk http://www.iwanttoswim.co.uk http://www.swimthethames.co.uk
Green Letters 2019; Vol 23; Issue 1.
Editorial: Graham Huggan
Article: Weaving the environmental humanities: Australian strands, configurations, and provocations: Catherine Rigby
Article: How can scholarly work be meaningful in an era of lost causes?: Kelly Sultzbach
Article: An excursion in the environmental humanities: some thoughts on fieldwork, collaboration, and disciplinary identity following a day trip to the Island of Lundy: Adrian Howkins, Marianna Dudley, Peter Coates, Tamsin Badcoe, Sage Brice, Andy Flack, Daniel Haines, Paul Merchant, Laurence Publicover, Richard Stone & Alice Would
Article: Dependence on the whale: multispecies entanglements and ecosystem services in science fiction: Dolly Jørgensen
Article: Doing environmental humanities: inter/transdisciplinary research through an underwater 360° video poem: Jesse D. Peterson
Article: Bin ich ein Berliner? Graffiti as layered public archive and socio-ecological methodology: Daniele Valisena & Roger Norum
The environmental humanities. A critical introduction: Roman Bartosch
Environmental humanities: voices from the Anthropocene: A. G. Tait
The Routledge companion to the environmental humanities: A G Tait
The great derangement: climate change and the unthinkable: Veronica Fibisan
Zombiescapes and Phantom Zones: ecocriticism and the liminal from invisible man to the walking dead: Lucy Bell
Arts of living on a damaged planet: ghosts and monsters: Holly Parker
Landscapes of eternal return: Tennyson to Hardy: Sue Edney
French ecocriticism: from the early modern period to the twenty-first century: Axel Goodbody
The full details and links are here
BSU staff and students should be able to access all via Shibboleth.
BSU EHRC scholar Sam Walton, Reader in Modern Literature, is co-editor of Green Letters
This is the 2nd call for Annals of Crosscuts—a new peer-reviewed publication format for film-based research. Deadline for submissions is 22 May 2019.
The Annals of Crosscuts supports the use of film and cinema as integral practices in the critical environmental humanities. We invite filmmakers in the arts, sciences and humanities that experiment with film as a complement and/or challenge to text-based research. The aim is to contribute to emerging and new forms of transmodal scholarship.
“RUPTURED TIMES”, this year´s theme, are interstitial spaces where the past is not anymore but the future is still to come. Indeed, these are ruptured times. While globalization promises to unify the world, thousands of fractures open up space and time. New political ambitions fragment the globe and bring us back to times when nationalism reigned. Climate change ruptures the familiar flow of time with chronologies of the past and projections of the future. Civic groups also rupture time and interrupt the usual sequence of events (think of the Standing Rock Camp in the US or ende gelände in Germany).
Crosscuts2019 is dedicated to exploring these ruptured times broadly and carefully through film, text and discussion.
Full info on PDF here
‘The Mapping of Jan Mayen’ is a bookwork by Milo Newman produced from research undertaken in the collections of the University of Bristol’s School of Earth Sciences during an EarthArt Fellowship.
This book was Milo’s Creative Project for the MA in Environmental Humanities at Bath Spa Univertsity.
The Mapping of Jan Mayen by Milo Newman, 6-7pm, 24th April, Wills Memorial Building
Across April, May and June, the artist will lead three informal evening events based around this work. These events will include readings and a chance to explore both the contents and the context of the work in the physical environs of the geological collections storeroom.
Reinterpreting an archive of scientific papers, maps , photographs and rock samples found by the artist amongst the collections, ‘The Mapping of Jan Mayen’ interweaves episodes of memory, materiality, science, history and geography, to tell the story of a 1938 surveying expedition to the Arctic island of Jan Mayen made by Donald Ashby, a young geologist and staff member of the University of Bristol.
Milo Newman is an artist working with photography, sound recordings and written texts. His work is landscape-based and explores environmental narratives through an examination of landscape histories, memory and place.
Wednesday 22nd May, 6-7pm
Saturday 8th June 2019, 11.30am – 12.30pm
Copies of The Mapping of Jan Mayen will be available to purchase on the night for £15 in cash.
The event is free but please follow this link to reserve your ticket as space is limited: