a_seed_is_a_seed_is_a_seed
Differences
This shows you the differences between two versions of the page.
Both sides previous revisionPrevious revisionNext revision | Previous revision | ||
a_seed_is_a_seed_is_a_seed [2014/01/03 03:36] – [the aim of the project] ami | a_seed_is_a_seed_is_a_seed [2016/01/13 17:48] (current) – external edit 127.0.0.1 | ||
---|---|---|---|
Line 1: | Line 1: | ||
+ | \\ | ||
+ | |||
=====a Seed is a Seed is a Seed===== | =====a Seed is a Seed is a Seed===== | ||
**Everyting is different, and everything is still the same.** | **Everyting is different, and everything is still the same.** | ||
Line 4: | Line 6: | ||
// | // | ||
{{: | {{: | ||
+ | \\ | ||
=====from seed to seedpod: about people, plants, food & traditions===== | =====from seed to seedpod: about people, plants, food & traditions===== | ||
Line 10: | Line 13: | ||
The development of the project over time (seasons) will be covered by the community itself, creating a multilayered and rich narrative which is oscillating between east and west, taking ecological but as well economical, political and social approaches into account. The observations, | The development of the project over time (seasons) will be covered by the community itself, creating a multilayered and rich narrative which is oscillating between east and west, taking ecological but as well economical, political and social approaches into account. The observations, | ||
The title (a seed is a seed is a seed) is inspired on the Continuous Present, a literary style developed by Gertrude Stein((http:// | The title (a seed is a seed is a seed) is inspired on the Continuous Present, a literary style developed by Gertrude Stein((http:// | ||
+ | \\ | ||
=====the aim of the project===== | =====the aim of the project===== | ||
Line 20: | Line 24: | ||
Thus, a herbarium records the past, providing users with documented occurrences of plants in specific locations over the time. | Thus, a herbarium records the past, providing users with documented occurrences of plants in specific locations over the time. | ||
Following the structure of the living herbarium, we attempt to uncover the geo-political control of land use, food sovereignty and social justice. This juxtaposition of communities constructs an open discursive framework to tease out a range of issues in relation to food sovereignty and food urbanism. | Following the structure of the living herbarium, we attempt to uncover the geo-political control of land use, food sovereignty and social justice. This juxtaposition of communities constructs an open discursive framework to tease out a range of issues in relation to food sovereignty and food urbanism. | ||
+ | \\ | ||
=====methodology===== | =====methodology===== | ||
- | For the local execution of the a seed is a seed is a seed-project we will build upon the experience gained through the ' | + | For the local execution of the a seed is a seed is a seed-project we will build upon the experience gained through the ' |
Politics of Change is a collection of documentaries, | Politics of Change is a collection of documentaries, | ||
We choose a total of 8 communities to work with, all of them involved in urban agriculture - 4 in Brussels and 4 in Mumbai. We select a number of plants, similar for all communities, | We choose a total of 8 communities to work with, all of them involved in urban agriculture - 4 in Brussels and 4 in Mumbai. We select a number of plants, similar for all communities, | ||
Geographical, | Geographical, | ||
- | The common every-day actions will lead into the investigation of topics as seed sovereignty, | + | The common every-day actions will lead into the investigation of topics as seed sovereignty, |
'the art of creating beneficial relationships' | 'the art of creating beneficial relationships' | ||
Permaculture merges traditional wisdom with contemporary ecological research. The idea of mimicking the patterns of | Permaculture merges traditional wisdom with contemporary ecological research. The idea of mimicking the patterns of | ||
natural systems can be applied to everything, from planting edible landscapes to the way a performance is designed, | natural systems can be applied to everything, from planting edible landscapes to the way a performance is designed, | ||
- | from organising an act of creative resistance to putting on a wild party((Field03, permaculture - | + | from organising an act of creative resistance to putting on a wild party'. |
- | Think like a forest, act like a Meadow , John Jordan - http://www.field-journal.org/ | + | |
Drawing on the merits of Politics of Change, a seed is a seed is a seed belongs as well to the section of the OpenGreens project. This project, initiated by Annemie Maes since 2009, covers different bottom up approaches for designing human environments that have the stability and diversity of natural ecosystems. It covers the integration of urban agriculture, | Drawing on the merits of Politics of Change, a seed is a seed is a seed belongs as well to the section of the OpenGreens project. This project, initiated by Annemie Maes since 2009, covers different bottom up approaches for designing human environments that have the stability and diversity of natural ecosystems. It covers the integration of urban agriculture, | ||
+ | \\ | ||
+ | |||
+ | =====style===== | ||
+ | Narratives in moving images: a further development of this project includes a number of videos of accumulated text and images related to the topic of urban agriculture. The material covers at the one hand the ongoing community actions: planting, growing, harvesting and seed-collection, | ||
+ | The synonyms for an OpenGreen are many : the experimental Hortus, the OpenAir Laboratorium, | ||
+ | the Kabinet of Wonders, the Meeting Place. | ||
+ | OPEN stands for openness, collectivity, | ||
+ | GREEN stands for nature, ecosystem, natural processes, biodiversity and biological clocks. | ||
+ | But all OpenGreens are zones where culture and nature overlap, and where locals play with a diversity of solutions | ||
+ | to make the city greener and their life more sustainable. | ||
+ | At the other hand, the gathered information is studying the role of a (selection of) plant(s) in social, biological, and physical systems and its representation in the present day through the production of an ethnobotanic multimedia installation, | ||
+ | The material spans a wide range: from medicinal qualities of plants to local traditions, from religeous uses to home- made recipes. A good example displaying multifacetted qualities, is the Holy Tulsi((Ocimum tenuiflorum - http:// | ||
+ | |||
+ | {{: | ||
+ | | ||
+ | Tulsi or Holy basil is a sacred plant in Hindu belief. | ||
+ | Hindus regard it as an earthly manifestation of the goddess Tulsi, a consort of the god Vishnu. | ||
+ | The offering of its leaves is mandatory in ritualistic worship of Vishnu and his forms like Krishna and Vithoba. | ||
+ | Many Hindus have tulsi plants growing in front of or near their home, often in special pots | ||
+ | or special small masonry structures. | ||
+ | Traditionally, | ||
+ | The marriage of Tulsi with Vishnu/ | ||
+ | This ceremony is conducted at homes and also at temples. | ||
+ | | ||
+ | Tulsi has been used for thousands of years in Ayurveda for its diverse healing properties. | ||
+ | It is mentioned in the Charaka Samhita, an ancient Ayurvedic text. | ||
+ | Tulsi is considered to be an adaptogen balancing different processes in the body, and helpful for adapting to stress. | ||
+ | Marked by its strong aroma and astringent taste, it is regarded in Ayurveda as a kind of " | ||
+ | and believed to promote longevity. | ||
+ | Working along a visual anthropology approach, we focus on visual representations as well in the in plant- as in the community realms, covering actions such as (public space) performances relating to the urban green and food topic, as well as garden-art or mass media coverage. The relationship of form to function is at the center of the project. | ||
+ | The communities in both cities are juxtaposed in a multilayered visual representation. The ecological approach, the habits and traditions are analyzed in a simple and transparant language. There is no intention to judge, but rather to show the -still- enormous diversity in a globalising world. The goal is to transmit the power generated by bottom-up and self-organized communities, | ||
+ | \\ | ||
+ | |||
+ | =====presentation format===== | ||
+ | The herbarium is the main model for organizing all information, | ||
+ | Members from the different communities will make // | ||
+ | The project-presentation will as thus have a strong digital component (websites, databases) and a very present analog component (installation, | ||
+ | The digital platform is home for all video, text and audio contributions by the communities of both cities. The documentation builds up in a dynamical way, following the timeline of the project development. | ||
+ | All community-members have access to the shared platform, and all should be encouraged to contribute regularly. The content will be categorized using keywords (plants, botanics, medicinal, traditions, recipes, ...). The public should be able to follow the community-garden development online during the development, | ||
+ | The onsite presentation during the exhibition will focus on a selection of highlights from the project, a selection of large scale prints based on the photo- and film material, a selection from the mounted herbarium-plates, | ||
+ | |||
+ | {{: | ||
+ | \\ | ||
+ | =====planning===== | ||
+ | * january-february: | ||
+ | * prepare questionnaires on food-urbanism (planning food for cities) | ||
+ | * february-march 2013: 3 week-trip to Mumbai to select garden communities, | ||
+ | * march 2013: 3 weeks working with communities in Brussels, explaining and setting up the project, plant the first seeds | ||
+ | * march => august: continuous online collaboration, | ||
+ | * march => august: designing interfaces for public websites | ||
+ | * edit all audiovisual material (video, audio, collective writings) for public access online | ||
+ | * India, 3 weeks in august-september 2013, to round up the project together, do the last interviews, finalise herbariums etc... | ||
+ | * design the publication/ | ||
+ | * select prints for public presentation | ||
+ | * presentation ready from early october 2013 | ||
+ | {{: | ||
+ | {{: | ||
+ | \\ | ||
+ | =====cv===== | ||
+ | Annemie Maes is a media artist and activist, beekeeper, herbalist and gardener. She holds master degrees in fine arts and cultural studies. Her artistic research and cultural activism projects are cited as ' | ||
+ | Annemie Maes has had a fierce interest in film and performing arts since the 1980s. In 1985, she co-founded Pix & Motion, a production house for film specialised in experimental animation film and short movies. In 1997 she was head founder of the artists initiative LookingGlass. In 2004 she was involved in the set up of Okno, and in 2005 in | ||
+ | the set-up of So-oN. In her personal art projects, Annemie Maes researches how language behaves in a networked environment – linguistically and phonetically as well as visually and physically. In recent work she also takes an interest in those communities which are able to establish durable changes in society due to their structure and exceptional philosophy. This research was collected in the long-term project Politics of Change: a series of documentaries, | ||
+ | \\ |
a_seed_is_a_seed_is_a_seed.1388720175.txt.gz · Last modified: 2016/01/13 17:46 (external edit)