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At the Heart of Art and Earth

In today’s technological world, human intertwinement with the rest of nature hasbeen severely diminished. In our digital culture, many people hardly have any direct experience of and sense of connection with “the real” of the natural world. The author assumes that when we want to find ways to mend this gap, arts-based environmental education (AEE) can play a meaningful role. In AEE, artmaking is regarded as itself a way of potentially gaining new understandings about our natural environment. As a reflective practitioner, the author facilitated three different AEE activities, at several times and at diverse locations. On basis of his observations, memories, written notes, audio-visual recordings and interviews with participants, teachers and informed outsiders, he interpreted the experiences both of participants and himself. To this end he employed interpretative phenomenological analysis paired with autoethnography.The artmaking activities researched here aimed to bring about a shift in focus. Participants were encouraged to approach natural phenomena not head-on, but in an indirect way. Moreover, the artmaking process aspired to heighten their awareness to the presence of their embodied self at a certain place. The research questions that the author poses in this study are: (1) What is distinctive in the process of the AEE activities that I facilitate?; (2) Which specific competencies can be identified for a facilitator of AEE activities?; and (3) Does participating in the AEE activities that I facilitate enhance the ability of participants to have a direct experience of feeling connected to the natural world?In this explorative study, the author identifies facilitated estrangement through participating in AEE as an important catalyst when aiming to evoke such instances of transformative learning. In undergoing such moments, participants grope their way in a new liminal space. Artmaking can create favorable conditions for this to happen through its defamiliarizing effect which takes participants away from merely acting according to habit (on “autopilot”). The open-ended structure of the artmaking activities contributed to the creation of a learning arena in which emergent properties could become manifest. Thus, participants could potentially experience a sense of wonder and begin to acquire new understandings – a form of knowing that the author calls “rudimentary cognition.” The research further suggests that a facilitator should be able to bear witness to and hold the space for whatever enfolds in this encounter with artistic process in AEE. He or she must walk the tightrope between control and non-interfering.The analysis of the impacts of the AEE activities that were facilitated leads the author to conclude that it is doubtful whether these in and of themselves caused participants to experience the natural environment in demonstrable new and deep ways. He asserts that most of their awareness was focused on the internal level of their own embodied presence; engagement with place, the location where the AEE activity was performed, seemed secondary. The findings show that AEE activities first and foremost help bring about the ignition and augmentation of the participants’ fascination and curiosity, centered in an increased awareness of their own body and its interactions with the natural world. The present study can be seen as a contribution to efforts of envisaging innovative forms of sustainable education that challenge the way we have distanced ourselves from the more-than-human world.

Six Theses towards the Liberation of Arts Philanthropy

Philanthropy is on the rise in the Dutch visual arts. Fat cash prizes, big-name exhibitions, large-scale renovations, spectacular public artworks, and big scandals are changing the public display of art and undermining the democratic governance of art institutions. While some have critiqued the patron's rise to power, the majority of the art world remains silent, muted by a combination of ignorance and self-censorship. How can we overcome this deadlock and start cultivating a healthy public debate?

Practicing active non-activeness in the facilitation of arts-based environmental education

Based on his personal experience, the author aims to examine some of the key competencies that he considers essential for facilitators of group activities in arts-based environmental education (AEE). In this, participants are encouraged to enhance their sensibility to the environment through artistic approaches. A case in point is a workshop called “making a little me”. Its participants sculpt – while keeping their eyes closed – a clay version of their own seated body in miniature. When guiding such a workshop, it is of critical importance, according to the author, to encourage the participants to suspend their judgments on the art works of others. The facilitator should make every effort to provide a safe environment by practicing “holding space”.

Urban Culture geeft kleur aan de leefomgeving.

Arts & Crafts, Panarchy power

Different unexpected combinations between industry, local government, private participants, educational institutes and artists resulted past year in challenging opportunities for transitions in urban and rural areas. The power of art with the perspective of the artist approaching challenges evokes a chain of thoughts and (cascading) events, affecting systems. This results not only in innovative sustainable social &industrial products but also in change of systems. Panarchy is the paradigm of transition and change (Holling). Panarchy is interaction of countless interconnected and nested complex adaptive systems. Panarchy is the paradigm where small actions can have major effects for good or worse. It is to expect the unexpected. Panarchy holds the promise of positively changing the anthropocene. By being prepared we can anticipate upon unexpected emerging phenomena which can be used as leverage for creating change. SDG-labs are the environment where we can experiment and create new resilient concepts for adaptation to the antropocene. SDG-Labs have two aspects, the first is creation of concepts for change within the lab-setting, its content; the second is the process of organisation of the lab within its environmental and societal context. The Lab itself can be regarded as a complex adaptive system while the organisation of the SDG-Lab is within panarchy, acting on multiple levels and on different scales. Both faces, content and context, of the SDG lab have their own emerging properties. For facilitation of the SDG-lab we organised workshops where creative methods based upon TRIZ ("Theory of inventive problem solving") and CPS (Creative Problem Solving) were applied. TRIZ makes use of pre-established thinking patterns and proven abstract solutions to sets of abstract problems. TRIZ provides a toolbox for solving complex (wicked) problems. TRIZ uses the heuristics of intrinsic technological and societal evolution once a concept emerges. CPS is used for application of the TRIZ toolbox, by making concrete problems abstract and abstract solutions, concrete. TRIZ and CPS makes use of analytical and design thinking. Results of these workshops are emerged pre-concepts which have the potential to create change. Contextual settings of the SDG-lab determine its rate of success. Many good ideas perish in the “valley of death”, before they can realise their full potential. The contextual setting determines acceptance and hence increases probability of idea realisation. The action of organising SDG-labs generates curiosity, enthusiasm, resistance and other emotions with people and organisations. This lead to disturbances in panarchy, which is rendered in emerging opportunities that can be seized by imaginative people. Sarasvathy and Simon (2000) coined for this approach the concept of effectuation as an entrepreneurial principle for seizing opportunities which emerge from entrepreneurial actions in contrast to causation where managerial thinking obscures seeing opportunities. Effectuation is actor dependent where given specific means, choice of effect is driven by characteristics of the actor and his or her ability to discover and use contingencies. This approach is also recognised in innovation theory where the concept of “exaptation” is explored. Exaptation is the attribution of a new functionality to an existing artefact (or organization, scientific achievement, or

Uncovering the potential of urban culture for creative placemaking.

Purpose: The authors provide a personal insight into how they see the potential of urban culture as a vehicle for creative placemaking. The purpose of this study is to highlight the opportunities for the tourism industry to embrace this global youth culture now that one of its pillars, breakdance, is on the brink of becoming an Olympic discipline in 2024, thus nudging this youth culture from underground to mainstream. Design/methodology/approach: The authors interviewed two Dutch pioneers in the field of urban culture: Tyrone van der Meer, founder of The Notorious IBE (IBE), an international breaking event, and Angelo Martinus, founder of the urban scene in Eindhoven and initiator of EMOVES, an urban culture and sports event. Findings: The authors illustrate the added value of urban culture to creative placemaking by addressing the initiatives of previously mentioned Dutch pioneers. Their urban culture events on Dutch soil, yearly attract thousands of participants and visitors from the urban scene, covering over 40 nationalities, to the South of The Netherlands. Originality/value: This study provides a glimpse into a global youth culture that is primarily invisible to the tourism industry and a foresight in how the tourism industry and other stakeholders (e.g. policy makers, city marketeers, tourism managers and event organisers) can pick up on this evolving trend. The study is meant as a wake-up call.