I am a producer and designer currently based in Los Angeles and am the Executive Director of The Center for Sustainable Practice in the Arts (CSPA). As a producer I have worked on the premier of Richard Forman’s What to Wear... [more]
I am a producer and designer currently based in Los Angeles and am the Executive Director of The Center for Sustainable Practice in the Arts (CSPA). As a producer I have worked on the premier of Richard Forman’s What to Wear at REDCAT, toured Torry Bend’s adaptation of Aimee Bender’s Loser to Prague and Marsian Delillis’ Growing up Linda to the Edinburgh Fringe Festival. I also produced week 42 of Suzan-Lori Parks’ 365 days/365 Plays for the Project’s Texas Network. I have also worked with The Public Theater, The McCarter Theater Center, the Williamstown Theatre Festival and served on the staff of Stages Repertory Theatre in Houston and The Will Geer Theatricum Botancium in Los Angels. I teach Sustainable Theater and Management Technology courses at the California Institute of the Arts and has been featured in American Theater, DramaBiz, and The Design Magazine and has spoken at The Central School for Speech and Drama, St. Louis University and the Indy Convergence. I studied architecture and art history at the Rice University in Houston, Texas, but has since come to work in live performance and installation art. After working with companies in Houston, New York City and Los Angeles he came to the California Institute of the Arts, where I received dual MFAs in Lighting Design and Producing
In 1990 there was a series of books on 50 things you could do to save the earth. The books went by the wayside until these issues of ecological sustainability and environmentalism came back to the forefront of public discourse recently. Who was not saddened by the image of the polar bear treading water in An Inconvenient Truth?About the same time as those books came out, there was another one published. That book is Greening up our Houses: A guide to an ecologically sustainable theatre by Thomas Fried and Theresa May. Though there is a significant amount of idealism, it is for the most part a guide to where to get materials, used in production, which are not as bad. It is now sadly outdated. I haven’t verified all of the included businesses, but many are gone, moved or changed direction. This book was publish in the early nineties environmental passion that produced the forgotten 50 things books, the issue fell to the backburner and a business needs to consider it’s economic sustainability first. This is before the Internet, left in a static state; the information itself was not sustainable.
With theater, while you might have the best intentions, the medium is inherently unsustainable. There are thousands of products that make building homes in a sustainable way possible. But houses are built to last; your A Doll’s House is not. Unless you plan to tour, or remount repeatedly, you’re not going to keep it. Parts might be in good shape, and useful for the future, but finding a space to perform is hard and expensive enough without having to store old shows. And if you are going to throw things away, you aren’t going to buy the more expensive green material. However, there is no more away.
There is another book, not theater specific, but essential for the ecologically minded, entitled Cradle to Cradle; Remaking the way we make things by William McDonough and Michael Braungart. The authors work together to help redesign the way things like textiles and chairs are made and eliminate the bad things. They are against things that are less bad, because less bad is still bad. But, redesigning the way textiles are manufactured is different than rethinking our system of theater production. We don’t make the same thing twice; and not in mass amounts.
While our constant creation is what makes theater at odds with the wider sustainability movement, it also gives us repeated opportunities to remake the way we make things. There is a growing movement afoot. With new restrictions on incandescent lamps and the marketing potential of green technology you already see companies like Electronic Theater Controls and Chauvet making moves in that direction. Portland Center Stage has a LEED Platinum facility, New York Theater Workshop is building a shop to LEED certification benchmarks and the Center Theater Group recently pledge resources to find ways to clean house. There are a growing number of us, exploiting electronic distribution to help get more current information out to more people and we need your help.
There are things you can do now to create a sustainable theater. Tap into the community around you to share and reuse materials; you can keep trash costs low and combine efforts to afford greener materials. Keep you electrics in good shape to maximize efficiency. Budget your energy use into your show; maybe you can save enough money to update your inventory. Think smaller; 100 full seats are the same or better than 200 seats half-empty . Electronically distribute scripts, schedules, contact sheets, paper work, marketing materials and so on. Collect better marketing information and stop printing postcards, brochures and flyers that get mailed to incorrect addresses or people who aren’t coming. And this is only the tip of the (remaining) iceberg.
Wisconsin is our home. As artists we realize that it is also a unique place in the world, a rich vein of stories that have things to teach us about life, love, family, and our sense of place.
As an artist collective, Wisconsin Story Project aims to involve the residents of our state in the gathering and sharing of its stories in creative, lasting, and sustainable ways.
What’s your story?
PUBLIC SMOG is a park in the atmosphere that fluctuates in location and scale. The park is constructed through financial, legal, or political activities that open it for public use.
Activities to create Public Smog have included purchasing and retiring emission offsets in regulated emissions markets, making them inaccessible to polluting industries.
When Public Smog is built through this process, it exists in the unfixed public airspace above the region where offsets are purchased and withheld from use. The park’s size varies, reflecting the amount of emissions allowances purchased and the length of contract, compounded by seasonal fluctuations in air quality.
Other activities to create Public Smog impact the size, location, and duration of the park. These activities include an attempt to submit Earth’s atmosphere for inscription on UNESCO ’s World Heritage List.
Any state that has signed the World Heritage Convention and wants to support a World Heritage submission to the Tentative List - acting as State Party in presenting a nomination file on behalf of Earth’s atmosphere - should contact this website.
PUBLIC SMOG is subject to prevailing winds, and the long-range transport of aerosols and gases.
The Environmental Health Clinic at NYU is a clinic and lab, modeled on other health clinics at universities. However the project approaches health from an understanding of its dependence on external local environments; rather than on the internal biology and genetic predispositions of an individual.
The clinic works like this: you make an appointment, just like you would at a traditional health clinic, to talk about your particular environmental health concerns. What differs is that you walk out with a prescription not for pharmaceuticals but for actions: local data collection and urban interventions directed at understanding and improving your environmental health; plus referrals, not to medical specialists but to specific art, design and participatory projects, local environmental organizations and local government or civil society groups: organizations that can use the data and actions prescribed as legitimate forms of participation to promote social change.
As with traditional healthcare, the responsibility ultimately is managed by you. Attending the Environmental Health Clinic - and following up - is entirely voluntary. You decide whether or not to address an issue; you formulate the concerns, ask the questions, and come to the clinic only if you are interested in addressing these concerns. You draw on the clinic’s resources and expertise to help develop a reasonable course of action, which you can follow through or not. You are the one driving, as with traditional health care where you decide whether to smoke, exercise, or fill the prescription: you bear the costs and benefits of changing environmental health.
This inversion of health as an external phenomenon is not just a thought-experiment, but a growing concern. Take Pediatricians, for example: trained to diagnose and treat bacterial and viral disease, monitor for malnutrition and administer vaccinations. Pediatricians actually spend most of their office hours treating - according to Landrigan and the National Academies report - Asthma; Developmental Delays and Disorders (including Autism Spectrum); the increased rate of childhood cancers (an alarming 400-fold increase in some rare cancers); and increasingly now, obesity. All the conditions pediatricians spend their time on are ones in which the environment is implicated, yet this is not represented in medical curricula, or at least not proportionately to the time medical professionals spend, addressing these issues professionally.
Located in the Sky Bar Building at 3400 Montrose, SKYDIVE is an artist run exhibition venue unique to Houston. Its mission is to broaden the spectrum of the dialogue in Houston by bringing in artists to generate work for the 12 x 14' exhibition space, as well as in any of the satellite spaces of 3400 Montrose. The aim of SKYDIVE is to host a range of art practices that push the limits of their material forms, including non-traditional methods of sculpture, installation, video, performance, and works that engage the viewer through participation, as well as text and web-based projects.
SKYDIVE utilizes an open and collaborative model for producing its programming. A group of artists, curators, and other professionals function as Advisors to help create shows, invite artists, and collaborate in the mission and programming of the space. Participants in SKYDIVE will be invited to Houston for a sustained number of days, previous to the exhibition to make their work, interact with the Houston community and see the sites in Houston and surrounding areas.
Since 1993 and on invitation from different art institutions, the artist group WochenKlausur develops concrete proposals aimed at small, but nevertheless effective improvements to socio-political deficiencies. Proceeding even further and invariably translating these proposals into action, artistic creativity is no longer seen as a formal act but as an intervention into society.
...a national campaign that uses a new form of green spoken story telling — one that represents the diverse and changing perspectives on what it means to be environmentally just.
This campaign seeks to inspire people to take the value they see in their LIFE, and establish it powerfully as a new voice to define what it means to be logistically and psychologically included in the new, clean and green economies.
Life is worth living, and Living is Green.
Lisa D'Amour is a multidisciplinary performance maker who lives in Brooklyn and New Orleans. Recent projects include SWIMMING CITIES OF SWITCHBACK SEA (a performance for seven handcrafted boats designed by SWOON); FLIGHT (a collaborative multidisciplinary performance designed by sculptor Jeff Becker and produced by ArtSpot Productions in New Orleans); BIRD EYE BLUE PRINT (created with her close collaborator, Katie Pearl, for a vacant office in the World Financial Center, NYC); STANLEY (2006) (created with her brother Todd D'Amour and videographer Tara Webb at HERE Arts Center, NYC); HIDE TOWN (a play written for Infernal Bridegroom Productions, Houston supported by an NEA/TCG Playwrights' Residency) and productions of her play ANNA BELLA EEMA in Montreal (Theater L'Opsis) and San Francisco (Crowded Fire Theater). Her work has been supported by the Jerome Foundation, the McKnight Foundation, NYSCA, NEA/TCG and the Louisiana and Minnesota State Arts Boards. Lisa won a Village Voice OBIE Award along with Katie Pearl and Kathy Randels for NITA AND ZITA, produced by ArtSpot Productions. She is the 2008 recipient of the Alpert Award in the Arts in Theater. Lisa is a core member of the Playwrights' Center and a recent alum of New Dramatists. She has been a visiting guest artist at UCSB, Dartmouth College, Smith College and the Iowa Playwrights' Workshop. She was a visiting Assistant Professor of Playwriting at UT Austin in 2003, and will be a Visiting Lecturer in Playwriting at Brown University in 2008-09.
Fritz Haeg works between his art, architecture and design practice Fritz Haeg Studio (though the currently preferred clients are animals), the happenings and gatherings of Sundown Salon (now Sundown Schoolhouse), the ecology initiatives of Gardenlab (including Edible Estates), and other various combinations of building, curating, dancing, designing, exhibiting, gardening, organizing, talking, teaching, and writing. His home base since 2001 is a geodesic dome in the hills of Los Angeles.
Tracking Transience is a website that Hasan Elahi created to have himself removed from the terrorist watch list by giving a constant track of where he is.He was placed on this list on june 19th 2002 after returning from overseas when he arived at the detriot airport he was detained by INS and Investigated by the FBI The website receives hits from All branches of government including the eop*Executive Office of the President* Itself not to mention numerous .mil websites The website is powerd by google and uses Google earth to Show His Position
The TEAM is the Theatre of the Emerging American Moment. We are a New York City-based theatre company dedicated to dissecting and celebrating the experience of living in America today.
We devise plays by examining a wealth of material, ranging from existing texts (fiction, theory, drama, etc.) to images taken from visual art and film, and then combining that research with original writing and staging. The work combines aggressive athleticism with delicate examinations of the social and political factors shaping our world today, keeping the brain, eyes, and heart of the audience constantly stimulated.
At times a rock concert, at times a sporting event, the TEAM has been described as avant-garde meets MTV. Ours is a theatre that does not deny its youth. Our productions are relentless out of necessity, multi-tasking between hyper-intellectual commentaries and exuberant physicality; we know of no other way to behave. With sweat and humor, the TEAM's plays uphold the fragility and poeticism of the human body and spirit.