Annotated Bibliography for University

Annotated Sources of Research

Author: Victor A. Kovda

Article title: Disarmament and Preservation of the Biosphere

Name of Website: Cambridge Journals Online

Date: December 1981

Full URL: http://journals.cambridge.org/action/displayAbstract?aid=5956504

Last accessed: 30 May 2013

Victor A. Kovda highlights many of the issues facing mans only life support system in an open letter I found in the Cambridge Journal. It talks of a resolution adopted by the United Nations on strategic economic development based on due protection of nature and the environment passed in 1979. Although it is reassuring to see the leaders of the world acknowledging the issues, politicians tend to only react to issues when there is public pressure for them to do so. Short-termism is partly to blame along with the media polarizing every decision politicians make in an attempt to manufacture ‘news’ they are forced into reactionary politics.

This paper has been very useful in outlining the position of the United Nations towards the biosphere. This could be considered as the official view of the world.

An insight into the history and approach that was intended to be taken by the world

‘The only planet of our galaxy that is known to support Man and other living forms, and to have conditions favouring the existence of life.’

Importantly it recognises the issues and states the importance of them

Author: Harry Rand

Title: Hundertwasser

Date: August 2007

Place: Italy

Publisher: Taschen

Edition: 25th

ISBN-10: 3822834165 ISBN-13: 978-3822834169

Painter, architect and ecologist. His ideas are proved as being more universal than just a visual artist through his architecture and people in other areas he has inspired. Amazing buildings. No straight lines. A wonderful example of a man who’s art is not confined to one medium and that makes real difference in the real world. Unlike some gallery art which only has its place to raise an eyebrow of the viewer. Hundertwasser provides solutions, beautiful ones at that, to bring us living closer with nature in a more harmonious fashion. It is amazing seeing the visions in his paintings realised in such a spectacular way. This man is my biggest inspiration at the moment. Genius

This book begins by showing you his paintings and takes you on a journey explaining how he developed his philosophies that lead to his architecture.

Author: Dee Breger

Title: Journeys in Microspace: The Art of the Scanning Electron Microscope

Date: October 1995

Place: Columbia

Publisher: Columbia University Press

Edition: x

ISBN: 0-231-08252-5

This book has been of interest and use to me in understanding the fundamental building blocks of our earth. It is essentially a book of images taken through a microscope. It is very useful as a source to draw comparisons with its images to those from the real world. A grain of sand for example looks like a mountainside. Two sets of cells on an ancient conifer are almost identical to the architectural drawings of a Hundertwasser building. I have been looking into the lessons we can learn from bacteria to hopefully form solutions. I have a fairly unlikely theory that if we studied bacteria in the right way would be able to predict the future or at least a range of possibilities.

Author: Daro Montang

Title: This Earth

Date: 2007

Place: UK

Publisher: Festerman Press

Edition: x

ISBN: 978-0-9544187-4-8

After meeting Daro and attending his lectures he gave me this book that is basically a detailed catalogue of his work explaining the processes he has used. He has an interest in dirt and the amount of living organisms within it. This is where his work and ideas become useful and relevant to me due to my interest in bacteria and life at an unseen level. Unseen life and energy have been the focus of my studio work this year.

Author: Linda Weintraub

Title: To Life! Eco art in pursuit of a sustainable planet

Date: 2012

Place: Berkeley, CA, USA

Publisher: University of California Press

Edition: x

ISBN: 978-0-520-27362-7.

This book has been very useful as an overall, up to date central intelligence for my study into eco art and sustainability through its selection of artists and its very useful key of areas artists touch on. This makes it easy to connect and compare work in a focused way. It also explains links with other art movements so you can gain a full understanding of where it has all come from. The book is an illuminating study for rethinking the environmental impact of art practices and the meaning of aesthetics in relation to larger ecosystems.

Author: Jeffery Kastner & Brian Wallis

Title: Land and Environmental Art

Date: October 1998

Place: x

Publisher: Phaidon Press

Edition: x

ISBN 0714835145 / 9780714835143 / 0-7148-3514-5

This book explores how the traditional landscape genre was radically transformed in the 1960s when many artists stopped just representing the land and started marking the environment directly. It traces early developments to the present day, where artists are exploring eco-systems and the interface between industrial, urban and rural cultures. Alongside photographs, sketches and project notes, Kastner compiles an archive of statements by all the featured artists alongside related texts by art historians, critics, philosophers and cultural theorists including Jean Baudrillard, Edmund Burke, Guy Debord, Michael Fried, Dave Hickey, Rosalind Krauss, Lucy R. Lippard, Thomas McEvilley, Carolyn Merchant and Simon Schama. It covers work of artists such as Michael Heizer, Nancy Holt or Robert Smithson who all move the earth to create colossal primal symbols. It also covers work by Christo and Walter de Maria who play with the horizon. It explains how Journeys became works of art for Richard Long and how Dennis Oppenheim and Ana Mendieta immersed their bodies in the contours of the land. A good overview of the beginning of the land and environmental art movement.

Author: Francisco Asensio Cerver

Title: Landscape Art. World of Environmental Design

Date: 1995

Place: x

Publisher: Atrium International

Edition: x

ISBN: 84-8185-001-2

Another broad overview of the artists exploring work outside of the gallery, this book looks at some of the largest scale works in particular. Unfortunately most of the writing is in French so it could only be used so much.

Author: Sue Spaid

Title: Ecovention. Current art to transform ecologies

Date: x

Place: x

Publisher: greenmuseum.org / The Contemporary Arts Center / ecoartspace

Edition: x

ISBN: 091756274-7

This book focuses mainly on the art that literally aims to help nature repair the damage caused by humans, making the world a better place. I have learnt how artists are able to be practical and visionary with their approach to their work. It is sad that we are in this situation but great again to see art presenting itself as a solution. This is the key to a brighter future and a ‘revelation’ I have learnt (first from Hundertwasser) that art is able to do more than just highlight or protest an issue but take the next step and present an answer.

Author: Jill Hartz (Editor)

Title: Agnes Denes

Date: January 1993

Place: USA

Publisher: University of Washington Press

Edition: x

ISBN-10: 0295972777 ISBN-13: 978-0295972770

Agnes Denes has been one of the most important artists I have learned about since Hundertwasser to inspire me. Her plan to take over a landfill site and turn it into an oasis for nature and humans. We need to learn to make use of our waste. We need to turn waste into something useable. If we can do this we will be taking the step further than that of any previous life form. This piece presents an answer in a similar way to Hundertwasser. From her early philosophical drawings to her living time capsule of Tree Mountain I think her work is great. She doesn’t forget aesthetics while confronting important environmental issues. Her Wheatfield’s that took over an expensive district of New York raised important questions about misplaced priorities and human values. Getting her work in such significant places like this, at the bottom of Wall Street, is partly what makes her work so important. She will have done this by selling herself. Key lesson.

Author: RANE

Title: RANE Research Cluster, University College Falmouth

Date: 2008

Place: Cornwall, UK

Publisher: Festerman Press

Edition: x

ISBN: 978-0-9544187-5-5

The RANE research is a leading environmental research group based in Falmouth. This book is a selection of papers and research projects from a conference held in 2006. To pursue environmental art it will be senseless not to try to get involved with this group and establish influence within what is as far as I can tell is a pioneering branch of the movement.

Author: Sacha Kaga

Title: Art and Sustainability. Connecting Patterns for a Culture of Complexity

Date: 2011

Place: Germany

Publisher: Majuskel Medienproduktion GmbH, Wetzlar with the support of Leuphana University Luneburg

Edition: x

ISBN: 978-3-8376-1803-7

Sacha Kagan explores in incredible depth the complex ways in which culture and individuals view the environment, sustainability and art. I have not had the chance to read much yet but I definitely will. She analyses things to an almost psychotic level and explains basic psychological reasons for thinking things. In some cases showing how our ape instincts inform how we think about things. In my search for how we are aware environmental issues and unseen energies this book will definitely be an eye opener to make sense of what I am trying to find.

Author: x

Article title: Google reveals plans for vast new California campus

Name of Website: Dezeen

Date: 26^th February 2013

Full URL: http://www.dezeen.com/2013/02/26/google-reveals-plans-for-bay-view-california-campus/

Last accessed: 30 May 2013

This article looks into the new Google office. It explains the plans of an incredibly well thought out design that allows the No employee to be more than a two-and-a-half minute walk from any other to encourage a "casual collision of the workforce" and the spread of ideas throughout the company. Perhaps the most efficient example of practical design I have seen. With issues of space being raised by globalisation maximising the room we do have and connecting people in ways this building does will become key in the future.

Creators: Conor Harrington & Andrew Telling

Film Title: Old Norse

Full URL: https://vimeo.com/53156939

http://www.andrewtelling.net

http://conorsaysboom.wordpress.com

Last Visited: 30 May 2013

Really loved this video. Wonderfully captures the beauty of the landscape and nature as I am trying to do and documents the work of Connor Harrington, one of my favourite painters, in the same context. You can compare the uniqueness and uncontrolled way nature works with the way Connor allows paint to find its own natural way while it drips and moves. Both nature and paint move freely within the set of rules they are both powerlessly subject to react under. Just as all things and we must do the same.

As a further thought, this kind of way of documenting work is a great thing to take influence from. Linking the filming style and content in a way similar to the work presents it in a relevant context

Key Texts for The Future

Key texts in the emerging field of sustainable art include

·      'Kultur - Kunst - Nachhaltigkeit' (2002) by Hildegard Kurt and Bernd Wagner

·      ‘The Principles of Sustainability in Contemporary Art’ (2006) by Maja and Reuben Fowkes

A collection of interdisciplinary analyses of the arts and cultures with relationship to sustainability is available in

·      'Sustainability: a new frontier for the arts and cultures' (2008) edited by Sacha Kagan and Volker Kirchberg.

Exhibitions devoted explicitly to "sustainable art" include

·      ‘Beyond Green: Towards a Sustainable Art’ at the Smart Museum in Chicago in November 2005

TJ Demos, “The Politics of Sustainability: Art 

Linder Sterling

As i have been looking at the juxtaposition of images recently I have come across the photo montage artist Linder Sterling

Most famous for her works that put together images of women and associated items.



http://en.wikipedia.org/wiki/Linder_Sterling

http://arttattler.com/archivelinder.html

photo montage art

FREQUENCIES

Geneticists have discovered that human DNA undergoes an evolutionary jump by activating some junk DNA when a person is sending positive frequencies through positive affirmations in gratitude.

All linguistic languages can be mapped from sacred geometry in the Flower of Life form that visually shows that language is vibration. The Flower of Life is believed by many metaphysical traditions to be the 1st completed energetic life form God created and then complex sound waves of sacred geometric shape such as Archangel Metatron’s icosahedron cube. Metatron’s cube has shown up unbiased in many ancient traditions and religions. It consists of all sacred geometry such as the Flower of Life, Seed of Life, tree of life, the golden ratio, the golden spiral, the golden mean, Phi, Fibonacci, tetrahedron, hexahedron, octahedron and the dodecahedron. Archangel Metatron is believed by many ancient civilizations to be the right hand being of God/universal consciousness in the creation process.The message mapped out in the form of conclusive math as depicted in sacred geometry is a infinite unbreakable truth in nature, which is that everything exists in unity, harmony, and oneness. If any living thing doesn’t realize this, then nature dismantles it and recreates new life forms that will work with the laws of nature.

The words one chooses to say and hear sends a frequency that changes human DNA. There are 64 condones in dna. The waves of emotions cause condones to activate. We only activate two emotions. Fear and love have different sin waves. Fear is a shorter frequency, but unconditional love has a longer frequency that activates more genetic patterns in your body through activating more condones. That’s because the universe functions in simple math as seen in the number line we all learned in grade school and still trying to figure out in life . (+) + (-) = stability, nothing forward & nothing backwards. That’s why when you say or do a positive thing and then replace it a negative, you get in an emotional quagmire. (-) + (-) = -, which means two negative always goes into further descent. When you say or do something negative to yourself and follow with more negativity, you fall into more of an abyss. (+) + (+) = +, which means only two positives will amplify and grow as it feeds off each other in unison. This is seen when you do or say something positive to yourself, you feel good and it keeps on going. Here’s the kicker, your brain can’t tell the difference if you say or do something negative to yourself or to others as you brain sees you two as one being. So when you say or do something negative to others, your body still feels the effects of stress, anxiety, and paranoia as if you did it to yourself.

A continuation of such negativity starts to create stress and ailments in your body. Living in unconditional love for yourself and others activates the Kundalini source energy within your pineal gland as displayed in a variety of 6th senses and shown in various spiritual artworks throughout the ages. The funnel torus that looks like a magnetic apple field around your heart is multiple torus’s insulated within more of itself and spinning in a circular pattern up to the top, around to the bottom, and back up again like a black hole. The infinity math is looping itself in the space between your dna strands on and on it goes. This is so because you are infinite energetic beings having a human experience. You are a hu-man be-ing., which means you are in the experience of “being” a “man” turning into a “Hu”, which “hu” means God or divinity. You are the integration of God or Goddess in man.

A fully integrated human is enlightened and is a leading edge experience of the divine and the physical. So feed your divine energetic self positive, unconditionally loving frequencies in the form of loving words and thoughts. The long speculated 6th senses of human DNA can be activated based on the person’s level of spiritual consciousness according to science proving that long held mantras of healing or chanting as believe by Buddhists, Native Americans, Mayans, and many more ancient chanting traditions have been accurate. The question now is; what are you saying to yourself and others that’s either advancing or stunting your cellular evolution? The choice is yours.

http://freq.uenci.es/2012/01/18/the-list/

http://cube-it.webs.com

'HEMOSAPIEN,' Jordan Eagles

If these images look like they're made from flowing, coagulated blood, that's because they are. Artist Jordan Eagles prefers to cover his canvasses with actual blood, which he procures from slaughterhouses.

According to his website, the works are meant as "relics of that which was once living, embodying transformation, regeneration, and an allegory of death to life." They certainly deliver an eerie, dark-red glow. If they represent life, they also suggest that death is imminent.

M81 Star Stuff,' Zachary Copfer

This might appear to be an image of a spiral galaxy, but it's actually art (of a spiral galaxy!) created from living E. coli bacteria. Created by artist-scientist Zachary Copfer, the piece is one in a series of works that aim to blur the dichotomy between art and science.

 

"I believe that the dichotomy often imposed on the fields of art and science is extremely limiting to both areas of study," Copfer writes on his website. "I create visual art that is about deeply exploring the beauty and poetry that reside in scientific theories."

 

The way that Copfer creates his art is a scientific concoction of his own design. Basically, he bombards a petri dish full of bacteria with radiation. A photographic negative of the image he wants to create is put over the top of the petri dish so that the radiation only kills off the bacteria that aren't a part of the image. The finished works are called "bacteriographs."

'Lives of Grass,' Mathilde Roussel

According to the website of artist Mathilde Roussel, these eerie sculptures (titled "Lives of Grass") are meant to represent the growth and decay of life. Though they are suspended in midair, they convey a sense of gravity — "of time, of existence, of limitation, of frailty." The use of live wheatgrass to compose the piece creates a heightened contrast.

 

The metal and fabric that holds the structure together is recycled, perhaps as an allusion to the fact that all living things are composed of borrowed materials.

Agnes Denes - Transforming waste into

We need to learn to make use of our waste. We need to turn waste into something useable. If we can do this we will be taking the step further than that of any previous life form.

In this piece called 'North Waterfront Park, Berkely CA 1988 - 1991' Agnes Denes has basically made a plan of how she can turn a land fill waste site into an oasis for people and nature. As i have previously tried to highlight with the pieces involving petri dishes, and as the diagram below illustrates, bacteria/life will follow the phases of growth.

Phases of Growth

During the lag phase, there is little or no change in the number of cells, but metabolic activity is high.

• DNA and enzyme synthesis occurs; may last from 1 hour to several days.

During the log phase, the bacteria multiply at the fastest rate possible under the conditions provided.

• Maintained by use of a chemostat – constant supply of fresh media

During the stationary phase, there is an equilibrium between cell division and death.

• Nutrients are exhausted and waste products build up; pH increases.

During the death phase, the number of deaths exceeds the number of new cells formed.

As we are essentially very advanced bacteria we need to evolve and put ourselves into this position where we avoid this tragedy. As a living thing we take resources (which are now running out in our planet or petri dish if you like) and process them, turning them into waste.

This piece by Agnes Denes is therfore important as it presents a solution to our problem. This is what we need to do more than anything else

As artists we have the power to show people these things theoretically and can then let the scientists and engineers make our visions reality. It is our job to influence everyone. We can do this through questioning and protesting what already exists however i think this only leads to an awareness. Presenting solutions like this one is the next step.






North Waterfront Park Masterplan, Berkeley, California,1988-91. Site plan and art concept. A conceptual masterplan was developed for the conversion of a 97-acre muncipal landfill, surrounded by water on three sides in the San Francsico Bay, into an oasis for people and nature. The first landfill to propose bioremediation programs and a 12-acre wetland/wildlife sanctuary in addition to 17 art elements, including a wildflower meadow, a sunflower field, wooded hills, petrogplyhs carved into earth and stone, an amphitheater with stone terraces, tidal pools with sculptural forms and water catchments. Two lighthouses were designed, one to burn off methane produced by the landfill, the other to collect sunlight to be emitted at night. The design restores an obsolete site, an island of garbage, into a rich environment, preserving wildlife and creating a site where nature can be experienced and enjoyed by the community. Developed with R. Haag and J. Roberts landscape architects. The masterplan was adopted by the City of Berkeley in l99l but not realized. The site was designated as a dog run instead.

Nils-Udo

Nils-Udo

In the 1960s, painter Nils-Udo turned to nature and began creating site-specific works using natural materials like leaves, berries, plants and twigs. His ephemeral creations are nature-inspired utopias that take on forms like colorful mounds of berries or giant, gnarled nests.

 

Nils-Udo is intrigued by the intersection of nature, art and reality, which is evident in this untitled piece that was part of the Earth Art Exhibit at the Royal Botanical Gardens in Canada. The grassy pathways to nowhere disappear into the trees, prompting viewers to contemplate their relationship with the natural world. Nils-Udo says that by “elevating the natural space to a work of art,” he was able to overcome “the gap between art and life.”

Andy Goldsworthy

Andy Goldsworthy

Andy Goldsworthy is a British artist who’s best known for the fleeting outdoor sculptures he creates from natural materials, including petals, leaves, snow, ice, rocks and twigs. His work is often fleeting and ephemeral, lasting only as long as it takes for it to melt, erode or decompose, but he photographs each piece right after he makes it. He’s frozen icicles in spirals around trees, woven leaves and grass together in streams, covered rocks in leaves, and then left his art to the elements.

 

“Stone River,” a colossal serpentine sculpture made from 128 tons of sandstone, is one of Goldsworthy’s permanent works, and can be seen at Stanford University. The stone is all salvaged material that toppled from buildings in the 1906 and 1989 San Francisco earthquakes.

Agnes Denes

Agnes Denes

One of the pioneers of environmental art and conceptual art, Agnes Denes is best known for her land art project, “Wheatfield – A Confrontation.” In May 1982, Denes planted a two-acre wheat field in Manhattan on Battery Park Landfill, just two blocks from Wall Street. The land was cleared of rocks and garbage by hand, and 200 truckloads of dirt were brought in. Denes maintained the field for four months until the crop was harvested, yielding more than 1,000 pounds of wheat. The harvested grain then traveled to 28 cities across the globe in an exhibition called “The International Art Show for the End of World Hunger,” and the seeds were planted worldwide.

 

Planting wheat across from the Statue of Liberty on urban land worth $4.5 billion created a powerful paradox that Denes hoped would call attention to our misplaced priorities. She says her works are “intended to help the environment and benefit future generations with a meaningful legacy.”

Nele Azevedo

Nele Azevedo

Visual artist Nele Azevedo works with video, installation and urban interventions, but she’s best known for her “Melting Men” interventions that she stages in cities across the globe. Azevedo carves thousands of small figures and places them on city’s monuments where audiences congregate to watch them melt. Her ice sculptures are meant to question the role of monuments in cities, but Azevedo says she’s glad her art can also “speak of urgent matters that threaten our existence on this planet.” Although she says she’s not a climate activist, in 2009 Azevedo teamed up with the World Wildlife Fund to place 1,000 of her ice figures on steps in Berlin’s Gendarmenmarkt Square to show the effects of climate change. The installation was timed to correspond with the release of the WWF’s report on Arctic warming.

Garden Cities

Garden city movement

The garden city movement is a method of urban planning that was initiated in 1898 by Sir Ebenezer Howard in the United Kingdom. Garden cities were intended to be planned, self-contained communities surrounded by "greenbelts", containing proportionate areas of residences, industry and agriculture.

Inspired by the Utopian novel Looking Backward and Henry George's work Progress and Poverty, Howard published his book To-morrow: a Peaceful Path to Real Reform in 1898 (which was reissued in 1902 as Garden Cities of To-morrow). His idealised garden city would house 32,000 people on a site of 6,000 acres (2,400 ha), planned on a concentric pattern with open spaces, public parks and six radial boulevards, 120 ft (37 m) wide, extending from the centre. The garden city would be self-sufficient and when it reached full population, another garden city would be developed nearby. Howard envisaged a cluster of several garden cities as satellites of a central city of 50,000 people, linked by road and rail.^[1]

http://en.wikipedia.org/wiki/Garden_city_movement

One answer was the garden city. Pioneered at Letchworth, then Hampstead, Bourneville and Port Sunlight, this was an early twentieth century attempt at Utopia. Rather than a mere housing development, viable economic communities were designed. Industry, public buildings and housing were carefully combined to create an environment on a human scale, where the manmade was balanced with nature. The architectural partnership of Parker and Unwin led this movement, and the following examples reveal their vision and creativity. Their legacy was profound. Architects like Le Corbusier studied and adapted their work; the New Towns of the Post-War period – Harlow, Peterlee and Milton Keynes, defer to their example; and even the modern cul-de-sac apes their forms.

http://www.architecture.com/HowWeBuiltBritain/HistoricalPeriods/TwentiethCentury/GardenCityMovement/Introduction.aspx

Interesting Lecture at http://www.beyondgreen.co.uk/library/2013/02/18/a-new-movement-in-planning/

So the plan for a city above involves a central area with 6 other things surrounding it. It is interesting formation that i have noticed in sacred geometry including the flower of life and Metatron's cube.

Maethrons Cube is visible within the flower and is kinda the basis of the structure of the garden city 

"Legend has it that Metatron the Angel formed a cube from his soul,  which was recorded in the early kabbalist scriptures.  It is interesting when we realize that so many cubes are described within the Holy Bible."