tag:blogger.com,1999:blog-44911422264868811392024-03-13T06:14:46.768-07:00Axel Ewald - recent projects, discoveries & reflectionsAxel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.comBlogger25125tag:blogger.com,1999:blog-4491142226486881139.post-82347501458264170832016-04-29T12:19:00.001-07:002016-04-29T12:19:58.490-07:00
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<a href="https://4.bp.blogspot.com/-ug8hZ3NiVPU/VyOhOv2mnuI/AAAAAAAAFJI/cn9JQVb_g_guPJTNYztwsycWCEUk81dvgCLcB/s1600/IMG_2755.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://4.bp.blogspot.com/-ug8hZ3NiVPU/VyOhOv2mnuI/AAAAAAAAFJI/cn9JQVb_g_guPJTNYztwsycWCEUk81dvgCLcB/s320/IMG_2755.jpg" width="320" /></a>CONSENSUS DESIGN PROCESS WITH COLLEGE OF TEACHERS</h2>
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<span style="font-family: inherit;"><br /><span class="s1">a four-part observation and design workshop</span><span class="s1"><br /></span></span></h3>
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<span style="font-family: inherit;"><span class="s1">at Rimon School, Pardes Hana, Israel, November / December 2015</span></span></h3>
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<span class="s1">The Rimon Waldorf School was founded 8 years ago. After having been located in a different site for the first five years of its existence, the school was offered part of an agricultural school as its new premises. After the first three years of settling into the new location, the college of teachers felt that the time had come to engage in a more conscious effort of taking hold of the school environment and invited me to help them with this venture. I suggested a series of four ‘Consensus Design’</span><span class="s2"><sup></sup></span><span class="s1"> (1) workshops, which took place on four afternoons during November / December 2015. They were attended by a group of some 20 people, including most of the teachers, technical and maintenance staff and some engaged parents.</span></div>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-Vq7JVCMiOz8/VyOhE33tSRI/AAAAAAAAFI8/-m9Au08GqeEO3GD8wqP7jgN8Kni6PSCgQCKgB/s1600/IMG_2574.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://4.bp.blogspot.com/-Vq7JVCMiOz8/VyOhE33tSRI/AAAAAAAAFI8/-m9Au08GqeEO3GD8wqP7jgN8Kni6PSCgQCKgB/s640/IMG_2574.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rimon School - entrance gate</td></tr>
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<span class="s1"><b>INTRODUCTION</b></span></div>
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<span class="s1"><b>Aims of the workshops:</b></span></div>
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<span class="s1">At the outset of the workshop I outlined the following aims:</span></div>
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<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">looking afresh at the familiar school environment </span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">practicing collective observation skills, sharing, vision-making and creating together</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">penetrating the school environment with more consciousness and enhancing the aesthetic feeling of the place</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">looking at the whole campus as a totality in order to understand the potential of the site for future development</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">creating a master plan so that future initiatives can make their contributions in harmony with a commonly agreed overall picture</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">identify areas which need immediate attention and suggest possible solutions</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">by embarking on this collective venture of shaping the outer form of the educational initiative - touching upon the question of the inner identity - the ‘who are we?’ - of the initiative</span></li>
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<span class="s1"><b>The preconditions:</b></span></div>
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<span class="s1">Doing this delicate process together requires from each participant an effort to assume a particular working attitude. The main features of this attitude are:</span></div>
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<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">openness to look at the familiar environment in a unbiased fashion - as it were looking with the eyes of a complete stranger</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">listening to the contributions of other participants with openness and without judgement, based on the understanding that the voice of each and every person is important</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">patience in letting our observations settle in, until a more complete picture arises; avoiding premature judgements and conclusions</span></li>
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<span class="s1"><b>FIRST SESSION</b></span></div>
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<span class="s1"><b>First practice: ‘First Impression and Gestural Sketch’</b></span></div>
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<span class="s1">Participants were invited to join - as ‘casual first time visitors’ - a guided walk, leading from the outer perimeter of the school, through the entrance gate and following the approach road, into the school yard, finally arriving at the main (lower class) building. On the walk participants were asked to pay close attention to whatever sights meet the eye on the way.</span></div>
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<span class="s1">After returning to the classroom, where the plenum sessions were housed, participants was asked to ‘summarise’ the impressions and experiences from the walk in a quick ‘gestural sketch’, which could be a free line, a colour gesture or a summary representation of a characteristic image.</span></div>
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<span class="s1">These sketches provided a kind of patchwork of images betraying the complexity of the given situation. This also came to expression in a short verbal sharing of first impressions.</span></div>
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<span class="s1"><b>Second practice: creating an ‘inventory map’</b></span></div>
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<span class="s1">The objective of this practice was to make an in-depth survey of the sense-perceptible inventory of the school, including visual features like borders, topography, buildings, paths, vegetation, play-equipment, agricultural and other structures, light and shade, important vistas as well as other striking sense impressions like smells and sounds. For this purpose the site was divided into five segments which were to be studied by five groups of participants. All the observations were to be entered into a outline map (not necessarily on scale).</span></div>
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<span class="s1">The results of this survey were shared in the plenum and a summary map of the whole site, containing the most important features and their spatial relationship, was created on the blackboard. </span></div>
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<span class="s1">As part of this summary participants also shared their observations of significant stations on the site. This included recurring visual forms like fences and walls, border situations and transitions and situations where a confusion of direction or spatial relationship was experienced.</span></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-toct85X9fvI/VyOhOubh3ZI/AAAAAAAAFJU/f5zKY2XdG7ws7DsbescTxfQ-RTbYKeIqQCKgB/s1600/IMG_2694.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://1.bp.blogspot.com/-toct85X9fvI/VyOhOubh3ZI/AAAAAAAAFJU/f5zKY2XdG7ws7DsbescTxfQ-RTbYKeIqQCKgB/s400/IMG_2694.jpg" width="396" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rimon School site - blackboard drawing based on participants' observation</td></tr>
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<span class="s1"><b>SECOND SESSION</b></span></div>
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<span class="s1"><b>First practice: ‘Snapshot Motifs’;</b></span></div>
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<span class="s1">As a means of summarising their first impressions, participants were asked to verbally describe a ‘snapshot’ image, which for them represented a characteristic ‘motif’ of the school environment - something which they perhaps noticed for the first time, or which simply ‘got stuck’ in their mind. I simultaneously translated these verbal images into a visual form on the blackboard: </span></div>
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<span class="s1"><b>Second practice: ‘Activity Maps’</b></span></div>
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<span class="s1">As a preparation for this practice participants had been asked at the end of the previous session to observe how the skeletal spatial map we had created becomes filled with life, movement and activity in the course of the week. These observations included:</span></div>
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<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">rest areas and meeting places</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">areas of free play</span></li>
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<span class="s1">Participants again split up into different groups - according to the designated areas. The various activities / movements were included as coloured lines or as symbols (according to an agreed code) into photocopies of the site map. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">activity symbols</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">'activity map' of school site</td></tr>
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<span class="s1">Observation and sharing:</span></div>
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<span class="s1">As a result of this practice a number of problematic issues were identified, including activities which are lacking a designated space or activities which are taking place in unsuitable spaces.</span></div>
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<span class="s1"><b>Third Practice: ‘Mood Maps’:</b></span></div>
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<span class="s1">In this practice we proceeded to giving expression to individual soul responses to different part of the site. I introduced the use of colour as a means of characterising experienceable qualities like ‘open/closed’, ‘active/passive’, ‘warm/cold’. </span></div>
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<span class="s1">Participants would work in couples and create a ‘mood map’ of a chosen area, using colours to represent the different ‘mood’ or ‘atmosphere’ of a specific area and how this changes from place to place. At the same time colours could be given form in order to characterise the gesture of a place: for instance a ‘protective’ or ‘focussing’ gesture.</span></div>
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<span class="s1">Here are some of participants’ ‘mood maps’:</span></div>
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<span class="s1">Observation and evaluation of the results:</span></div>
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<span class="s1">Results of this practice were quite individual and different from each other. Nevertheless some common features could be identified, especially concerning areas which are experienced as problematic or lacking definition. These included the entrance area</span></div>
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<span class="s1"><b>Fourth Practice: ‘Defining Potential and Shortcomings'</b></span></div>
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<span class="s1">As a conclusion of this session and a summary of the whole observation process the attempt was made to highlight, on the one side, qualities which are considered assets or which are seen as constituting a valuable potential of the site; and on the other side to identify shortcomings or aspects which are experienced as compromising the realisation of the potential or jeopardising a harmonious functioning of the school organism. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">potential and shortcomings<br />blackboard drawing<br /><br /> </td></tr>
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<span class="s1"><b>potential: (selection) shortcomings:</b></span></div>
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<span class="s1">nice feeling in classrooms no relation between inside and outside</span></div>
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<span class="s1">lots of open spaces feeling of emptiness</span></div>
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<span class="s1">feeling of wild, untamed area lack of order, definition and relationship</span></div>
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pleasant walk through eucalyptus avenue entrance to school yard not inviting</div>
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<span class="s1"><b>THIRD SESSION</b></span></div>
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<span class="s1">In this session the transition was made from the exploration of the given state of the site to make the first steps towards changing / modifying / improving the site in a guided design process. As a first step we tried to engender and identify a shared will impulse for change.</span></div>
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<span class="s1"><b>First practice: ‘Identifying individual will impulses’:</b></span></div>
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<span class="s1">Each person in the circle was asked to share his/her will for change by identifying one most important aspect or detail that he/she wishes to change and why this is seen as important in the pedagogical context.</span></div>
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<span class="s1">All these will impulses were written on the blackboard. After considering these individual impulses it transpired that they can be ordered into four different categories:</span></div>
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<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">changes concerning the overall future vision of the school as a total organism</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">changes concerning the flow of movement, in particular touching upon the way into the school</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">changes concerning the organisation of space, the creation of more protection, shelter, of areas of quietness and the articulation of larger spaces into smaller units</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">changes concerning the design and definition of existing and new areas of (outdoor) activity</span></li>
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<span class="s1">These categories were visually highlighted with different colours on the blackboard.</span></div>
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<span class="s1">This gave rise of the creation of four groups which, in the following practice, would take on these four aspects of the design process.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">list of individual will impulses for change - blackboard drawing</td></tr>
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<span class="s1"><b>Second practice: ‘Dreaming the future’</b></span></div>
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<span class="s1">Participants split up into four groups, each of which was given a mandate to begin ‘dreaming’ the future:</span></div>
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<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">vision - creating a number of options for future use of the whole site</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">movement - reconsidering the movement of people into the site</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">spatial organisation - creating sheltered and varied outdoor spaces</span></li>
<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">activity - locating and designing outdoor activity spaces and their relationship </span></li>
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<span class="s1">As a first step of the design process, groups would create ‘modified mood maps’, which indicate the change of mood and the re/definition of spatial gestures. This would be achieved primarily through the use of colour, while any definition of concrete forms should be avoided at this stage.</span></div>
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<span class="s1"><b>Sharing and reflection:</b></span></div>
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<a href="https://4.bp.blogspot.com/-CBONr9TSwMw/VyOk7xlnPkI/AAAAAAAAFKc/P8FmWacgZe8ZxEl0mrBZ9pi5B9ItWwvoACKgB/s1600/IMG_2770.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-CBONr9TSwMw/VyOk7xlnPkI/AAAAAAAAFKc/P8FmWacgZe8ZxEl0mrBZ9pi5B9ItWwvoACKgB/s320/IMG_2770.jpg" width="213" /></a><span class="s1">The third session concluded with a sharing of the four groups’ ‘dreams’. Each group chose a representative who presented the maps as well as the group’s suggestions for change.</span></div>
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<span class="s1">Here are some of the visual representations of the working groups: </span></div>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-6-YR-4KAqPQ/VyOoFsqvVkI/AAAAAAAAFKg/WYkC2V1FGJU3FuoXie3jIY_8_4rhwb_xwCLcB/s1600/IMG_2766.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://2.bp.blogspot.com/-6-YR-4KAqPQ/VyOoFsqvVkI/AAAAAAAAFKg/WYkC2V1FGJU3FuoXie3jIY_8_4rhwb_xwCLcB/s320/IMG_2766.jpg" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">map of 'movement' working group</td></tr>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-0rQ_sM4ZSB8/VyOoGzIKGGI/AAAAAAAAFKk/IPU9O2cnW4UEWMrtg6LCp39AuTGp9hTDQCLcB/s1600/IMG_2768.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://3.bp.blogspot.com/-0rQ_sM4ZSB8/VyOoGzIKGGI/AAAAAAAAFKk/IPU9O2cnW4UEWMrtg6LCp39AuTGp9hTDQCLcB/s320/IMG_2768.jpg" width="221" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">map of 'spatial organisation' group</td></tr>
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<span class="s1"><b>FOURTH SESSION</b></span></div>
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<span class="s1">The fourth and final session started with a summary of the whole process, which proceeded in an arch-like fashion, rising from the survey of sense-perceptible facts on the ground to identifying both the potential and the impeding factors of the site. This gave rise to a formulation of the individual/collective will for change which then gradually descended towards embodiment on the ground: </span></div>
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<span class="s1"><b>First practice - ‘Consolidating Collective Will’:</b></span></div>
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<span class="s1">In order to remind ourselves of the individual will impulses which were shared in the circle and in order to consolidate this into a share, collective will, participants were asked to recollect and repeat one of the will impulses and how this has been reflected in the initial ‘dreamt’ suggestions presented by the four working groups.</span></div>
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Taking further the initial ‘dream-like’ suggestions for change, participants split up into three groups in order to consolidate the two-dimensional proposals by giving them three-dimensional form in relationship to the given three-dimensional space. Axel had prepared two scale-models of different parts of the campus, which provided two of the groups with a basis for modelling onto, using a variety of materials like plasticine, wooden sticks, coloured sand, coloured steel wool, in order to suggest three-dimensional structures, paths, trees and vegetation. The first of the two groups took upon itself to redesign the whole entrance area to the main campus, while the second dealt with the outdoor areas of the lower and medium classes. </div>
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<span class="s1">The third group was given the task to consolidate a number of alternative proposals for an extended use of the whole campus, which could accommodate both parallel classes for the lower school, kindergarten and/or high school classes. </span></div>
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<span class="s1">Eventually the three groups presented their collective creations. After each presentation the other participants were asked to give their positive feedback by pointing out what they appreciated in the group’s creation.</span></div>
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<span class="s1"><b>Summary and reflection</b></span></div>
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<span class="s1">The workshop project concluded with a reflective summary session, in which participants were invited to share experiences and comment on the workshop process and results. Here are some of their comments:</span></div>
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<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">“this was the first time that I really became aware of the school buildings and the school environment.”</span></li>
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<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">“it was amazing, how much I could identify with the perceptions and proposals of other members of staff, even if, at first sight, they seemed to be different from mine.”</span></li>
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<li class="li6" style="text-align: justify;"><span class="s3"></span><span class="s1">“we have had many workshops with all kind of learned people who have shared their interesting knowledge with us. But we have not have had anything like this workshop, where you did not tell us anything of what you think about our school environment. Instead, you made us discover our school and develop and share our own ideas about how we would like to improve the physical appearance of our educational institution.”</span></li>
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<span class="s1"><b>References</b>:</span></div>
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<span class="s1">(1)<span class="Apple-tab-span"> </span>‘Consensus Design’ was developed </span>by ecological architect Christopher Day as a socially inclusive design process on the basis of Goethean phenomenology. Christopher Day had become acquainted with Goethe’s approach while working with Dr. Margaret Colquhoun and myself on the architectural design of the Pishwanton Wood Project in East Lothian, Scotland.</blockquote>
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Day, Christopher (2003): <i>Consensus Design - socially inclusive process,</i> Architectural Press, Oxford.</blockquote>
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-75467088752121757222016-04-27T13:41:00.001-07:002016-04-29T12:23:15.948-07:00<h2>
<a href="http://www.em-is.org/wp-content/uploads/2014/11/IMG_41871.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.em-is.org/wp-content/uploads/2014/11/IMG_41871.jpg" height="213" width="320" /></a><span class="s1"><span style="font-size: x-large;">THE EASTERN MEDITERRANEAN SCHOOL</span></span></h2>
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<span style="font-size: large;">young people from all over the world studying together for a more sustainable and peaceful world</span></h3>
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<br />EMIS</h3>
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Since October 2015 I have been involved with an exciting new initiative - the Eastern Mediterranean International School (EMIS) - which was initiated in 2014 in the 'Green Village' near Tel Aviv. More than 80 young people aged between 16 - 19 study together for their international Baccalaureate. Of the student body, 20% of the pupils are Jewish Israelis, 20% are Palestinians (from Israel or from the occupied territories) and the remaining 60% come from all over the world. Apart from the top level academic studies, students take part in and initiate an amazing range of artistic, social, ecological and political activities.<br />
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TEACHING ART AT EMIS</h3>
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I was invited to teach a number of artistic subjects - sculpture and art history - as part of the school's extra-curricular activities. My sculpture class was attended by some twelve enthusiastic students, from Palestine, Israel, Turkey, Ecuador, China, Albania - to name just a few of their home countries.<br />
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<span class="s1"></span>In one of our sessions we did a group exercise of modelling a metamorphic sequence, which the students found very challenging and thought provoking.<br />
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<b>FAYED PRESENTS HIS FINAL PROJECT</b></h3>
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I made a special connection to one of the sculpture class participants, Fayed from Ramalla. During dinner breaks, we had many conversations about art, and especially sculpture and architecture (Fayed is going to study architecture in the USA). In March 2016 Fayed presented his final art project that deals with his experience of being a minority Christian in a majority Muslim society.</div>
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<span class="s1">PROPOSAL FOR A GREEN CAMPUS</span></h3>
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<span class="s1"></span>Following my first meeting with EMIS through giving my art classes and ongoing conversations with the school's headmaster, Tamar Haviv, and other staff members, the idea of a long-term ecological, artistic and educational project was born: "The EMIS Green Campus". I teamed up with an ecology student and permaculture practitioner, Ruth Boasson, and we wrote up a proposal for how, with the ongoing involvement of the students, the school's site could be transformed into an inspiring, artistically designed, sustainable and constantly evolving campus.</div>
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Here is a link to the <a href="https://issuu.com/axelewald/docs/green_campus_project/1?e=0">full project brochure</a></div>
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-5078780980941539042016-04-27T12:11:00.000-07:002016-04-29T12:24:58.893-07:00<div class="separator" style="clear: both; text-align: center;">
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<span class="s1"><span style="font-size: x-large;">ENCOUNTERING TREES - </span></span></h2>
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<span class="s1"><span style="font-size: x-large;">An Introduction to Goethean Phenomenology and its Integration with Art</span></span></h2>
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<span style="font-family: inherit; font-size: large; font-weight: normal;">One-day workshop at Schumacher College</span></h2>
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<span class="s1"><span style="font-family: inherit; font-size: large; font-weight: normal;">Totnes, Devon, UK, 17.9.2015</span></span></h3>
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<span style="font-family: inherit;">The workshop was attended by 16 students of the Holistic Science MA program at Schumacher College and two of their tutors, D. Philip Franses and Dr. Stephen Harding. <span style="line-height: 23.8px;">Schumacher College is an international centre for nature-based education, personal transformation and collective action</span></span></div>
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<span style="font-family: inherit;">(website: <a href="https://www.schumachercollege.org.uk/">https://www.schumachercollege.org.uk</a>)</span></div>
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<span class="s1">Morning Session</span></h3>
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<span class="s1">The workshop focussed on the tree as a wholeness. It was stressed that in order to approach the wholeness of a tree we shall attempt to utilise the wholeness of our own being’s full potential. J.W. von Goethe stressed that </span></div>
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<span class="s1">“<i>we should not exclude any human faculties from our scientific endeavours: the depth of intuitive feeling, reliable and mindful observation, mathematical depth, physical exactness, exalted power of reason, penetrating intellect, mobile and yearning imagination, affectionate pleasure of the sensuous …</i>” (Goethe, 1995).</span></div>
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<span class="s1">Goethe also stressed the overriding importance of relationships, and, above all, the relationship between the observer and the observed object. This workshop explored a number of different levels or modes of relationships.</span></div>
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<br /><br /><b>FIRST PRACTICE: TESTING THE 'OUTSIDE OBSERVER MODE'</b><b><br /></b></h3>
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<span class="s1">For the first practice we chose a mature Sycamore tree as our object of observation. Participants were asked to scrutinise the tree from a distance. This allowed them to perceive the tree as an object in space, displaying a certain overall shape and being characterised by specific proportions. Following a few minutes of observation, participants were asked to draw the tree as a ‘negative’ shape, as it were, formed from the outside. The drawing was to be executed in charcoal, starting from the periphery and continuing by darkening the ‘empty’ space around the tree, until the dark charcoal surface meets the outer contour of the tree, which is left as a white space of paper. No lines were to be used. The whole process consisted in a continuous process of ‘closing in’ upon the tree, until its shape became clearly defined from without.</span></div>
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<span class="s1">Participants found this a challenging practice because it demanded from them to work in a ‘negative’ mode. On the other hand it allowed them to constantly be concerned with ‘the whole’ of the tree shape. This approach also helped them to make sure that the whole tree fits onto the page. The process facilitated entering a gradual shaping process, which all the time allowed for adjustments. Participants also commented that this way of drawing is like bringing the sense of touch into the act of seeing, as it were, touching the shape of the tree from the outside. This led us into a short consideration of the difference between the senses of sight and touch. Both the experience of executing this drawing as well as the observation of the results gave an experience of closing in on the form, as it were, bringing it to an end. </span></div>
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<span class="s1">In the second practice participants were asked to slowly walk towards the same tree they had drawn, constantly keeping the centre of the tree in focus. As they were approaching the tree, they were asked to pay attention to any change of perception and any change in their relationship to the tree, in particular the passing of any experienceable borders or ‘thresholds’. When coming very close to the tree they would start extending their gaze both upwards and downwards, paying attention to the trunk’s branching-off as well as its rooting in the ground below. Eventually they should touch the tree, using their sense of touch and any other sense in order to explore the width and texture of trunk as well as any other features. Participants were then asked to turn around, lean with their back against the tree and face the surrounding landscape - facing, as it were, the world ‘with the eyes of the tree’. While remaining in quiet contemplation for a little while, they would pay attention to any feelings or images which might arise.</span></div>
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<span class="s1">Participants commented, that the process of this practice was like turning inside-out. Instead of looking at the tree as an object from the outside, they gradually entered a mode of identification, becoming one with the tree. For some participants this was a very emotional experience. One person experienced the tree as an “old, wise sage”. Others spoke about their connection with the tree: “the tree gave me support, like a backbone” or they related how they experienced ‘tree-ness’ in themselves: “I am like a tree, I can feel my own roots in the earth”. I summarised this practice by pointing out that the transition between our two initial practices essentially represents the transition from Cartesian, ‘objective’ science to participatory Goethean science. Both are complementing each other by supplementing the objective, ‘detached’ observation of conventional science with the element of participation in and identification with the phenomenon. The intensified inner activity of the observer transforms the phenomenon from an ‘object’ into a living entity. The living entity of the tree can remind us of how we ourselves are rooted in the earth and how we grow. A tree may become a ‘friend’, a ‘teacher’ or even a ‘wise sage’.</span></blockquote>
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<span class="s1">While sitting below the canopy of the tree, participants were asked to again draw the tree, but this time not from observation of its outer shape. Rather, the drawing was to be created from memorising the inner experience of meeting the tree in close encounter, from the experience of how it has manifested itself in space. Participants were encouraged to close their eyes and imagine the tree growing, from its roots down in the earth, through its mighty trunk into its unfolding branches and foliage. Then, using any drawing tool and technique, people would put this growing movement of the tree ‘in becoming’ on paper.</span></div>
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<span class="s1">Results of this practice were quite individual and we spent some time observing them. We attempted to identify the differences between different techniques and found that each technique points to a different underlying attitude.</span></div>
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<span class="s1">For this practice we chose a mature chestnut tree on the campus. We started by making some general observations about the shape of the tree and how, in its three-dimensionality, it relates to the environment. Then participants were asked to choose one of the lower branches accessible at eye level. They would attempt a quick line-drawing of the outermost branch section, including some leaves and the end-bud. This sketch was to be made by intensely looking at the branch and following its every articulation, while at the same time tracing these articulations with a continuous line drawing on paper. During the entire drawing process people were not supposed to look at their drawing. </span></div>
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<span class="s1">Participants found this approach to drawing challenging, as it involves ‘loosing control’. In looking at the sketches we could clearly distinguish between drawings made with and those made without looking at the drawing. Those sketches done without visual control of the drawing were less ‘proportional’ and somewhat ‘chaotic’, but displayed a much freer and dynamic line quality, capturing the rhythmical growth of the branch.</span></div>
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<b>FIFTH PRACTICE: 'LOOKING FOR EVIDENCE OF CHANGE'</b></h3>
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<span class="s1">For this practice participants had to work in pairs and observe the final branch sections which had been drawn before. People were asked to look for sings of changes along the branch section up to the end-bud: How is the branch articulated? Are there any evident growth sections? What is happening between sections? Do these observations constitute sufficient ‘evidence’ for being able to argue for time processes having brought about the visible spatial shapes of the branch? Can we get any sense of the presence of past and future in what we see in this present manifestation?</span></div>
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<span class="s1">Participants entered into a lively process of shared observation and conversation. Observations of participants included changes of colour and texture as well as the evident articulation of the branch into sections, which conveyed a sense of rhythmical growth and development together with a clear distinction between older and more recent parts.</span></div>
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<span class="s1">The final practice of the morning session had been planned to consist in an attempt at mental picturing. Participants would imagine, with closed eyes, the gradual growth and development of the branch section they had observed, as it were, retracing its biography. Because of lack of time, this practice was briefly explained and left for participants to be performed individually at another time.</span></div>
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<span class="s1">It was explained that in this practice we would move from a consideration of general ‘tree-ness’ to exploring individual tree ‘gestures’. ‘Gesture’ is understood as movement brought to rest in a spatial form carrying a certain emotional or spiritual meaning. We use this term in the human context as denoting one of the elements of our body language. Human beings can perform a great variety of corporeal gestures embodying specific emotions and messages. In the same sense we can speak of the ‘gesture of a tree’ as an embodiment of its individual character.</span></div>
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<li class="li5" style="text-align: justify;"><span class="s2"></span><span class="s1">attempting to embody the gesture of the tree in physical, bodily movement</span></li>
<li class="li5" style="text-align: justify;"><span class="s2"></span><span class="s1">embodying this gesture as a minimalistic linear ‘signature’ on paper</span></li>
<li class="li5" style="text-align: justify;"><span class="s2"></span><span class="s1">composing a short ‘Haiku-style’ poem, ‘giving the tree a voice’.</span></li>
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<span class="s1">The sharing of participants’ final creations, both in visual form and in the form of short poems, was a very rich ‘cultural’ experience, giving evidence of the individual connection participants managed to create with their tree. Some of the written creations were in the form of stories, touching on personal biographical motifs. Both students and teachers expressed their gratitude for having had the chance to encounter trees in this experiential way. </span></div>
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<span class="s1">Goethe, J. W. v. (1995) <span class="Apple-tab-span"> </span><i>Scientific Studies.</i> (12 vols). Princeton: Princeton University Press.<i> </i>Goethe's Collected Works.</span></div>
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-48465615432273710502016-04-26T12:52:00.003-07:002016-04-29T12:26:19.477-07:00<h3>
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<span style="font-size: x-large;">"RECONNECTING TO THE LIVING EARTH"</span></h2>
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<span style="font-size: x-large;">A creative observation workshop for farmers and beekeepers</span></h3>
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<span style="font-size: large;">"Gan HaBeit"</span><br />
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The workshop</h3>
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was part of the first Biodynamic Beekeeping' conference in Israel, with biodynamic beekeeper Gunther Hauk as main contributor.<br />
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<b>FULL EXPOSURE</b><br />
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The workshop started with a practice of fully exposing ourselves - with all ours senses - first to the quiet earth below, then to the depth of the sky above and finally to the green layer of vegetation between heaven and earth - meeting the plant kingdom on eye-level.</div>
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This was a very profound and emotional experience for many of the participants and created a mood of reverence and devotion to the living world of plants. We continued by making pastel sketches summarising our experience of the plant realm between earth and heaven.</blockquote>
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<a href="http://1.bp.blogspot.com/-rOixM6yo6wM/Vx-4WPBP6HI/AAAAAAAAFEQ/A6eahFB1QuAlGBt-6hklYDODkNWDwrxHwCK4B/s1600/IMG_9955.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="425" src="https://1.bp.blogspot.com/-rOixM6yo6wM/Vx-4WPBP6HI/AAAAAAAAFEQ/A6eahFB1QuAlGBt-6hklYDODkNWDwrxHwCK4B/s640/IMG_9955.jpg" width="640" /></a><br />
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<b>MOVING WITH THE PLANT</b><br />
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<a href="http://3.bp.blogspot.com/-8R9SKDO1lWM/Vx-55aLMkPI/AAAAAAAAFEs/EeJyoQxfm9EnPpbCgZei0xqVXEaydzVGwCK4B/s1600/IMG_9985.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-8R9SKDO1lWM/Vx-55aLMkPI/AAAAAAAAFEs/EeJyoQxfm9EnPpbCgZei0xqVXEaydzVGwCK4B/s320/IMG_9985.jpg" width="213" /></a>We then embarked on a detailed observation of an annual plant, including making sketches from memory and observing the metamorphic sequence of leaves.<br />
This led us into a creative exploration of the movement 'in-between' the distinct stages of leaf development. To start with we explored this in movement. Standing in a circle, each participant was asked to express in a bodily gesture one of the metamorphic stages. Then we tried to turn this into a 'group choreography', performing the consecutive gestures together in developing relationship to each other.<br />
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This practice was a preparation for bringing the metamorphic development into a collective drawing process. Again, each person was to represent one of the stages of development, from simple to complicated, from rounded to pointed, in a improvisational charcoal sketch, The challenge was, that each person had to relate to his/her neighbours and their drawings, in order to enable a consequential form development to arise between the drawings of all participants.<br />
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The process, including the impressive results, can be seen in the following video clip:<br />
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<b>TALKING TO A FLOWER</b><br />
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Our next station was the closely observe the flowering stage of plant development, trying to come to an experience howk also here, 'the plant is, from beginning to end, only leaf', as Goethe exclaims. We then proceeded to processing our experience of 'flowering' by painting an individual flower in pastel.<br />
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Here are some of the results:</div>
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<a href="http://4.bp.blogspot.com/-qyhRXA0OUj8/Vx_C07Qb7FI/AAAAAAAAFFU/agl_tCJMlJUcxztCSJgZCAx2IhQfpAqtgCK4B/s1600/IMG_0053.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-qyhRXA0OUj8/Vx_C07Qb7FI/AAAAAAAAFFU/agl_tCJMlJUcxztCSJgZCAx2IhQfpAqtgCK4B/s320/IMG_0053.jpg" width="217" /></a><br />
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<b>FRUIT-CREATION AND SUMMARISING THE EXPERIENCE OF TOTAL PLANT DEVELOPMENT</b><br />
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After careful observation of fruit development and the creation of the seeds we completed our journey by splitting up into groups of between three and four participants. Each group created, on large sheets of paper, a colourful representation of the whole life journey of the plant through the season.</div>
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Here is one of the collective creations:</div>
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<a href="http://2.bp.blogspot.com/-tm9bGl9FvSk/Vx_EsFec26I/AAAAAAAAFFo/Uf6NT5MYw2AshTg-2kIdX4pmLlvTTgZ8QCK4B/s1600/IMG_0079.jpg" imageanchor="1"><img border="0" height="456" src="https://2.bp.blogspot.com/-tm9bGl9FvSk/Vx_EsFec26I/AAAAAAAAFFo/Uf6NT5MYw2AshTg-2kIdX4pmLlvTTgZ8QCK4B/s640/IMG_0079.jpg" width="640" /></a></div>
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finally, we took a group photograph of the participants with the facilitator:</div>
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-68198388370275430812015-02-17T14:50:00.000-08:002015-02-17T23:32:34.854-08:00<h3>
<span style="font-size: x-large;">"Still Alive"</span></h3>
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<span style="font-size: x-large;">A workshop exploration<br />of connective practices<br />focusing on our relatedness<br />to the earth and the living creatures, which populate it</span></h3>
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<span style="font-size: large;">a one-day workshop at Oxford Brookes University, conducted by Axel Ewald</span></h4>
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<span style="font-size: large;">In collaboration with the University of the Trees</span></div>
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was to explore ways to open our senses, minds and hearts to the familiar and less familiar, the obvious and the hidden aspects of our close environment. Might there be hidden life behind the appearance of wintery gloom and death? The exploration included close encounters with trees and their naked shapes in winter; with manifold manifestations of decay and growth; and with the hidden life of creeping and crawling creatures in the earth. How do we respond to what might be unfamiliar, unexpected sights and discoveries? What do our responses tell us about what we are observing and about ourselves? What insights can we gain about our relatedness to the life-processes in Nature and how can these insights inform and transform our outlook in the wider field of social processes?<br />
The workshop was based on current and evolving practices related to my PhD research project “Redeeming the Soul of Landscape and Redeeming Landscape for the Soul”, in which I am exploring the application of Goethean Science processes in the field of Social Sculpture and their extension into practices focusing on our relatedness to Nature and to each other.<br />
The workshop was designed as a journey consisting of a number of encounters, both indoors and outdoors, each of which would explore a different dimension of relatedness.<br />
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<b><br />INTRODUCING OURSELVES - IMAGES OF NATURE IN WINTER</b><br />
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Sitting around the circle of fallen leaves participants introduced themselves by sharing one image of "Nature in Winter" - a memory of a particular landscape or a personal experience. While the person would relate his/her image, the other participants were asked to listen attentively with their eyes closed, in order to be able to inwardly 'live' in the image of the other person.</div>
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The images included descriptions of sense perceptions like colours, forms, sounds; experiences of stillness and inwardness; unusual and unexpected encounters with creatures; musings about life and death. This intimate sharing process, in which each person could connect to his/her own inner world of images and memories and share this with the group, provided a fertile ground for the later explorations.</div>
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ENCOUNTERING GESTURES OF DECAY<br />
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Participants were asked to come closer to the circle of shrivelled chestnut leaves which I had prepared on the ground, to closely observe, touch, smell, listen. Then we closely observed one of the leaves which we picked from the ground. Following the observation participants were invited to share their impressions:</blockquote>
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People commented on the leaves as conveying a sense of dryness, fragility, inwardness and separateness, their 'contorted and tortured forms' of having become frozen at the moment of death. But is it the tree who has died or aren't those leaves not just the discarded shreds of its garment which the tree was ready to shed?</blockquote>
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PICTURING THE PROCESS OF DECAY<br />
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People were then asked to inwardly picture the whole process of the shedding of the leaves, from the green foliage of summer to the decaying leaves having been discarded beneath the tree.</div>
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ENCOUNTERING BARREN TREE SHAPES<br />
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<tr><td class="tr-caption" style="text-align: center;">photograph by Helena Fox</td></tr>
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For the next practice we ventured out into the cold and damp park landscape at Haddington Hall. Each person chose a tree and, to start with, observed it from afar, getting a sense of its shape and proportion. Participants were asked to slowly approach their tree, seeing the tree from a different perspective by looking up into its crown or down towards its roots, then getting into close physical contact: touching the bark, embracing the trunk, smelling the earth at its feet. All along people were to pay attention to the gradual change in their relationship to the tree.</div>
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Eventually each person would stand with his/her back leaning against the tree and facing inwards to the open space between the individual trees.</div>
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EXPLORING THE BRANCH SECTIONS - SPATIAL EVIDENCE OF LIVING IN TIME<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-AdGQWyiuuL0/VOCRXySOX3I/AAAAAAAAEmc/SkSQ0AR2gAs/s1600/still_alive_1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-AdGQWyiuuL0/VOCRXySOX3I/AAAAAAAAEmc/SkSQ0AR2gAs/s1600/still_alive_1.jpg" height="400" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">photograph by Dianne Regisford</td></tr>
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Returning to the workshop we closely explored oak-branches, representing the outmost periphery of a tree. We embarked on a disciplined observation process, in which each person would share one observation only, building on the observation shared by the previous person.</div>
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<tr><td class="tr-caption" style="text-align: center;">photograph by Helena Fox</td></tr>
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This process allowed us to collectively build a shared, detailed and visually rich picture of the object of our observation. We identified the half-moon shapes underneath each bud as the 'scars' of last year's leaves - being struck by the proximity of past and future, of life and death in the 'eye of the leaf'.Following this we surveyed the branch for further evidence for developmental processes and found where last year's growth had begun. Gradually the branch section and its frozen forms in space began to become transparent for the time-process which created it. We managed to fathom the evidence of one year's growth. Penetrating what we saw with our capacity of thinking in processes, the tree's living in time became 'evident' in space.</blockquote>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-xS03l94orAg/VOOlU7PtKZI/AAAAAAAAEp0/zF1DttmoMAE/s1600/10996112_10153071630345242_4117422696604189603_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-xS03l94orAg/VOOlU7PtKZI/AAAAAAAAEp0/zF1DttmoMAE/s1600/10996112_10153071630345242_4117422696604189603_n.jpg" height="239" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">photograph by Helena Fox</td></tr>
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AN ATTEMPT AT EXACT SENSORY IMAGINATION<br />
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Participants were then asked to close their eyes and to vividly imagine (on our inner 'screen') the entire process of one year's growth from the end buds to the new sections end buds.</div>
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<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
People found this practice very challenging. It asks for the inner capacity of mobile imagination, which can fluidly connect one image with the next one in order to create a continuous developmental process. At this stage most people failed for lack of will forces to perform this task. In addition we had not seen enough visual evidence of the different stages of development, only the beginning and the end.</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
The practice also raised questions about what are the necessary requirements for imagination to be exact and sensory (Goethe claimed to have developed 'exact sensory imagination' as a requisite tool for the research in the real of the life sciences) ? </blockquote>
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A 'SNAPSHOT WALK' EXPLORING THE WIDER FIELD OF OUR RELATEDNESS
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-BlqdcDgM2Kc/VOOmJBgOUSI/AAAAAAAAEqM/K7Xuf3B2keA/s1600/10801724_10153071630365242_8925317460751801075_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-BlqdcDgM2Kc/VOOmJBgOUSI/AAAAAAAAEqM/K7Xuf3B2keA/s1600/10801724_10153071630365242_8925317460751801075_n.jpg" height="470" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">photograph by Helena Fox</td></tr>
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After lunch break we again ventured outside for a 'snapshot walk', taking in four 'snapshot evidences' which would put the morning's explorations of the tree's life in winter into a larger context. Participants would follow me on a silent walk leading from station to station. At each station people would take on a particular viewpoint or action which I first had introduced.</div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-b_jvZ1OB2X0/VOCRpdhw5SI/AAAAAAAAEm8/uLx5EW_Xenk/s1600/stillalive-4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-b_jvZ1OB2X0/VOCRpdhw5SI/AAAAAAAAEm8/uLx5EW_Xenk/s1600/stillalive-4.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">station 1: moss landscape on a tree trunk, photograph by Axel Ewald</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-hFhoCAurcEk/VOCRXhlgsaI/AAAAAAAAEmQ/jC8SaRwR-GM/s1600/still_alive-4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-hFhoCAurcEk/VOCRXhlgsaI/AAAAAAAAEmQ/jC8SaRwR-GM/s1600/still_alive-4.jpg" height="298" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">station 2: uncovering layers of compostation and encountering the creatures<br />
that do the work, photograph by Dianne Regisford</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/--oy05S6VIRc/VOCRkz9-2aI/AAAAAAAAEms/I0HkOSAAcg0/s1600/stillalive-3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/--oy05S6VIRc/VOCRkz9-2aI/AAAAAAAAEms/I0HkOSAAcg0/s1600/stillalive-3.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">station 3: tree seedlings unfolding on the forest floor<span style="font-size: 12.8000001907349px;">, photograph by Axel Ewald</span></td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-UsrwOIfcVbg/VOCRnEBG7XI/AAAAAAAAEm0/SO45zxsAJJE/s1600/stillalive-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-UsrwOIfcVbg/VOCRnEBG7XI/AAAAAAAAEm0/SO45zxsAJJE/s1600/stillalive-2.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">station 4: tree carcasses in a junk-yard for unwanted trees<span style="font-size: 12.8000001907349px;">, photograph by Axel Ewald</span></td></tr>
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After completing the walk we returned to the studio and split up into groups of 4-5 people. Each group had 20 minutes to review the walk and share impressions, experiences, questions and insights from what we had seen. The groups then gave a summary report to the forum.</div>
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<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
Many people related to the complexity of impressions conveyed by the four stations, which were experienced as confusing to start with, but which, after some pondering, began to make more sense, less as a logical sequence, but rather as a mosaic which presents certain facets of a picture: </blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
<ul>
<li>evidence of nature's ability to create mini eco-systems, small wholenesses within a larger whole </li>
</ul>
</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
<ul>
<li>a glimpse into the recycling facilities of nature, where death leads to new life and little creatures are constantly busy transforming matter </li>
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</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
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<li>an experience of nature's still abundant forces of renewal and growth, even in the middle of winter </li>
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<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
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<li>a meeting with the shocking, apparent indifference and cruelty of human beings towards living nature</li>
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The sharing raised many questions touching upon the responsibility of human beings towards nature and man/woman's right to determine the destiny of a non-human creature.</blockquote>
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SUMMARY AND REFLECTION<br />
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Here is a selection of comments by which participants summarised their experience of the workshop:</div>
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<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
"the circle of fallen leaves set the tone of the workshop from the outset and served as a visual anchor throughout the work. It gradually became 'charged' ..."</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
"the fact that the final practice (the snapshot walk) was open-ended, was confusing to start with, but also very activating and thought provoking."</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
"I was very moved by the power of sharing our inner images with everybody listening with closed eyes."</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
"the communal effort of closely observing and describing a nature object, so that it becomes present between people, is very impressive and powerful." </blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
"nature offers us pictures, images, true metaphors which are parallel to our experiences in everyday life and human relationships."</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
"our pain in meeting nature stems from the sense of separation. In the plant, things just happen, everything moves and develops and is connected. We can only bring about this movement by willing it! What can motivate the will?"</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
"amazing how in nature life and death are closely intertwined. We want to push death away - and, actually, life as well. In nature they are both present all the time ..."</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
"the practices provided ample opportunities to explore imaginative thought. But we all the time have to go back to the 'evidence' on the ground. Material and Imagination are to be in a dynamic relationship..."</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
"Having had this experience of intimacy with nature will make me behave differently."</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
"I had a profound experience of connectedness. Life processes are not only outside in nature, they are in me as well."</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
"I found the practice of imagining growth a potent tool for developing the capacity of inner movement and flexibility."</blockquote>
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</blockquote>
<blockquote class="tr_bq" style="font-size: medium; font-weight: normal;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-Aoj-IA2zxQs/VOOlZXJH8NI/AAAAAAAAEp8/bEpQHsXmeHI/s1600/10987383_10153071629920242_6966954397362731500_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-Aoj-IA2zxQs/VOOlZXJH8NI/AAAAAAAAEp8/bEpQHsXmeHI/s1600/10987383_10153071629920242_6966954397362731500_n.jpg" height="400" width="298" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">photograph by Helena Fox</td></tr>
</tbody></table>
Many thanks to Prof. Shelley Sacks for making this workshop possible at Brookes University and for her continuing support and inspiration; thanks to Helena Fox and Dianne Regisford for providing me with their sensitive photographs and thanks to all participants for their interest, commitment and engagement along the journey.</blockquote>
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<span style="font-size: x-large;">"Creative Encounters with Trees"</span></h3>
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<span style="font-size: x-large;"><br /> A tree workshop at Kibbutz Harduf<br /> Friday, 30.1.2015</span></h3>
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AIM OF THE WORKSHOP: </h3>
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“Creative encounters for the sake of renewing and deepening our relationship with trees and with the earth” (quoted from the advertising flyer)<br />
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The aim of this one-day workshop was to enable participants to establish an intimate relationship with trees in general and with a specific, individually chosen tree in particular. Close observation and various practices were designed to demeanour familiarise participants with various aspects of the tree-organism: its spatial form and organisation and its life as an organism developing in time. Special emphasis was put on developing an awareness of different levels of relatedness, which we can develop between the human world and the world of trees. The workshop was jointly prepared and conducted by Axel Ewald and Ephrat Angress-Ewald.</blockquote>
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INTRODUCTION:</h3>
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The workshop started with people introducing themselves by telling their name and sharing a tree, which they like, or a particular tree with which they had formed a personal relationship.<br />
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This practice of introduction allowed people to introduce themselves through their choice of tree and the personal story connected to the tree. It made it plainly evident that trees can play an important part in the life and biography of a human being. The wide range of individual stories, the choices of trees and the way people chose to present their trees gave an indication of the different levels of relatedness. These included detailed descriptions of form, emphasis of certain sense perceptions like smell, highlighting of particular tree-organs like flowers, interest in the changing expression of a tree through the seasons, expression of awe in the face of a 2000 year old tree and musings about what it saw in its long life and expression of feelings of friendship and mutual support between a person and a tree.</blockquote>
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Axel summarised this part with the following quotation by J.W von Goethe:<br />
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<i>“In surveying the phenomena of the world we should carefully consider relationships. And the most important relationship is that which exists between the observer and the object observed.” </i></blockquote>
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It was explained that this workshop was about exploring and deepening our relationship with trees and that, by following different practices including observation, sharing, drawing, movement and writing, we would explore various levels of relationship.<br />
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The morning part of he workshop would be devoted to a shared study of one tree – a local Palestinian Oak (Tabor Oak – Quercus Ithaburensis) while in the afternoon participants would have the chance to establish a personal relationship with a tree of their own choice.<br />
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Ephrat introduced children’s drawings of trees, which gave us a clue about the difference between grasping the tree ‘from outside’ or ‘from inside’ – and the close relationship between the shape of a tree and that of the human being.<br />
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THE TREE AS A SPATIAL FORM – MOVING FROM OUTSIDE TO INSIDE: </h3>
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The first practice was to approach the oak tree from the outside and stop at a distance of some thirty meters. From this distance it was possible to survey the tree as a whole. Participants were asked to observe the tree and focus on its spatial form, its proportions, the relationship between stem and crown, the angles of the main branches etc. Then they were asked to make a short summary drawing of the tree, starting from the (invisible) outline, adding the trunk and finally filling in some of the main branches. <br />
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<a href="http://3.bp.blogspot.com/-SpiV4Ewj5XY/VOMpmlEQ7UI/AAAAAAAAEo4/_7kq5TFP-aU/s1600/5.jpg"><img border="0" height="360" src="https://3.bp.blogspot.com/-SpiV4Ewj5XY/VOMpmlEQ7UI/AAAAAAAAEo4/_7kq5TFP-aU/s1600/5.jpg" width="640" /></a> <br />
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<a href="http://4.bp.blogspot.com/-l46bhtjM2M4/VOMpmmgfLeI/AAAAAAAAEpE/oPlELy_J0mU/s1600/6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-l46bhtjM2M4/VOMpmmgfLeI/AAAAAAAAEpE/oPlELy_J0mU/s1600/6.jpg" height="221" width="320" /></a>Drawing is used here as tool of observation. The process of drawing ‘what we see’ and the mental effort this demands makes people aware of the limitations of their perception. Many of the participants remarked that they had to undergo some painful transformation, correcting their mental picture of how a tree looks like in order to make it match the real tree in front of their eyes. People expressed their surprise at the real proportion of the tree – for instance at the width of the crown in relation to the thickness of the trunk.</blockquote>
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Participants were then asked to slowly walk towards the tree, being aware of how their relationship to the tree changes with the distance. Eventually people would walk up to the trunk of the tree, touch the trunk and finally stand with their backs leaning against the tree-trunk, facing outwards.</blockquote>
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<a href="http://2.bp.blogspot.com/-Uf8OEEhqb2A/VOMpnB8NKZI/AAAAAAAAEpM/-nQLFkbfRNk/s1600/7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Uf8OEEhqb2A/VOMpnB8NKZI/AAAAAAAAEpM/-nQLFkbfRNk/s1600/7.jpg" /></a>This practice allows participants, by means of a simple change of physical ‘perspective’, to have a first glimpse of the difference between a detached subject-object relationship and a participatory, emphatic relationship. Participants described how their relationship changed from being ‘outside’ and relating to the tree as an ‘object’ to experiencing a distinct moment of entering into the inner ‘home-space’ of the tree and eventually to ‘becoming’ the tree, looking, as it were, with the tree into its environment. </blockquote>
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We then moved on to meet another oak of the same species but displaying a very different character.<br />
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‘DETECTING SIGNS OF LIVE’ – THE TREE AS A LIVING ORGANISM</h3>
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After sharing some observations and impressions about the very different appearance of this particular specimen, we focused on identifying features, which provide evidence that the tree is ‘alive’ – meaning that it is not an inert object in space, but a living organism. Life manifests in time – so we had to look for evidence of change in time. Participants were encouraged to engage all their senses and to explore both the tree itself, mainly the tips of its branches, as well as the earth underneath the tree.<br />
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<a href="http://3.bp.blogspot.com/-3vr6Exci8Ak/VOMpoA1GFFI/AAAAAAAAEpU/fAkP38ZQMZY/s1600/8.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-3vr6Exci8Ak/VOMpoA1GFFI/AAAAAAAAEpU/fAkP38ZQMZY/s1600/8.jpg" width="212" /></a><br />
This practice focuses participants’ mindfulness in a new direction. Although we are still looking at inert forms in space, our inner gaze is searching for the evidence of time passing, traces of the past and inklings of the future: we compared buds of different shape and size and realised that we are looking at different stages of development, then we discovered some buds which have already opened and released a fountain of lush green leaves. We inspected the ground underneath the tree and found brown leaves in various stages of decay. Digging further into the ground we witnessed how these leaves decompose into a rich soil with a tangy smell. And we even found a sprouting acorn, its tender root venturing out of the hard shell. Wherever we turned our gaze, we became aware of the transformative processes of life and we had an intuitive grasp of a whole self-sustained eco-system, which developed under the canopy of this tree. Participants also remarked that the rich fabric of life, which we found in and around the second oak, reflects a different, more caring and less invasive interference of human beings compared to what we found with the first oak.</blockquote>
We then returned to the classroom in order to have a closer look at oak branches, which we had carefully cut from the tree. Every participant was given a branch and people were asked to describe their first impressions. Then participants were encouraged to closely observe the branch, pay attention to smallest details and move forward from section to section. Moving around the circle, people described their observations, carefully listening to what other people had already described and each adding another facet to the whole picture. <br />
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<a href="http://4.bp.blogspot.com/-8txccj6YYmg/VOMpojUp9WI/AAAAAAAAEpY/YTN8yGbYZZw/s1600/9.jpg"><img border="0" height="352" src="https://4.bp.blogspot.com/-8txccj6YYmg/VOMpojUp9WI/AAAAAAAAEpY/YTN8yGbYZZw/s1600/9.jpg" width="640" /></a><br />
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<blockquote class="tr_bq">
<a href="http://4.bp.blogspot.com/-bIuK8n2czQQ/VOMpfq0oYfI/AAAAAAAAEnU/fuzBqGpJORk/s1600/10.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://4.bp.blogspot.com/-bIuK8n2czQQ/VOMpfq0oYfI/AAAAAAAAEnU/fuzBqGpJORk/s1600/10.jpg" /></a>One of the first impressions shared by one of the participants was that, in contrast to the impression of the whole tree outside, which was experienced as a “creative chaos”, here we can discern a clear order, a kind of musical rhythm from bud to bud, a lawfulness and clear structure. Soon participants discovered the ‘scars’ of former leaves and their close relationship to the new buds – the place where past and future meet. Another discovery was the identification of the place of last year’s end-buds, and, following from this, the realization that in each such section of the branch we can see the tree’s biography in time having become manifest in spatial form. A fascinating discussion ensued about how this relates to how, in the human sphere, a person’s biography realizes itself - not, like the tree, in physical form, but in the inner structure of the soul. </blockquote>
We continued conducting a similar observation of the development of the acorns, from the first tiny bulbous extrusion to the fully-fledged acorn. The final step was to see with our own eyes the embryo of the new oak, root and two tiny leaves, embedded in the acorn.<br />
<blockquote class="tr_bq">
<br />
These close observations gave participants a tangible experience of how the life of the tree, its development in time, has become manifest as a dynamic sequence of visible forms in space.</blockquote>
<br />
<h3>
THE TREE AS INDIVIDUAL – INDIVIDUAL TREE GESTURES</h3>
<div>
<br /></div>
The afternoon session was introduced by a short reflection of the morning’s insights into the spatial and dynamic nature of trees. The afternoon session would lead us from the general to the specific, from the general features of trees to the specific character of individual species and specimens. Ephrat introduced the characterization of specific trees in mythology (the Finish epos Kalewala) and in contemporary poetry and mentioned the fact that in Hebrew the word for Oak ( אלון – Alon ) has in it the male root for ‘God’, whereas the Hebrew name of the Pistacia Palestinensis ( אלה – Ela ) literally means ‘Goddess’. In order to approach the individual gesture of a specific tree, we have to proceed to an emphatic mode of observation. This means that instead of looking at the tree from outside, we are called upon to identify ourselves with the tree, be inside the tree.<br />
<br />
We returned to the place where we had met the first oak. From this point we had a good view of the oak and another large tree, a Syrian ash. Participants were asked to take some time and observe the two trees, but this time making an attempt at ‘becoming’ the tree, imagining its growth into space, as it were, from within outwards. After a few minutes of silent observation participants were asked to translate their inner experience into movement, to embody the growth of the tree and its gesture in space. We then split into two groups facing each other and ‘performed’ the gestures of the two trees, one opposite the other.<br />
<br />
<br />
<a href="http://1.bp.blogspot.com/-ztZqXm6Bf90/VOMpgV4tzHI/AAAAAAAAEnc/Z4f55YcSq3k/s1600/11.jpg"><img border="0" height="311" src="https://1.bp.blogspot.com/-ztZqXm6Bf90/VOMpgV4tzHI/AAAAAAAAEnc/Z4f55YcSq3k/s1600/11.jpg" width="640" /></a> <br />
<br />
<blockquote class="tr_bq">
The movements/gestures within each of the groups were surprisingly similar. This can be seen as an indication of the validity of the emphatic approach, which, while entirely depending on the individual emphatic ability of the observers’ psyche, seems to touch upon some of the archetypal gestures inherent in the natural world.</blockquote>
<br />
<h3>
CONVERSATION WITH A TREE</h3>
<div>
<br /></div>
Participants were then asked to study a specific tree of their choice. They were given 30 minutes to choose, observe, draw and write notes, describing the specific, individual features and characteristics of their tree. They were encouraged to use all the tools, which we had developed in the morning session.<br />
<blockquote class="tr_bq">
<a href="http://4.bp.blogspot.com/-iZvfnhlTRIc/VOMpgiduVyI/AAAAAAAAEng/P1cG2lyiou8/s1600/12.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://4.bp.blogspot.com/-iZvfnhlTRIc/VOMpgiduVyI/AAAAAAAAEng/P1cG2lyiou8/s1600/12.jpg" width="205" /></a>Participants chose a wide variety of different tree species, among them some specimen, which apparently were not in good health or somehow ‘unusual’. It was obvious that at this stage participants were very motivated and ready to embark on a more personal ‘conversation’ with a tree. Although the time was rather short, people managed to establish an intimate relationship with their tree. </blockquote>
<br />
<br />
<br />
<br />
<br />
After 30 minutes we returned to the classroom. Participants were given two more tasks related to their individual tree project. The first practice was introduced by looking at some artists’ drawings of trees. <br />
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-pdV9uaVGtiY/VOMpgzLaAGI/AAAAAAAAEos/Z8zEtByV9L4/s1600/13.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://2.bp.blogspot.com/-pdV9uaVGtiY/VOMpgzLaAGI/AAAAAAAAEos/Z8zEtByV9L4/s1600/13.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">botanical illustration - anon.</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-IKE_F55jDXw/VOMphMtxH-I/AAAAAAAAEnw/sHerzzeLm1w/s1600/14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-IKE_F55jDXw/VOMphMtxH-I/AAAAAAAAEnw/sHerzzeLm1w/s1600/14.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">tree - David Nash</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-J22hFzDumlM/VOMphcpzcOI/AAAAAAAAEoM/vrUVYIL2Ol4/s1600/15.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://2.bp.blogspot.com/-J22hFzDumlM/VOMphcpzcOI/AAAAAAAAEoM/vrUVYIL2Ol4/s1600/15.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">tree signature</td></tr>
</tbody></table>
<div>
<blockquote class="tr_bq">
we distinguished between:<br />
<br />
<br />
<ul>
<li>a botanical drawing, which renders the outer appearance of the tree with a multitude of tiny details</li>
<li>a ‘gesture drawing’, which simplifies the outer shape to dynamic gesture</li>
<li>a further reduction – or better distillation – of the tree into its essential ‘signature’. How would the tree sign, if it would be able to do so?</li>
</ul>
</blockquote>
<br />
<br />
The task was for participants to draw the ‘signature’ of their tree. After some moments of quiet meditation and concentration on the essence of their tree (with their eyes closed) people were asked to draw a very concise ‘signature’ of their tree. It was stressed that this is not an ‘abstraction’ of the outer shape of the tree, but rather a condensed expression of the being of the tree in us, flowing straight from the heart to the hand.<br />
<br />
The final practice was to create a piece of ‘poetry’ – a verbal condensation of the essence of the tree. This was to be cast into a particular form:<br />
<br />
<div style="text-align: center;">
xxx</div>
<div style="text-align: center;">
xxx xxx</div>
<div style="text-align: center;">
xxx xxx xxx</div>
<div style="text-align: center;">
xxx xxx xxx xxx</div>
<div style="text-align: center;">
xxx xxx xxx</div>
<div style="text-align: center;">
xxx xxx</div>
<div style="text-align: center;">
xxx </div>
<div style="text-align: center;">
<br /></div>
<br />
Participants’ responses (translated from Hebrew):<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-XTVzcXOiaOw/VOMpiBKPrLI/AAAAAAAAEn8/E8TW9Tez0Yc/s1600/17.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://3.bp.blogspot.com/-XTVzcXOiaOw/VOMpiBKPrLI/AAAAAAAAEn8/E8TW9Tez0Yc/s1600/17.jpg" /></a></div>
<a href="http://2.bp.blogspot.com/-iPpKGeNqMkM/VOMph4oSUmI/AAAAAAAAEn4/oRZCoWe_Cxg/s1600/16.jpg"><img border="0" src="https://2.bp.blogspot.com/-iPpKGeNqMkM/VOMph4oSUmI/AAAAAAAAEn4/oRZCoWe_Cxg/s1600/16.jpg" /></a><br />
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<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Weeping Mulberry: </div>
<blockquote class="tr_bq">
<div style="text-align: center;">
<i><br /></i></div>
<div style="text-align: center;">
<i>In pain</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i>weeps my soul;</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i>my branches cry and twist,</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i>with comforting tears droop to the earth,</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i>wrap, cover, soothe</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i>a sorrowful soul</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i>in its loneliness</i></div>
</blockquote>
<blockquote class="tr_bq" style="text-align: center;">
<br />
<br />
Anonymous tree:<br />
<br />
<i>tree </i></blockquote>
<blockquote class="tr_bq" style="text-align: center;">
<i>veiled is your name; </i></blockquote>
<blockquote class="tr_bq" style="text-align: center;">
<i>my eye was on you for long,</i></blockquote>
<blockquote class="tr_bq" style="text-align: center;">
<i>I drew your trunk and your branches, </i></blockquote>
<blockquote class="tr_bq" style="text-align: center;">
<i>caressed the lichen on your limbs </i></blockquote>
<blockquote class="tr_bq" style="text-align: center;">
<i>and leaned on your </i></blockquote>
<blockquote class="tr_bq" style="text-align: center;">
<i>stability</i></blockquote>
<i><br /></i>
<br />
<h3>
<b>CONCLUSION – REFLECTION</b></h3>
<br />
The workshop was concluded with a reflection on the discoveries and insights, which participants had gained from the workshop. Here are some of the comments made by participants:<br />
<blockquote class="tr_bq">
<i>“I am somewhat familiar with creating relationships with people. But it was new for me to create a relationship with a tree – how can this be done? In talking to the tree, do I only hear myself or can I make myself open to what comes from him?”</i></blockquote>
<blockquote class="tr_bq">
<i>“I learned to observe botanically, but gaze inwardly.”</i> </blockquote>
<blockquote class="tr_bq">
<i>“how human the glance of the eye can become! I was deeply moved.”</i> </blockquote>
<blockquote class="tr_bq">
<i>“an energetic gate to trees was opened. It was a bit scary – I wasn’t always sure that they (the trees) wanted us to be there …”</i> </blockquote>
<blockquote class="tr_bq">
<i>“it made my usually blunt way of walking through nature so much more sensitive …”</i> </blockquote>
<blockquote class="tr_bq">
<i>“I received two gifts: one was learning to look and observe not only with the eyes, but with the heart; the other one was, that I became aware that it was not I who chose my tree, but him, who chose me – and not by accident. The tree became like a mirror through which I could touch myself…I wanted to give to the tree, instead I received… I wanted to forgive, instead I was forgiven…”</i> </blockquote>
<blockquote class="tr_bq">
<i>“I beheld the first oak tree standing between the times and between worlds, between the houses and the fields; like a guardian he sees everybody come into the Kibbutz and everybody go. His demeanour demeanour demeanour knowing, painful, awake – his is a stern warning …” </i></blockquote>
<br />
<img src="" />How would it be, Axel concluded, if we could adopt the perspective of this last comment as an alternative attitude to the ‘non-human’ world? What, if we could look at our deeds and ourselves from the point of view of a tree, or an ant, or the rocks under our feet? Wouldn’t this bring a complete turn-around to our egocentric way of relating to the planet and exploiting its resources?<br />
<br />
<br />
<br /></div>
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text-align: center;">
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<h3 style="clear: both; text-align: center;">
<span style="font-size: x-large;">Water Retention Landscapes -</span></h3>
<h3 style="clear: both; text-align: center;">
<span style="font-size: x-large;"> transforming the way we think about and manage our natural water resources</span></h3>
<h3 style="clear: both; text-align: center;">
<span style="font-size: x-large;"> </span></h3>
<h4 style="clear: both; text-align: center;">
<span style="font-size: large;">
A one-day workshop with Bernd Mueller from Tamera, Portugal<br />at Samania Park, Kibbutz Harduf</span></h4>
<div>
<span style="font-size: large;"><br /></span></div>
<blockquote class="tr_bq">
<blockquote class="tr_bq">
<span style="color: #0b5394; font-size: large;">"Water, energy and food are freely available for all humankind, when we no longer follow the laws of capital, but rather the logic of nature." </span></blockquote>
</blockquote>
<div style="text-align: right;">
<span style="color: #0b5394; font-size: x-small;">Dieter Duhm, from the Tamera Manifesto for a New Generation on Planet Earth</span></div>
<div class="separator" style="clear: both; text-align: center;">
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<div style="text-align: right;">
</div>
<div class="" style="clear: both; text-align: left;">
<a href="http://2.bp.blogspot.com/-N-MtmkMyj4I/U_nzRVZ8SgI/AAAAAAAAEBg/LabeTwnKm8M/s1600/bernd_mueller_14_02_comp.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-N-MtmkMyj4I/U_nzRVZ8SgI/AAAAAAAAEBg/LabeTwnKm8M/s1600/bernd_mueller_14_02_comp.jpg" height="237" width="320" /></a>On July 31th we had a short, but very intensive and transformative visit of Bernd Mueller, an international expert on the creation of water retention landscapes. Water retention landscapes are an effective tool of reversing the outcomes of desertification, which is an urgent issue of our time in many parts of the world.<br />
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<h3>
Desertification as a result of water-mismanagement</h3>
<div>
<br /></div>
Desertification is not a result of climate changes beyond human control, but in most cases the result of water mismanagement due to a lack of understanding of the nature of water and the healthy working of a "full" water cycle.<br />
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-RtnWZAOHTYs/U_n0k2Sv71I/AAAAAAAAEC8/WL6P5OE3cpI/s1600/water-cyle_sketch_comp.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-RtnWZAOHTYs/U_n0k2Sv71I/AAAAAAAAEC8/WL6P5OE3cpI/s1600/water-cyle_sketch_comp.jpg" height="388" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The full water cycle - sketch by Axel Ewald</td></tr>
</tbody></table>
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<div class="separator" style="clear: both; text-align: center;">
</div>
The whole picture of "water as a living being" comprises a full water cycle, which includes the earth and its vegetative cover as a receptacle for the rainwater. A rich and variegated vegetation cover is the prerequisite for "attracting" rain and for the creation of a shaded, cool layer of humus which is able to absorb great amounts of water and store it like a sponge. Water slowly percolates into the deeper layers of the earth where it can "ripen" and absorb sufficient "information" (including minerals). Bern Mueller describes this as the "female" part of the water cycle. Water, which has thus matured over time in the womb of the earth, emerges as healthy, life-giving spring water (which has become a scarcity in our times).<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-SrvzIC_cOqs/VOQ9LAxHjQI/AAAAAAAAErI/6FzwCQzQNDk/s1600/runoff_erosion.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-SrvzIC_cOqs/VOQ9LAxHjQI/AAAAAAAAErI/6FzwCQzQNDk/s1600/runoff_erosion.jpg" height="190" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8000001907349px;">rainwater run-off (source: adlib.everysite.co.uk)</span></td></tr>
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Ruthless deforestation has led to soil erosion in many parts of the world. Soil, which is not protected and shaded by trees, heats up and, as a consequence, can no longer absorb rain water. Instead of filtering into the soil, rain runs off as surface water, and with it washes away precious top-soil. Within a few years, this process leads to desertification, often also "natural" catastrophes like landslides and flooding. In most parts of the world we have come to a situation where a mere 20% of rainwater can be absorbed by the earth - which means that the remaining 80% are lost for any meaningful use!<br />
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<b>The worldwide water crisis is not due to natural climate changes or a lack of precipitation, but it is based on our failure to properly manage this precious resource !</b><br />
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<h3>
The water oasis of Tamera</h3>
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In the course of the last 8 years Bernd Mueller has transformed the landscape surrounding the Tamera Community in Portugal from a desert-like state into a green Oasis. The climate of the Alentejo area of Portugal, where Tamera is situated, is comparable to that of Israel. Rainy winters (approx 600 mm rainfall per sq. m.) are followed by a short springs and long, hot and dry summers. Inspired by the work of Victor Schauberger, the Austrian philosopher, naturalist and researcher of water, and with the help of Sepp Holzer, an Austrian expert in permaculture, Bernd Mueller created a water retention landscape for Tamera, which is solely based on the optimal management of the annual rainfall. Within this period the Tamera Community has become entirely self-sufficient concerning its water needs.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-3hm7Kj6g7xI/U_nwjRR6lkI/AAAAAAAAEA8/ZXBS4ZK-fkw/s1600/Tamera%2BBefore.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-3hm7Kj6g7xI/U_nwjRR6lkI/AAAAAAAAEA8/ZXBS4ZK-fkw/s1600/Tamera%2BBefore.jpg" height="227" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tamera before the water retention project - source: www.tamera.org</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-fmmCWoIff0w/U_nwjnuoDfI/AAAAAAAAEAw/JmUa8IyXDR8/s1600/tamera-%2Bafter%2B-www.tamera.org.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-fmmCWoIff0w/U_nwjnuoDfI/AAAAAAAAEAw/JmUa8IyXDR8/s1600/tamera-%2Bafter%2B-www.tamera.org.jpg" height="366" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the Tamera water landscape today - source: www.tamera.org</td></tr>
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<h3>
Irrigation turned upside down</h3>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-hZn5UB8mRdI/U_uAJT9vtTI/AAAAAAAAEDU/UHTEIiIKV6I/s1600/the%2Bnational%2Bwater%2Bcarrier_www.masa.co.il.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-hZn5UB8mRdI/U_uAJT9vtTI/AAAAAAAAEDU/UHTEIiIKV6I/s1600/the%2Bnational%2Bwater%2Bcarrier_www.masa.co.il.jpg" height="215" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the "national water carrier" - source: http://www.masa.co.il</td></tr>
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One of the most striking insights I arrived at as a result of the workshop with Bernd was a profound transformation of my concept of irrigation. In our region, and probably in many other regions of the world with similar climate conditions, irrigation has become an undertaking which is completely detached from the natural water cycle, and even counteracting this natural process. Water is extracted from springs, lakes, groundwater reservoirs and other natural sources. In the case of Israel, huge amounts of water are pumped from the See of Galilee and directed to the rest of the<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-gk367NFARn4/U_nzY5K51SI/AAAAAAAAECM/cvNhh17YQKU/s1600/drip%2Birrigation.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-gk367NFARn4/U_nzY5K51SI/AAAAAAAAECM/cvNhh17YQKU/s1600/drip%2Birrigation.JPG" height="214" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">drip irrigation</td></tr>
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country via straight concrete channels (as a result of this and similar actions from the Jordanian side, the Jordan river has been reduced to a mere trickle and the level of the Dead Sea is dropping by about 1 meter every year!). Further on water is forced into pipelines and eventually arrives through plastic irrigation pipes and a tiny hole to just the place where we want it to be - the crop we want to grow and nowhere else! We consider this being a very clever invention which helps us to save precious water. But in reality it is yet another brainchild of our materialistic thinking and our egoistic and exploitative attitude towards nature. We, in fact, steal water and isolate it from its natural context, force it to move in vessels the forms and materials of which are completely alien to its nature. Eventually we withhold it from the earth by only allowing it to feed the plants which we have chosen to grow. Instead of nurturing the earth we let it be washed out and impoverished by selective drip-irrigation.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-p6RRwOJ7-FE/U_n0kWJZZ-I/AAAAAAAAEC4/ruxija08eQw/s1600/tree_as_pump_sketch_comp.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-p6RRwOJ7-FE/U_n0kWJZZ-I/AAAAAAAAEC4/ruxija08eQw/s1600/tree_as_pump_sketch_comp.jpg" height="320" width="292" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">sketch by Axel Ewald</td></tr>
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Bernd Mueller put forward the concept of what can be called a "reversed" or "upside-down" irrigation. Water is not withheld but generously given to the earth to be absorbed by the soil, thus recharging the natural "sponge-reservoir" of the earth. As a result the water table will rise and trees, which work as natural "irrigation pumps" can draw water - and with it minerals and other good things - from the deeper layers of the earth. These substances are not "wasted" on the trees. Instead, the tree generously shares these substances, including water, with its surroundings, both in the upper soil levels and in the atmosphere. As a result, the earth as a whole becomes enriched by moisture and minerals, allowing a varied vegetation to develop which in turn shades and cools the earth and attracts further rainfall. In fact, only by using such "reversed" irrigation, the creation of new soil can be vouchsafed.<br />
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<h3>
Down to basics - how to create a water retention landscape?</h3>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-rPYYvsy_Um4/U_n0FyIdB2I/AAAAAAAAECs/SiwKaRnprYw/s1600/swale_and_berm_construction_sketch_comp.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-rPYYvsy_Um4/U_n0FyIdB2I/AAAAAAAAECs/SiwKaRnprYw/s1600/swale_and_berm_construction_sketch_comp.jpg" height="253" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">swale construction - sketch by Axel Ewald</td></tr>
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The overriding objective of creating a water retention landscape is to design simple devices which help to hold back rainwater, slow down its movement and thus allow water to penetrate into the deeper layers of the soil. This can be achieved by digging channels ("swales") and using the dug-out soil to build dams ("berms") on the downhill side of the swale. These two features together prevent rainwater from running off and allow for a slow penetration of water into the soil.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-iMQBUmP2XCA/U_n0FrnZyoI/AAAAAAAAECo/k2wEvD3vg8M/s1600/swale_drawing_www.fifthworldlifeway.com.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-iMQBUmP2XCA/U_n0FrnZyoI/AAAAAAAAECo/k2wEvD3vg8M/s1600/swale_drawing_www.fifthworldlifeway.com.jpg" height="347" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">water retention landscape with swale and berm - source: http://www.fifthworldlifeway.com/<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-aVEvVpHsVLk/U_nzJKIXlxI/AAAAAAAAEBc/hx2xhSfL0N0/s1600/Swale%2Bdigging%2Bat%2BExplore%2BPrep%2BSchool%2C%2BEast%2BOakland_www.plantingjustice.org.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-aVEvVpHsVLk/U_nzJKIXlxI/AAAAAAAAEBc/hx2xhSfL0N0/s1600/Swale%2Bdigging%2Bat%2BExplore%2BPrep%2BSchool%2C%2BEast%2BOakland_www.plantingjustice.org.jpg" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Swale digging at Explore Prep School, East Oakland, US,<br />
source: www.plantingjustice.org</td></tr>
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Swales are dug by following the contour of the landscape in order to prevent water flowing downhill. On a slope a succession of swales can be dug.<br />
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The soil downhill from the swale/berm element becomes moisturized from within and suitable for growing fruit trees, vegetables and other crops - without additional irrigation. An additional positive effect might become evident after a few years: further downhill the raised water table most likely will give rise to new freshwater springs, providing clean, cool water for plants, animals and man.<br />
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This technique is not entirely new. Ancient cultures like the Nabateans in the Negev desert used similar devices to grow crops in arid climates.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-k4WHgI-V5_I/U_n02NapOfI/AAAAAAAAEDE/WxeaIN-vUmM/s1600/nabatean%2Breconstructed%2Borchard%2Bat%2BShivta%2Bwith%2Bwater%2Bretention%2Bterraces%2Band%2Bwater%2Bchannels_permaculturenews.org-2013-05-24-of-permaculture-and-pastoralism-heroes-and-villains.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-k4WHgI-V5_I/U_n02NapOfI/AAAAAAAAEDE/WxeaIN-vUmM/s1600/nabatean%2Breconstructed%2Borchard%2Bat%2BShivta%2Bwith%2Bwater%2Bretention%2Bterraces%2Band%2Bwater%2Bchannels_permaculturenews.org-2013-05-24-of-permaculture-and-pastoralism-heroes-and-villains.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reconstructed Nabatean orchard at Shivta Farm in the Negev with water retention terraces and water channels (source: www.permaculturenews.org).<br />
In this case stone terraces fulfill the task of retaining rainwater</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-MopLIH8ooDE/U_nwlIskucI/AAAAAAAAEBM/KBLZO0cmmqY/s1600/tamera_www.permies.com-t-14412-permaculture-Tamera-Water-Retention-Landscape2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-MopLIH8ooDE/U_nwlIskucI/AAAAAAAAEBM/KBLZO0cmmqY/s1600/tamera_www.permies.com-t-14412-permaculture-Tamera-Water-Retention-Landscape2.jpg" height="225" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">View of the Tamera landscape<br />
showing the integration of terraces for water retention<br />
source: www.tamera.org</td></tr>
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Depending on the particular situation and topography, additional measures like creating larger basins for collecting rainwater can be taken(which means ending up with ponds or lakes - as has been done in Tamera). All these devices are constructed by using natural, locally available materials: earth, stones, plant cuttings etc. No artificial insulation materials are used. Water is always allowed to be in immediate contact and interchange with the earth.<br />
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<h3>
An extended vision for Samania Park</h3>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-y40kEtxB1BM/U_nzUgPyApI/AAAAAAAAEB8/NG8oUdcnbYI/s1600/bernd_mueller_14_03_comp.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-y40kEtxB1BM/U_nzUgPyApI/AAAAAAAAEB8/NG8oUdcnbYI/s1600/bernd_mueller_14_03_comp.jpg" height="344" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bern Mueller at Samania Park, Kibbutz Harduf, 31.7.2014</td></tr>
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In his workshop at Samania Park (for details about Samania Park - <a href="http://www.axelewald.com/compro-samania.html">click here</a>) Bernd Mueller elaborated how the principles of a water retention landscape can be utilized at Samania Park. The aim would be to maximize the healing effect of our initial step of cleansing sewage water by ecological means. But instead of storing the purified water in a large, sterile lake, insulated from the soil by plastic liners and then pumping it through irrigation pipes and drip-outlets, he suggested creating a parallel water retention landscape, fed by the purified sewage water, combining a sequence of smaller ponds with swales and berms and careful planting of suitable trees. Such a landscape will complement the already existing sewage purification plant, create a rich ground for research-work and serve as a showcase for good water-management.<br />
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For rounding off the subject, here is a short video about the Tamera water retention landscape:<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/4hF2QL0D5ww?feature=player_embedded' frameborder='0'></iframe></div>
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<span style="font-size: x-small;"><span style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;">Water is life. The Water Retention Landscape of Tamera.</span><br style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;" /><span style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;">Sepp Holzer and Bernd Müller</span><br style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;" /><span style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;">A film by Grace Media, 12 min.</span><br style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;" /><span style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;">Camera and editing: Ludwig Schramm</span><br style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;" /><span style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;">Script: Leila Dregger</span><br style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;" /><span style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;">Voice Over: Claire-Lilith Suscens, Douglas Baillie</span><br style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;" /><span style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;">Music: Rui Braga, Kevin McLeod</span><br style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;" /><span style="background-color: white; color: #333333; font-family: arial, sans-serif; line-height: 17px; text-align: start;">Photos: Tamera and Krameterhof archive, Ecomeda, Steve Lovegrove</span></span></div>
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<h4>
For further information:</h4>
The Tamera Community's page on healing water:<br />
<a href="http://www.tamera.org/basic-thoughts/healing-water/">http://www.tamera.org/basic-thoughts/healing-water/</a><br />
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A lecture by Bernd Mueller:<br />
<a href="http://www.tamera.org/fileadmin/PDF/2.2_The_Secret_of_Water.pdf">http://www.tamera.org/fileadmin/PDF/2.2_The_Secret_of_Water.pdf</a><br />
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Report - Water Symposium at Tamera<br />
<a href="http://www.tamera.org/fileadmin/PDF/1310_Wassersymposium_01.6_web_01.pdf">http://www.tamera.org/fileadmin/PDF/1310_Wassersymposium_01.6_web_01.pdf</a><br />
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<br />Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com1tag:blogger.com,1999:blog-4491142226486881139.post-74452503660884244582014-05-06T05:54:00.004-07:002014-05-06T06:36:14.681-07:00<div class="separator" style="clear: both; text-align: center;">
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<h3>
<span style="font-size: x-large;">Construction of Grey Water Purification System</span></h3>
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<span style="font-size: large;">- project with students from the </span><span style="font-size: large;">"Art, Sustainability, Society and Education" course at </span><span style="font-size: large;">David Yellin College, Jerusalem,</span></h4>
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<span style="font-size: large;">April 2014 at "Gan HaBeit", Harduf</span></h4>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-NbSzIm_rksY/U2jN-0kSsYI/AAAAAAAAD10/I_K4lMTsKcQ/s1600/wetland+sketch+-+annotated+english.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-NbSzIm_rksY/U2jN-0kSsYI/AAAAAAAAD10/I_K4lMTsKcQ/s1600/wetland+sketch+-+annotated+english.jpg" height="216" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">sketch of the wetland system</td></tr>
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In the beginning of April I conducted a concentrated workshop at the "Gan HaBeit" organic vegetable garden of Kibbutz Harduf with a group of students I am teaching at David Yellin Teacher College in Jerusalem. The aim of the project was to construct an organic water purification system for treating grey water. The system consists of a settlement tank for separating solids, a pond with layers of basalt aggregates, wood chips and water plants and a collection tank for storing the purified water.<br />
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<tr><td class="tr-caption" style="text-align: center;">excavating for the pond and the tanks</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-IFzSopm-n5A/U2i__JMfKCI/AAAAAAAAD0w/Qc56nIW4lAg/s1600/wetlands_project_7.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-IFzSopm-n5A/U2i__JMfKCI/AAAAAAAAD0w/Qc56nIW4lAg/s1600/wetlands_project_7.jpg" height="225" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">preparing and leveling the excavated hole for the pond</td></tr>
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The site was prepared by excavating for the pond and tanks. The excavated hole for the pond was then lined with geo-technical fabric and pond-liner. At the same time drainage pipes had to be laid for conducting the grey water to the site.<br />
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<a href="http://2.bp.blogspot.com/-IUcMs1y9qHM/U2i-zDAp16I/AAAAAAAAD0E/Kb7twcVk8RA/s1600/wetlands_project_42.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-IUcMs1y9qHM/U2i-zDAp16I/AAAAAAAAD0E/Kb7twcVk8RA/s1600/wetlands_project_42.jpg" height="320" width="217" /></a><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-K4_lg8jztu0/U2i-xm1shAI/AAAAAAAADz8/CisuMelG1IA/s1600/wetlands_project_33.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-K4_lg8jztu0/U2i-xm1shAI/AAAAAAAADz8/CisuMelG1IA/s1600/wetlands_project_33.jpg" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">laying drainage pipes</td></tr>
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<a href="http://2.bp.blogspot.com/-fNjGCkx6H4g/U2jAaUsGhvI/AAAAAAAAD04/qTORvXrc4Mw/s1600/wetlands_project_72.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-fNjGCkx6H4g/U2jAaUsGhvI/AAAAAAAAD04/qTORvXrc4Mw/s1600/wetlands_project_72.jpg" height="213" width="320" /></a></div>
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The lined pond was then filled with layers of river boulders, basalt aggregate and wood chips. The grey water would filter through these layers from the bottom to the top.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-N0-nQ87dwAI/U2i_-bJb0AI/AAAAAAAAD0s/oTJISeil5t0/s1600/wetlands_project_43.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-N0-nQ87dwAI/U2i_-bJb0AI/AAAAAAAAD0s/oTJISeil5t0/s1600/wetlands_project_43.jpg" height="426" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">filling the first layer of river boulders</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-8YW3OpQFkuE/U2i_9Y-OSLI/AAAAAAAAD0g/h4j3v62eJFE/s1600/wetlands_project_68.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-8YW3OpQFkuE/U2i_9Y-OSLI/AAAAAAAAD0g/h4j3v62eJFE/s1600/wetlands_project_68.jpg" height="426" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">filling a layer of wood chips</td></tr>
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A large plastic container was installed for collecting the purified water after flowing off from the gravel pond.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-qYAjFSosHuE/U2i-IvFziJI/AAAAAAAADzs/cRqQ43wOgVM/s1600/wetlands_project_27.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-qYAjFSosHuE/U2i-IvFziJI/AAAAAAAADzs/cRqQ43wOgVM/s1600/wetlands_project_27.jpg" height="225" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">installing the collection tank</td></tr>
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Finally, the pond was planted with special water plants which provide a oxygenated environment around their root system for the bacteria which break down the organic matter in the grey water. <br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-MgtkSLnfx7Y/U2i-JY734TI/AAAAAAAADz0/RAzhVl1z2_w/s1600/wetlands_project_20.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-MgtkSLnfx7Y/U2i-JY734TI/AAAAAAAADz0/RAzhVl1z2_w/s1600/wetlands_project_20.jpg" height="360" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">planting inside and outside the pond</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-XNv-iZONObs/U2i-5M23cxI/AAAAAAAAD0M/IcIFukbMdGQ/s1600/wetlands_project_36.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-XNv-iZONObs/U2i-5M23cxI/AAAAAAAAD0M/IcIFukbMdGQ/s1600/wetlands_project_36.jpg" height="360" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the complete wetlands</td></tr>
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The following video clip gives an impression of the collective effort in creating this project, which was completed within four days. During this time the students also did some landscape drawing under my guidance.</div>
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<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://i1.ytimg.com/vi/4sWdzR_T1qk/0.jpg" height="266" width="320"><param name="movie" value="https://www.youtube.com/v/4sWdzR_T1qk?version=3&f=user_uploads&c=google-webdrive-0&app=youtube_gdata" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://www.youtube.com/v/4sWdzR_T1qk?version=3&f=user_uploads&c=google-webdrive-0&app=youtube_gdata" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object><br />
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The "wetlands team" poses for a group photograph:<br />
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<a href="http://3.bp.blogspot.com/-3uN3hWFd6ZY/U2jlLg2yXfI/AAAAAAAAD2E/cS_OqOW6D_k/s1600/wetlands_project_00.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-3uN3hWFd6ZY/U2jlLg2yXfI/AAAAAAAAD2E/cS_OqOW6D_k/s1600/wetlands_project_00.jpg" height="426" width="640" /></a></div>
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-82111343306849783302014-05-06T03:02:00.003-07:002014-05-06T03:02:49.159-07:00<h3>
<span style="font-size: x-large;">Mediterranean Water Garden</span></h3>
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<span style="font-size: large;">- Alonei Abba, Galilee, Israel</span></h4>
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In continuation of my blog from September 2013 where I introduced this project of a private garden in Alonei Abba in the Galilee region of Israel - here are pictures of the completed garden. The project started a year ago with an overall plan of the layout.<br />
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Following the client's wish for a water feature I designed the garden around a water course which utilized the natural slope of the site. The design of the water course also includes two ponds and a wetland area which functions as a biological filter.<br />
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The garden design includes a rich variety of Mediterranean vegetation, paved paths, local rock placements and a gravel garden. The design was skillfully implemented by Guy Spielman.<br />
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<a href="http://4.bp.blogspot.com/-Du7SW6VG8eY/U2isezPTTiI/AAAAAAAADx0/gwxQ4EOi-zA/s1600/reuv_gard_x_select_15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Du7SW6VG8eY/U2isezPTTiI/AAAAAAAADx0/gwxQ4EOi-zA/s1600/reuv_gard_x_select_15.jpg" height="260" width="400" /></a></div>
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This video clip gives an overview of the various aspects of the garden:<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/8rNSYK630ng?feature=player_embedded' frameborder='0'></iframe></div>
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<br />Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-17765033839888898632014-04-20T12:04:00.001-07:002014-04-20T12:04:56.247-07:00<h3>
<span style="font-size: x-large;">Encountering Colour</span></h3>
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<span style="font-size: large;">- a workshop </span><span style="font-size: large;">at Oxford Brookes University </span><span style="font-size: large;">introducing Goethe's Colour Theory </span></h4>
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<a href="http://3.bp.blogspot.com/-nBMskc1GBZo/U1QLXL7LtvI/AAAAAAAADvE/RlsvKODVpLs/s1600/Brookes+2014+Goethe's+Color+Theory+workshop.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-nBMskc1GBZo/U1QLXL7LtvI/AAAAAAAADvE/RlsvKODVpLs/s1600/Brookes+2014+Goethe's+Color+Theory+workshop.jpg" height="320" width="226" /></a></div>
On March 6th I gave a workshop on Goethe's Colour Theory (1) in the Department for Social Sculpture at Brookes University. The workshop proposed an experiential and synthetic approach to the world of colour phenomena as opposed to the analytic approach of Newtonian science.<br />
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<a href="http://2.bp.blogspot.com/-RIdVTvLNHrQ/U1QLsntg2aI/AAAAAAAADwo/exGnfApH6sI/s1600/workshop_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-RIdVTvLNHrQ/U1QLsntg2aI/AAAAAAAADwo/exGnfApH6sI/s1600/workshop_1.jpg" height="238" width="320" /></a><br />
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Apart from providing hands-on experiences of how colour comes about in the meeting of light and darkness, the Goethe's Colour Theory served as an introduction to his scientific method. (2)<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-x34lwYUw1p8/U1QLlt3QZ-I/AAAAAAAADv4/Lpz46ZLgUoY/s1600/dianne_notes.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-x34lwYUw1p8/U1QLlt3QZ-I/AAAAAAAADv4/Lpz46ZLgUoY/s1600/dianne_notes.jpg" height="476" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">participants notes of the workshop<br />
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Goethe considered his treatise on colour, which was based on 20 years of painstaking research into each and every aspect of colour, including its effect on the human being, as his most important achievement - less because of its contents but rather because of the unique method of research.<br />
Performing some of the key experiments we followed Goethe's explorations through the two first main compartments of his theory:<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-wsm8KLlpbeQ/U1QLh7Ay9oI/AAAAAAAADvQ/Ng3RfhcruF8/s1600/after_image_colors.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-wsm8KLlpbeQ/U1QLh7Ay9oI/AAAAAAAADvQ/Ng3RfhcruF8/s1600/after_image_colors.jpg" height="238" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">observing and drawing complementary colours</td></tr>
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<li>physiological colours (including coloured shadows)</li>
<li>physical colours (colours in the atmosphere, prismatic colours)</li>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-pLSR9pifnlQ/U1QLok7XuaI/AAAAAAAADwM/U-FzQSPtCDo/s1600/fishtank+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-pLSR9pifnlQ/U1QLok7XuaI/AAAAAAAADwM/U-FzQSPtCDo/s1600/fishtank+2.jpg" height="284" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">observing colours in the fishtank</td></tr>
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We explored the complementary nature of additive and subtractive colour mixing:<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-cB9fP9oMvfk/U1QLrp-v8dI/AAAAAAAADwg/PHTBKjiSuIY/s1600/subtractive_mixing_1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-cB9fP9oMvfk/U1QLrp-v8dI/AAAAAAAADwg/PHTBKjiSuIY/s1600/subtractive_mixing_1.jpg" height="186" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">subtractive colour mixing </td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-hqHm214XjDE/U1QLiru3kAI/AAAAAAAADvY/VfK1FE0W-ZU/s1600/additive+color+mixing+2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-hqHm214XjDE/U1QLiru3kAI/AAAAAAAADvY/VfK1FE0W-ZU/s1600/additive+color+mixing+2.jpg" height="220" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">additive colour mixing</td></tr>
</tbody></table>
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Eventually we had a taste of the "sensual-moral qualities of colours by walking around the campus with coloured foils in front of our eyes:<br />
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<a href="http://3.bp.blogspot.com/-iOvcND7QYwE/U1QLj64vpRI/AAAAAAAADvs/Ysa1VIVyscI/s1600/coloured_jellies.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-iOvcND7QYwE/U1QLj64vpRI/AAAAAAAADvs/Ysa1VIVyscI/s1600/coloured_jellies.jpg" height="300" width="400" /></a></div>
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<a href="http://2.bp.blogspot.com/-mSjvCUcHN3I/U1QL3DhYCAI/AAAAAAAADww/7irQ_FA_Uqo/s1600/coloured_jellies_17.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-mSjvCUcHN3I/U1QL3DhYCAI/AAAAAAAADww/7irQ_FA_Uqo/s1600/coloured_jellies_17.JPG" height="426" width="640" /></a></div>
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Here are some feedbacks from course-participants:<br />
<br />
<blockquote class="tr_bq">
<span style="background-color: white; line-height: 18px;"><span style="font-family: inherit;">"Thanks for sharing your magic and helping us to see!!!"</span></span></blockquote>
<blockquote class="tr_bq">
<span style="background-color: white; line-height: 18px;"><span style="font-family: inherit;"> "...'Colours are the deeds & sufferings of light'- J.W Goethe. Ascendant & encountered after a day with the fabulous Axel Ewald who hosted the Goethe: 'Encountering Colour' workshop today...much gratitude!"</span></span></blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-oy1CA5y9B9Q/U1QLknIWsEI/AAAAAAAADvw/oo9GRkW8Gd4/s1600/axel_%253Bdianne.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-oy1CA5y9B9Q/U1QLknIWsEI/AAAAAAAADvw/oo9GRkW8Gd4/s1600/axel_%253Bdianne.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Axel with participant Dianne Regisford</td></tr>
</tbody></table>
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<blockquote class="tr_bq">
(1) Goethe, J.W.von (2000): <i>Goethe's Theory of Colours</i>. Cambridge, Massachusetts and London: M.I.T. Press; reproduced from: (1840) London: John Murray<br />(2) for an introduction to Goethe's scientific method: Bortoft, H. (1996). <i style="font-family: inherit;">The Wholeness of Nature.</i> Edinburgh: Floris Books</blockquote>
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<blockquote class="tr_bq">
thanks to Helena Fox and Dianne Regisford for the photographs</blockquote>
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-27550544330079544672014-04-19T00:17:00.002-07:002014-04-19T00:19:34.693-07:00<h3 style="clear: both; text-align: left;">
<span style="font-size: x-large;">A Space for Bees</span></h3>
<h4 style="clear: both; text-align: left;">
<span style="font-size: large;">- Inauguration of the first Bio-Dynamic Beehive Project in Israel</span></h4>
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On coming back to Israel after my stay in Oxford I made some surprising and heart-warming discoveries. Meeting the farmers who are running the 'Gan Habeit' organic vegetable garden, I learned about some developments which had occured in surprising parallel to the things I had met during my studies and which I was hoping to further in Israel:</div>
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<ul>
<li>the farmers more and more see their vegetable garden as a community enterprise and are very keen to cooperate on the development of artistic / environmental / social initiatives</li>
<li>the farmers teamed up with Yossi Aud who proposed to inaugurate the first Bio-Dynamic educational beehive project on the lands of 'Gan Habeit'. This is seen as a small first step towards dealing with the worldwide beehive crisis (1)</li>
<li>this beehive project is a joint project with the newly-founded Initiative for Social Three-folding in Israel (2)</li>
</ul>
<div>
I was thrilled to hear about these developments and offered my cooperation. After meeting with Yossi we agreed that I shall take responsibility for the artistic shaping of the landscape setting for beehive project and also make a contribution to the inauguration ceremony.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-Ggz3li97FL8/U1E-OExaV7I/AAAAAAAADfo/Wsphjsed-zA/s1600/gan_hadvorim-1a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-Ggz3li97FL8/U1E-OExaV7I/AAAAAAAADfo/Wsphjsed-zA/s1600/gan_hadvorim-1a.jpg" height="360" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Galilee landscape chosen as the setting for the Beehive project</td></tr>
</tbody></table>
<span style="text-align: center;"><span style="font-family: inherit;">In March 2014 a group of volunteers from the Harduf community prepared under my guidance prepared the site which was chosen as the germinal point for the beehive community. An existing heap of field stones was utilized to create a simple sculptural gesture as a focus point for the first group of beehives.</span></span><br />
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<a href="http://3.bp.blogspot.com/-zOkIwCWnzvs/U1E-oDtfDkI/AAAAAAAADgc/8K6k2d0xBjc/s1600/gan_hadvorim-7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-zOkIwCWnzvs/U1E-oDtfDkI/AAAAAAAADgc/8K6k2d0xBjc/s1600/gan_hadvorim-7.jpg" height="320" style="cursor: move;" width="207" /></a><a href="http://4.bp.blogspot.com/-xRC-CBTDAbc/U1E-dPFMqlI/AAAAAAAADgE/YrJXNFTYbT8/s1600/gan_hadvorim-5a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-xRC-CBTDAbc/U1E-dPFMqlI/AAAAAAAADgE/YrJXNFTYbT8/s1600/gan_hadvorim-5a.jpg" height="180" width="320" /></a></div>
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Soon after the first 8 beehives arrived and were placed around the sculpture. The project will eventually comprise up to 200 beehives, providing an economic basis for this three-folding project.<br />
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<a href="http://1.bp.blogspot.com/-ujeBLxMBU9w/U1E-qDJyZWI/AAAAAAAADgw/A-_nxC2zFwQ/s1600/gan_hadvorim-9.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-ujeBLxMBU9w/U1E-qDJyZWI/AAAAAAAADgw/A-_nxC2zFwQ/s1600/gan_hadvorim-9.jpg" height="213" width="320" /></a></div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-JdBf2YexpWE/U1E-YEwF-4I/AAAAAAAADf8/WBVf7Bg2cbw/s1600/gan_hadvorim-11a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-JdBf2YexpWE/U1E-YEwF-4I/AAAAAAAADf8/WBVf7Bg2cbw/s1600/gan_hadvorim-11a.jpg" height="360" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The first beehives in situ</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-U8xHEH2j13c/U1E-mGn3EiI/AAAAAAAADgU/cdDhLeuU7F8/s1600/beesgardenceremony_11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-U8xHEH2j13c/U1E-mGn3EiI/AAAAAAAADgU/cdDhLeuU7F8/s1600/beesgardenceremony_11.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the inauguration ceremony of the beehive project, photo by Nelly Gluzman</td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-6pLkCkhfKoQ/U1E-kGufkvI/AAAAAAAADgM/WH0fHLogNP0/s1600/Bee_waggle_dance.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-6pLkCkhfKoQ/U1E-kGufkvI/AAAAAAAADgM/WH0fHLogNP0/s1600/Bee_waggle_dance.png" height="198" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">wiggle-dance of the worker bee</td></tr>
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For the inauguration ceremony on March 1st I prepared a social sculpture practice which was based on the 'waggle-dance' of the bees. On coming back from a promising source of nectar in the environment a worker bee performs a kind of dance on the honeycombs, following a distinct choreography. The bee repeatedly follows a figure-of-eight pattern with a straight middle section during which she waggles her tail section. This central part conveys the direction of the food-source relative to the direction of the sun.<br />
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The occasion which was attended by some 80 people, including many families with small children, was opened by singing and some introductory words by Yossi, by beekeeper Hilmar Conman and Yuval Elad who represented the Social Threefolding Initiative. Then I introduced the Social Sculpture practice and its relationship to the bee community. Participants were asked to break up into small groups, look for a beautiful spot in the 'bees garden', closely observe the place and share impressions. Each group then had perform three tasks:<br />
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<ul>
<li>to choose one sentence which summarizes the groups impression of the place and share it with the community</li>
<li>to bring back a small quantity of one representative natural material from the place and place this in one of the 'honeycombs' which another group had prepared next to the beehives</li>
<li>to perform a group 'waggle dance' informing the community of where the group's place is situated </li>
</ul>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-0F505-HPLYw/U1E-s3JZ4HI/AAAAAAAADg8/-4VUhjXsDwA/s1600/beesgardenceremony_materialhives_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-0F505-HPLYw/U1E-s3JZ4HI/AAAAAAAADg8/-4VUhjXsDwA/s1600/beesgardenceremony_materialhives_1.jpg" height="480" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the 'honeycombs' are gradually getting filled<br />
with special materials from the environment<br />
photo: Nelly Gluzman</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-Bn4prGkncD0/U1E-tiRbnJI/AAAAAAAADhE/zDZe9e-LC5E/s1600/beesgardenceremony_beesdance_5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-Bn4prGkncD0/U1E-tiRbnJI/AAAAAAAADhE/zDZe9e-LC5E/s1600/beesgardenceremony_beesdance_5.jpg" height="360" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">one group performs the 'waggle-dance'</td></tr>
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This was followed by a communal meal and planting of fruit trees.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-OCMaoCxw3iE/U1E-3D-qSwI/AAAAAAAADhM/5Pe_ePQLsGs/s1600/beesgardenceremony_13a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-OCMaoCxw3iE/U1E-3D-qSwI/AAAAAAAADhM/5Pe_ePQLsGs/s1600/beesgardenceremony_13a.jpg" height="360" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">planting of fruit trees</td></tr>
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The following video clip summarizes the event:</div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/kOHyXw6MIRw?feature=player_embedded' frameborder='0'></iframe></div>
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<blockquote class="tr_bq">
(1) For further information about the beehive crisis and how it is related to the prevailing scientific consciousness, see the excellent book: <span style="font-family: inherit;"> Kornberger,
H. (2012). <i>Global Hive, Bee Crisis and Compassionate Ecology.</i> Hamilton Hill: Integral Arts Press. For more information about Bio-Dynamic beekeeping in Israel see <a href="https://www.facebook.com/biobees.yossiaud?fref=ts">Yossi Aud's facebook page 'BioBees'</a>.</span></blockquote>
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<blockquote class="tr_bq">
(2) The idea of Social Threefolding was introduced by Rudolf Steiner after the first world war. It promotes a separation of the three spheres of social life: the economic, social/legal and spiritual sphere. For more information: <span style="font-family: inherit;"><span style="background-color: white; color: #252525; line-height: 18.900001525878906px;">Steiner, Rudolf (1996) </span><i style="background-color: white; color: #252525; line-height: 18.900001525878906px;">Threefold the Social Order</i><span style="background-color: white; color: #252525; line-height: 18.900001525878906px;">, New Economy Publications / Rudolf Steiner Archive Serie</span><span style="background-color: white; color: #252525; line-height: 18.900001525878906px;">s. For information about the Social Threefolding Initiative in Israel see the<a href="https://www.facebook.com/groups/242816752480050/?fref=ts"> facebook group 'המשולש החברתי' (in Hebrew)</a></span></span></blockquote>
<br />Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-82904535887597913702014-04-18T07:55:00.000-07:002014-04-18T07:55:31.503-07:00<h3>
<b><span style="line-height: 115%;"><span style="font-family: inherit; font-size: x-large;">Environmental Sculpture: Nature, Art, Ecology
and Society</span></span></b></h3>
<h3>
<b><span style="line-height: 115%;"><span style="font-family: inherit; font-size: large;">- draft for an article in the "Adam Olam" Magazine</span></span></b></h3>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-6NjEjASpSMY/U1EvG7xYbEI/AAAAAAAADeo/ATPlD05erpM/s1600/Stonerow%252C+Isle+of+Lewis%252C+Scotland.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-6NjEjASpSMY/U1EvG7xYbEI/AAAAAAAADeo/ATPlD05erpM/s1600/Stonerow%252C+Isle+of+Lewis%252C+Scotland.jpg" height="400" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Megalithic Stone Row, Isle of Lewis, Scotland</td></tr>
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span style="font-family: inherit;">Although the concept of 'Environmental Sculpture' is an invention
of the late 20th century, its focus on how human beings can creatively get
involved with the natural environment has been a major concern of human beings for
thousands of years. Prehistoric cultures and tribal societies venerated
landscape - rivers, mountains and trees as well as wind, rain and the stars - as
a symphonic whole animated by spiritual presence. Sculptural monuments like the
stone circles and stone alignments of the megalithic culture were carefully
integrated into this living fabric and orientated to specific landmarks and the
movement of sun, moon and star constellations during the year. <o:p></o:p></span></div>
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<span style="font-family: inherit;">The nineteenth century and the Industrial
Revolution brought almost total estrangement from nature. The artworks of
western civilisation became detached from any living context, tucked away in
sterile museums and galleries - homeless children of an intellectual and analytical
consciousness which was no longer capable or even interested in grasping any
living wholeness. Our current ecological crisis is a direct outcome of this
mode of thinking which sees nature as a mere commodity and resource for
exploitation.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Richard Long <br />
Line Made by Walking<br />
1967</td></tr>
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span style="font-family: inherit;">Artists reacted to this loss of context by concentrating on the only kind of integrity
they could still rely upon - the inner lawfulness of the artistic elements of
colour, line, form and space. In an attempt to grasp the spiritual essence of
colour and form, artists resorted to ever more reduced, minimalistic creations.
<o:p></o:p></span></div>
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span style="font-family: inherit;">Land-Art, or Environmental Sculpture, was
born at and out of this moment of utter reduction, as it were, on the edge of
nothingness. One of the first and perhaps most pivotal works of Land-Art was 'Line
Made By Walking', created in 1967 by the British sculptor Richard Long. It
consists of a straight line, brought about by the artist repeatedly and
intentionally walking back and forth on a South West England meadow. This seemingly
banal work breaks with many well-honed art traditions. It replaces the narrow restrictions
of studio and gallery walls with the open natural landscape and, instead of
presenting a refined aesthetic product, promotes the artist's primal, wilful
activity of walking the land as a potent agent of creativity. With this it also
reiterates Paul Klee's claim that "all creation derives from
movement". From this pivotal point onwards, Richard Long has been walking
the globe, over mountains and deserts, leaving behind him humble, ephemeral
traces on the ground in the form of
straight lines and circles. In these works an exciting (although not utterly
new) realm of exploration opened up for him and the following generations of
environmental artists: how many different ways are there to create a straight line
in a landscape and how does each of these lines interact with the specific
landscape setting, the topography, specific landmarks, changing weather
conditions and so on? Just because the form is so simple and universal
("it belongs to everybody" as Long remarks), its 'site-specific'
placement and orientation can speak in a very articulate way - not about
itself, but about the place where it appears. <o:p></o:p></span></div>
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<span style="font-family: inherit;">Andy Goldworthy, another British pioneer of
Environmental Sculpture, started his career by escaping art school and becoming
a naturalist: sleeping outside, waking with the dawn, walking bare-feet,
splashing in the water and digging in the mud. He felt the urge to expose
himself to the elements, explore and play like a child. "<span lang="EN-US">When I began working outside, I had to
establish instincts and feelings for Nature. I needed a physical link before a
personal approach and relationship could be formed." This immediate,
physical, "hands-on" relationship to nature enabled him to develop
new sensitivities and organs for nature.<o:p></o:p></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Andy Goldsworthy - Willow Sticks with Water Reflection, 1988</td></tr>
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ARABIC <span style='mso-element:field-separator'></span><![endif]><span
style='mso-no-proof:yes'>3</span><![if supportFields]><span
style='mso-element:field-end'></span><![endif]> <span
style='mso-spacerun:yes'> </span>Andy Goldsworthy - Willow Sticks
with Water Reflection, 1988<span style='font-family:"Arial","sans-serif";
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span style="font-family: inherit;">"Willow Sticks with Water
Reflection" (1988) is a good illustration of his working method. He often
remarked, that, as an artist, he has no personal message to express. It is only
by meeting the particular situation, that his artistic imagination begins to
work. In "Willow Sticks", what we see is the result of a cooperation between
the artist's creation and the reflecting properties of water. This ingenious invention clearly was
inspired by the place itself. So in one way, Goldsworthy makes us aware of what
anyway already exists in the place. On the other hand, he applies principles of
composition, of centre and periphery, of straight and round lines in his delicate,
ephemeral and aesthetically pleasing construction. With this he subtly offsets
natural beauty with a creation penetrated by human consciousness, awareness and
care.<o:p></o:p></span></div>
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<span style="font-family: inherit;">Although the early masters of Environmental
Sculpture did not explicitly place their works into the context of the growing
environmental crisis, their research, their sensitivity and their careful
interventions made a mayor contribution to a beginning shift in environmental
awareness. They helped us to "see what is there" and provided striking
examples of a more empathetic relationship to nature and the possibility for a
truly mutual cooperation with nature. In the last two decades many
environmental artists have expanded their practice by more explicitly
addressing ecological concerns. This included for instance the artistic design
of ecological water treatment plants and projects creating bio-spheres in urban
areas.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-bqXwT4Y-W1Y/U1EwCFza2hI/AAAAAAAADe4/4gfiZTsu95o/s1600/Axel+Ewald+-+Forest+Broom.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-bqXwT4Y-W1Y/U1EwCFza2hI/AAAAAAAADe4/4gfiZTsu95o/s1600/Axel+Ewald+-+Forest+Broom.jpg" height="361" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Axel Ewald - Forest Broom, 1994</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-phoSI9w6u-w/UojLo3xg3JI/AAAAAAAADFc/gvJznZtoTLo/s1600/binnen-set3.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-phoSI9w6u-w/UojLo3xg3JI/AAAAAAAADFc/gvJznZtoTLo/s1600/binnen-set3.jpg" height="200" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Axel Ewald - Shifting Fences, Germany, 2000</td></tr>
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<span style="font-family: inherit;">My own involvement with environmental sculpture started in England
in 1989, when I attended a conference on "Sculpture and Landscape" which
included as speakers all the mayor environmental artist of the time, including
Andy Goldsworthy. I immediately identified in their search something akin to
the holistic approach to nature introduced by J.W. von Goethe (<span style="font-size: x-small;">1</span>). Goethe, whose
scientific writings formed the epistemological basis of Rudolf Steiner's
spiritual science, had pursued his scientific studies of nature by employing
the whole tool set of human faculties, including what he called "exact
imagination", in order to grasp the wholeness of nature. Parallel to
conducting Goethean Science workshops together with the Biologist Margaret
Colquhoun, I started to create my first environmental sculptures. Creating
artworks in situ, in an ongoing dialogue with places, their history, their
material and animated fabric, for me became an exciting artistic challenge and
a fitting way of answering Rudolf Steiner's call to artists:</span></div>
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<span style="font-family: inherit;"><i>"Painfully our Mother Earth has become mineralized. It
is our task, through the work of our hands, to transform her into a
spirit-filled work of art." (<span style="font-size: x-small;">2</span>)</i></span></blockquote>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-YJxQuhpLFK8/U1E0VF1QDPI/AAAAAAAADfY/o1jb42ADhFA/s1600/%D7%91%D7%97%D7%96%D7%A8%D7%94+%D7%9C%D7%90%D7%93%D7%9E%D7%94+-+%D7%97%D7%92+%D7%94%D7%97%D7%92%D7%99%D7%9D+%D7%97%D7%99%D7%A4%D7%94.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-YJxQuhpLFK8/U1E0VF1QDPI/AAAAAAAADfY/o1jb42ADhFA/s1600/%D7%91%D7%97%D7%96%D7%A8%D7%94+%D7%9C%D7%90%D7%93%D7%9E%D7%94+-+%D7%97%D7%92+%D7%94%D7%97%D7%92%D7%99%D7%9D+%D7%97%D7%99%D7%A4%D7%94.jpg" height="640" width="444" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Axel Ewald - Back to Earth - Environmental Sculpture<br />
using waste materials, Wadi Nisnas, Haifa, Israel, 1999</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-7pb7hpUJQXc/U1EwMHgXCCI/AAAAAAAADfM/0dTRZDdDXCM/s1600/Harduf+roundabout.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-7pb7hpUJQXc/U1EwMHgXCCI/AAAAAAAADfM/0dTRZDdDXCM/s1600/Harduf+roundabout.JPG" height="242" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Roundabout - Environmental Design Project <br />
of students at the Artways Training Centre, Kibbutz Haruduf, 2011-12</td></tr>
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<span style="font-family: inherit;">Some of my projects attempted the "healing" of neglected
places in more urban contexts, like the "Roundabout Project" in
Kibbutz Harduf. The site was an empty "void", before it became
transformed in the course of a communal environmental design project by a group
of art students studying art in the "Artways" training in
Harduf. This project included a thorough research of the situation, interviews
and community participation in the execution.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-O4BPndR5J6g/U1EwMtA3H2I/AAAAAAAADfQ/3GIPAHGfMgE/s1600/Michael+Hall+Environmental+Workshop.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-O4BPndR5J6g/U1EwMtA3H2I/AAAAAAAADfQ/3GIPAHGfMgE/s1600/Michael+Hall+Environmental+Workshop.jpg" height="320" width="199" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Environmental Workshop<br />Michael Hall School,<br />Forest Row, Sussex, UK, 2012</td></tr>
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span style="font-family: inherit;">In recent years environmental sculpture for me has increasingly
become linked with the question of community involvement and social processes. Two
years ago I was invited by Michael Hall Rudolf Steiner School in England to
conduct an environmental sculpture workshop with the college of teachers. This
workshop led to an ongoing working process in which I guided a group of
teachers in a communal design process, focussing on a problematic part of the
school campus. During this process we arrived, by consensus, at various design
solutions, including an environmental artwork which will be constructed in a
community effort this coming autumn (<span style="font-size: x-small;">3</span>).<o:p></o:p></span></div>
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style='mso-element:field-end'></span><![endif]> Environmental Workshop with
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</span><span style='mso-spacerun:yes'> </span>Michael Hall Rudolf Steiner
School, Forest Row, England</p>
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span style="font-family: inherit;">One of the striking feed-backs, repeatedly
given by participants in such workshops, was that the communal effort, apart
from restoring the individuals' bond to nature and nurturing understanding for
the fragile fabric of landscape, seems to have a healing effect in the social
realm. Sharing our intimate observations and insights as well as participating
with each other in creative work on the land can culminate in a first, humble
hint of what is a lofty goal for the future of humanity - "Social
Sculpture" - a non-material artistic form-creation between human beings (<span style="font-size: x-small;">4</span>)</span></div>
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<blockquote class="tr_bq">
<span style="font-family: inherit;">(1)</span><span style="font-family: inherit;"> </span><span style="font-family: inherit;">for an excellent introduction into Goethean Science: </span><span style="font-family: inherit;">Bortoft,
H. (1996). </span><i style="font-family: inherit;">The Wholeness of Nature.</i><span style="font-family: inherit;">
Edinburgh: Floris Books</span></blockquote>
<blockquote class="tr_bq">
<span style="font-family: inherit;">(2) quoted from a speech given by Rudolf Steiner celebrating the opening of the Malsch Experimental Building in 1913</span></blockquote>
<blockquote class="tr_bq">
<span style="font-family: inherit;">(3) for more about 'consensus design' <a href="http://axelewald.blogspot.co.il/2013/10/artist-in-residence-michael-hall.html">see previous blog from Oct. 2013</a> and the book by Christoper Day:</span> <span style="font-family: inherit;">Day, C. (2003). </span><i style="font-family: inherit;">Consensus Design, Socially Inclusive Process.</i><span style="font-family: inherit;"> Oxford: Architectural Press</span></blockquote>
<blockquote class="tr_bq">
<span style="font-family: inherit;">(4) for more about 'Social Sculpture' see the </span><a href="http://axelewald.blogspot.co.il/2013/11/social-sculpture-few-thoughts-about.html" style="font-family: inherit;">previous blog from Nov. 2013</a></blockquote>
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com1tag:blogger.com,1999:blog-4491142226486881139.post-45211255434824004202014-04-18T06:45:00.004-07:002014-04-18T07:57:03.784-07:00<h3>
<span style="font-family: inherit; font-size: x-large;">
Floating Sails</span></h3>
<h4>
<span style="font-family: inherit; font-size: large;">
- A Social Sculpture Exploration at Brookes University - December 2013</span></h4>
<div>
<br /></div>
<div>
So, here I am back, finally updating my blog with reports about events from the (not quite so) distant past.</div>
<div>
<br /></div>
<div>
For my final presentation concluding the semester I attended at the Master's Course in Social Sculpture at Brookes University I chose to work with the theme of 'connected-ness'. I wanted to create an installation which would convey an experience of how we - in spite of our distinctive and often conflicting egos - are connected by (invisible) threads; connected to each other and to a larger context which is beyond our finite, temporal existence - and yet dependent on us . Sometimes we can get a hint of this mutual inter-relatedness.</div>
<div>
Shortly after I decided on this theme I had a dream, in which I saw (and heard) something like a beating, radiating heart in the centre of a dark space. People, all of whom were connected by some means to this beating centre, were moving around this heart. Some time after this dream I tried to capture this image in a drawing:</div>
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<a href="http://4.bp.blogspot.com/-Sg8wS2GXF90/U07TTYpjisI/AAAAAAAADc0/VvlfnLfIzZ8/s1600/dream+sketch+for+sails.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Sg8wS2GXF90/U07TTYpjisI/AAAAAAAADc0/VvlfnLfIzZ8/s1600/dream+sketch+for+sails.jpg" height="550" width="640" /></a></div>
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This initial image had to go through a number of metamorphoses until its materialization in the final installation. For the participatory installation I decided to involve the group of students and tutors I was studying with. As I wanted people to pick up their own 'threads of inter-connected-ness', I had to make these recognizable and specific to the individuals. Over a period of three weeks I drew 25 portraits of all the people whom I thought might come to the event. These drawings were to be placed on the floor for people to find and pick them up. Each drawing would be connected by means of a thread / string to some kind of kinetic sculptural configuration in the centre of the space. This sculpture would be very 'responsive' to any manipulation of the threads.<br />
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<a href="http://2.bp.blogspot.com/-Fg6-c8IUJkE/U07bU0Okh9I/AAAAAAAADeM/kinzWEPobds/s1600/dani.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Fg6-c8IUJkE/U07bU0Okh9I/AAAAAAAADeM/kinzWEPobds/s1600/dani.jpg" height="200" width="122" /></a><a href="http://1.bp.blogspot.com/-ODxtpXlOJOI/U07T0UD6kpI/AAAAAAAADdg/PV0NIuQA7YY/s1600/ricardo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-ODxtpXlOJOI/U07T0UD6kpI/AAAAAAAADdg/PV0NIuQA7YY/s1600/ricardo.jpg" height="200" width="142" /></a><a href="http://2.bp.blogspot.com/-k7l8HS3-MKI/U07bVjemrkI/AAAAAAAADeQ/Hy2d8fPHkc8/s1600/amanda.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-k7l8HS3-MKI/U07bVjemrkI/AAAAAAAADeQ/Hy2d8fPHkc8/s1600/amanda.jpg" height="200" width="158" /></a></div>
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The final sculptural installation was constructed of triangular frames made of willow branches which were holding thin, semi-transparent paper sheets. These 'sails' were suspended from longer willow branches in the fashion of a kinetic mobile. 25 threads were connected to strategic points of the mobile allowing participants to manipulate the movement. With so many 'strings attached' the coordination of the individual movements would be very critical in order to avoid complete chaos and I was very anxious about how people would be dealing with this.<br />
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<a href="http://1.bp.blogspot.com/-RnaryuyyJ_s/U07T_j5NTRI/AAAAAAAADd4/FZAKdQhiXak/s1600/sails7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-RnaryuyyJ_s/U07T_j5NTRI/AAAAAAAADd4/FZAKdQhiXak/s1600/sails7.jpg" height="640" width="425" /></a></div>
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When the group entered the dimly lit installation space on the morning of December, 10th the only instruction they found was the following note:<br />
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In the beginning people were somewhat confused and hesitant but soon began picking up their drawings. Then followed a long pause of intense silence with participants standing in a circle around the motionless central installation.<br />
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<a href="http://3.bp.blogspot.com/-HrZoce6wUzc/U07Tx25u-DI/AAAAAAAADdY/mYMGkQBi9so/s1600/sails13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-HrZoce6wUzc/U07Tx25u-DI/AAAAAAAADdY/mYMGkQBi9so/s1600/sails13.jpg" height="400" width="297" /></a></div>
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At last some of them plucked their courage, tentatively pulled their strings - and the dance of the sails began. I cannot say for how long it lasted - it was an experience of utter timelessness and magic. People operated their strings with skill and restraint, creating moments of silent communion.<br />
The following video clip was recorded before the actual event (that means without the people). It gives an impression of the effect of the symphony of floating 'sails'. As background music I added a piece from the "Eight Japanese Folk Songs, composed by Vic Nees and performed by the choir I am part of (Kolot HaSadeh Choir, conducted by Anat Aharoni).<br />
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com1tag:blogger.com,1999:blog-4491142226486881139.post-88600211199761106482013-11-17T04:22:00.002-08:002013-11-17T05:08:10.651-08:00<h3>
Late Autumn Images from the British Isles</h3>
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I am sharing with you some more photographs which I took during these last days of autumn. Next week winter is supposed to arrive with freezing temperatures and possibly some snow ...<br />
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<br />Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-22076695489072571152013-11-16T14:43:00.000-08:002013-11-17T12:05:25.894-08:00<h3>
Revisiting Pishwanton</h3>
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- the Centre for Goethean Science and Art at Pishwanton Wood, East Lothian, Scotland</h4>
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A week ago I spent a few days up north in Scotland, re-connecting threads from the distant past, when Ephrat and myself were living in Haddington east of Edinburgh (1991 -1994). One of the reasons was to visit the Pishwanton project. As an example of a site for the practice of alternative ecological and artistic methods of working with the land and educating people for a more sustainable future it is of particular relevance for me as part of my PhD research project. I had myself been involved with this piece of land, having been part of the first landscape study sessions in 1992 with biologist Margaret Colquhoun and architect Christopher Day. But I was still amazed and moved when I saw that one of my drawings from 20 years ago features on the new Pishwanton Wood leaflet:<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-lClhfLe7OzI/UofZjn6d0OI/AAAAAAAADBU/yWoz8Uws0n4/s1600/Pishwanton+leaflet+cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="442" src="http://2.bp.blogspot.com/-lClhfLe7OzI/UofZjn6d0OI/AAAAAAAADBU/yWoz8Uws0n4/s640/Pishwanton+leaflet+cover.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the latest Pishwanton Project leaflet</td></tr>
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Margaret Colquhoun, my long-time friend and colleague, has been instrumental in creating the vision for this project and she is also running it on a day-to-day basis.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-xDyJ4iQnlEQ/UofYgx28IrI/AAAAAAAADAE/VL9eqcNap1U/s1600/pishwanton-margaret-jeep.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-xDyJ4iQnlEQ/UofYgx28IrI/AAAAAAAADAE/VL9eqcNap1U/s320/pishwanton-margaret-jeep.jpg" width="302" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Margaret with Toffy, the dog, in the Pishwanton jeep</td></tr>
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In the leaflet Margaret outlines her vision for Pishwanton and the aims of the project:<br />
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<span style="font-family: inherit;"><i>Pishwanton Wood is “a place for learning in living in harmony with the land,</i></span><span style="font-family: inherit;"><i>'on the edge' of landscape, of life, of science, art and of
cultural practice”.</i></span></blockquote>
The project is dedicated to the study and practice of Goethean Science with a strong emphasis on education, therapy and the development of new organs of perception.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-ATUZm5KyEhg/UofXq3B03ZI/AAAAAAAAC-M/IdZxNN7iv_8/s1600/pishwanton-craftbuilding_view_from_herbgarden+-+Copy.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-ATUZm5KyEhg/UofXq3B03ZI/AAAAAAAAC-M/IdZxNN7iv_8/s400/pishwanton-craftbuilding_view_from_herbgarden+-+Copy.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">view from the herb garden<br />
towards the craft building</td></tr>
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<span style="font-family: inherit;"><i>"At Pishwanton people explore both the <u>inner and
outer journey</u> of discovering life and landscape, </i></span><span style="font-family: inherit;"><i>through the activities of perceiving, reflecting, and
doing. </i></span><span style="font-family: inherit;"><i>This way of working with both one's inner and outer
nature simultaneously, and of raising to consciousness the processes of
perceiving and reflecting as a precursor to doing </i></span><span style="font-family: inherit;"><i>provides a meditative path of spiritual development ...”</i></span></blockquote>
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<span style="font-family: inherit;">Pishwanton</span><span style="font-family: inherit;"> Wood, 60 acres of semi-neglected land, a
microcosm </span>comprising<span style="font-family: inherit;"> a diverse mix of Lowland Scottish habitats, was purchased by the Life
Science Trust in 1996. The site bears evidence of a long history of human </span><span style="font-family: inherit;">involvement, </span><span style="font-family: inherit;">including an Iron-age
burial mount</span><span style="font-family: inherit;">.</span><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-T26VFvfbWMM/UofYc6P9dYI/AAAAAAAAC_0/BXi7SbIkwjU/s1600/pishwanton-map_up-to-date.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="http://2.bp.blogspot.com/-T26VFvfbWMM/UofYc6P9dYI/AAAAAAAAC_0/BXi7SbIkwjU/s640/pishwanton-map_up-to-date.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">up-to-date map of Pishwanton Wood</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-ycu90-Dbsqc/Uofm8Cfd9MI/AAAAAAAADBo/MzaWSKHnM5s/s1600/pishwanton-snakepath.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-ycu90-Dbsqc/Uofm8Cfd9MI/AAAAAAAADBo/MzaWSKHnM5s/s320/pishwanton-snakepath.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the 'snake path' leading towards<br />
the animal barn</td></tr>
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I was very moved to see how the place has evolved. It no longer feels neglected, everywhere one experiences the caring hand of human beings. Many trees have been planted, invasive vegetation in previously impenetrable areas has been thinned, paths have been created, an orchard with fruit trees has been planted, a large herb garden has been laid out in the inner 'heart space' of the site, beautiful willow fences have been constructed to separate the meadows where cows, sheep and goats are grazing from the garden , and, last but not least, a number of carefully planned, ecologically designed buildings have been erected. All these transformative activities stem from the same source: a profound dedication to the land, the study of landscape, of materials and processes through the methods of Goethean Science, the application of Goethean Science to 'Consensus Design' (a community design method developed by Christopher Day), and many, many hours of work dedicated by volunteers from many countries.<br />
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<i><span style="font-family: inherit;">"Insights are transformed into creative action, </span><span style="font-family: inherit;">which may unfold in a variety of ways from medicine
making to garden design, poetry, art or building an eco-building in the
landscape.”</span></i><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-fU_Lk0DZBj4/UofY5gzwVWI/AAAAAAAADA8/SEqqnRNnf-E/s1600/pishwanton-work_housebuilding.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="220" src="http://4.bp.blogspot.com/-fU_Lk0DZBj4/UofY5gzwVWI/AAAAAAAADA8/SEqqnRNnf-E/s320/pishwanton-work_housebuilding.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">building the barn</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-DAqed3VuMA4/UofY4qA3MpI/AAAAAAAADA0/j6d_fJ1wnEk/s1600/pishwanton-work_willowing_trees.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-DAqed3VuMA4/UofY4qA3MpI/AAAAAAAADA0/j6d_fJ1wnEk/s320/pishwanton-work_willowing_trees.jpg" width="210" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">creating willow fences<br />
for newly planted trees</td></tr>
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Pishwanton Wood is<br />
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<span style="font-family: inherit;"> is open to the public as
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<span style="font-family: inherit;">- an outdoor classroom</span> </blockquote>
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<span style="font-family: inherit;">- a research laboratory</span> </blockquote>
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<span style="font-family: inherit;">- a place for 'creative play'</span> </blockquote>
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<span style="font-family: inherit;">- a case-study for landscape restoration</span> </blockquote>
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<span style="font-family: inherit;">- a home for the development of interactive communities
of plants, animals and human beings</span> </blockquote>
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<span style="font-family: inherit;">- a show-case for illustrating a sustainable way of living
for the future</span> </blockquote>
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<span style="font-family: inherit;">- a base for the practice of educational and therapeutic
small-scale agriculture</span></blockquote>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-tQiwRfrJ02s/UofXqh9vfyI/AAAAAAAAC-I/ussiTENv3cE/s1600/pishwanton-david_margaret+-+Copy.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://4.bp.blogspot.com/-tQiwRfrJ02s/UofXqh9vfyI/AAAAAAAAC-I/ussiTENv3cE/s320/pishwanton-david_margaret+-+Copy.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Margaret and David</td></tr>
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A variety of different groups of people have visited Pishwanton for different lengths of time and grades of involvement. These includes people who are searching for an in-depth study and the application of Goethean Science, volunteers of a variety of ages, often people at a turning point in their lives, searching for new orientation and meaning, <span style="font-family: inherit;">students of the Schumacher College MSc program, </span>art and architecture students interested in ecology and consensus design, local people with disabilities working in Pishwanton on a weekly basis, high school students from the UK and abroad on voluntary work placement as well as casual visitors.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-XEt-KkpUEdE/Uofu5wRRLQI/AAAAAAAADCQ/V9U6l_9Vfsc/s1600/pishwanton_science_building.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://1.bp.blogspot.com/-XEt-KkpUEdE/Uofu5wRRLQI/AAAAAAAADCQ/V9U6l_9Vfsc/s400/pishwanton_science_building.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the new Goethean Science building</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-YWWYt6J2Rsg/UofYD3RIB3I/AAAAAAAAC_E/ozQu_3q1jXY/s1600/pishwanton-goethean_science_building_3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-YWWYt6J2Rsg/UofYD3RIB3I/AAAAAAAAC_E/ozQu_3q1jXY/s320/pishwanton-goethean_science_building_3.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">inside the science building</td></tr>
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In Spring 2013 the Goethean Science building was inaugurated. It comprises a generously designed teaching space, a small kitchen, a toilet and facilities for the processing of herbs. As all the other buildings on site it was designed by Christopher Day, following an intensive on-site community design process. A number of further buildings have gone through the design process and received planning permission. This includes a large building with community kitchen and dining-room and a caretaker flat (the 'seed-building') as well as chalets for on-site accommodation of visitors and course participants. The first chalet is scheduled to be built in 2014.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-0exZzXIumAo/Uofvl7DNJbI/AAAAAAAADCY/FTrEwR8FOjk/s1600/pishwanton_seedbuilding_sketch.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="348" src="http://4.bp.blogspot.com/-0exZzXIumAo/Uofvl7DNJbI/AAAAAAAADCY/FTrEwR8FOjk/s640/pishwanton_seedbuilding_sketch.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">sketch by Christopher Day of the planned 'seed-building'</td></tr>
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I am adding here a few photographic impressions of Pishwanton Wood, taken on a crisp November Day with beautiful Eastern Scottish autumn light (click to enlarge):<br />
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<a href="http://4.bp.blogspot.com/-nUyj71q9UrE/UofXYtlukuI/AAAAAAAAC9U/0F0h452boog/s1600/pishwanton-alderwood1+-+Copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://4.bp.blogspot.com/-nUyj71q9UrE/UofXYtlukuI/AAAAAAAAC9U/0F0h452boog/s400/pishwanton-alderwood1+-+Copy.jpg" width="400" /></a></div>
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<a href="http://1.bp.blogspot.com/-cJkk7cDtt1A/UofXcptNyJI/AAAAAAAAC9g/JhRUh9Yj94k/s1600/pishwanton-cowmeadow+-+Copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://1.bp.blogspot.com/-cJkk7cDtt1A/UofXcptNyJI/AAAAAAAAC9g/JhRUh9Yj94k/s400/pishwanton-cowmeadow+-+Copy.jpg" width="400" /></a></div>
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<a href="http://4.bp.blogspot.com/-ZeI9_XzUlqk/UofXj3FYGmI/AAAAAAAAC90/gO5cAq3P8uk/s1600/pishwanton-craftbuilding_from_road+-+Copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="http://4.bp.blogspot.com/-ZeI9_XzUlqk/UofXj3FYGmI/AAAAAAAAC90/gO5cAq3P8uk/s400/pishwanton-craftbuilding_from_road+-+Copy.jpg" width="400" /></a></div>
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<a href="http://1.bp.blogspot.com/-r0mYmHXPv2k/UofX7mzIyvI/AAAAAAAAC-w/RtB7uKlkcH4/s1600/pishwanton-entry_wood.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="http://1.bp.blogspot.com/-r0mYmHXPv2k/UofX7mzIyvI/AAAAAAAAC-w/RtB7uKlkcH4/s400/pishwanton-entry_wood.jpg" width="400" /></a></div>
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<a href="http://3.bp.blogspot.com/-1JP8JMjAytc/UofYSmvkbNI/AAAAAAAAC_k/zBfV3Vfq6OU/s1600/pishwanton-herbgarden_gatepost.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-1JP8JMjAytc/UofYSmvkbNI/AAAAAAAAC_k/zBfV3Vfq6OU/s400/pishwanton-herbgarden_gatepost.jpg" width="266" /></a></div>
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<a href="http://3.bp.blogspot.com/-5reVYisydlw/UofYRthPi7I/AAAAAAAAC_c/-5J6ZY8aN7U/s1600/pishwanton-herbgarden_gate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://3.bp.blogspot.com/-5reVYisydlw/UofYRthPi7I/AAAAAAAAC_c/-5J6ZY8aN7U/s400/pishwanton-herbgarden_gate.jpg" width="400" /></a></div>
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<a href="http://2.bp.blogspot.com/-MsRtNXJQRlo/UofYZQWaDsI/AAAAAAAAC_s/nC2dug6d7NI/s1600/pishwanton-herbgarden_thistles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="http://2.bp.blogspot.com/-MsRtNXJQRlo/UofYZQWaDsI/AAAAAAAAC_s/nC2dug6d7NI/s400/pishwanton-herbgarden_thistles.jpg" width="400" /></a></div>
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<a href="http://1.bp.blogspot.com/-OfYqdtUih20/UofYd0l96-I/AAAAAAAAC_8/fZAUyMhEQd0/s1600/pishwanton-little_valley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://1.bp.blogspot.com/-OfYqdtUih20/UofYd0l96-I/AAAAAAAAC_8/fZAUyMhEQd0/s400/pishwanton-little_valley.jpg" width="400" /></a></div>
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<a href="http://1.bp.blogspot.com/-oOnIG1wtnSg/UofY7JlvS_I/AAAAAAAADBE/gXx0HG8r_lQ/s1600/pishwanton-woodland_fern.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://1.bp.blogspot.com/-oOnIG1wtnSg/UofY7JlvS_I/AAAAAAAADBE/gXx0HG8r_lQ/s400/pishwanton-woodland_fern.jpg" width="400" /></a></div>
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<a href="http://2.bp.blogspot.com/-npOudDUhoBw/UofnVYR1VGI/AAAAAAAADCA/VJD33FZXSww/s1600/pishwanton_garden_barrel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://2.bp.blogspot.com/-npOudDUhoBw/UofnVYR1VGI/AAAAAAAADCA/VJD33FZXSww/s400/pishwanton_garden_barrel.jpg" width="400" /></a></div>
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<a href="http://3.bp.blogspot.com/-1WuThAHAyIY/UofnV8_KA7I/AAAAAAAADCE/5fwjC5Y5aCs/s1600/pishwanton_craft-building_sideview.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://3.bp.blogspot.com/-1WuThAHAyIY/UofnV8_KA7I/AAAAAAAADCE/5fwjC5Y5aCs/s400/pishwanton_craft-building_sideview.jpg" width="400" /></a></div>
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And, to conclude the report of my visit to Pishwanton Wood, a short video clip. It includes scenes from the video "A beautiful day in Pishwanton" by Helmut Kohn and Gisela Kress.<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxTQhv-haxmqW8K9m09fBGLDUy-czpUBSQlDOoiCjiVD_knqJEUlUqY4Q4yanYuWyyQ5r5T_t3AJB2s7Aw2ow' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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for further information - the Pishwanton Wood website:<br /><a href="http://pishwanton.org/">http://pishwanton.org/</a></blockquote>
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<br />Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-64556333967952626832013-11-16T12:01:00.003-08:002013-11-16T12:23:29.193-08:00<h3>
New "experimental drawings", mono-prints and etchings</h3>
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Since the last post about drawing I have created some more works in response to input by a variety of different tutors in the "Experimental Drawing" class. For the following series of drawings the assignment was to choose an object and draw it once as a 'unique', singular object and then, in another drawing, to explore the possibilities of repetition or multiplication of the object. I chose a small clay sculpture of a tower in the form of a pyramid. In my mind this turned into a mixture between skyscraper, tower of Babel and the leaning tower of Pisa ...<br />
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<a href="http://2.bp.blogspot.com/-vtde1dEPh0A/UofI8aChsuI/AAAAAAAAC6c/RuODghrbnfs/s1600/2D-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-vtde1dEPh0A/UofI8aChsuI/AAAAAAAAC6c/RuODghrbnfs/s320/2D-1.jpg" width="225" /></a><a href="http://3.bp.blogspot.com/-yelW_t3PQMg/UofJPhMnffI/AAAAAAAAC7g/P0m9Tm2QhZ8/s1600/2D-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-yelW_t3PQMg/UofJPhMnffI/AAAAAAAAC7g/P0m9Tm2QhZ8/s320/2D-2.jpg" width="230" /></a></div>
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Three drawings - charcoal</td></tr>
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In another assignment the tutor introduced the idea of the Haiku, the minimalist Japanese form of poetry, where a series of simple images from nature are juxtaposed with each other, without creating a story-line, leaving a kind of interval between them for the imagination to create the connection. The tutor had brought some autumnal branches and suggested to utilize this poetic principle for creating a series of drawings. </div>
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Three drawings - charcoal<br />
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In my series of drawings I gradually moved from a representational, three-dimensional representation to something more abstract and two-dimensional, playing with three distinct elements: lines, tonal surfaces and concentrated, small patches. I also became interested in an additional effect which I discovered accidentally when I tore off a piece of cello-tape, and with it a layer of the paper. I then rubbed charcoal into this 'wound' which created interestingly textured patches.</div>
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I am adding here a series of mono-prints which I produced in the print workshop at Oxford Brookes University. I quite enjoyed the freedom of the mono-print technique, which is like a kind of shorthand process exploiting the incalculable surprises which inevitably come with this technique.</div>
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And finally, here are some small new etchings - no great message either, just playing around with the materials and techniques and enjoying myself ...</div>
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<br />Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-4667783967980809362013-11-15T16:13:00.000-08:002013-11-16T04:30:26.526-08:00<h3>
The Metamorphosis of the Plant</h3>
<h4>
- Goethean Observation workshop at Oxford Brookes University</h4>
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In the context of the studies of Social Sculpture which I am persueing at Oxford Brookes University I offered a one-day workshop in Goethean Observation of plant development. The workshop was attended by students of the Interdisciplinary MA studies of the School of Art and the Architecture Department. Its purpose was to deepen the experience of phenomenological observation practice and to study the plant organism as an example of a "whole". The process was divided into a number of steps:<br />
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<tr><td class="tr-caption" style="text-align: center;">blackboard drawing:<br />
stages of the<br />
observation process</td></tr>
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<b>First step: our individual starting point - clearing the mind</b><br />
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In the beginning of the workshop I quoted Goethe stating that in any study of the world of phenomena<br />
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"it all is about relationships. And the most important relationship is that between us and the object of our study."</blockquote>
Following this I asked participants to introduce a plant which they like to the group. Here is one example:<br />
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<i><span style="font-family: Times, Times New Roman, serif;">" Bluebell: I remember the light blue carpet of bluebells that would
appear every spring in the wood behind the house where I was born and spent my
first 17 years. I love the way they look a bit like shepherd’s crooks, with the
head of the bluebell facing down. I have a large watercolor of bluebells in my
sitting room, painted by a friend who I have known many years."</span></i></blockquote>
This very first step of the observation process gave participants the chance to articulate their initial personal relationship to the plant world and opened up a rich tableau of different relationships - factual, emotional, biographical or philosophical.<br />
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<b>Second step: first impression</b><br />
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In the next step each participant was given a "weed" - a small groundsel plant (Senecio vulgaris). I asked participants to encounter the plant with open senses and an open mind and to receive an overall impression by letting the plant 'impress' itself on them. After a few minutes of individual observation these first impressions were shared with the group.<br />
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<tr><td class="tr-caption" style="text-align: center;">detailed observation of groundsel</td></tr>
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<b>Third step: active noticing - describing the sense-perceptible facts</b><br />
<b><br /></b>
This involved a very detailed observation and description of the most minute details. I suggested to do this in a very disciplined fashion, each person describing one detail at a time, starting from the bottom (the roots) and the next person following with the description of the next detail in line.<br />
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This painstaking process was followed by practicing drawing the plant from memory. We can gain some important insights from this practice - first of all about ourselves. The drawings graphically reveal how much - or how little - we really have seen. But the drawings, although built up by adding details, give a picture of our initial grasp of the whole plant and its main characteristics.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-L_nLoX0vMOs/UoapVGMeM9I/AAAAAAAAC50/l_df18JQHOE/s1600/workshop9.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-L_nLoX0vMOs/UoapVGMeM9I/AAAAAAAAC50/l_df18JQHOE/s320/workshop9.jpg" width="189" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">memory drawing<br />
of groundsel</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-Ct3fP2-AyLM/Uoao-JfSBzI/AAAAAAAAC4Y/rSQ6isHL0AY/s1600/workshop10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://4.bp.blogspot.com/-Ct3fP2-AyLM/Uoao-JfSBzI/AAAAAAAAC4Y/rSQ6isHL0AY/s320/workshop10.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">drawing from memory</td></tr>
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<b><br /></b>
<b>Fourth step: moving into time</b><br />
<br />
While in the third step we looked at the plant as a finished spatial object, made up of countless details, he next step demanded a very different, more fluid and imaginative, mode of observation. To introduce this different way of looking I had set up an experiment which makes visible the patterns of water-movement . This simple but very striking experiment conveys an experience of how form comes about through movement. This can be seen as a metaphor for the fluid kind of thinking which is needed in the following step of observation where we attempt to 'see' the plant as an organism growing and developing in time.<br />
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Following this experience we returned to the groundsel plant and described features suggesting processes of change, like changes of color, angles, distances and the change of size and form of the leaves. I then introduced, as a short interlude, a kind of group 'game' where participants had to find the underlying order in a randomly dispersed group of photocopies of leaf shapes:</div>
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We then reflected on this process and the resulting sequence of forms, all of which had been taken from one plant (sow thistle, Sonchus). This brought about a lively exchange of observations, questions and insights concerning the various various transformative processes involved and the relationship between this and human development and biography.</div>
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From here we moved into a creative group practice, with the assignment of creating a form sequence in drawing. As they were evolving their form, by spreading layers of charcoal on paper, participants had to carefully watch each other's progress in order to create a consequential, coherent sequence.</div>
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<a href="http://2.bp.blogspot.com/-d67qck7vISE/UoapPU7uqNI/AAAAAAAAC5U/Z_81vTw5uYE/s1600/workshop5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-d67qck7vISE/UoapPU7uqNI/AAAAAAAAC5U/Z_81vTw5uYE/s320/workshop5.jpg" width="186" /></a>Having experienced transformation in the leaf region of the plant, we proceeded further to examine the realm of the flower, seemingly so different a world from that of the green leaves. And yet, also here processes of form develoment can be discovered. Studying the organs of a rose flower, we discovered the transformative relationship between the normal, green rose leaf and the five sepals, which can puzzle the observer with their strange shapes. This also led us to 'see' the underlying geometrical pattern, the pentagram, which is a kind of 'motif' of the rose family. This also allowed us to come to an understanding of Goethe's idea of metamorphosis (form transformation) and his revolutionary insight, that all organs of the plant are a manifestation of the same underlying creative formative principle, 'the leaf'.</div>
<blockquote class="tr_bq">
"From beginning to end, the plant is but leaf."</blockquote>
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<tr><td class="tr-caption" style="text-align: center;">letting the flower speak</td></tr>
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<b>Fifth step: 'feeling' observation</b><br />
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In order to appreciate the really new, and utterly different dimension of the flower, we have to assume again a different mode of observation. I asked participants to chose a flower of their choice and to let it its form, color, smell and its spatial gesture 'speak' to them. This mode of looking requires from the observer to activate and observe their own 'feeling' response and utilize this as an organ of observation. I asked participants to imagine their flower as a person: how would this person look like, speak, move, behave? Participants then were asked to allow this 'personality'to articulate itself in writing. This is one of the responses:<br />
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<blockquote class="tr_bq">
<a href="http://1.bp.blogspot.com/-TkKtmxfpmD8/Uoao-xRuSfI/AAAAAAAAC4c/W6ZhMMIFCwc/s1600/workshop1.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-TkKtmxfpmD8/Uoao-xRuSfI/AAAAAAAAC4c/W6ZhMMIFCwc/s200/workshop1.JPG" width="158" /></a><i><span style="font-family: Times, Times New Roman, serif;">"My name is Sam – for Samuel or Samantha<br />I’m sunny and funny,<br />Energetic and vibrant,<br />Upright, firm and confident.<br />I have a sense of style and a sweet
smell.<br />‘Look at me and smile!’ I say<br />While slightly ad hoc and disorganised,
no perfectionist me.<br />I’m gentle and soft.<br />‘Live life to the full’ I say.<br />And I do."</span></i></blockquote>
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<a href="http://1.bp.blogspot.com/-ploc7POTe1M/UoapHjblHpI/AAAAAAAAC40/a7ALoDnWq8k/s1600/workshop3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-ploc7POTe1M/UoapHjblHpI/AAAAAAAAC40/a7ALoDnWq8k/s320/workshop3.jpg" width="133" /></a>Our last session of the day was concerned with following the plant's development further, continuing from the flower, its withering and seeming death, through the new growth taking place in fruit formation and the creation of seeds for the future. And again we had moments of insight into the working of the underlying archetype - the leaf and with this we concluded our journey through the plant world. </div>
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<b>The last step - 'becoming one with' and the experience of the whole in the part</b> </div>
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is a lofty goal for a one-day workshop and, to my experience, can only be attained by prolonged study and continued immersion into the object observed. It can come to the devoted Goethean practitioner as a moment of grace and profound insight. </div>
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Finally, here are some of the feedback comments from participants:</div>
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<blockquote class="tr_bq">
<span style="line-height: 115%;"><i><span style="font-family: Times, Times New Roman, serif;">"There were some striking
moments of wonder for me during the day. I strongly remember the dynamic
patterns in the ‘slow’ water, how they in a way correspond to the forces at
work in plant growth (and even in society, on a particular level), and our
introduction to the changing of shapes in leaves (whilst we tried to put the
several stages in order). I got many new insights about plant development, of
which the most striking was the idea of every element being a ‘leaf’."</span></i></span></blockquote>
<blockquote class="tr_bq">
<i><span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 115%;">"I felt moments of true
insight. As if one gets to have a look behind the stages of the world, catching
a glimpse of an </span><span style="line-height: 14px;">organizing</span><span style="line-height: 115%;"> idea that even seems to reach beyond the plant
kingdom."</span></span></i></blockquote>
<blockquote class="tr_bq">
<i><span style="font-family: Times, Times New Roman, serif;">"Inspiration for the future: I am keen to follow the seasonal progress of an apple tree, a copper beech and an oak in the garden where I live. I am also interested to see how Goethean Observation can be applied to groups of people (organisations)."</span></i></blockquote>
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<span style="font-family: Times, Times New Roman, serif;"><i>"I imagine a society in which this kind of reading the world, seeing</i><i> these </i><i>almost alchemist processes and building upon the gained insights when developing new creations, is central rather than a marginal phenomenon. It might still require a lot of transformative work, but how much more consciousness, wonder, and finally truth and resilience would that bring?"</i></span></blockquote>
<blockquote class="tr_bq">
<i><span style="font-family: Times, Times New Roman, serif;">"I really felt something shifting in me when I became aware
of these processes and principles at work. It does something to you. Once
experienced, you can’t really deny it. I have the feeling that this is
something that stays within you, and if we can learn to bring such insights to
life in our actions, that would be an incredibly wonderful thing. Thanks a
lot!!" </span></i></blockquote>
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<br />Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-51643654065658024612013-11-14T16:19:00.002-08:002013-12-26T12:56:18.596-08:00<h3>
Social Sculpture</h3>
<h4>
- a few thoughts about a controversial and often misunderstood
idea</h4>
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(as inspired by my studies with
Professor Shelley Sacks at Oxford Brookes University's Social Sculpture Research Unit)</div>
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<a href="http://2.bp.blogspot.com/-GKOFZEbRoPw/UmmIR6GECqI/AAAAAAAACz8/XmslGGHt4P0/s1600/08_BeuysimGesprchmitdemAkademiedirektorNorbertKricke.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="215" src="http://2.bp.blogspot.com/-GKOFZEbRoPw/UmmIR6GECqI/AAAAAAAACz8/XmslGGHt4P0/s320/08_BeuysimGesprchmitdemAkademiedirektorNorbertKricke.jpg" width="320" /></a>The concept of "Social Sculpture" was first
introduced by the German artist Joseph Beuys (1921-1986). It can be seen in
the context of the various innovative art movements of the 1960ies and 70ies
which had become disenchanted by the conventional art world where art had
become largely detached from life, confined to museums and galleries and
considered either a commodity with a financial value or a means of
entertainment. Movements like Arte Povera, Fluxus, Performance Art and Land Art
tried to free art from these confines and began to look for new contexts, venues
and media of expression. But Social Sculpture, as Beuys saw it, goes much
further than being a mere expansion of art into a world of unusual venues and eccentric
media. It dares to completely redefine art, the role of the artist in society and
the sources of creativity. "Every human being is an artist", Beuys
exclaims and points to the creative potential of each of us, thus removing the
"artist" from his/her lofty pedestal and art from its remote ivory
tower. Is there a potentially creative element in everyday life? Are there other,
non-physical "materials" which are waiting to be shaped? </div>
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Social Sculpture, as the name indicates, is about
"sculpting", meaning: giving shape to things. The original German
expression coined by Beuys - "Soziale
Plastik" - uses the word "Plastik", which in German has the
connotation of modelling a very "plastic", i.e. flexible and "mouldable" material like clay. The process of modelling in clay is one of gradually
giving shape and discernible, defined form to
an initially formless -"chaotic" - but very receptive material. Beuys's
theory of sculpture encapsulates the whole
spectrum of forces and activities involved in such and similar processes in the
following three-fold diagram:</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-tCvH17i_WAE/UmmFPt0ye0I/AAAAAAAACzw/ybEQ35AtWsA/s1600/beuys_theory_sculpture3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="http://4.bp.blogspot.com/-tCvH17i_WAE/UmmFPt0ye0I/AAAAAAAACzw/ybEQ35AtWsA/s400/beuys_theory_sculpture3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Theory of Sculpture - Blackboard Drawing by Joseph Beuys</td></tr>
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<b><i><span style="font-size: 12.0pt; line-height: 115%;"><br /></span></i></b></div>
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<b><i><span style="font-size: 12.0pt; line-height: 115%;">chaos movement
form<o:p></o:p></span></i></b></div>
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<i> Sulfur Mercury Salt </i></div>
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<i> will feeling thinking </i></div>
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<i> <o:p></o:p></i></div>
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potential, warmth, flow, mediation, consolidation,</div>
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turbulence in-between, definition, cold,</div>
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<o:p> </o:p>transformation hardening, static</div>
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This diagram
contains references to the three basic principles of Alchemy (Sulfur, Mercury
and Salt) as well as echoing the essence
of Schiller's treatise on "the Aesthetic Education of Man"<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: HE; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><a href="http://www.blogger.com/blogger.g?blogID=4491142226486881139#_ftn1" name="_ftnref1" title="">(</a>1)</span></span><a href="http://www.blogger.com/blogger.g?blogID=4491142226486881139#_ftn1" name="_ftnref1" title=""><!--[endif]--></a></span>.</div>
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This theory
can be understood as a map of formative dynamic activities which underlie any
organic process , including the human and social sphere. </div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-UT03K6V2hzg/UmmJqQ-oySI/AAAAAAAAC0M/YHHyz3cEB2U/s1600/water+-+train+of+vortices.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="404" src="http://1.bp.blogspot.com/-UT03K6V2hzg/UmmJqQ-oySI/AAAAAAAAC0M/YHHyz3cEB2U/s640/water+-+train+of+vortices.jpg" style="cursor: move;" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">this drawing of a stream of colored water being led into a volume of still water graphically shows the three activities of chaos, (rhythmical) movement and form<br />
(my charcoal drawing after Schwenk: The Sensitive Chaos)<br />
<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-WwYFupxr5PY/UoVD3hWQFbI/AAAAAAAAC3A/e5pScHklz5k/s1600/Beuys-7000-Oaks-2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-WwYFupxr5PY/UoVD3hWQFbI/AAAAAAAAC3A/e5pScHklz5k/s320/Beuys-7000-Oaks-2.jpg" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Beuys planting oaks, 1982</td></tr>
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Beuys himself became a prolific practitioner of Social Sculpture. This is most evident in his "actions", where he took creative practice out of the galleries and museums into the public sphere. One of these was the project "7000 oaks", which Beuys presented for the Documenta 1982 in Kassel, Germany. Over several years Beuys, with the help of many volunteers, planted 7000 oaks into the Kassel cityscape. Each oak was planted alongside one of 7000 basalt columns, thus contrasting the vital, living, growing tree organism with the inanimate, hardened, and unchangeable hexagonal rock shape. These 7000 companions have since become integral part of the city's eco-scape. In this project we can see exemplified part of the new "ethos" of Social Sculpture, where the artist understands his mission and responsibility as an agent for change, and his creative practice as socially relevant.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-9f70TEBag1o/UoVD5F_gyUI/AAAAAAAAC3Q/YiYvpHHMXi0/s1600/beuys-7000-oaks-3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="http://2.bp.blogspot.com/-9f70TEBag1o/UoVD5F_gyUI/AAAAAAAAC3Q/YiYvpHHMXi0/s400/beuys-7000-oaks-3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One of the 7000 oaks today</td></tr>
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Beuys also was an ardent social and political activist and educator, propagating, among others, the idea of "Social Threefolding". This was inspired by Rudolf Steiner's writings on the Three-fold Social Organism (1917 -1922), in which Steiner advocated the nurturing of three independent, but mutually supportive spheres in the life of any healthy society:<br />
- economy<br />
- politics/legislature <br />
- culture/education/spiritual life<br />
<br />
<br />
The profound influence of Rudolf Steiner's writings on Beuys's Philosophy, his teachings and his artistic output cannot be underestimated, even if his methods and outer forms seem at odds with the accepted "anthroposophical style". In a letter to a journalist Beuys wrote: "...your words deeply touched me as you mentioned the name of Rudolf Steiner, about whom I have had reason to reflect since my childhood. I am aware that it was from him that I was given the mission, to gradually relief people of their alienation from and their suspicion towards the super-sensible, and to do this in my way..." (quoted from Zumdick, Wolfgang (2001), translated from German edition).<br />
<br />
But Social Sculpture would not be social sculpture if it was bound up just with Beuys, his seemingly eccentric personality and his individual art practice. Different people have taken up the threads and developed and expanded both the theoretical foundations as well as the creative practice and social activism. According to Shelley Sacks Social Sculpture is "a field of transformation, and nobody is outside". This epitomizes the encompassing gesture of Social Sculpture today.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-_olSA0wK0Ho/UoVD-2uickI/AAAAAAAAC3k/EDrtLi9G094/s1600/Shelley_Sacks%252C_Michelangelo_Pistoletto.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://2.bp.blogspot.com/-_olSA0wK0Ho/UoVD-2uickI/AAAAAAAAC3k/EDrtLi9G094/s400/Shelley_Sacks%252C_Michelangelo_Pistoletto.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shelley Sacks in conversation with Michelangelo Pistoletto,<br />
one of the leading exponents of the<br />
Italian Arte Povera Movement</td></tr>
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So what then makes a Social Sculpture practitioner?<br />
<br />
I was amazed to see the range of people from different backgrounds, professions, ages and nationalities who came to study in the Post-Graduate programs of the Social Sculpture Research Unit at Oxford Brookes University. Apart from people with artistic backgrounds the student body comprises, among others, medical professionals, social workers, architects and ecological activists. What unites them is their longing to develop their creative potential and to utilize this potential in their professional field for the creation of a more humane, more ecological, more just and more wholesome future.<br />
<br />
<blockquote class="tr_bq">
"We work across disciplines, sectors and countries to develop connective practices, building capacities often forgotten in our work towards a future that is ecologically and socially just.<br />
Our projects, processes and practices explore the role of imagination in the field of transformation and the relationship between inner and outer work - relating outer crises and challenges to the inner perspectives, values and habits that create them." (Shelley Sacks)</blockquote>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-8lYORizyj94/UoVlp23o-0I/AAAAAAAAC3w/Gw8O8-cNRyQ/s1600/earth_forum.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://2.bp.blogspot.com/-8lYORizyj94/UoVlp23o-0I/AAAAAAAAC3w/Gw8O8-cNRyQ/s400/earth_forum.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Earth Forum" practice, sharing with each other our found "earth-objects"</td></tr>
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Both modules of the MA program which I am sitting in on, 'Creative Strategies' and 'The Theories and Practices of Social Sculpture", focus on the development of imagination and on exploring the relationship between inner and outer work. Students' reading lists include a number of anthroposophical authors like Arthur Zajonc as well as post-Jungian psychologist James Hillman and philospher and cultural ecologist David Abram. A responsible attitude towards the earth and and our fellow sentient beings is seen as depending on our "response-ability", i.e. our ability to respond adequately to what comes to meet us (Shelley Sacks). Therefore great emphasis is put on the development of "new senses", facilitated by experiencing the "gentle empiricism" of phenomenological Goethean Science (2) and by studying the twelve senses (3).<br />
Other practices which are aimed to help students in connecting to themselves and their innermost motives and intentions include contemplative work, journal-writing, free-writing and memory work. Students are asked to prepare, on their own or in small collaborative groups, "small acts", in which they respond to any chosen situation, place, theme or concern by means of installation, intervention, performance, experiential participatory practice or in any other form. In the process of evolving this small act students are guided by their tutors to allow their imagination to unfold in an organic fashion, avoiding pitfalls like preconceived notions about the final form, or merely "illustrating" their thoughts. These small acts are then shared with the group in a "feedback forum", which in itself is a practice in phenomenological observation, with the participation of all students and their tutors.<br />
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Here follows a short video-clip of one of these "small acts" (created by Suzanne Dhaliwal and Clara Torre Cachafeiro):<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dy5MERKxrSOUW2rzyo98BXyEL3p1qyV4Gfh16SbKx0RIUUhSRzImTaATl0IU_YkfSaMfeU4dGGPFhYB_KLv' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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What is difficult to see in this clip is that there were three objects on the floor: a normal size ceramic pot with a plant, a miniature flower pot and an even smaller (approx 15 mm tall) human figure. One had to come really close in order to see what was there. Apart from its magical beauty this piece created a real sense of empathy and concern for this miniature island world in a sea of darkness. Will the lights continue coming on and illuminating this little world?<br />
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The practice of Social Sculpture can take many different forms - there is no standard "style" or pattern - it can be provocative, poetic, surprising, engaging, thought-provoking, revealing ...<br />
In most cases it will be in some sense participatory, meaning that it will break with the usual creator - onlooker relationship and engage / involve the spectator and make him/her part of the happening. It probably will not take place in the conventional art-setting like galleries and museums, but will aim instead to make itself accessible to a wider public. It might even not sculpt any visible "materials", but work in some other, perhaps more immediate way on the imagination of people.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-yl2DkSYG7SM/UoVukBF_-aI/AAAAAAAAC4A/GyugWAOov4Y/s1600/shelley_sacks-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="http://4.bp.blogspot.com/-yl2DkSYG7SM/UoVukBF_-aI/AAAAAAAAC4A/GyugWAOov4Y/s640/shelley_sacks-1.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shelley Sacks: "Ort des Treffens" (place of meeting), social sculpture event, Germany 2011<br />
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<b>Further reading:</b><br />
<br />
Beuys J., Harlan V. (Ed.) What is Art? Conversation in with Joseph Beuys, Clairview Books, 2004<br />
Sacks, Shelley, Ed., Social Sculpture Colloquium: Goethe Institute Glasgow, 9-12 Nov. 1995, Oxford, London<br />
Sacks, Shelley, Ed., Exchange Values: Images of Invisible Lives, Johannesburg Art Gallery, 2000<br />
Sacks, Shelley and Schon, Donald A., The Reflective Practitioner: How Professionals Think in Action, Basis Books, 1984<br />
Zumdick, Wolfgang, "Death keeps me awake" Joseph Beuys and Rudolf Steiner, Foundations of their Thought, Art Architecture Design Research, 2013<br />
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<b>Useful links:</b><br />
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<a href="http://www.social-sculpture.org/" target="_blank"><span style="background: white; color: #1155cc; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;">www.social-sculpture.<wbr></wbr>org/</span></a><span class="apple-converted-space"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;"> </span></span></div>
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<a href="https://www.facebook.com/socialsculpture" target="_blank"><span style="background: white; color: #1155cc; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;">www.facebook.com/<wbr></wbr>socialsculpture</span></a><span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;"><br />
</span><a href="http://www.universityofthetrees.org/" target="_blank"><span style="background: white; color: #1155cc; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;">www.universityofthetrees.org</span></a><span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;"><br />
</span><a href="http://www.exchange-values.org/" target="_blank"><span style="background: white; color: #1155cc; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;">www.exchange-values.org</span></a><span style="font-family: Arial, sans-serif; font-size: 10pt; line-height: 115%;"><br />
</span><a href="http://www.ortdestreffens.de/" target="_blank"><span style="background: white; color: #1155cc; font-family: "Arial","sans-serif"; font-size: 10.0pt; line-height: 115%;">www.ortdestreffens.de</span></a></div>
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<b>Footnotes:</b></div>
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<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: HE; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><a href="http://www.blogger.com/blogger.g?blogID=4491142226486881139#_ftnref1" name="_ftn1" title="">(</a>1)</span></span><a href="http://www.blogger.com/blogger.g?blogID=4491142226486881139#_ftnref1" name="_ftn1" title=""><!--[endif]--></a></span><span style="font-size: x-small;">
</span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">F.Schiller (1795) Letters on the Aesthetic Education of Man. Schiller's
outlines in these letters how the human being's actions are determined by two
opposing "drives" or forces: the "material" or instinctive
drive ("Stofftrieb") and the "formative", rational,
reasoning principle ("Formtrieb").
Between the limiting influences of these two, the human being can open up a
third realm, the realm of "play". Only there, so Schiller claims, the
human being can act as a free, creative being.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">(2) Goethean Science is a form of phenomenological science, based on the research method of German poet, writer and natural scientist J.W von Goethe (1749 - 1832). Goethe's way of looking at nature is characterized by an attempt to 'see the phenomenon' and thus, by avoiding following any preconceived hypothesis, to arrive at insights into the inner lawfulness behind phenomena and the underlying idea of wholeness in nature. For further reading: Bortoft, Henri, The Wholeness of Nature, Goethe's way of Science, Floris Books, 1996</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">(3) Rudolf Steiner suggested that human beings have twelve senses. The additional body-related senses - </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">life, movement and balance - the sense of temperature and the three 'social' senses - speech, thinking and the sense of the (other) ego - </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">complement the traditional senses of touch, smell, taste, seeing and hearing to create a twelve-fold wholeness. For further reading: Soesman, Albert, Our Twelve Senses (Social Ecology Series), Hawthorn Press, 1990</span></div>
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-42609133639595397572013-10-17T14:49:00.002-07:002013-10-17T14:49:03.544-07:00<h3>
Experimental Drawing</h3>
<h4>
- explorations of new approaches in drawing</h4>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-lp0TVuMgpNY/UmBWuWCUrUI/AAAAAAAACvA/jRQug1GSqB0/s1600/exdraw5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="285" src="http://2.bp.blogspot.com/-lp0TVuMgpNY/UmBWuWCUrUI/AAAAAAAACvA/jRQug1GSqB0/s400/exdraw5.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">cartridge paper, frottage, creasing, graphite</td></tr>
</tbody></table>
<br /><br />
In addition to the classes in "Social Sculpture" and "Creative Strategies" at Oxford Brookes University (which I shall write about in one of the next posts) I am attending a class entitled "Experimental Drawing", a title which intrigued me right away. The course is guided by a number of Oxford based artists, each bringing his/her expertise and individual approach to the theme. Inspired by some of the exercises I made a sequence of works which explore the more "physical" aspects of drawing:<br />
<br />
<ul>
<li>the paper (does it have to remain flat?)</li>
<li> the physical activities of pushing, pulling, rubbing, erasing, creasing, tearing</li>
<li> the textures which can be achieved by "frottage" (registering textures of objects on paper by putting the paper on top and rubbing with a drawing instrument)</li>
<li> the physical qualities of different drawing media and their application</li>
</ul>
By way of this "physical" approach, some of these drawings have become quite sculptural, almost like reliefs.<br />
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<tr><td class="tr-caption" style="text-align: center;">cartridge paper, creasing, rubbing with oil crayon<br /><br /><br /></td></tr>
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com1tag:blogger.com,1999:blog-4491142226486881139.post-41387953826943179672013-10-17T12:28:00.000-07:002013-10-17T14:54:28.926-07:00<div class="separator" style="clear: both; text-align: center;">
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<h3>
An Autumn Day in Oxford</h3>
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- Photographs which I took in the course of one day along the river Thames in Oxford</h4>
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<br />Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0tag:blogger.com,1999:blog-4491142226486881139.post-62964894353377235382013-10-17T12:17:00.003-07:002013-10-17T14:59:00.091-07:00<div class="separator" style="clear: both; text-align: center;">
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<h3>
Spirit of Place - a visit to Rousham Park</h3>
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- a creation of the English landscape designer William Kent (1685 - 1748)</h4>
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This is one of my favorite landscape parks which I revisited while staying in Oxford. It is in private ownership and not as commercialized and overrun as many of the better known National Trust properties, but it well deserves a visit. It has hardly been modified over the centuries and preserved its charm and magic. Kent was one of the first landscape architects to heed the famous lines of his contemporary, Alexander Pope (1688-1744):</div>
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<span style="color: #222222;"><span style="font-family: inherit; line-height: 18px;"><i>"Consult the Genius of the Place in all </i></span></span></div>
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<span style="color: #222222;"><span style="font-family: inherit; line-height: 18px;"><i>That tells the waters or to rise, or fall.... </i></span></span></div>
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<span style="color: #222222;"><span style="font-family: inherit; line-height: 18px;"><i>Joins willing woods, and varies shades from shades </i></span></span></div>
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<span style="color: #222222;"><span style="font-family: inherit; line-height: 18px;"><i>Now breaks, or now directs, th'intending lines; </i></span></span></div>
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<span style="color: #222222;"><span style="font-family: inherit; line-height: 18px;"><i>Paints as you plant, and as you work, designs."</i></span></span></div>
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<a href="http://2.bp.blogspot.com/-5kPnASXxQa0/UmAkNVdISbI/AAAAAAAACr4/DauSLPXN-OY/s1600/Rousham+park+plan.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: left;"><img border="0" height="400" src="http://2.bp.blogspot.com/-5kPnASXxQa0/UmAkNVdISbI/AAAAAAAACr4/DauSLPXN-OY/s400/Rousham+park+plan.jpg" style="cursor: move;" width="307" /></a>We do not know what kind of a place Kent found, when he started to design Rousham and what "spirit of place" (lat.: Genius Loci) he encountered there. But we can assume that the topography was similar to what we can see today: a level plateau where Rousham House was built and a gentle slope leading to the Cherwell river below. Kent ingeniously utilized this slope for his "rising and falling waters", a succession of water features, including lakes, cascades and water channels, which are the most fascinating and intriguing design features of this park. </div>
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<tr><td class="tr-caption" style="text-align: center;">my watercolor sketch of one of the cascades</td></tr>
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<a href="http://2.bp.blogspot.com/-UC37SaQinsQ/Uj9VGjkSeII/AAAAAAAACbM/O16nCkgwgjE/s1600/rousham9.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="http://2.bp.blogspot.com/-UC37SaQinsQ/Uj9VGjkSeII/AAAAAAAACbM/O16nCkgwgjE/s1600/rousham9.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="http://2.bp.blogspot.com/-UC37SaQinsQ/Uj9VGjkSeII/AAAAAAAACbM/O16nCkgwgjE/s1600/rousham9.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-UC37SaQinsQ/Uj9VGjkSeII/AAAAAAAACbM/O16nCkgwgjE/s400/rousham9.jpg" width="266" /></a><br />
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<a href="http://4.bp.blogspot.com/-SVzYvqwsaTI/Uj9U7Nr7beI/AAAAAAAACa0/bTRVEswvemw/s1600/rousham6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-SVzYvqwsaTI/Uj9U7Nr7beI/AAAAAAAACa0/bTRVEswvemw/s400/rousham6.jpg" width="265" /></a>Kent also very skillfully worked with vistas, views towards sculptures or architectural features, which direct the gaze of the walker and arouse his attention. As we follow the call of the distant sculpture we find ourselves moving in a passage, "varying from shade to shade", and being drawn towards the opening of a sunny glade, whose entrance is marked by the sculpture.</div>
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<tr><td class="tr-caption" style="text-align: center;">my watercolor sketch of the view from Rousham House towards the "Eyecatcher"</td></tr>
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<a href="http://4.bp.blogspot.com/-S6IVmCgEZcU/UmAm6fNWufI/AAAAAAAACsU/WJBKzn9r_bY/s1600/rousham17.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-S6IVmCgEZcU/UmAm6fNWufI/AAAAAAAACsU/WJBKzn9r_bY/s320/rousham17.jpg" width="249" /></a>The view from the front lawn of Rousham House is more formal and symmetrical and incorporates a mock ruin built on a distant hill (which is not part of the Rousham estate) and which serves as an "Eyecatcher", continuing the central axis of the main house to the skyline. </div>
This common device was employed to further integrate the "borrowed" scenery of the distant landscape into the garden, with the effect that the transition from the carefully designed garden landscape to the natural and farming land beyond its borders happens utterly smoothly and without being noticed.<br />
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Here are some further photographs of this magic and utterly "romantic" place:<br />
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<br />Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com1tag:blogger.com,1999:blog-4491142226486881139.post-74110232408520919092013-10-02T12:41:00.000-07:002013-10-17T14:09:57.826-07:00<h3>
Artist in Residence</h3>
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- Michael Hall Steiner School, Forest Row, East Sussex, UK</h4>
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I was invited to be Artist in Residence at the Michael Hall Steiner School in Forest Row during the months September - December 2013. The residence was to include a two day workshop with the faculty of the School and the creation of an environmental community sculpture.</div>
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<tr><td class="tr-caption" style="text-align: center;">environmental sculpture workshop Sept. 2012</td></tr>
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The workshop took place during the faculty workdays on the 2nd and 3rd of September. It was planned to be a follow-up of the workshop which I had conducted at Michael Hall School in September 2012. This had been a Environmental Sculpture workshop on the Kidbrook Estate (the beautiful landscape park into which Michael Hall School is built) which introduced the teachers to the Goetheanean scientific and artistic method of observing and creating in landscape. </div>
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In the course of the year which followed, the faculty's landscape group continued the work and looked at various areas of the estate which needed artistic attention. It was decided to focus this years workshop on the area behind the theater, and the group did some preparation work which led to the proposal of a "theme" for an environmental artwork and the decision to ask me to help with the design process and guide the teachers in creating the artwork.</div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-28gVrjl-lBo/Ukxnk1VSNFI/AAAAAAAACjQ/qRvg-AURk7Y/s1600/Michael_Hall_Design_Process_007.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://3.bp.blogspot.com/-28gVrjl-lBo/Ukxnk1VSNFI/AAAAAAAACjQ/qRvg-AURk7Y/s320/Michael_Hall_Design_Process_007.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the site: the back of Michael Hall Theater</td></tr>
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The workshop started with an exploration of the two main components of the design process:</div>
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<li>the proposed "theme" </li>
<li>the site with its limitations and potential</li>
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<b>The theme</b></div>
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which the environment group had proposed was "gravity turning into levity". At the outset of the first session a short brainstorming session was conducted to clarify and further expand the theme by adding further qualities the group was looking for. Then I asked the participants to "embody" some of these qualities in a sculptural gesture (in clay).</div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-UgADeHQIBiQ/UkxnhR7U_2I/AAAAAAAACjI/1Os4U4rfowY/s1600/Michael_Hall_Design_Process_008.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="408" src="http://4.bp.blogspot.com/-UgADeHQIBiQ/UkxnhR7U_2I/AAAAAAAACjI/1Os4U4rfowY/s640/Michael_Hall_Design_Process_008.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">some of the participants' clay sculptures</td></tr>
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<b>The site</b></div>
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was the focus of the second session. Participants were asked to divide into groups of 4-5 people and to embark on a detailed observation process of the site. The observation was to employ four consecutive "modes of inquiry":</div>
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<tr><td class="tr-caption" style="text-align: center;">participants exploring the site</td></tr>
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1. <b>detailed description</b> of the physical, tangible, sensory fabric of the site, including:</div>
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<li>forms, shapes, measurements</li>
<li>topography</li>
<li>directions, orientation (directions of the compass)</li>
<li>scale (compared to human scale)</li>
<li>different views (from inside out, from outside in ...)</li>
<li>all sense-impressions (sight, hearing, smell ...)</li>
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2. <b>sensing relationships,</b> movements, the life and history of the place, including:<br />
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<li>relationship between the different elements</li>
<li>transitions</li>
<li>suggestion of movement</li>
<li>seasonal changes</li>
<li>the (everyday) life of the place: how do people use it, move in it?</li>
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3. <b>an experience of the "mood" </b>of the place and our "soul response" to the place, using:</div>
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<li>synaesthetic descriptions (transference from one sense to another), using color, sound, smell ... to describe the experience of the place</li>
<li>thoughts, feelings and will-impulses which are called forth by the meeting with the place</li>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-7Y-KWCGAClc/UkxnyVdtHyI/AAAAAAAACjg/tc93b7DRbmQ/s1600/Michael_Hall_Design_Process_010.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://2.bp.blogspot.com/-7Y-KWCGAClc/UkxnyVdtHyI/AAAAAAAACjg/tc93b7DRbmQ/s320/Michael_Hall_Design_Process_010.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">rehearsal of the group "performance"</td></tr>
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4. taking everything together, we can come to an inkling of the<b> "spirit of the place",</b> its "motif".</div>
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As a conclusion of this observation process each group was asked to articulate in artistic form a <b>"gesture"</b>, which they would like to contribute as a "gift" to the place. This could be in the form of a <b>short performance</b> or dance, the choreography of which should be the result of a communal effort.</div>
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<tr><td class="tr-caption" style="text-align: center;">present and future of the site</td></tr>
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The third session started with a sharing of the groups' observations of the site, which created a vivid picture of both the present limitations and shortcomings of the place as well as the site's potential as a place of meeting between different qualities - and between people. These two aspects of the "spirit of the place" - its present shortcomings and its future potential were written on the blackboard and provided the basis for the design process which followed.<br />
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In the following exercise participants worked in groups of 2-3 people on the assignment to create the model of a "spatial intervention" which would address the shortcomings of the present site and its future potential. As possible elements it was suggested to use an arrangement of similar elements, for instance "sticks" (straight elements) or bent wire (rounded elements) or any other material (but only one material for one model).<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-35to2TdjyjA/Ukxn6IUjDrI/AAAAAAAACjw/jYiYkfMsFjo/s1600/Michael_Hall_Design_Process_012.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="http://3.bp.blogspot.com/-35to2TdjyjA/Ukxn6IUjDrI/AAAAAAAACjw/jYiYkfMsFjo/s640/Michael_Hall_Design_Process_012.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">participants working on a model for a "spatial intervention"</td></tr>
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The second day began with a group observation of the results of the previous exercise and a characterization of different possible approaches. We identified three main aspects of the site which need our attention and which would have to become the objectives for the continuation of the design process:<br />
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<li>to give the back view of the theater a sense of identity, a face, an expression of what it is about</li>
<li>to provide shelter for children waiting in the area to be collected by their parents </li>
<li>to enliven the space and imbue it with a sense of mediation between movement and rest, between culture and nature and between inside and outside (and with a sense of "sympathetic" movement)</li>
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We continued in four groups of between 4 and five people. This time participants had to relate to the challenge of "scale", working on scale models of the space, relating to the building and including a scale model of a person. Groups could chose to employ one of three approaches: using linear elements, planar elements or voluminous elements.</div>
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<tr><td class="tr-caption" style="text-align: center;">participants working on a scale model</td></tr>
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">participants working on a scale model</td></tr>
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">participants working on a scale model</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">one of the scale models </td></tr>
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In the concluding session of the workshop the four models were discussed, common elements and different approaches were identified and the question of realization in different materials was discussed. It was decided that Axel finalize a suggestion, based on the group work, including a study of the feasibility of different materials and their suitability - taking into account that the artwork will be created with community participation.</div>
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<tr><td class="tr-caption" style="text-align: center;">here I am working on the "summary model"</td></tr>
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In the week following the workshop I continued working on the model, trying to take into account the three objectives as well as the various solutions arrived at during the workshop. My final model was discussed and approved in a follow-up meeting with the environment group and workshop participants.<br />
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<tr><td class="tr-caption" style="text-align: center;">view of the "summary model"</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">view of the "summary model"</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">model giving an impression of the use of wooden logs</td></tr>
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Following the achievements of the workshop, my design includes a suggestion for the use of the theater facade as a "noticeboard" for upcoming events, the addition of a pergola wrapping around the corner of the building, and an environmental sculpture consisting of 7 planar elements. I suggested to use wooden logs as the main material for the construction of the artwork, having the advantage of being readily locally available and allowing ample community involvement in the creation.<br />
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The realization of the project is supposed to commence in the course of October 2013.<br />
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0Forest Row, East Sussex, UK51.092836143665068 0.0257599353790283251.092212643665064 0.024499435379028319 51.093459643665071 0.027020435379028322tag:blogger.com,1999:blog-4491142226486881139.post-70765830990433122682013-09-29T23:41:00.000-07:002013-10-17T14:10:24.424-07:00<h3>
Design proposal for an Environmental Sculpture</h3>
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- Mitzpe Marcus, French Carmel, Haifa</h4>
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I was invited in Spring 2013 by a neighborhood group of the French Carmel neighborhood in Haifa, Israel, to submit a design proposal for an empty plot looking out over Haifa Bay. </div>
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<a href="http://2.bp.blogspot.com/-CQrI3I397_g/UkkaAfpXKNI/AAAAAAAACiI/kszHe8wmwT0/s1600/view+from+site.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="372" src="http://2.bp.blogspot.com/-CQrI3I397_g/UkkaAfpXKNI/AAAAAAAACiI/kszHe8wmwT0/s640/view+from+site.jpg" width="640" /></a></div>
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The design was to fit in with an existing landscaping plan by the Haifa Municipality:</div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-shrpGJPQWS8/UkkZzsQrTuI/AAAAAAAAChs/F_zQ0MvdyAc/s1600/landscape_plan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="325" src="http://4.bp.blogspot.com/-shrpGJPQWS8/UkkZzsQrTuI/AAAAAAAAChs/F_zQ0MvdyAc/s400/landscape_plan.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">landscaping plan by the Haifa Municipality planning department</td></tr>
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My proposal consists of several landscaping features:</div>
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<li style="text-align: left;">two retaining walls built with natural lime-stone and slightly elevated ground level</li>
<li style="text-align: left;">four sculptural shade structures, made of wooden pillars at slanted angles, carrying shade-surfaces at various angles. Wooden planks are suspended between some of the pillars which serve as benches</li>
<li style="text-align: left;">a gravel surface with two or three especially chosen natural rocks</li>
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<a href="http://1.bp.blogspot.com/-g2o0fshcCs8/UkkZ-CND4bI/AAAAAAAACiE/p5k6itXEug8/s1600/%25D7%259E%25D7%25A6%25D7%25A4%25D7%2594_%25D7%259E%25D7%25A8%25D7%25A7%25D7%2595%25D7%25A1_%25D7%2594%25D7%25A6%25D7%25A2%25D7%2594_%25D7%25AA%25D7%259B%25D7%25A0%25D7%2599%25D7%25AA.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="452" src="http://1.bp.blogspot.com/-g2o0fshcCs8/UkkZ-CND4bI/AAAAAAAACiE/p5k6itXEug8/s640/%25D7%259E%25D7%25A6%25D7%25A4%25D7%2594_%25D7%259E%25D7%25A8%25D7%25A7%25D7%2595%25D7%25A1_%25D7%2594%25D7%25A6%25D7%25A2%25D7%2594_%25D7%25AA%25D7%259B%25D7%25A0%25D7%2599%25D7%25AA.jpg" width="640" /></a></div>
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Photographs of the scale model:</div>
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<a href="http://1.bp.blogspot.com/-hDYj6AeIB0U/UkkZ2HfMVaI/AAAAAAAACh0/BBWxW6SesoU/s1600/model2s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="324" src="http://1.bp.blogspot.com/-hDYj6AeIB0U/UkkZ2HfMVaI/AAAAAAAACh0/BBWxW6SesoU/s640/model2s.jpg" width="640" /></a></div>
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The proposal is currently awaiting approval by the Haifa Municipality.</div>
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0Haifa, Israel32.8210915646095 34.97690677642822332.8194235646095 34.974385276428222 32.822759564609505 34.979428276428223tag:blogger.com,1999:blog-4491142226486881139.post-6757281731909449672013-09-25T12:55:00.005-07:002013-10-17T14:11:32.949-07:00<h3>
Private Garden</h3>
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<b>- Alonei Abba, Israel</b></h4>
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I was commissioned to plan a private garden for a private home in the small village of Allonei Abba near Kiryat Tivon in the lower Gallilee region of Israel. The house, which stands on a property of approximately 1 dunam (1/4 acre) with a beautiful view over the Yizrael Valley, was recently bought and renovated by the owners. The owners recognized the special quality of the site and approached me with the request to design a garden with artistic qualities, which was to include a major water feature. This fits in well with the natural slope of the site.<br />
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<tr><td class="tr-caption" style="text-align: center;">view from the house towards the Yizrael valley - before start of the project</td></tr>
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The design features a 20 meter long water course, including a wetland for ecological water treatment and two ponds; a Japanese style gravel garden, a Mediterranean herb garden and a geodesic dome made of branches.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-wkVbMswi8Ak/UkMt7vcZ1NI/AAAAAAAACgU/CC96ToPaDMs/s1600/allonei_abba_plan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://3.bp.blogspot.com/-wkVbMswi8Ak/UkMt7vcZ1NI/AAAAAAAACgU/CC96ToPaDMs/s640/allonei_abba_plan.jpg" width="482" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">overall garden plan</td></tr>
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For the realization of the garden the I collaborated with Guy Spielman, a gardener and pond- and water-feature-specialist. The creation of the garden began in June 2013 with the construction of the terraces.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-V1VRVItCPGk/UkMt75mtyhI/AAAAAAAACgY/V5dmf3E9SpQ/s1600/allonei_abba_building_1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://1.bp.blogspot.com/-V1VRVItCPGk/UkMt75mtyhI/AAAAAAAACgY/V5dmf3E9SpQ/s400/allonei_abba_building_1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">construction of the terraces</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-F4xKLkNq648/UkMt7TxRHFI/AAAAAAAACgQ/_Brgp_v055Y/s1600/allonei_abba_building_2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://4.bp.blogspot.com/-F4xKLkNq648/UkMt7TxRHFI/AAAAAAAACgQ/_Brgp_v055Y/s400/allonei_abba_building_2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">construction of paved path and steps made of railway sleepers</td></tr>
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During the course of August work started on the water course. The ponds, the wetland and the stream were completed in the end of August and this phase of the development could be finalized with planting in major part of the garden.</div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-nysZ0mv2avo/UkMuHJ-uGiI/AAAAAAAACgo/Gb-YOD9P7W0/s1600/allonei_abba_plantingday1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="http://4.bp.blogspot.com/-nysZ0mv2avo/UkMuHJ-uGiI/AAAAAAAACgo/Gb-YOD9P7W0/s400/allonei_abba_plantingday1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">planting day</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">part of the water course</td></tr>
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<br />Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0Alonei Abba, Israel32.731588190662691 35.17006874084472732.728248690662689 35.165026240844725 32.734927690662694 35.175111240844728tag:blogger.com,1999:blog-4491142226486881139.post-20566366419089401442013-09-20T16:19:00.000-07:002013-10-17T14:12:10.711-07:00<h3>
Harduf Playground</h3>
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- continuing project - from Spring 2012</h4>
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I had been asked by the Harduf Community to re-design and update the existing playground area for small children. An overall master-plan for future development was to be created, including the addition of innovative playground equipment, additional landscape features, improved access and other elements.</div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-928-sK5xwzA/UjzMiyZik6I/AAAAAAAACYE/0BDY-7R-YQw/s1600/harduf+playground+plan+-+annotated.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="452" src="http://1.bp.blogspot.com/-928-sK5xwzA/UjzMiyZik6I/AAAAAAAACYE/0BDY-7R-YQw/s640/harduf+playground+plan+-+annotated.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">overall development plan</td></tr>
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The new sculptural play-elements are to include:a wooden ship, a railway, a climbing sculpture, a labyrinth and an extension of the existing pond, including running water and a bridge.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-FMSF8mh-x3g/UjzVe9kO3oI/AAAAAAAACZA/DI7SdmjNk3E/s1600/playground+-+ship.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="247" src="http://1.bp.blogspot.com/-FMSF8mh-x3g/UjzVe9kO3oI/AAAAAAAACZA/DI7SdmjNk3E/s400/playground+-+ship.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">sketch of play-ship</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">sketch of play-ship and bridge</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-B7HpwyxAPN0/UjzVFtR_hJI/AAAAAAAACY0/tgEuRscxngs/s1600/playground+-+locomotive.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="283" src="http://1.bp.blogspot.com/-B7HpwyxAPN0/UjzVFtR_hJI/AAAAAAAACY0/tgEuRscxngs/s640/playground+-+locomotive.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The locomotive - made from whole tree-trunks<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-EpJi6Sg_MaY/UkC16MXnt6I/AAAAAAAACcA/y7ekjZi79hE/s1600/2012-12-31_12-34-54_712.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="225" src="http://4.bp.blogspot.com/-EpJi6Sg_MaY/UkC16MXnt6I/AAAAAAAACcA/y7ekjZi79hE/s400/2012-12-31_12-34-54_712.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">installation of the tree-trunk - turned upside-down</td></tr>
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Work on the playground started in Spring 2013. The upper part of an oak tree which had died a year ago was cut down and used as raw material for the artist to carve a climbable sculpture. The lower part of the trunk remained to be transformed into a sculpture as well.<br />
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<tr><td class="tr-caption" style="text-align: center;">the tree-trunk beginning to be carved</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">construction of the labyrinth using interwoven branches</td></tr>
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The basis for the labyrinth was built of interwoven branches, creating an undulating tunnel of varying height.</div>
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Then willow cuttings were planted along the walls of the structure and these given generous watering.</div>
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Soon the willow cuttings were leafing. And within two months the whole structure had become a green, living tunnel, giving shade and providing an exciting space for children to explore and to hide in.</div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-6k9IYvstE4o/UkC5muR1PoI/AAAAAAAACdA/aicJauwKhJ8/s1600/playground_process_march13-30.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="http://4.bp.blogspot.com/-6k9IYvstE4o/UkC5muR1PoI/AAAAAAAACdA/aicJauwKhJ8/s640/playground_process_march13-30.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the "greening" of the labyrinth</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-YlDRYfIVzgM/UkC5B2sIArI/AAAAAAAACc0/IOu6E3MfXMs/s1600/IMG_1209.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="http://3.bp.blogspot.com/-YlDRYfIVzgM/UkC5B2sIArI/AAAAAAAACc0/IOu6E3MfXMs/s640/IMG_1209.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">within two months the labyrinth has become a green tunnel</td></tr>
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The next project was the construction of the spring and the water-course. This was built by the artist, using pond-liner, local lime stones, river bolders and cement.</div>
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<tr><td class="tr-caption" style="text-align: center;">building the water-course</td></tr>
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The water landscape was completed by the addition of a beautiful bridge, built by local craftsman Avichai Ronen.</div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-ZEJotbPO0I8/UkC3AIWKPKI/AAAAAAAACcQ/0U6igTrTjwc/s1600/20130601_0625.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="426" src="http://4.bp.blogspot.com/-ZEJotbPO0I8/UkC3AIWKPKI/AAAAAAAACcQ/0U6igTrTjwc/s640/20130601_0625.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the water-course leading to the pond and the bridge</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-UBLYbii948E/UkC3BRwdBrI/AAAAAAAACcU/Johdl21fpz8/s1600/20130601_0614.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-UBLYbii948E/UkC3BRwdBrI/AAAAAAAACcU/Johdl21fpz8/s320/20130601_0614.JPG" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">children playing in the water-course</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-_C1cscLHP0I/UkC3aPLa9oI/AAAAAAAACcc/JBedyWk4z08/s1600/20130601_0751.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="425" src="http://3.bp.blogspot.com/-_C1cscLHP0I/UkC3aPLa9oI/AAAAAAAACcc/JBedyWk4z08/s640/20130601_0751.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">children exploring the balancing course by the water feature</td></tr>
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Axel - אקסלhttp://www.blogger.com/profile/13884170443778869902noreply@blogger.com0Harduf, Israel32.764100177668155 35.17292261123657232.763265677668151 35.171662111236571 32.764934677668158 35.174183111236573