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 04:01] – [presentation format] 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===== | ||
Line 33: | Line 37: | ||
from organising an act of creative resistance to putting on a wild party' | from organising an act of creative resistance to putting on a wild party' | ||
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===== | =====style===== | ||
Line 63: | Line 68: | ||
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. | 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, | 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===== | =====presentation format===== | ||
The herbarium is the main model for organizing all information, | The herbarium is the main model for organizing all information, | ||
Line 75: | Line 79: | ||
{{: | {{: | ||
+ | \\ | ||
=====planning===== | =====planning===== | ||
Line 84: | Line 89: | ||
* march => august: designing interfaces for public websites | * march => august: designing interfaces for public websites | ||
* edit all audiovisual material (video, audio, collective writings) for public access online | * edit all audiovisual material (video, audio, collective writings) for public access online | ||
- | * India, 3 weeks in august-september 2013, to round | + | * 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.1388721685.txt.gz · Last modified: 2016/01/13 17:46 (external edit)