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chi a cuesto padlet e una merda BESTIALE ........ VUOI DIVENTARE MIA AMICONA SE NON LO FAI TI AMMAZZO.... PERFAVORE

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chi a cuesto padlet e una merda BESTIALE ........ VUOI DIVENTARE MIA AMICONA SE NON LO FAI TI AMMAZZO.... PERFAVORE

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sarai cosi

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ciao chiara sono giulia lo crei il padlet??

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ciao chiara sono giulia lo crei il padlet??

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"Life on earth presents elegant solutions to many of the challenges that designers and innovators face every day. Explore AskNature to find biological strategies, inspired ideas, and resources relative to your own innovation challenges, so you can begin to emulate the time-tested forms, processes, and systems that already thrive in balance with Earth’s complex systems."
https://asknature.org/

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A forest has been planted in Norway, which will supply paper for a special anthology of books to be printed in 100 years time. Between now and then, one writer every year will contribute a text, with the writings held in trust, unread and unpublished, until the year 2114. The manuscripts will be presented in a specially designed room in the new public library, Oslo. Writers to date include Margaret Atwood (2014), David Mitchell (2015), and Sjón (2016).

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One thousand trees have been planted in Nordmarka, a forest just outside Oslo, which will supply paper for a special anthology of books to be printed in one hundred years time. Between now and then, one writer every year will contribute a text, with the writings held in trust, unpublished, until the year 2114.

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While ecology has received little systematic attention within art history, its visibility and significance has grown in relation to the threats of climate change and environmental destruction. By engaging artists’ widespread aesthetic and political engagement with environmental conditions and processes around the globe—and looking at cutting-edge theoretical, political, and cultural developments in the Global South and North—Decolonizing Nature offers a significant, original contribution to the intersecting fields of art history, ecology, visual culture, geography, and environmental politics.

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Charlotte Birnbaum Bon! Bon! On the Charms of Sweet Cuisine On the Table V Visions of the Now Stockholm Festival for Art and Technology e-flux journal Jalal Toufic What Was I Thinking? Knut Ebeling There Is No Now An Archaeology of Contemporaneity Annika Bender Death of an Art Critic / Tod einer Kritikerin ars viva 2018 Anna-Sophie Berger, Oscar Enberg, Zac Langdon-Pole Anne Faucheret, David Jourdan (Eds.)

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Purple is an immersive, six-channel video installation which charts the incremental shifts in climate change across the planet and its effects on human communities, biodiversity and the wilderness.

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Supported using public funding by Arts Council England. Projections by Christie Digital.
The exhibition has been commissioned by the Barbican, London and co-commissioned by Bildmuseet Umeå, Sweden, TBA21-Academy, The Institute of Contemporary Art/ Boston and Museu Coleção Berardo, Lisbon.

Barbican Art Gallery presents a new commission by British artist and filmmaker John Akomfrah for the Curve. His most ambitious project to date, is an immersive, six-channel video installation which charts the incremental shifts in climate change across the planet and its effects on human communities, biodiversity and the wilderness. As the follow up to Vertigo Sea (2015), Akomfrah's standout work at the 56th Venice Biennale, Purple forms the second chapter in a planned quartet of films addressing the aesthetics and politics of matter. Symphonic in scale and divided into six interwoven movements, Akomfrah has combined hundreds of hours of archival footage with newly shot film and a hypnotic sound score to produce the video installation. John Akomfrah: Purple opens in the Curve on Friday 6 October 2017.

Staged across a variety of disappearing ecological landscapes, from the hinterlands of Alaska to desolate, icy Arctic Greenland and the volcanic Maquesas Islands in the South Pacific, each location prompts the viewer to meditate on the complex relationship between humans and the planet. At a time when, according to the UN, greenhouse gas emissions from human activities are at their highest levels in history, with people experiencing the significant impacts of climate change, including shifting weather patterns, rising sea level, and more extreme weather events, Akomfrah's Purple brings a multitude of ideas into conversation including mammalian extinctions, the memory of ice, the plastic ocean and global warming.

John Akomfrah said; "The Curve is one of the most challenging international arts spaces I know of. And I feel both blessed and honoured to be exhibiting here. The challenges ahead of us, of how we treat the planet and relate to matter and beings are daunting and hyperreal. I hope these works contribute in a small way to some of the very necessary conversations we need to have about the uncertain roads ahead."
Jane Alison, Head of Visual Arts, Barbican said; "I am especially delighted that London-based artist, John Akomfrah, is creating a new film based installation for the Curve; the second chapter in his planned quartet of films following his highly acclaimed three channel film, Vertigo Sea. This will be Akomfrah's largest art installation to date. As an artist who confronts major issues through his filmmaking, Akomfrah will address the perils of global climate change in this new work which is sure to be unmissable."

Akomfrah's films are characterised by a rich, multi-layered visual style, which frequently combines contemporary politics with history, fiction and mythology and are typified by their investigations into subjects such as memory, identity, post -colonialism and often explore the experience of the African diaspora in Europe and the United States. His first film Handsworth Songs (1986) focuses on the riots in Birmingham and London through archive footage, documentary photographs and newsreel. Recent works include Tropikos (2016), a three-screen installation which references the work of filmmaking greats Stanley Kubrick and Theo Angelopolous , Auto da Fe (2016), a poetic period drama which presents a series of eight historical migrations over the last 400 years and Airport (2016) which explores the displacement of millions of African people across the Atlantic to Britain in an experimental costume drama set in the sixteenth century. As a paen to the ocean, his three-channel video installation Vertigo Sea (2015) explores a range of histories from whaling, international migration, the trans-Atlantic trade and the beginnings of globalisation.

Born in 1957, Accra, Ghana, Akomfrah lives and works in London. A founding member of the influential Black Audio Film Collective (1982-1998), his work has been shown in museums and exhibitions around the world including the Liverpool Biennial; Documenta 11, Kassel; Centre Pompidou, Paris; Serpentine Gallery, London; Tate Britain, London; Southbank Centre, London; Bildmuseet Umeå , Sweden; Eli and Edythe Broad Art Museum, Michigan; and The Museum of Modern Art, New York. A major retrospective of Akomfrah's gallery-based work with the Black Audio Film Collective premiered at FACT, Liverpool and Arnolfini , Bristol in 2007. His films have been included in international film festivals such as Cannes, Toronto, Sundance, amongst others. Earlier this year, John Akomfrah won the UK's leading prize for international contemporary art, Artes Mundi 7.
Notes to Editors
Press Information
For further information, images or to arrange interviews, please contact:
Ann Berni, Senior Communications Manager +44 207 382 7169, ann.berni@barbican.org.uk
Lily Booth, Communications Officer +44 207 382 6162, lily.booth@barbican.org.uk
Bréifne Ó Conbhuí, Communications Assistant +44 207 382 7254, breifne.oconbhui@barbican.org.uk
Jean Tang, Communications Assistant +44 0207 382 6138, jean.tang@barbican.org.uk

Press images available online from the Barbican Newsroom
A link to the image sheets can be found in the 'Downloads' box on the top right-hand side of the page from www.barbican.org.uk/JohnAkomfrahNews

Barbican Newsroom
All Barbican Centre press releases, news announcements and the Communication team's contact details are listed on our website at www.barbican.org.uk/news

Public Information
The Curve, Barbican, London
Public information: 0845 120 7550 / www.barbican.org.uk/artgallery
Free admission

The Curve opening times:
Saturday - Wednesday 11am-8pm
Thursday & Friday 11am-9pm
Bank Holidays 12pm-8pm
The exhibition is closed on 24, 25 and 26 December 2017.
EVENTS
A programme of talks and film screenings accompanies the exhibition. Check the website for full listings: www.barbican.org.uk/artgallery

TALKS
In Conversation: John Akomfrah and Anthony Downey
Thu 12 Oct, 7pm, Frobisher Auditorium 2
To coincide with the installation Purple, John Akomfrah will be in conversation with academic, editor and writer, Anthony Downey.
Tickets £10

FILM SEASON
John Akomfrah presents...
From 24 Oct, Cinema 3
To complement John Akomfrah: Purple, Barbican Cinema screens a series of films chosen by the artist that have influenced his life and work. The season includes; Far From Vietnam (1967) conceived and edited by French filmmaker Chris Marker, bringing together contributions from six leading directors, including Jean-Luc Godard, Alain Resnais, and Agnes Varda, to reflect on the contributions their own films make in their opposition to US military involvement in Vietnam; one of Martin Scorsese's favourite films, Salvatore Giuliano (1962) by Francesco Rosi - a landmark in Italian and political cinema which reconstructs, docu-drama-style, key moments from notorious Sicilian bandit Giuliano's life; set in 1961, Tomás Gutiérrez Alea's Memories of Underdevelopment (1968) charts the period between the mass exodus after the disastrous Bay of Pigs invasion and the missile crisis of the following year; plus The Night of Counting the Years (aka The Mummy) (1969), often considered to be the Arab world's greatest ever movie, from director Chadi Abdel Salam.

BOOK
The exhibition is accompanied by a fully-illustrated publication, including a newly commissioned text by Kass Banning, Associate Professor of Cinema Studies at University of Toronto, as well as an interview with the artist by writer and broadcaster Ekow Eshun. The book is the sixth in a new publication series by Barbican Art Gallery that focuses on the Curve exhibition programme.
£12.00.

Exhibition
The exhibition has been commissioned by the Barbican, London and co-commissioned by Bildmuseet Umeå, Sweden, TBA21-Academy and The Institute of Contemporary Art/ Boston.
The exhibition will travel to Bildmuseet Umeå , Sweden, Thyssen-Bornemisza Art Contemporary - Academy , Vienna and to the Institute of Contemporary Art/ Boston (Summer 2019).
This installation is part of Film in Focus 2017 celebrating the power of the moving image and its influence across the arts throughout the Barbican through a series of world-class arts and learning projects, commissions and events that celebrate the medium of film. The programme explores film's huge breadth and power as a medium, with events and commissions spanning from the classic to the avant-garde. Through festivals, talks, outdoor screenings, innovative stagings , live soundtracks and commissions, Film in Focus explores the dialogue which exists between film and world-class artists working in every discipline.
Christie©, a global leader in visual and audio solutions, is providing leading visual technology for the exhibition, as part of a major five-year partnership with the Barbican Centre which will transform the public spaces of the Barbican, providing new platforms for its rolling programme of artistic commissions and focal points to communicate with the public in visually innovative ways.
In order to realise John Akomfrah's vision and provide the maximum image quality required for this exhibition, it was vital that the best projection technology available was used. Purple is projected on to six separate screens each around 3 metre-wide.

James Belso , UK Sales Manager for Christie, worked closely with the curator to select a projector that would provide the appropriate levels of brightness, colour and uniformity for visitors to examine and compare the ecological landscapes presented in Purple. It was also necessary the projectors' performance be identical across all six screens; throughout the duration of the exhibit. Christie is providing six high-grade projectors - Christie 3DLP projectors from the M-Series. These projectors use a yellow-notch filter to increases the range of colours that can be displayed and a feature called Comprehensive Color Adjustment (CCA™); which automatically adjusts colour and brightness to maintain the image settings of grouped projectors when used in multi-screen presentations such as Purple. More information about the projector spec is available from here.

Barbican Art Gallery and The Curve
Our visual arts programme embraces art, architecture, design, fashion, photography and film. Many of our exhibitions explore the interconnections between disciplines, periods and cultures, and aim to imagine the world in new ways. Designers, artists and architects are our collaborators in this process.

We invest in the artists of today and tomorrow; the Curve is one of the few galleries in London devoted to the commissioning of new work. Through our activities we aim to inspire more people to discover and love the arts. Entrance to the Curve is free. Through Young Barbican we offer £5 tickets to 14-25 year olds for our paid exhibitions, children under 14 are free.

Our exhibitions are complemented by comprehensively researched catalogues and a full range of public events. We develop engaging online content for audiences and offer special tours for schools. In partnership with renowned museums and art galleries, many of our exhibitions travel to reach both national and international audiences.

About the Barbican
A world-class arts and learning organisation, the Barbican pushes the boundaries of all major art forms including dance, film, music, theatre and visual arts. Its creative learning programme further underpins everything it does. Over 1.1 million people attend events annually, hundreds of artists and performers are featured, and more than 300 staff work onsite. The architecturally renowned centre opened in 1982 and comprises the Barbican Hall, the Barbican Theatre, The Pit, Cinemas One, Two and Three, Barbican Art Gallery, a second gallery The Curve, foyers and public spaces, a library, Lakeside Terrace, a glasshouse conservatory, conference facilities and three restaurants. The City of London Corporation is the founder and principal funder of the Barbican Centre.

The Barbican is home to Resident Orchestra, London Symphony Orchestra; Associate Orchestra, BBC Symphony Orchestra; Associate Ensembles the Academy of Ancient Music and Britten Sinfonia; Associate Producer Serious; and Artistic Partner Create. Our Artistic Associates include Boy Blue Entertainment, Cheek by Jowl, Deborah Warner, Drum Works and Michael Clark Company. International Associates are Royal Concertgebouw Orchestra of Amsterdam, New York Philharmonic, Los Angeles Philharmonic, Gewandhaus Orchestra Leipzig and Jazz at Lincoln Center.

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Supported using public funding by Arts Council England. Projections by Christie Digital. The exhibition has been commissioned by the Barbican, London and co-commissioned by Bildmuseet Umeå, Sweden, TBA21-Academy, The Institute of Contemporary Art/ Boston and Museu Coleção Berardo, Lisbon. Barbican Art Gallery presents a new commission by British artist and filmmaker John Akomfrah for the Curve.

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Are we deranged? The acclaimed Indian novelist Amitav Ghosh argues that future generations may well think so. How else to explain our imaginative failure in the face of global warming? The climate crisis asks us to imagine other forms of human existence—a task to which fiction, Ghosh argues, is the best suited of all cultural forms.

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Paper $15.00 ISBN: 9780226526812 Published July 2017 Not for sale in India, Pakistan, Nepal, Bhutan, Maldive Islands, Bangladesh, Burma/Myanmar, and Sri Lanka

E-book $15.00 About E-books ISBN: 9780226323176 Published September 2016 Not for sale in India, Pakistan, Nepal, Bhutan, Maldive Islands, Bangladesh, Burma/Myanmar, and Sri Lanka Also Available From

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Are we deranged? The acclaimed Indian novelist Amitav Ghosh argues that future generations may well think so. How else to explain our imaginative failure in the face of global warming? In his first major book of nonfiction since In an Antique Land, Ghosh examines our inability-at the level of literature, history, and politics-to grasp the scale and violence of climate change.

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"Virtual worlds, printed food, living cities and wild robots; we’re so surrounded by technology that it’s becoming our next nature. It may sound abstract, but it’s closer than you think; cars will drive themselves and heart valves are 3D printed.

How not to lose sight of the human factor? Next Nature Network is the international network for anyone interested to join the debate on our future – in which nature and technology are fusing."

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We are a network of makers, thinkers, educators and supporters. With members in 44 countries, we are the international network for anyone interested in the debate on our future - in which biology and technology are fusing. Our headquarters is based in Amsterdam, the Netherlands, planet Earth, the Universe.

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We are a network of makers, thinkers, educators and supporters. With members in 44 countries, we are the international network for anyone interested in the debate on our future - in which biology and technology are fusing. Our headquarters is based in Amsterdam, the Netherlands, planet Earth, the Universe.

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Designed by Olafur Eliasson, portable solar lights sold at higher prices in developed countries to fund their distribution in developing countries to help phase out kerosene lamps and provide access to electricity.

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Little Sun is a project by artist Olafur Eliasson and engineer Frederik Ottesenand with a mission to bring the sustainable energy to everyone.

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Blog on how to communicate effectively on veganism without alienating people.

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I remember, more than fifteen years ago, asking vegetarians and vegans what they would do if ever McDonald's came up with a vegan burger. Imagine furthermore, I said, that they are testing it somewhere and that the success of the test will determine if they will roll it out everywhere.

Sometimes, thought-experiments (I've always loved them) become real. This week, McDonald introduced a vegan burger in Tampere, Finland. The success it will have until November may influence what will happen in thousands of other McDonald's around the globe.

Vegans, as often, are a bit divided in their reactions. Many applaud this initiative, while many others state that they will never ever eat anything at McDonald's, because one vegan burger cannot erase the many problematic aspects of the company.

I'm seeing a lot of gut-level, unexamined opinions on this topic. So, allow me to present you with some of my thoughts on this issue.

What's wrong with McDonald's?
McDonald's has been and in many aspects remains a problematic company. Actually, in many people's eyes (at least activists and people on the left in general), McDonald's is more or less the prototype of a Bad Company. When I type "what's wrong with" in Google, the first autocomplete suggestion I see is... McDonald's. The 1986 pamphletWhat's Wrong With McDonald's - and the "McLibel" lawsuit by the corporation against Helen Steel and Dave Morris - probably has something to do with this. The pamphlet spoke about animal welfare, workers' rights, deforestation, luring children with toys, etc. And for many people, even if all of these problems were solved, McDonald's would still simply be too big, too capitalist, too uniform and too many other things to support.

I don't have the time to do a thorough check of how McDonald's is doing today in terms of all these different social dimensions, but let's just very briefly look at one aspect: is McDonald's any worse in the animal welfare department than similar companies? According to Paul Shapiro, Vice President of policy engagement at the Humane Society of the US, the company's 2012 announcement that the US branch would require its suppliers to phase out gestation crates and its 2015 similar announcement on battery cages both led to a cascade of other major retailers doing the same or better. In a real way, Shapiro says, the company's announcements helped put the writing on the wall that these cage confinement practices will have no place in the future. Sure, all these are "mere" welfare reforms, but they are a start, and they mean tangible differences for literally billions of animals.

I think a lot of the hate McDonald's gets is not always entirely rational, and is in part due to the fact that McD has come to symbolize all that is bad about modern day capitalism. But let's, for argument's sake, just accept that the fast food giant is still a very bad company - it definitely buys, cooks and serves a humongous number of animals. What does this mean in terms of vegans and the vegan movement's relationship to the vegan burger?

Sometimes, it seems to me that it is part of human nature to want or need enemies: many of us just love to hate some people and companies. For this reason, some of us may not like it when the enemy improves. People don't want to lose their enemy and seem to require an outlet for a certain amount of hate and anger. An indication of this is that there is hardly anything this enemy can do in order to get the support of the naysayers (people may, for instance, not even support McDonald's if it's 100% vegan and green and... ). Some of the McVegan's opponents have been asking whether the mustard, the sauce, the buns are vegan and whether the patty will be fried on the same grill as the beef patties are fried on - seemingly looking for any excuse not to support it. Others say it's just junk.
Every positive action that is undertaken will be considered insignificant, or greenwashing, or empty, or whatever. The idea that the company is evil to its core becomes sort of non-falsifiable.

Some people in the no camp consider the enthusiasm of the yes camp as some sort of " veganism über alles " attitude. They see the McVegan's proponents as applauding anything that advances the vegan or animal cause, even if it is at the cost of anything else. Certainly, there are vegans who are very narrowly focused on animals alone and don't care for intersecting social justice issues. But I don't think that is necessarily the case for everyone saying yes to the McVegan. These people may just be willing to encourage every significant step, realizing that not everything will be done at once. If McDonald's takes significant measures in other areas, these could also be applauded, even though the company is still responsible for a lot of animal suffering.

The case for a McVegan
I have written before on the power that big companies have to do good things (see Beyond Meat and Tyson: sleeping with the enemy? and Why vegans shouldn't boycot Daiya cheese). It's easy to see some of the advantages of having a vegan burger at McD's. Such an offer would help tremendously in normalizing and mainstreaming vegan food and would lower the threshold for a lot of people to actually try it out (the burger has to be tasty, of course - but according to what I read, it is). Companies who have a stake in selling plant-based foods also will start to become less antagonistic to the growth of the vegan phenomenon.

But most importantly, big companies have the power, the resources, the contacts and the channels to get these products out everywhere. I just came back from the Extinction and Livestock Conference in London, organized by Compassion in World Farming and WWF. During one of the panels, Josh Balk, Vice President for The Humane Society of the United States' farm animal division, reminded us of the days when soy milk could only be found in an obscure corner of the local health food store. What happened, asked Josh, that pulled plant-based milks out of that corner and put them on the shelves of every major supermarket in the United States? His answer: Dean Foods happened.The largest dairy company in the US saw an opportunity and got into plant-based milks. There might be other explanations for these products' growing popularity, but Big Dairy definitely played a big part in it.
Dean Foods inspired other companies to do as they did and invest in dairy alternatives. Just so, McDonald's, if successful, may further inspire other chains (and maybe the fast food giant was inspired to start in Finland because of the successful Hesburger chain, which carries a vegan burger).

Can vegans make a difference?
If we think a vegan burger at McDonald's is a good idea, we can actively participate by buying or recommending the burger. Or, we can just silently support it and leave it to other people to buy it. But what if the vegan movement (in Finland or internationally) was actually able to help make or break this experiment? The fact that the burger is called McVegan seems to imply that the McDonald's folks have at least to some degree the vegan target audience in mind.
Suppose that, as the news articles seem to imply, the success the Finish experiment can influence or determine if and to what extent this burger will be rolled out in other countries. Think of the massive number of animals who would be spared a lifetime of suffering. I feel confident in saying that, assuming all this, I would be fine with spending my own money on this and asking others to do the same. Furthermore, if I were director of a Finish organization, I might actually recommend all vegans to go there (though I would take into account the potential backlash of less pragmatic vegans).

It is important to realize that McDonald's has tried to launch a vegan or vegetarian burger several times in different countries, but nowhere quite succeeded (except in India). Imagine that the McDonald's US vegan burger launched in California and New York City in 2003 had succeeded, and had been rolled out nationally and internationally, and had inspired other companies... It's hard to say if the vegan movement could have played a significant role in that, but it is not unthinkable. (Interestingly, the person who oversaw the Southern California rollout of the McVeggie burger, Don Thompson, eventually became McDonald's CEO, but has since left the company and now is on Beyond Meat's board of directors.)

Bad intentions are good enough
As is very often - and often rightly - the case, our judgment of an action is partly inspired by how we see the intentions or motivations of the people behind the action. It is entirely safe to assume that the motivation to introduce the McVegan is financial. A lot of Facebook comments are exactly about this: McDonald's is only in it for the money; they are money grubbing bastards, etc., etc. Wanting to make a profit is, of course, entirely normal for a company. Yet, many of us don't like that motivation, while we love ethical motivations. Do a little experiment for yourself: imagine the CEO of McDonald's Finland is a vegan and introduced the burger because she wants to do something good for animals. Chances are you will notice your opinions about the whole thing shift.
The question, though, is how important are these intentions? The animals certainly don't care. With Saul Alinsky, a social justice activist, I agree that we should allow people to do the right thing for the wrong reasons. Alinsky writes in Rules for Radicals:
"With very rare exceptions, the right things are done for the wrong reasons. It is futile to demand that people do the right thing for the right reason - this is a fight with a windmill. The organizer should know and accept that the right reason is only introduced as a moral rationalization after the right end has been achieved, although it may have been achieved for the wrong reason - therefore, he should search for and use the wrong reasons to achieve the right goals."
I was CEO of McDonald's for one day
Maybe twenty years ago, in my very early activism days, I organized a protest at a brand new McDonald's in our town (Ghent, Belgium). We had a bunch of people there, with the obligatory signs, slogans and pamphlets, and one or two newspapers covered it. About fifteen years later, when I was director of EVA, the organization I had cofounded, I did what was called a "jobswitch" with the CEO of McDonald's Belgium (this was an initiative of a sustainability organization of which we were both members). While I gave a presentation and got to know some of the people, practises and procedures of the McDonald's Belgium team, my own team entertained and informed their CEO and presented him with the best meat alternatives available. The day finished with me and the CEO - who hadn't seen each other all day - doing a closing meeting. Which happened... exactly at the McDonald's where I had organized the protest many years ago...
The demonstration was an example of confrontation, while the jobswitch day was a form of collaboration, or at least, something that could lead to that. Today, these two forms of taking action are still valid and necessary, but I myself am more of a believer in collaboration than confrontation.

No bust, no revolution, but gradual change
McDonald's is not going to just disappear. And, it's not just suddenly going to turn into a vegan company. The only thing that can happen is gradual improvement. I respect vegans who want to have nothing to do with that improvement, and want to stay as far away from some companies as they can (rational arguments are helpful). I'm not saying that boycotts are never useful or successful. And, I can obviously see value in supporting vegan businesses as much as possible. But, I think that this alone won't cut it, and I believe, for the animals, the support of big companies, well-intentioned or not, is not just a luxury. Like it or not, it is a necessity.

And just in case anyone at McDonald's is listening: thanks for this try out AND yes, we want you to do more.
May the Force be with the vegan burger.
You can read more about how I think the vegan movement should relate to corporate stuff in my book How to Create a Vegan World.

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The Vegan Strategist - boldly going where no vegan has gone before

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I remember, more than fifteen years ago, asking vegetarians and vegans what they would do if ever McDonald's came up with a vegan burger. Imagine furthermore, I said, that they are testing it somewhere and that the success of the test will determine if they will roll it out everywhere.

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“Swale is a floating food forest built atop a barge that travels to piers in New York City, offering educational programming and welcoming visitors to harvest herbs, fruits and vegetables for free. Swale strives to strengthen stewardship of public waterways and land, while working to shift policies that will increase the presence of edible perennial landscapes.”

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Swale is a floating food forest built atop a barge that travels to piers in New York City, offering educational programming and welcoming visitors to harvest herbs, fruits and vegetables for free. Swale strives to strengthen stewardship of public waterways and land, while working to shift policies that will increase the presence of edible perennial landscapes.

Swale was founded in 2016 by artist Mary Mattingly, through a grant from A Blade of Grass.

In the summer of 2016, Swale launched at Concrete Plant Park in the South Bronx, one of the largest food deserts in the United States. Food deserts are a reality in many communities in New York City; as many as three million New Yorkers live in communities with limited access to places where they can get fresh produce. Swale began as an idea to advocate for food to be grown on some of the 30,000 acres of public land in New York City, through urban stewardship initiatives led by community partners in the South Bronx.

Swale currently works with Youth Ministries for Peace and Justice to run free public programming, while also providing professional development opportunities for young folks in the South Bronx. In the summer of 2017, Swale will continue to collaborate with Bronx River Alliance, The Point and the New York City Parks Department to expand access to public food in the South Bronx.

According to the New York City Parks Department;

1. No person shall deface, write upon, injure, sever, mutilate, kill or remove from the ground any trees under the jurisdiction of the Department without permission of the Commissioner.

2. No person shall deface, write upon, sever, mutilate, kill or remove from the ground any plants, flowers, shrubs or other vegetation under the jurisdiction of the Department without permission of the Commissioner.

Because of the common laws of New York City's waterways, Swale is able to act as a test case as an edible public food forest. Swale is built atop a barge that was once used for hauling sand to construction sites before it was re-purposed for growing food.
Public Food: Tragedy of the commons?
We hope to encourage New Yorkers to care for our common home and to address food as a commons in public space. Following the insights of Elinor Ostrom, Swale relies on the principle that commons can be sustainably managed where people know each other, trust each other, and work together in caring for a place. There is no limit in foraging on Swale. In fact when Swale launched, and there was not much ripe to pick, on some days we found more people bringing plants than taking them. Swale is organized with the help of individuals, community groups, as well as city organizations in order to reinforce food and water as essential elements of a cooperatively stewarded commons. Swale calls attention to the collective use of New York City's land and waterways through public tours, workshops and events.

In 2016, Swale hosted over 60,000 visitors and 100 public programs at Concrete Plant Park, on Governors Island and in Brooklyn Bridge Park.
But what about legal public foraging?
Concerns with foraging on public land involve considering the health of the plants, and the landscape at large, as well as creating necessary signage to educate and protect foragers from potentially eating the wrong plants. On Swale, we believe that the benefits of free access to local greens, berries and herbs outweigh potential risks involved with foraging, and that these potential risks can all be mitigated by educational initiatives. As we near Swale's third year, we plan to work alongside stewardship groups of public lands in order to mitigate the use of herbicides in parks, to increase the overall health of public parkland, and to continue to work with public institutions on signage for edible plants.

Swale's plant community is made up of perennial native fruit trees and shrubs, leafy self-seeding annuals and salt loving grasses. Our model for landscape design is inspired by edible forestry, permaculture, and salt-tolerant estuary ecosystems. Our plants have come from many generous donations from Greenbelt Native Plant Center, the New York City Parks Department and Visitors onboard! Our plant list is always expanding. Want to bring a plant onboard Swale? Let us know!

Here's what's currently onboard:

Canopy
Beach Plum, Black Chokeberry, Black Tupelo, Black willow, 'Enterprise' Apple, 'Goldrush' Apple, Fuyu Persimmon, Goji Berry, Hawthorn, Italian Alder, Newtown Pippin Apple (native to Queens NY!), Liberty Apple, 'Northern Spy' Apple, Northline Serviceberry, Pitch pine, Red Chokeberry, Sweetbay Magnolia

Shrub
American Red Raspberry, Arkansas Blackberry, Blue Ridge Blueberry, Dogbane, Eastern Juniper, False Indigo, Flame Willow, Golden Curls Willow, Gooseberry, Missouri River Willow, Northern Highbush Blueberry, Pennsylvania Blackberry, Red Stem Dogwood, Rosemary, Sassafras, Triple Crown Blackberry, Winterberry

Herbaceous
Asparagus, American, Blackgrass, Black eyed Susan, Buck's Horn Plantain, Bugleweed, Anise Hyssop, Aster (New England), Bee Balm, Black Eyed Susan, Borage, Comfrey, Dandelion, Daylily, Echinacea, Evening primrose, French Sorrel, Garlic Chives, Goldenrod, Ground Cherry, Hopi Red Dye Amaranth, Lavender, Lemon Balm, Lettuce, Lovage, Meadowsweet, Milkweed, Miners Lettuce, Oregano, Peppermint, Perpetual Swiss Chard, Red Mustard, Red Russian Kale, Roman Chamomile, Rosemallow, Scallion, Saltgrass, Saltmeadow rush, Sea pea, Shore little bluestem, Spotted Joe Pye Weed, Stinging Nettle, Swamp Goldenrod, Sylvetta Arugula, Tansy, Virginia mountain mint, White Avens, Wild leek, Whorled mountain mint, Yarrow

Ground Cover
Creeping Thyme, Creeping raspberry, Golden oregano, Purslane, Strawberries, White Clover, Wild Low bush blueberry

Rhizosphere
Adam's yucca, Groundnut, Jerusalem Artichoke, Walking Onion, Wild Yam
Clematis,Grapes, Hardy Kiwi, Hops, Scarlet runner beans

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Swale is a floating food forest built atop a barge that travels to piers in New York City, offering educational programming and welcoming visitors to harvest herbs, fruits and vegetables for free. Swale strives to strengthen stewardship of public waterways and land, while working to shift policies that will increase the presence of edible perennial landscapes.

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Caribs' Leap/Western Deep - Steve McQueen

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Caribs' Leap/Western Deep - Steve McQueen

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Caribs’ Leap / Western Deep comprises two complementary films. "The film Caribs’ Leap memorialises a historical incident that took place there in 1651, over 150 years after the explorer Christopher Columbus first arrived at the island. For all this time the local Carib Indians fiercely resisted European colonisation, resulting in a temporary truce with the French in 1650 before fighting erupted again and the French triumphed. The last Caribs chose to jump to their deaths rather than submit to the Europeans.  Western Deep was filmed in the deepest gold mines in the world, the TauTona mines in the Witwatersrand Reef near Johannesburg in South Africa. The strength and stoicism of the miners indicates the capacity of people to survive in extreme environments, and in this way relates albeit paradoxically to the Caribs’ bravery and defiance in choosing self-destruction over capitulation to a conquering power."

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The noise and darkness of Western Deep offers an oppressive counterpoint to the experience of Caribs' Leap. Filmed on Super 8 by McQueen's long-term Director of Photography Sean Bobbitt in the Tautona gold mine in South Africa (Western Deep No.3), the 24-minute film tracks the workers' daily journey from the surface of the mine two miles down into the earth, via a network of lift cages and tunnels.

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Brave New Alps produce design projects that engage people in rethinking social, political and environmental issues.

COMUNfARE: "Literally ‘commons-making’, or ‘making in common’, COMUNfARE is a long-term practice-led research project, in which we concentrate on the economic, spatial, social and environmental context of the Vallagarina district in the Italian Alps, while not forgetting about its connections to – and responsibilities towards – other places in the world. With it, we want to experiment what our contribution can be to progressive eco-social change on different levels and scales in the area where we live and come from.”

Precarity Pilot: ‘Making space for socially- politically-engaged design practice. Online platform and workshops to support designers in re-shaping, re-orienting, and taking ownership of the course of their working lives.

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Reflecting on what it means to be part of the displaced New Orleans population in Houston. Directed by Darius Clark Monroe.

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Two Cities: A Portrait of Dr. Mtangulizi Sanyika

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Locked inside the mind and memory of Dr. Mtangulizi Sanyika, he reflects what it means to be part of the displaced New Orleans population in Houston. SXSW 2016, Festival Premiere Director: Darius Clark Monroe Executive Producers: Christine Vachon, Pamela Koffler, Patricia Clarkson, Scott Bakula Producers: Noah Stahl, Brad Becker-Parton, Dan Janvey Co-Producers: Alana Pryor Ackerman, Elizabeth Lodge Cinematographer: Daniel Patterson Editor: Doug Lenox Asst.