# data[].attributes.body
Based in London but a growing resource

# data[].attributes.body
Navigation

The Padlet can be navigated using your mouse/trackpad to scroll up/down to each section, and left/right to scroll across each section to see the references.

User

You do not need an account to access the Padlet.

You can either choose to add a name when posting, or can remain anonymous and Padlet will assign you a fun name.

Engagement

To add a comment to a post, you can click on the speech bubble icon in the bottom right of each post.

You can also like a post by clicking on the heart icon in the bottom left of each post.

To add your own post to share a reference, you can click on the green plus (+) button on the bottom right of your screen. You can then choose which colour to assign and which section to add to depending on the resource.

There are various options to include: URL link, YouTube video, Spotify, poll or image to name a few.

# data[].attributes.body
Navigation

The Padlet can be navigated using your finger to scroll up/down to each section, and left/right to scroll across each section to see the references.

User

You do not need an account to access the Padlet, though you can also access using the Padlet app which can be downloaded from the Play Store (Android) or App Store (iPhone).

You can either choose to add a name when posting, or can remain anonymous and Padlet will assign you a fun name.

Engagement

To add a comment to a post, you can click on the speech bubble icon in the bottom right of each post.

You can also like a post by clicking on the heart icon in the bottom left of each post.

To add your own post to share a reference, you can click on the green plus (+) button on the bottom of your screen. You can then choose which colour to assign and which section to add to depending on the resource.

There are various options to include: URL link, YouTube video, Spotify, poll or image to name a few.

# data[].attributes.body
We invite you to add your own references, as well as to propose your own considerations in response to the challenge of developing a regenerative art practice in a world in crisis.

The references have been colour coded to help identify the key area using the below codes:

White: General information/other

Red: Reads (books and articles)

Yellow: Listens (videos and podcasts)

Green: Projects (Case studies, key thinkers on the subject, other sectors leading the way)

Blue: Toolkits (Practice)

# data[].attributes.headline
Gallery Climate Coalition Artist Toolkit 

# data[].attributes.subject
Gallery Climate Coalition Artist Toolkit 

# data[].attributes.body
The GCC Artist Toolkit brings together practical ideas, actions and resources to support artists in addressing the climate crisis. Whether through direct action, thematic exploration, or leveraging their influence, artists have diverse avenues to take action. However, knowing where to start is often the hardest part. From effective actions to a comprehensive resource index, as well as a blueprint for creating your own environmental responsibility rider, the GCC Artist Toolkit will equip you with the means to effect tangible change.

🔗https://artist-toolkit.galleryclimatecoalition.org/

# data[].attributes.attachment_link.description
Empowering artists to take action on climate change.

# data[].attributes.headline
The Networked Condition’s Digital Carbon Calculator

# data[].attributes.subject
The Networked Condition’s Digital Carbon Calculator

# data[].attributes.body
At the beginning of 2020, Abandon Normal Devices, Arts Catalyst and Fast Familiar began The Networked Condition: Environmental Impacts of Digital Cultural Production, a collaborative research project exploring digital arts through an environmental lens. The project is part of The Accelerator Programme (led by Julie’s Bicycle and Arts Council England), which helps artists to advance their sustainable practice and share insights with their peers and the wider sector.

🔗https://www.andfestival.org.uk/blog/carbon-calculator-tool/

# data[].attributes.attachment_link.title
The Networked Condition: How To Use the Digital Carbon Calculator - Abandon Normal Devices

# data[].attributes.attachment_link.description
At the beginning of 2020, Abandon Normal Devices, Arts Catalyst and Fast Familiar began The Networked Condition: Environmental Impacts of Digital Cultural Production,…

# data[].attributes.body
Climate impact reports are designed to give collaborators greater insight into the climate impact of the projects on which they work, to provide a framework for dialogue within the project team, and to promote a practice of transparency of climate impact within the sector. Artists Commit is now able to provide artists with an Artists Commit Mentor to support them in completing a Climate Impact Report (CIR).

🔗https://www.artistscommit.com/reports

# data[].attributes.attachment_link.description
Artists Commit Climate Impact Reports are in depth collaborations between artists and the partners that present their work to better understand the climate impact of the projects in which we participate.

# data[].attributes.headline
Design Museum - Sustainable Exhibition Design Guide 

# data[].attributes.subject
Design Museum - Sustainable Exhibition Design Guide 

# data[].attributes.body
The Exhibition Design Guide examines the opportunities for reducing impact across areas including shipping and transport, programming, design and construction, materials, communications and energy use. It looks at where impacts are made in those areas and what to consider in order to reduce them. In addition, the guide advises on how to embed the consideration of impact reduction in the museum’s design process and how to work with commissioned designers, contractors and suppliers to communicate and deliver on the ambition to reduce its impact, develop effective ways of working and ensure it captures the information needed in order to measure its carbon impact in future.

🔗https://designmuseum.org/learning-and-research/design-museum-research/working-to-make-change\

# data[].attributes.attachment_link.description
Discover how the Design Museum is learning to cut the environmental cost of its exhibitions in response to the planetary emergency.

# data[].attributes.headline
Bio27 Ljubljana Biennial – Futuring Toolkit – Sustainable Cultural Production: Museum

# data[].attributes.subject
Bio27 Ljubljana Biennial – Futuring Toolkit – Sustainable Cultural Production: Museum

# data[].attributes.body
Production platform team Futuring utilised the biennial to interrogate its future; to observe, source, and examine the existing sustainable practices in cultural production. One of the outcomes is this open-source toolkit, which enables cultural institutions and designers to reduce their work’s environmental impact.

🔗https://drive.google.com/file/d/12glKyy9XJmJ61AzHebhE3ooajkKAYFPd/view

# data[].attributes.attachment_link.readable_text
With Google Drive on the web, you can view things such as videos, PDFs, Microsoft Office files, audio files and photos.

Important: If you try to open a suspicious file, you may get a warning message. Use caution if you open the file.

View a file

1. Go to drive.google.com

2. Log in to your Google Account with your username and password.

3. Double-click a file.

4. If you open a Google Doc, Sheet, Slides presentation, Form or Drawing, it will open using that application.

5. If you open a video, Microsoft Office file, audio file or photo, it will open in Google Drive.

Note: PDF files will open in a new tab in your browser.

Open a file using a different app

You can open a file using web apps or apps installed on your computer. To open files with apps installed on your computer, you need the most recent version of Google Drive for desktop and the application launcher by Google.

1. Go to drive.google.com

2. Log in to your Google Account with your username and password.

3. Right-click a file.

4. Place your cursor over Open with.

5. Choose an app.

Related articles

# data[].attributes.attachment_link.description
With Google Drive on the web, you can view things such as videos, PDFs, Microsoft Office files, audio files and photos. Important: If you try to open a suspicious file, you may get a warning message.

# data[].attributes.headline
Liverpool Biennial x BID | Alicja Biala: Merseyside Totemy (2022 - 2024)

# data[].attributes.subject
Liverpool Biennial x BID | Alicja Biala: Merseyside Totemy (2022 - 2024)

# data[].attributes.body
Alicja Biala’s Merseyside Totemy, a public artwork that visualises statistics and figures related to the impact of climate change on the Liverpool City Region, was commissioned by Liverpool Biennial in 2024 with consideration to the full life cycle of the object.

🔗https://www.biennial.com/project/liverpool-biennial-x-bid-alicja-biala-merseyside-totemy/

# data[].attributes.attachment_link.title
Liverpool Biennial x BID | Alicja Biala: Merseyside Totemy

# data[].attributes.attachment_link.description
The largest festival of contemporary visual art in the UK. Taking place every two years across the city in public spaces, galleries and museums.

# data[].attributes.body
Built environment specialists Civic Engineers engage residents in the design and stewardship of nature-based solutions to improve long-term climate resilience. These two videos present rain garden projects in Glasgow and Cobh, Ireland, the first presented by Scottish Comedian Robert Florence and the second by two young girls involved in the community engagement around the project.

🔗https://www.youtube.com/watch?v=TwKB50NKTdw&ab_channel=CivicMedia

🔗https://www.youtube.com/watch?v=ZQURz1RHg7k&ab_channel=MichaelRea

# data[].attributes.headline
RCA x Design for Good Academy Masterclass talk: Design as a Regenerative Practice

# data[].attributes.subject
RCA x Design for Good Academy Masterclass talk: Design as a Regenerative Practice

# data[].attributes.body
Daniel Christian Wahl’s RCA Masterclass is an accessible 45mn introduction to the key concepts that underpin his approach to designing regenerative cultures.

🔗https://www.youtube.com/watch?v=-YBxX1nCRf0&ab_channel=RoyalCollegeofArt

# data[].attributes.attachment_link.title
RCA x Design for Good Academy Masterclass talk: Design as a Regenerative Practice

# data[].attributes.headline
Sustainability is in the past, Bridget McKenzie

# data[].attributes.subject
Sustainability is in the past, Bridget McKenzie

# data[].attributes.body
Bridget McKenzie’s article ‘Sustainability is in the past’ is a powerful call to embrace adaptation and collapse-awareness as part of regenerative art practice.

🔗https://bridgetmckenzie.uk/sustainability-is-in-the-past

# data[].attributes.attachment_link.title
Sustainability is in the Past – Bridget McKenzie

# data[].attributes.attachment_link.description
I took part in a Twitter conference organised by ICON’s Sustainability Network, about climate, sustainability and cultural heritage. I tweeted about how the time for sustainability was 40 years ago, and a slightly fuller version of my piece is below.

# data[].attributes.headline
Why Materials Matter; Responsible Design for a Better World, Seetal Solanki (2018)

# data[].attributes.subject
Why Materials Matter; Responsible Design for a Better World, Seetal Solanki (2018)

# data[].attributes.body
Why Materials Matter by Seetal Solanki is an encyclopaedic review of projects and processes that demonstrate the potential of materials when it comes to the ecological, social and economical issues faced by human beings today.

🔗https://ma-tt-er.org/work/why-materials-matter/

# data[].attributes.attachment_link.readable_text
Credits: Publishing, Prestel; Commissioning Editor, Ali Gitlow; Copy Editor, Aimee Selby; Foreword, Liz Corbin; Graphic Designers, Our Place; Photography, Dilesh Solanki and Extract, G . F Smith.

# data[].attributes.attachment_link.description
Credits: Publishing, Prestel; Commissioning Editor, Ali Gitlow; Copy Editor, Aimee Selby; Foreword, Liz Corbin; Graphic Designers, Our Place; Photography, Dilesh Solanki and Extract, G . F Smith.

# data[].attributes.headline
The No Nonsense Guide to Climate Change: The Science, the Solutions, the Way Forward, Danny Chivers (2010)

# data[].attributes.subject
The No Nonsense Guide to Climate Change: The Science, the Solutions, the Way Forward, Danny Chivers (2010)

# data[].attributes.body
The No Nonsense Guide to Climate Change: The Science, the Solutions, the Way Forward is a book by carbon-analyst, activist and poet Danny Chivers, which renders climate science accessible without compromising on the reality of our predicament.

# data[].attributes.headline
Designing Regenerative Cultures, Daniel Christian Wahl (2016)

# data[].attributes.subject
Designing Regenerative Cultures, Daniel Christian Wahl (2016)

# data[].attributes.body
Designing Regenerative Cultures is the essential read on the principles of regenerative practice. A shorter introduction to his approach is available in this article.

🔗https://designforsustainability.medium.com/the-regenerative-impulse-of-life-f9f3296d1717

# data[].attributes.headline
Environmental Justice Questions, Harun Morrison (2023 - ongoing)

# data[].attributes.subject
Environmental Justice Questions, Harun Morrison (2023 - ongoing)

# data[].attributes.body
Artist Harun Morrison’s Environmental Justice Questions is a growing compilation of questions for discussion and debate. Harun has invited a range of people including artworkers, scientists, activists, writers, theorists, architects, growers, natural historians and horticulturalists to propose questions relating to environmental justice.

🔗https://www.devonshirecollective.co.uk/product/environmental-justice-questions

# data[].attributes.headline
The Collective Imagination Practices Toolkit

# data[].attributes.subject
The Collective Imagination Practices Toolkit

# data[].attributes.body
The Collective Imagination Practices Toolkit assembled by the Joseph Rowntree Foundation bring together Tools from Collective Imagination practitioners around the world, for anyone who wants to build the capacity to explore and learn ways of creating better, more hopeful futures, together.

🔗https://www.collectiveimagination.tools/

# data[].attributes.attachment_link.readable_text
Collective Imagination is a multidisciplinary practice(s) involving a group or community who come together to dream into, rehearse and enact different possible futures. This has the potential to illuminate pathways forwards, as well as to unsettle the status quo.

It is about growing our capacity to shift perception and reveal how unsustainable and incongruous many dominant systems are. The methods, tools, and infrastructures that are part of this field of practice emphasise our interdependence, exploring what the collective can dream and build that an individual cannot.

Collective Imagination practices touch on many different ways of knowing and being - on healing, grieving, dreaming, sensing, tracking, embodying and enacting. They engage with methods linked to somatics, with future generations, myths, histories of place and social foresight - all in service of collective reflection, wisdom and insight.

We exist in realities created often by a small, privileged minority. Building the muscle of collectively imagining means more people who may not normally be invited to do so, can practise designing, rehearsing and influencing wider cultural, social, economic or political events from which our communities can flourish.

# data[].attributes.attachment_link.description
Tools from collective imagination practitioners around the world, for anyone who wants to explore ways of creating better, more hopeful futures, together.

# data[].attributes.headline
Water Bodies, Ama Josephine Budge (2021)

# data[].attributes.subject
Water Bodies, Ama Josephine Budge (2021)

# data[].attributes.body
Ama Josephine Budge’s Water Bodies residency at Orleans House Gallery saw her consider not only how we can renew our relationship with nature, but on what terms that relationship might flourish and unfurl, over more-than-human temporalities, flowing in time with the river.

🔗https://www.orleanshousegallery.org/cultural-reforesting/ama-josephine-budge-water-bodies/

# data[].attributes.attachment_link.readable_text
During her residency, Ama Josephine Budge is taking time to walk beside the River Thames. Ama is motivated by questions of belonging and memory, who and what is discarded. She is interested in how our lives and those of our more-than-human kin might be documented and passed on.

Throughout the residency, Ama invites a number of collaborators to walk beside the Thames with her as she collects debris and flotsam from its banks. She will be gathering these words and ephemera for an "anti-monument", a sculpture to be gifted back to the river, and a film artwork documenting the process.

Inspired by adrienne maree brown's suggestion that we need to 're-earn our right to be on this planet', Ama considers not only how we can renew our relationship with nature, but on what terms that relationship might flourish and unfurl, over more-than-human temporalities, flowing in time with the river.
About Ama Josephine Budge
Ama Josephine Budge is a British-Ghanaian speculative writer, artist, curator and pleasure activist. Her praxis navigates queer explorations of race, art, ecology and feminism. Ama's installation, written and video art works have been commissioned, exhibited and published internationally.

Ama is an Associate Lecturer in Culture, Criticism & Curation at Central Saint Martins UAL. She is currently completing her PhD on 'Intimate Ecologies: Queer Speculations on Pleasure, Blackness and Decolonial Aesthetics' at Birkbeck University of London. Ama has written more short stories than she's ever actually counted, was nominated for the 2021 Arts Foundation Environmental Writing Award, and is working on her first novel. This novel, a speculative meditation on sentient trees, queer erotics and isolation, was shortlisted for the 2023 Future Worlds Prize for Fantasy & Science Fiction Writers of Colour.

Find out more about Cultural Reforesting , our series of artist-led, multi-disciplinary projects that address the question: How can we renew our relationship with nature ?

# data[].attributes.attachment_link.title
Ama Josephine Budge: Water Bodies - Orleans House Gallery

# data[].attributes.attachment_link.description
During her residency, Ama Josephine Budge is taking time to walk beside the River Thames. Ama is motivated by questions of belonging and memory, who and what is discarded. She is interested in how our lives and those of our more-than-human kin might be documented and passed on.

# data[].attributes.headline
The Interspecies Council by Moral Imaginations

# data[].attributes.subject
The Interspecies Council by Moral Imaginations

# data[].attributes.body
The Interspecies Council by Moral Imaginations is a methodology developed by Phoebe Tickell to introduce more-than-human ontologies and perspectives into decision-making and policy-making.

🔗https://www.moralimaginations.com/interspecies-council

# data[].attributes.attachment_link.readable_text
The 'Interspecies Council' is a methodology created by Phoebe Tickell in 2021 to introduce more-than-human ontologies and perspectives into decision-making and policy-making. It is a transformative group practice which can be used in organisational, community and government settings.

The Interspecies Council is a pioneering practice considered part of the Rights of Nature approach, as well as 'more-than-human governance,' or 'nature-centric governance', which has emerged in response to human-centric decision-making approaches that contribute to ecosystem degradation and environmental pollution. This approach seeks to address these issues by broadening the scope of governance to include the perspectives of non-human entities and the natural world.

Lineage of the Interspecies Council

The 'Interspecies Council' was developed by Phoebe Tickell and has been stewarded into being by the team at Moral Imaginations, and was prototyped and developed during workshops in 2021 and 2022, and first shared publicly in 2023. Since then, there have been many occurrences of Interspecies Councils proliferating around the country. In essence, the Interspecies Council is an adaptation of ' The Council of All Beings ' from the work known as The Work That Reconnects, with the permission and trust from Joanna Macy to steward this practice for decision-making settings, using an approach similar to a citizens assembly. The aim of the Interspecies Council is to bring the voice of nature and non-human beings into organisational decision-making, governance mechanisms and policy development.It is a participatory, democratic, semi-improvisational practice guided by facts and real-world issues, brought alive by roleplay, improvisation, theatre, arts, imagination and sensing.

This methodology was inspired by Phoebe's time learning from and studying with the American Buddhist scholar and environmental activist Joanna Macy in the lineage of ' The Work That Reconnects', in particular her exercise ' The Council of All Beings ' and it was developed with her support, guidance and blessing. It takes roots both in the deep ecology movement and in ways of knowing and being in relationship that have been stewarded by indigenous traditions since time immemorial.

We're deeply grateful to Joanna for entrusting us with this practice and continue to steward its lineage while evolving it into a form that stands on its own. The Interspecies Council, now held by Moral Imaginations as a not-for-profit, is intentionally distinct from the Council of All Beings (a grief practice). Instead, the Interspecies Council is an arts-based, roleplay decision-making practice. However, we're maintaining a connection between the two, and we are planning co-hosted events with the Work That Reconnects network next year.

Rather than a discussion about nature, it becomes a discussion from the point of view of nature.

The Interspecies Council supports and encourages a profound shift in worldview and perspective, and asks us to decenter our human selves and interests for the purpose of empathy, connection and care with the living world around us. It is a practice and methodology that both catalyses a shift in worldview in those who participate, and also works as a practice that, repeated over time, strengthens the muscle of more-than-human empathy and connection.

The Value of Integrating More-Than-Human Voices into Governance

More-than-human thinking asks us to engage with the needs of both humans and other species in decision-making, recognising that our actions have an impact beyond people-centred considerations. Participants discuss the problems facing the ecosystem/place from the point of view of the ecosystem/place itself and its wildlife, bringing non-human beings into political decision-making.

As a tufted duck, we are excluded from the river... Humans are partitioning off different areas. We could never tell them 'you're not allowed in some part of your city'. - Voice of the Tufted Duck, from the River Roding Interspecies Council

As developing policies require thinking far into the future, mitigating risks and planning with uncertainty, imagination can help us experiment, test what works and identify what can be explored further.

For people taking part in it, the Interspecies Council acts as a leveling tool, bringing people with different roles and experiences together and allowing them to find common goals. It can highlight areas of tension which then prompts reflection about potential solutions and compromises. It also sparks new conversations and provokes thinking by bringing different possibilities to life.

In the words of our founder and director, Phoebe Tickell:

"The shift we are making is from seeing nature as separate from human beings, to seeing that non-humans and humans are all a part of nature. It takes a leap of imagination, but many of the participants reflected that once they made the jump, it became quite easy, and they discovered a whole different perspective. By using radical imagination, we can start to bring a voice of non-human species into our meetings, boards, and design processes."

Building a field of practitioners and a community of practice

It's been incredible to see how the concept of the 'Interspecies Council' has been spreading and evolving since we launched this method and approach in 2023, with so many people experimenting and adapting it in different ways. This kind of proliferation and viral growth is what we hoped (and dared to imagine!) when we first started working on this in 2021 and launched the first public prototype on the River Roding in East London in April 2023, funded by Defra and the UK Government. Our goal and hope now is to expand this momentum even further in the year ahead.

Our vision for next year is that we build a community of practice for all those trying the method, and there are about 25 people who are experimenting in different ways that we're aware of right now. Our aim with this practice and methodology is to equip anybody who wants to lead an Interspecies Council with the tools and the training and support to do so. If you would like to be supported to do this, please get in touch.We want to equip and inspire many more to try it, and support everyone to do that well while harvesting learnings for the community. Next year we will run a first ever Interspecies council gathering and training, and we also encourage you to get in touch if this is of interest to you.

# data[].attributes.attachment_link.title
The Interspecies Council - Moral Imaginations

# data[].attributes.attachment_link.description
The 'Interspecies Council' is a methodology created by Phoebe Tickell in 2021 to introduce more-than-human ontologies and perspectives into decision-making and policy-making. It is a transformative group practice which can be used in organisational, community and government settings.

# data[].attributes.headline
Bodies of Water, Anne Duk Hee Jordan (2025)

# data[].attributes.subject
Bodies of Water, Anne Duk Hee Jordan (2025)

# data[].attributes.body
Anne Duk Hee Jordan’s Bodies of Water at A la Ronde, Exmouth, and Haigh Hall, Wigan are the artist’s first UK public art commissions, which see Jordan confronting the politics of water through an ecological lens. The two unique public art installations draw from the history of each site, specialist knowledge from scientists, researchers and conservation specialists, and insights of communities in both locations.

🔗https://bodiesofwater.site

# data[].attributes.headline
Our Waters, Our Selves: A Conversation with Astrida Neimanis, Edge Effects

# data[].attributes.subject
Our Waters, Our Selves: A Conversation with Astrida Neimanis, Edge Effects

# data[].attributes.body
Our Waters, Our Selves - A Conversation with Astrida Neimanis, Edge Effects – a bitesize way to explore Neimanis’ ideas from her book Bodies of Water.

🔗https://edgeeffects.net/astrida-neimanis/

# data[].attributes.attachment_link.readable_text
Water flows through us all. This is something we all know, and yet it is a fact we often take for granted. The water that sustained my ancestors, both human and nonhuman, is the same water that flows out of my taps every morning. Every drop I drink is suffused with its own stories, connections, and meanings that then intersect with my own stories and my own body.

Yet in late capitalism, these flows also bring our bodies into contact PCBs, microplastics, antidepressants, and wayward estrogen. The byproducts of industrial processes in the U.S. can be found in the breast milk of Inuit mothers; the waste of rampant consumerism can be seen in the bloated stomachs of sea turtles and whales.

In this podcast, Astrida Neimanis discusses her latest book, Bodies of Water, and helps us make sense out of our contradictory relationship with water and how water continues to connect and act upon us all, although often in very different ways. Neimanis' Bodies of Water challenges us to consider how seeing ourselves and others as bodies of water can change our ideas of embodiment and reframe our ethical obligation to all beings affected by rapid environmental degradation and change. She draws on the work of philosophers Gilles Deleuze, Luce Irigaray, Maurice Marleau-Ponty, as well as writers and artists like Jeannette Armstrong, Rebecca Belmore, Italo Calvino, Adrienne Rich, among many others, in a project devoted to acknowledging how important feminist, queer, and anticolonial theorists are to contemporary environmental thought. In this expansive and generous book, Neimanis calls us to examine how we relate to and manage water and other watery beings in light of the inequitable and deeply meaningful histories water carries.

Stream or download our conversation here.

Podcast: Play in new window | Download

Interview Highlights.
This interview has been edited for length and clarity. Elena Height: What is your personal connection to water, and why did you choose to center your book around water?
Astrida Neimanis: So, in addition to the fact that I'm approximately 80 percent made up of it? It's a good question, and I think I would answer it differently now than I might have when I started doing this research. When I started thinking seriously about water, over a decade ago, I was doing my Ph.D. at York University in Toronto and my field was feminist philosophy of embodiment. I was thinking in a materialist way about embodiments and if you're going to think about the interconnectedness-from a feminist perspective-of bodies with other bodies, it doesn't take long for you to start thinking that that interconnection is not only with human bodies.

My initial plan was that I would look at how the human body is made up of air, food, soil, water. But, luckily, I started with water and I never left. There was more than enough right there. It was an accidental environmentalism. In my personal life, I often had environmental interests. But as a scholar, it was feminist theory that led me to think environmentally in a really direct way. And then that opened up a whole different way for me to think about environmental concerns and issues in the world, starting from our own personal embodiment.
EH: In your book, Bodies of Water, you weave together so many diverse bodies of thought. I thought it was beautifully done. Could you give us an overview of what your book is about, and those bodies of thought, and why you chose to engage with them?
AN: Although water is something we are so intimate with, it's also very elusive. It's hard to pin down, quite literally. I realized that I had to rely on all sorts of different kinds of knowledge, not only a direct, embodied, sensory knowledge but also other kinds of stories or histories or sciences to find out what water is and what it means in the world.

I adopted this perspective whereby all of these things-whether it's a fantastical story or a Darwinian story or scientific fact-all of these things become embodied, sensory ways of knowing the world, even if they're at a slight remove. Whoever wrote that or thought that or explored that began from the question: how are we in the world?

By writing this book I hoped to explore the ways that how we know the world directly relates to how we act in the world. So, how we know water, and what we think water is, directly influences how we treat water. If we think of water as a commodifiable resource, if we think of water as something out there, if we think of water scarcity or water contamination as something that happens to certain communities, this will affect the way we treat water in our quotidian, everyday existences. Water isn't something out there, it's us. How we treat it is how we're treating ourselves, our kin, our more-than-human kin. And in that sense, it becomes an environmental issue but from a very different starting point.
EH: One great example of that is your discussion of toxic breast milk. For me, that was one of the most powerful things, how we are so connected to these flows and the ethical implications of that connection.
AN: So, this is a great example, and it's not my example. It's something that I've taken from other researchers and scholars. I think I first learned about contaminated breastmilk from an article by Florence Williams, a journalist who wrote about the chemical contamination that she discovered in her own breast milk. One of the startling things about that article is the whole question of biomagnification. For a woman whose bodily waters have contaminants in them, because of the way breast milk works it concentrates those contaminants and then downloads them into an infant in a magnified way. Startling fact. Wow. My bodily waters then are connected to infants or other human bodies.

Now, if we take a more expansive view of that question, learning from scholars who research Inuit and Innu communities in the Arctic, we learn that breast milk in the Arctic region is far more contaminated than breast milk in the so-called industrialized Western world. Why is that? Well, through different kinds of connections between bodies of water, not breast to infant but factory to river to acid rain to wind and precipitation to ocean currents. These contaminants are carried by different kinds of bodies of water to the Arctic where they biomagnify up the food chain. So, in a thumb-sized piece of muktuk a person could consume more PCBs than are advisable in a year.

This is a kind of environmental colonialism, whereby breast feeders in the Arctic have a far greater body burden even though they themselves will not have been responsible for the pollution that has caused that body burden. It's traveling through planetary bodies of water and then being transmitted through human bodies of water into infants.

For me, this brings everything together. Bodies of water are conduits, but not only of waters that are life-giving like breastmilk should be, but conduits of capitalism, colonialism, toxins, life-changing and life-altering substances. This implicates not only human bodies but more-than-human bodies, like the plankton that are eaten by the fish that are eaten by the seals that are eaten by the humans. These nonhuman animal bodies are also implicated in this toxic transit, a multispecies environmental colonialism that shows in a very disturbing way how we are all bodies of water and, as bodies of water, we are all connected but we don't all experience this connection in the same way.

The question of body burden here then becomes very salient, not only in the environmental justice language of it. What kind of burden is that, when you want to breastfeed your child but you realize that more healthy to them would be to feed them formula? A burden there takes on not only scientific valence, but a very emotional and affective valence as well.
EH: In Bodies of Water you discuss Anthropocene water, and how we manage and think about water in the Anthropocene. Could you talk about the challenges that bodies of water specifically pose to Anthropocene water?
AN: So, again, my thinking on this is really influenced by others. I've spent a lot of time thinking about what Anthropocene water might mean by spending time with the artworks of Anishinabe artist Rebecca Belmore. Her works like " Fountain" and " Temple " both pose very different relationships to water. "Fountain," I think, is an indictment of my embodied accountability as a settler on stolen land and stolen waters, asking me to think about water as blood. It's a beautiful, very challenging, important video work. "Temple," where she has these little baggies of water stacked up on this plinth, presents a managerial, commodified, itemized understanding of water as something that is exchangeable and can be contained and traded.

That second artwork got me thinking, what is Anthropocene water? This comes also out of an important book by geographer Jamie Linton, What is Water?, where Linton tracks the history of modern water: how it became this thing that was no longer waters, in the plural, but this substance that is exchangeable, quantifiable, and manageable. So, although Anthropocene water can be many different things, one thing that I think it is, is manageable.

What we try to do as part of the Anthropocene is, we try to come to grips with the massive angst and trauma we feel in the face of the devastation of the earth by trying to manage it. It's this double-edged blade. By managing it, we try to get control over it and feel a little less untethered and lost at sea. But managing it compounds the problem. We can't contain water. We can't control it. It is unruly. We have to give ourselves over to what it wants to be, which is many, many different things and not just managed by humans.

We can learn from water that management and control are important in certain circumstances. We have so many problems of contamination or scarcity that will benefit from a bit of policy, or redistribution, or cleaning up. But if we overdo it on the control and management side, we're going to lose touch with the way our bodies are attuned to water and its strange and queer rhythms and temporality and all the things it gathers and all the histories that are carried in it. Management and control can't track those things. We have to give ourselves over to other kinds of knowledges and stories and experiences. And I think that is what it's going to take to get on with things in the Anthropocene with any kind of grace.
EH: We've already touched on some of the ethical implications of thinking more expansively, but what are your thoughts about what could we do better as activists and scholars, going forward, to really think about the ways in which we deal with water and the environment?
AN: Well, of course, that's a question with many answers, right? We need to do everything. All hands on deck. Let's pull out all the stops. A more modest way to answer your question, then, is what do I think my work might contribute to that? I mean, come on. I'm a scholar who is kind of a philosopher and a cultural thinker-I'm not going to save the world. But what my work might be able to contribute is to constantly insist that we attune ourselves to our relationship to water. To not imagine it is something out there or different or abstract from us, or the backdrop to our lives. Bring it into the foreground. How do we feel, think, relate to it? How do we treat it?

Another thing that I hope my work contributes to is insisting that water is not only an environmental question. As a feminist scholar and as someone whose background is in gender studies, it's very important for me to always look at the intersections between environmental degradation and misogyny, anti-blackness, settler colonialism, ageism, ableism. All of these questions, because of the siloing of academic disciplines, have been traditionally treated as human cultural questions.

But when we start to look at everything from environmental justice to even environmental science, we start to see that it's impossible to separate those cultural questions from the environmental ones. So, thinking more about all of the amazing work done by feminist and queer and Indigenous and crip scholars have done: how can all of those be brought to thinking about our relationship to water and other environmental questions? That's happening in amazing ways ,and I'm learning from those scholars all the time, but we should focus on that. Water is not abstract, and water is not experienced by abstract humans. It's experienced, whether in good or bad ways, by humans whose lives are situated by all of those things.
Featured image: The homewaters of Astrida Neimanis, Windermere Basin, Hamilton, Ontario. Photo by Krusa Neimligers, 2018.
Podcast music: "Gloves" by Julian Lynch. Used with permission. Astrida Neimanis writes mostly about water and weather from intersectional feminist perspectives. Her books include Bodies of Water: Posthuman Feminist Phenomenology (2017) and the co-edited collection Thinking with Water (2013). She was grown up by the Great Lakes of Turtle Island in Hamilton, Ontario, but is currently Senior Lecturer of Gender and Cultural Studies at the University of Sydney, Gadigal Country, Australia. Website. Twitter. Contact.
Elena Hight is a graduate student in Sociology at the University of Wisconsin-Madison. Her current research explores the politics and policies behind water infrastructures in cities along the Great Lakes. Before graduate school, she worked as an educator in Honduras and a bookstore manager in Oklahoma. During this time, she worked extensively with local environmental advocacy groups, work that she continues to do today. She is also a member of InterACT Youth, an intersex activist group. With InterACT, she has given numerous presentations to both community and university organizations on intersex human rights violations and has written about her experience as an intersex person. Her work has been published in Sociological Imagination, Mic, NukeWatch, and Rooted in Care: Sustaining Movements

# data[].attributes.attachment_link.description
"We can't contain water." Feminist philosopher Astrida Neimanis discusses the environmental inequalities and queer rhythms of the elusive fluid.

# data[].attributes.headline
We Are The Great Turning’, with Joanna Macy and Jess Serrante

# data[].attributes.subject
We Are The Great Turning’, with Joanna Macy and Jess Serrante

# data[].attributes.body
We Are The Great Turning with Joanna Macy and Jess Serrante – a beautiful introduction to the seminal Work That Reconnects.

🔗https://resources.soundstrue.com/we-are-the-great-turning-podcast/

# data[].attributes.attachment_link.title
We Are The Great Turning Podcast - Sounds True

# data[].attributes.attachment_link.description
We welcome you to the kitchen table of the legendary eco-spiritual teacher Joanna Macy, where we’ll dive into what it takes to live with our hearts and integrity intact in this time of global crisis. You’ll be guided into these conversations by Jess Serrante, a longtime activist and student of Joanna’s. Together, we’ll discover abiding wisdom that can help us stay joyful and energized as we work toward a more just and life-sustaining world.

# data[].attributes.headline
Indigenous Futurisms - Dr Ambelin Kwaymullina

# data[].attributes.subject
Indigenous Futurisms - Dr Ambelin Kwaymullina

# data[].attributes.body
Dr Ambelin Kwaymullina, a Palyku writer, artist and academic and a practitioner of Indigenous futurisms, looks at the concept of ‘artificial intelligence’ from an indigenous perspective.

🔗https://cybernetics.anu.edu.au/projects/IndigenousFuturisms/

# data[].attributes.attachment_link.description
I am a Palyku writer, artist and academic and a practitioner of Indigenous futurisms, a term first coined by Anishinaabe academic Grace Dillon.

# data[].attributes.headline
GO DEEP OR NO HOME? The essential power of deep narrative, Ella Saltmarshe, Medium

# data[].attributes.subject
GO DEEP OR NO HOME? The essential power of deep narrative, Ella Saltmarshe, Medium

# data[].attributes.body
Go Deep or No Home?, an article by Ella Saltmarshe, is a powerful call to unpack and debunk deep narratives: “the powerful subconscious model that underpins everything we think and do”.

🔗https://medium.com/inter-narratives/go-deep-or-no-home-the-essential-power-of-deep-narrative-9124e69ee2aa

# data[].attributes.attachment_link.title
GO DEEP OR NO HOME? The essential power of deep narrative

# data[].attributes.headline
Natural Connection: What indigenous wisdom & marginalised people teach us about environmental action, Joycelyn Longdon (2025)

# data[].attributes.subject
Natural Connection: What indigenous wisdom & marginalised people teach us about environmental action, Joycelyn Longdon (2025)

# data[].attributes.body
Joycelyn Longdon’s Natural Connection: What indigenous wisdom & marginalised people teach us about environmental action is a fantastic book that reframes emotions as fuel towards climate action and environmental justice, 2025

# data[].attributes.headline
Bodies of Water: Posthuman Feminist Phenomenology, Astrida Neimanis (2017)

# data[].attributes.subject
Bodies of Water: Posthuman Feminist Phenomenology, Astrida Neimanis (2017)

# data[].attributes.body
Astrida Neimanis' Bodies of Water: Posthuman Feminist Phenomenology, 2017 challenges us to consider our interrelationship with bodies of water and invites readers to examine their responsibility in the climate emergency.

🔗https://monoskop.org/images/9/90/Neimanis_Astrida_Bodies_of_Water_Posthuman_Feminist_Phenomenology_2017.pdf

# data[].attributes.headline
Greening Arts Practice Guide - Chrysalis Arts Development

# data[].attributes.subject
Greening Arts Practice Guide - Chrysalis Arts Development

# data[].attributes.body
The Greening Arts Practice Guide [GAP Guide] is a guide for artists and arts organisations who want to develop a more environmentally responsible arts practice. The Guide aims to offer a range of entry points and approaches for artists at different stages in their creative practice. It is not intended to be a ‘how-to’ or a definitive tool kit, but instead aims to create an opportunity for artists to question and develop their work, supported by the range of knowledge we can share

🔗https://www.chrysalisarts.com/resources/greening-arts-practice-guide

# data[].attributes.attachment_link.readable_text
The Greening Arts Practice Guide [GAP Guide] is a guide for artists and arts organisations who want to develop a more environmentally responsible arts practice. The guide is free, and can be downloaded from the Chrysalis Arts Development website. An online version will follow in the near future. It brings together what we at Chrysalis Arts have learned about addressing the climate crisis, and other related issues, through over a decade of work in the area. It also features 11 case studies from a diverse range of artists and some examples of our own recent work.

The Guide aims to offer a range of entry points and approaches for artists at different stages in their creative practice. It is not intended to be a 'how-to' or a definitive tool kit, but instead aims to create an opportunity for artists to question and develop their work, supported by the range of knowledge we can share. We hope that the Guide will help artists to tackle the issues and constraints which will inevitably arise in their practice by learning from the direct experiences and reflections of others.

As we all try to become more environmentally responsible, sharing the knowledge we have is of upmost importance. We plan to evolve the Guide over time, as we continue to focus our efforts in this area.

‍

If you're interested in GAP, ou may also be interested in hearing our recent interview with Artist in Residence Yambe Tam here.

# data[].attributes.attachment_link.description
A guide for artists and arts organisations who want to develop a more environmentally responsible arts practice.

# data[].attributes.body
Regeneration.org is the online version of Paul Hawken’s book and a fascinating repository of nature-based solutions to our predicaments that centres social justice.

🔗https://regeneration.org/

# data[].attributes.attachment_link.readable_text
Regeneration puts life at the center of every action and decision. It applies to all of life-grasslands, farms, insects, forests, fish, wetlands, coastlands, and oceans-and it applies equally to family, communities, cities, schools, religion, commerce, and governments. And most spectacularly to climate.

Regeneration is a response to the urgency of the climate crisis, a determined what-to-do manual for all levels of society, from individuals to national governments and everything and everyone in between. It describes a system of interlocking initiatives that can stem the climate crisis in one generation.

If we want to get the attention of humanity, humanity needs to feel it is getting attention. Regeneration creates livelihoods that bring life to people and people to life. It is work that links us to each other's wellbeing, that provides those in poverty with purpose and a future of dignity and respect.

The heating planet is our commons. It holds us all. To address and reverse warming requires connection and reciprocity. It calls for moving out of our comfort zones to find a depth of courage we may have never known. It calls for action that is bold and fearless.

Bioregions

Bioregions are defined by their unique landscapes and ecosystems, as opposed to political boundaries. There are 185 distinct named bioregions, according to researchers at One Earth. Understanding of bioregions, including watersheds, foodsheds, and habitats, creates political and cultural systems that are in accord with ecological stewardship.

Trophic Cascades

Every ecosystem forms a cascade of life; trophic describes the act of feeding, of obtaining nutrition. How an ecosystem is assembled differs with place, with certain keystone species-whether predators, ecosystem engineers, or mutualists-gluing the entire system together. Protecting this natural balance lies at the heart of the regeneration.

Grazing Ecology

Grazing provokes grass regrowth by removing old plant tissue, allowing more sunlight to reach the base of the plant. Animal dung and urine supply natural fertilizers for the plants, including nitrogen. When grazers are displaced or removed from grasslands, the ecology of the system is altered significantly and degrades.

Regeneration Anthem

AY Young is the creator of The Battery Tour, an ambitious project to inspire action, connection and bring access to energy to countries in need. He has performed over 800 concerts powered exclusively by solar energy across the United States and has sent his innovative solar boxes to 15 developing countries.

AY & Jon Russell have come together to create "We Can Change The World" an anthem for the Regeneration.

Your browser does not support the audio element.

Video Preview

# data[].attributes.attachment_link.title
Welcome to Regeneration | Project Regeneration

# data[].attributes.attachment_link.description
Regeneration means putting life at the center of every action and decision. It is inclusive, engaging, and generous. And everyone can do it.

# data[].attributes.body
Atelier LUMA in Arles is a research lab that explores how design can deeply connect to its bioregion and local culture. Atelier LUMA was founded in 2016. It brings together a team of designers, engineers, scientists, and experts from the fields of culture, craftsmanship, humanities, and social sciences and innovation, who explore the potential of non-extractivist, and often discredited, local materials, such as invasive plants, agricultural coproducts, algae, and industrial waste.

🔗https://www.luma.org/en/arles/atelierluma/atelier-luma.html

# data[].attributes.attachment_link.readable_text
Atelier LUMA was founded in 2016. It brings together a team of designers, engineers, scientists, and experts from the fields of culture, craftsmanship, humanities, and social sciences and innovation, who explore the potential of non-extractivist, and often discredited, local materials, such as invasive plants, agricultural coproducts, algae, and industrial waste.

Housed since 2023 in Le Magasin Électrique, Atelier LUMA operates as a collaborative platform, working with local actors and partners, including farmers, craftspeople, and manufacturers to create sustainable and local solutions. Over the years, Atelier LUMA has expanded its research scope and reach from the Arles bioregion to the international level by taking part in European projects and accompanying other institutions in their research.

# data[].attributes.attachment_link.description
Atelier LUMA is a design and research laboratory, a production workshop and a network of multidisciplinary experts.

# data[].attributes.headline
Franklin Till - Regenerative Materials Principles

# data[].attributes.subject
Franklin Till - Regenerative Materials Principles

# data[].attributes.body
Design consultancy FranklinTill’s Regenerative Materials Principles is a manifesto outlining key principles for moving beyond sustainability. Design research agency FranklinTill has compiled a list of principles to help designers, makers and brands avoid greenwashing when sourcing textiles. By making it easier to identify textiles that have a greater positive impact on people and planet, FranklinTill hopes to enable a shift towards regenerative materials.

🔗https://www.dezeen.com/2024/03/20/regenerative-materials-franklin-till-principles/

# data[].attributes.attachment_link.title
FranklinTill lists nine principles for a shift to regenerative materials

# data[].attributes.attachment_link.description
Design research agency FranklinTill has compiled a list of principles to help designers, makers and brands avoid greenwashing when sourcing textiles.

# data[].attributes.body
Flete Field Lab is a land-based experimental programme of soil and water regeneration trials. They have produced the biochar for Anne Duk Hee Jordan’s I travelled 66 million years to be with you and you came at A La Ronde.

🔗https://www.fletefieldlab.org/

# data[].attributes.body
Founded by Metal, Shift Liverpool is a new sustainability network for cultural organisations in the Liverpool City Region. As a network they want to collaboratively address the climate emergency and the Liverpool City Region’s ambitious 2040 zero-carbon target.Together they share knowledge, resources, and create new initiatives to benefit the whole sector.

🔗https://www.shiftliverpool.com/

# data[].attributes.attachment_link.readable_text
Founded by Metal, Shift Liverpool is a new sustainability network for cultural organisations in the Liverpool City Region.

The science of climate change tells us that over the next 10 years urgent changes are needed in order to save the planet from being pushed on to an irreversible path of extreme warming and mass extinctions. In the future we can also expect greater pressure on cultural organisations, from local government and funders, to provide clear plans to becoming carbon neutral.

The Shift Liverpool network will bring us together to collaboratively respond to these challenges with the aims of:

* Driving down our organisations' carbon footprint

* Moving away from environmentally damaging ways of working

* Collectively promoting carbon reduction and offsetting

Organisations in the cultural sector are invited to sign the pledge and join Shift Liverpool.
Image: Future Yard, Robin Clewley

# data[].attributes.attachment_link.description
Founded by Metal, Shift Liverpool is a new sustainability network for cultural organisations in the Liverpool City Region. The science of climate change tells us that over the next 10 years urgent changes are needed in order to save the planet from being pushed on to an irreversible path of extreme warming and mass extinctions.

# data[].attributes.headline
Am I Peat Compatible? with Manon Awst, Why Women Grow

# data[].attributes.subject
Am I Peat Compatible? with Manon Awst, Why Women Grow

# data[].attributes.body
Manon Awst’s Am I Peat Compatible? is a podcast recorded on Crymlyn Bog that explores the impacts and implications of our material choices when working with specific sites and their more-than-human communities.

🔗https://manonawst.com/Am-I-peat-compatible-1

# data[].attributes.attachment_link.description
Am I peat-compatible? Crymlyn Bog, January 2025 recording for Alice Vincent’s Why Women Grow podcast All photos by India…

# data[].attributes.headline
Issue #1 Bioregioning, Future Observatory Journal

# data[].attributes.subject
Issue #1 Bioregioning, Future Observatory Journal

# data[].attributes.body
London Design Museum’s Future Observatory has released two journals on issues central to regenerative art practice: the concept of Bioregioning, and the more-than-human perspective.

🔗https://fojournal.org/issue/bioregioning/

# data[].attributes.attachment_link.title
Bioregioning - Future Observatory Journal

# data[].attributes.attachment_link.description
Future Observatory Journal focusses on design research, ecology and the future

# data[].attributes.headline
Regeneration: The Guide to Ending the Climate Crisis in One Generation, Paul Hawken (2021)

# data[].attributes.subject
Regeneration: The Guide to Ending the Climate Crisis in One Generation, Paul Hawken (2021)

# data[].attributes.body
Paul Hawken’s book Regeneration: The Guide to Ending the Climate Crisis in One Generation presents a comprehensive approach to tackling our greatest challenges, weaving climate, justice, biodiversity, democracy, and human dignity into a tapestry of action, policy, and transformation, also available online.

🔗https://regeneration.org/

# data[].attributes.attachment_link.readable_text
Regeneration puts life at the center of every action and decision. It applies to all of life-grasslands, farms, insects, forests, fish, wetlands, coastlands, and oceans-and it applies equally to family, communities, cities, schools, religion, commerce, and governments. And most spectacularly to climate.

Regeneration is a response to the urgency of the climate crisis, a determined what-to-do manual for all levels of society, from individuals to national governments and everything and everyone in between. It describes a system of interlocking initiatives that can stem the climate crisis in one generation.

If we want to get the attention of humanity, humanity needs to feel it is getting attention. Regeneration creates livelihoods that bring life to people and people to life. It is work that links us to each other's wellbeing, that provides those in poverty with purpose and a future of dignity and respect.

The heating planet is our commons. It holds us all. To address and reverse warming requires connection and reciprocity. It calls for moving out of our comfort zones to find a depth of courage we may have never known. It calls for action that is bold and fearless.

Bioregions

Bioregions are defined by their unique landscapes and ecosystems, as opposed to political boundaries. There are 185 distinct named bioregions, according to researchers at One Earth. Understanding of bioregions, including watersheds, foodsheds, and habitats, creates political and cultural systems that are in accord with ecological stewardship.

Trophic Cascades

Every ecosystem forms a cascade of life; trophic describes the act of feeding, of obtaining nutrition. How an ecosystem is assembled differs with place, with certain keystone species-whether predators, ecosystem engineers, or mutualists-gluing the entire system together. Protecting this natural balance lies at the heart of the regeneration.

Grazing Ecology

Grazing provokes grass regrowth by removing old plant tissue, allowing more sunlight to reach the base of the plant. Animal dung and urine supply natural fertilizers for the plants, including nitrogen. When grazers are displaced or removed from grasslands, the ecology of the system is altered significantly and degrades.

Regeneration Anthem

AY Young is the creator of The Battery Tour, an ambitious project to inspire action, connection and bring access to energy to countries in need. He has performed over 800 concerts powered exclusively by solar energy across the United States and has sent his innovative solar boxes to 15 developing countries.

AY & Jon Russell have come together to create "We Can Change The World" an anthem for the Regeneration.

Your browser does not support the audio element.

Video Preview

# data[].attributes.attachment_link.title
Welcome to Regeneration | Project Regeneration

# data[].attributes.attachment_link.description
Regeneration means putting life at the center of every action and decision. It is inclusive, engaging, and generous. And everyone can do it.

# data[].attributes.body
The Bio-Leadership Project’s Mission is to change the story of leadership by working with nature. We are a movement of people and organisations, changing human systems to be more resilient, regenerative, and designed to protect our planet.

🔗https://www.bio-leadership.org/

# data[].attributes.attachment_link.description
The Bio-Leadership Project is an ecosystem of people and projects transforming leadership by working with nature. We help people to develop systems that are long-lasting, resilient, connected, and designed with nature at heart.

# data[].attributes.body
Hawkwood is an arts and educational charity providing courses, facilitating training and offering venue hire, set in a stunning location in the Cotswolds. We offer a specially curated programme of courses covering leadership, music, arts & crafts, and wellbeing, as well as hosting artistic residencies and events. Situated on a beautiful, sustainably managed estate, Hawkwood brings together diverse individuals and organisations to inspire meaningful contributions to society and our future.

🔗https://www.hawkwoodcollege.co.uk/

# data[].attributes.body
Collection of education and training courses led by Gaia Education.

🔗https://www.programmes.gaiaeducation.uk/

# data[].attributes.attachment_link.title
Gaia Education - Sustainability Education Programs for a Changing World

# data[].attributes.attachment_link.description
Gaia Education offers a range of sustainability education programs that are designed to equip individuals and communities with the knowledge and sk…

# data[].attributes.body
Earth Talk is a series of courses, a community of practice, a playbook and more offering a rich set of tools to hold effective conversations and creative activities about the Earth Crisis.

🔗https://bridgetmckenzie.uk/earth-talk

# data[].attributes.attachment_link.description
Earth Talk is a series of courses, a community of practice, a playbook and more offering a rich set of tools to hold effective conversations and creative activities about the Earth Crisis.

# data[].attributes.body
A range of offerings for teams and individuals led by action learning collective, Becoming Crew.

🔗https://www.becomingcrew.com/offerings

# data[].attributes.attachment_link.title
unlearning adventures for navigating mysterious times — Becoming Crew

# data[].attributes.body
Nature-inspired solutions for organisations and individuals drawing on a wide range of nature-inspired disciplines.

🔗https://thinklikeatree.co.uk/

# data[].attributes.attachment_link.description
Nature-inspired, regenerative solutions for individuals, families, businesses and organisations. Design your life or your business by learning from nature's wisdom

# data[].attributes.body
Liz Postlethwaite’s courses on applying permaculture principles to art practice.

🔗https://smallthings.org.uk/training-and-development/

# data[].attributes.attachment_link.readable_text
To find out more about these projects please click on the project name.
Full Online Permaculture Design Course for Artists and Creatives: This unique 72 hour course takes the classic Permaculture Design Course as a starting point, creating a learning community who will learn and deepen their permaculture design skills so that they can bring a truly regenerative focus to their work.

Introduction to Permaculture for Artists and Creatives (Online): A course designed specifically with artists and creatives in mind which introduces the basic concepts of Permaculture and explores how these ideas can be used to deepen creative practice and to bring a new ethical basis to projects, particularly in relation to ecology, natural systems and regenerative cultures.

An Introduction to Permaculture as a Tool for Regenerative Civic Engagement (Online): What if all civic engagement focused upon the creation of thriving regenerative cultures? This unique course, designed specifically with public engagement in mind, will focus upon just that. It will introduce the basic concepts of Permaculture and will explore how these ideas can be used to deepen participation whilst also aligning more closely with nature and the natural world.

Introduction to Regenerative Cultur es: A two hour workshop aiming to support cultural and civic workers to explore what notions of "regeneration" and "regenerative" may mean within their own practice, and how thay may relate to the wider climate and ecological crisis.

Training, Mentoring and Artist Development - We are able to develop bespoke support programmes as part of mentoring, artist development, training programmes and organisational development. Please get in contact to find out more. Recent partners include Engage, Left Coast, Primary, 42nd Street, Heart of Glass, Hybrid Futures and The Turmpik e.

Course Materials - access materials if you have participated in one of our courses.

# data[].attributes.attachment_link.description
To find out more about these projects please click on the project name. Full Online Permaculture Design Course for Artists and Creatives: This unique 72 hour course takes the classic Permaculture Design Course as a starting point, creating a learning community who will learn and deepen their permaculture design skills so that they can bring...

# data[].attributes.body
Constellations is a learning and development programme for artists, curators, producers, commissioners and all those who are active and/or interested in the expanded field of public art. Constellations is curated by UP Projects, the UK’s leading public art organisation specialising in socially engaged public art commissioning. The programme explores issues and best practice relevant to the public art sector.

🔗https://upprojects.com/projects/learning-and-development-programmes

# data[].attributes.body
With open data and AI, Materiom supports scientists, producers and brands to develop next-generation materials, faster. They are growing the next generation of materials and calling for a materials economy that regenerates nature and supports human health.

🔗https://www.materiom.org/

# data[].attributes.attachment_link.description
Materiom uses data and AI to accelerate the development and uptake of bio-based materials…

# data[].attributes.body
Fashion Revolution’s research into Regenerative Fashion and how brands are supporting farming projects that restore soils.

🔗https://www.fashionrevolution.org/what-is-regenerative-fashion/

# data[].attributes.attachment_link.readable_text
This is a guest blog post by Ismay Mummery, founder of .

You may have come across the word 'regenerative' combined with agriculture, but what is regenerative fashion? Why is it the latest buzzword and which fashion brands are doing it?

How Does Regenerative Agriculture Relate To Fashion?

The fashion and textile industry is heavily reliant on our agricultural systems, from land producing cotton crops to sheep producing wool. Cotton, for example, is the most used fibre in the world and uses 2.5% of the worlds agricultural land while also consuming huge amounts of pesticides and herbicides. This puts enormous stress on water in dry areas, uses up valuable land that could be producing food and is extremely harmful to the environment.

Regenerative agriculture or agroecology is about working in harmony with nature using Indigenous ecological knowledge. It utilises various techniques such as crop rotation, low to no tilling, cover crops and intercropping and natural compost. These all help to draw down carbon, enhance biodiversity, enrich the soil and improve water systems. It is an ancient, nature-based solution to climate change and helps land that has become degraded to regenerate and flourish.
"Regenerative agriculture represents more than a shift of practices. It is also a shift in paradigm and in our basic relationship to nature." Charles Eisenstein
This restorative system is being invested in by fashion brands as they work to address their environmental impacts and become climate positive rather than just carbon neutral. Some brands also use regenerative fashion to provide greater traceability with a ' farm-to-closet' concept in the same way the food industry has done. The idea being that customers can trace their garments back to the farm that grew the material.

How do I Know If It's Regenerative?
"Regenerative practices are at the top of mind for many brands right now as they can offer a pathway towards addressing GHG emissions. Additionally, in some cases these practices go beyond reductions and provide a pathway for carbon sequestration" Claire Bergkamp, COO Textile Exchange
Many brands are investing heavily in land for regenerative agriculture to grow their materials, or working with companies such as to access materials that have been regeneratively grown. These include big names like Gucci, North Face, Eileen Fisher, Vans, Patagonia, Timberland, Stella McCartney and Reformation, in addition to small businesses like Laura's Loom, Bristol Cloth, The Trace Collective, Rawganique, Story MFG and Solai.

Most brands only have selective stock that has come from regenerative sources, but targets indicate this will increase over time. One certification to look out for is Regenerative Organic Certified (ROC). Regenerative fashion may also be marked as ' which is certified by Fibreshed or it may simply just be labelled as regenerative. However, we know that fashion brands love to greenwash so always check out that their claims are substantiated and ask #WhatsInMyClothes .
Brands are adopting regenerative agriculture. Is that a good thing? What is regenerative fashion? Regenerative fashion to help the planet Is regenerative agriculture the new fashion fix? Growing the Fibreshed movement in the UK
Further Reading

Regenerative Fashion: What it is + 9 brands paving the way forwar d

# data[].attributes.attachment_link.description
We love fashion, but we don't want our clothes to come at the cost of people or our planet.

# data[].attributes.body
We Feed the UK, a storytelling campaign, pairing photographers and poets with regenerative farmers, the UK’s best custodians of soil, sea and seed.

🔗https://wefeedtheuk.org/

# data[].attributes.attachment_link.readable_text
We Feed The UK is a major storytelling campaign, pairing photographers and poets with the UK's custodians of land, sea, soil and seed.

Food forms us, and producing it with care for human and more-than-human communities can re-form our home for the better. These are the stories of regenerative farmers, urban growers, sustainable fishers and grain rebels: the quiet revolutionaries with grassroots solutions to climate change, biodiversity collapse and social justice. The time is ripe to celebrate their efforts and inspire widespread support.

Explore the Stories...

ON NOW

AGRI-CULTURE: A LINEAGE OF HEDGEROW LIGGING
Inspired by Strickley Farm in Cumbria
Poetry by Testament | Photography by Johannes Pretorius | Exhibited at Open Eye Gallery in Liverpool

COMING APRIL 2024

CULTIVATING EQUALITY: WOMEN WORKING WITH LAND
Inspired by Grampian Graziers and Lauriston Farm in Scotland
Poetry by Iona Lee | Photography by Sophie Gerrard | Exhibited at Street Level Photoworks in Glasgow

"All great changemaking is rooted in dreaming and storytelling." Rob Hopkins, founder of the Transition Town movement

Latest News

We Feed the World explored the extraordinary stories of 50 small-holder farming and fishing communities around the world thanks to...
Read More →

We Feed The UK's first exhibition takes place at Open Eye Gallery in Liverpool during February and March 2024. We...
Read More →

We had a fantastic start to 2024 at the Oxford Real Farming Conference with a pop up exhibition showcasing a...
Read More →

Arts and Environment Partners

Grown by The Gaia Foundation with collaborators across the country, We Feed The UK pairs ten photographers and ten Hot Poets with ten regenerative farming stories. Their work is being shared in partnership with ten arts organisations between February 2024-May 2025, supported by evidence from ten environmental allies who are leading the regenerative farming movement.

# data[].attributes.attachment_link.description
We Feed The UK is a major storytelling campaign, pairing photographers and poets with the UK's custodians of land, sea, soil and seed. Food forms us, and producing it with care for human and more-than-human communities can re-form our home for the better.

# data[].attributes.body
Groundswell Regenerative Farming Conference

🔗https://groundswellag.com/

# data[].attributes.attachment_link.readable_text
The Regenerative Agriculture Show and Conference

Lannock Manor Farm, Hertfordshire, UK

The Groundswell event provides a forum for farmers and anyone interested in food production or the environment to learn about the theory and practical applications of Conservation Agriculture or regenerative systems, including no-till, cover crops and re-introducing livestock into the arable rotation, with a view to improving soil health.

Groundswell takes place on 28th and 29th June 2023.

# data[].attributes.attachment_link.title
Groundswell - Regenerative Agriculture Show & Conference

# data[].attributes.attachment_link.description
Lannock Manor Farm, Hertfordshire, UK The Groundswell event provides a forum for farmers and anyone interested in food production or the environment to learn about the theory and practical applications of Conservation Agriculture or regenerative systems, including no-till, cover crops and re-introducing livestock into the arable rotation, with a view to improving soil health.

# data[].attributes.body
Lucimara Latelier’s research into Regenerative Museums and how regenerative development principles and frameworks apply to the museum sector

🔗https://www.regenerativemuseums.com/

# data[].attributes.attachment_link.description
‘Regenerative Museums: Reshaping the Museums’ Role in Addressing Social and Environmental Collapse’: A web series based on the Research by Lucimara Letelier (University of Leicester, UK).

# data[].attributes.body
Arup’s approach to Regenerative Design and the 3 principles they advocate: nature-based, systemic and equitable.

🔗https://www.arup.com/insights/regenerative-design/

# data[].attributes.attachment_link.authors[].name
Last updated: June 2024 Share Copy link Close Share Menu

# data[].attributes.body
Regenerative practice is a growing movement that is being explored across sectors. Here are a few examples we are looking at and learning from:

Architecture

Museums

Farming

Fashion

Materials

# data[].attributes.headline
Culture Takes Action: Tools for an Emergency Response, Culture Declares Emergency

# data[].attributes.subject
Culture Takes Action: Tools for an Emergency Response, Culture Declares Emergency

# data[].attributes.body
Culture Declares Emergency’s toolkit is aimed at practitioners and organisations in the arts, heritage and design sectors packed with transformative and holistic inspiration to guide your pathway to action.

🔗https://www.culturedeclares.org/take-action/culture-takes-action-toolkit/

# data[].attributes.attachment_link.title
Culture Takes Action: Tools for an Emergency Response – Culture Declares Emergency

# data[].attributes.attachment_link.description
What do you do after declaring a climate and ecological emergency? How can you make a difference? See our step-by-step guide for your journey of action.

# data[].attributes.body
We Feed The UK is a major storytelling campaign, pairing photographers and poets with the UK’s best custodians of soil, sea and seed.

🔗https://wefeedtheuk.org/

# data[].attributes.attachment_link.readable_text
We Feed The UK is a major storytelling campaign, pairing photographers and poets with the UK's custodians of land, sea, soil and seed.

Food forms us, and producing it with care for human and more-than-human communities can re-form our home for the better. These are the stories of regenerative farmers, urban growers, sustainable fishers and grain rebels: the quiet revolutionaries with grassroots solutions to climate change, biodiversity collapse and social justice. The time is ripe to celebrate their efforts and inspire widespread support.

Explore the Stories...

ON NOW

AGRI-CULTURE: A LINEAGE OF HEDGEROW LIGGING
Inspired by Strickley Farm in Cumbria
Poetry by Testament | Photography by Johannes Pretorius | Exhibited at Open Eye Gallery in Liverpool

COMING APRIL 2024

CULTIVATING EQUALITY: WOMEN WORKING WITH LAND
Inspired by Grampian Graziers and Lauriston Farm in Scotland
Poetry by Iona Lee | Photography by Sophie Gerrard | Exhibited at Street Level Photoworks in Glasgow

"All great changemaking is rooted in dreaming and storytelling." Rob Hopkins, founder of the Transition Town movement

Latest News

We Feed the World explored the extraordinary stories of 50 small-holder farming and fishing communities around the world thanks to...
Read More →

We Feed The UK's first exhibition takes place at Open Eye Gallery in Liverpool during February and March 2024. We...
Read More →

We had a fantastic start to 2024 at the Oxford Real Farming Conference with a pop up exhibition showcasing a...
Read More →

Arts and Environment Partners

Grown by The Gaia Foundation with collaborators across the country, We Feed The UK pairs ten photographers and ten Hot Poets with ten regenerative farming stories. Their work is being shared in partnership with ten arts organisations between February 2024-May 2025, supported by evidence from ten environmental allies who are leading the regenerative farming movement.

# data[].attributes.attachment_link.description
We Feed The UK is a major storytelling campaign, pairing photographers and poets with the UK's custodians of land, sea, soil and seed. Food forms us, and producing it with care for human and more-than-human communities can re-form our home for the better.

# data[].attributes.body
CLIMAVORE is a research platform and agency that questions how to eat as humans change climates, which was initiated by artists Cooking Sections.

🔗https://www.climavore.org/

# data[].attributes.attachment_link.description
Food for the new seasons of the climate crisis

# data[].attributes.body
Neuroqueer Ecologies is a research project by artist James Aldridge which explores what Neurodivergent people can bring to conversations around art, ecology and the earth crisis

🔗https://queerriver.com/neuroqueer-ecologies-a-sister-project/

# data[].attributes.attachment_link.readable_text
After almost three years of working on Queer River, in Spring 2023 James decided to start up a sister project researching Neuroqueer Ecologies.

The approach was intended to be similar to Queer River, with a focus on using creative collaboration and dialogue to better understand the experiences of Neurodivergent people, and more specifically what they can bring to conversations around art, ecology and the earth crisis.

' What do I mean by Neuroqueer Ecologies? Well in a similar way to Queer Ecology and Trans Ecology/Transecology I mean the learning that can come from listening to the experiences and perspectives of Neurodivergent people, and valuing the differences we bring.

The ways that (for example) sensory differences, systemising differences, or identities/behaviours developed under social pressure/through trauma, might inform our understanding of the ecologies of place.'
James Aldridge - Art, Ecology and Learning

What James began to realise however, was that Neuroqueer Ecologies was better suited as a term for an area of research/practice which permeates all of his work, rather than a separate project with defined boundaries. One that builds on Queer Ecology, and Dr Nick Walker's work on Neuroqueer-ness, to define an area of research-led practice that explores the value of neurodivergent perspectives on ecologies of place.

Neuroqueer Ecologies related writing, walks, exhibitions etc will continue to be included here on the Queer River blog under the category Neuroqueer Ecologies.

For more information on what it means to (be) Neuroqueer, please see this earlier Queer River post of the same name. For something more on James' own personal relationship to the subject, read his post Art, Ecology and Autism.

If you are interested in commissioning James to write, talk or exhibit, or if the themes of your own work are related and you'd like to have a chat or propose a collaboration, please do get in touch with your thoughts.

# data[].attributes.attachment_link.description
After almost three years of working on Queer River, in Spring 2023 James decided to start up a sister project researching Neuroqueer Ecologies. The approach was intended to be similar to Queer River, with a focus on using creative collaboration and dialogue to better understand the experiences of Neurodivergent people, and more specifically what they...

# data[].attributes.body
Seascapes (2021-2023), curated by Dr Suzy O’Hara, was a programme that aimed to critically explore the role that art and curatorial knowledge, processes and tools can play in protecting our maritime heritage and marine environment.

🔗https://colabsunderland.uk/projects/seascapes

# data[].attributes.headline
Seyi Adelekun’s Worm Moon – Mud Meditation

# data[].attributes.subject
Seyi Adelekun’s Worm Moon – Mud Meditation

# data[].attributes.body
Seyi Adelekun’s Worm Moon – Mud Meditation, performed for the Physic Garden Network, in a Lincolnshire garden built by and for women.

🔗https://physicgarden.network/full-moon-reflections/seyi-adelekun/

# data[].attributes.attachment_link.description
Physic Garden Network a group of women who support each other to grow together. Not just plants, but also their learning and their friendships.

# data[].attributes.headline
An Ecological Technology - An Interview with James Bridle, Emergence Magazine (2022)

# data[].attributes.subject
An Ecological Technology - An Interview with James Bridle, Emergence Magazine (2022)

# data[].attributes.body
Artist and technologist James Bridle’s interview ‘An Ecological Technology’ for Emergent Magazine explores how radical technological models can decentralize power and become portals into a deeper relationship with the living world.

🔗https://emergencemagazine.org/conversation/an-ecological-technology/

# data[].attributes.attachment_link.title
An Ecological Technology – with James Bridle

# data[].attributes.attachment_link.description
In this interview, writer, artist, and technologist James Bridle questions our fundamental assumptions about intelligence and explores how radical technological models can become portals into deeper relationship with the living world.

# data[].attributes.headline
How to Fall in Love with the Future, Rob Hopkins (2025)

# data[].attributes.subject
How to Fall in Love with the Future, Rob Hopkins (2025)

# data[].attributes.body
Rob Hopkins’s latest book is full of examples of examples of artists and creatives using their talents to create visions and longing for better futures.

# data[].attributes.headline
The Creative Freelancer’s Climate Almanac, Julie’s Bicycle

# data[].attributes.subject
The Creative Freelancer’s Climate Almanac, Julie’s Bicycle

# data[].attributes.body
A companion for artists, independent creatives, community practitioners and producers to lighten the load, spark new ways of working, and remind you that you’re not alone in your climate action.

🔗https://juliesbicycle.com/resource/creative-freelancers-climate-almanac/

# data[].attributes.attachment_link.title
The Creative Freelancer’s Climate Almanac - Julie’s Bicycle

# data[].attributes.attachment_link.description
A companion for artists, independent creatives, community practitioners and producers, supporting them to make sustainable change. Filled with resources, templates, wellbeing practices, artist case studies, and book recommendations.

# data[].attributes.headline
Collaborative Place Futures: A Toolkit for Transition, The Place Bureau

# data[].attributes.subject
Collaborative Place Futures: A Toolkit for Transition, The Place Bureau

# data[].attributes.body
A set of cards that enables anyone to get involved in collectively defining and designing places for tomorrow.

🔗https://www.theplacebureau.com/toolkit

# data[].attributes.attachment_link.authors[].name
Associate Professor in Planning and Urban Design. The Bartlett UCL

# data[].attributes.attachment_link.description
The Collaborative Place Futures Toolkit, developed by The Place Bureau, enables anyone to get involved in collectively defining and designing places for tomorrow. In a world of quarterly capitalism and four year election cycles, our institutions and organisations are programmed to think short term.

# data[].attributes.body
Offers a number of practices to help expand your sense of time in organisations or on your own

🔗https://www.thelongtimeacademy.com/toolkit

# data[].attributes.attachment_link.readable_text
0

Skip to Content

Listen

Part One

Part Two

Part Three

Part Four

Part Five

Part Six

Practices

Long Time Community

Toolkit

About

Listen

Part One

Part Two

Part Three

Part Four

Part Five

Part Six

Practices

Long Time Community

Toolkit

About

Folder: Listen

Back

Part One

Part Two

Part Three

Part Four

Part Five

Part Six

Practices

Long Time Community

Toolkit

About

The Long Time Toolkit

We’ve designed a set of tools to put the ideas explored in each episode into practice.

The Long Time Cards

Download the Long time cards

Human Layers Meditation

Download the meditation PDF

Running A Long Time Session For An Organisation

Download the PDF

A 100-Year Calendar

2022-2121

Download the 100-year Calendar PDF

With thanks to

The Long Time Reading List

Non-fiction

Deep Time Reckoning - Vincent Ialenti
FutureGen - Jane Davidson
Timefulness - Marcia Bjornerud
The Precipice - Toby Ord
Pip Pip - Jay Griffiths
The Clock of the Long Now - Steward Brand
The Good Ancestor - Roman Krznaric
Doughnut Economics - Kate Raworth
Sandtalk - Tyson Yunkaporta
The Patterning Instinct - Jeremy Lent
The War for Kindness - Jamil Zaki
Braiding Sweetgrass - Robin Wall-Kimmerer
Underland - Robert Macfarlane
The Oldest Living Things in the World - Rachel Sussman
Sacred Instructions - Sherri Mitchell

Fiction

Kindred- Octavia Butler
The Parable Series  - Octavia Butler
The Ministry for the Future - Kim Stanley Robinson
The OverStory - Richard Powers
Man V. Nature - Diane Cook
Love & Other Thought Experiments - Sophie Ward
Barkskins - Annie Proulx
Light Perpetual - Francis Spufford

# data[].attributes.headline
Climate Clock’ artists & vision for Oulu2026: Recovering nature’s time in subarctic Finland by Invisible Dust

# data[].attributes.subject
Climate Clock’ artists & vision for Oulu2026: Recovering nature’s time in subarctic Finland by Invisible Dust

# data[].attributes.body
🔗https://invisibledust.com/projects/oulu-2026-climate-clock/

# data[].attributes.attachment_link.title
‘Climate Clock’ artists & vision for Oulu2026: Recovering nature’s time in subarctic Finland - Invisible Dust

# data[].attributes.attachment_link.description
Climate Clock announces seven internationally acclaimed artists: Ranti Bam (b. 1982, Nigeria/UK), Rana Begum (b. 1977, Bangladesh/UK), Takahiro Iwasaki (b. 1975, Japan), Gabriel Kuri (b. 1970, Mexico/Belgium), Antti Laitinen (b. 1975, Finland), Tellervo Kalleinen & Oliver Kochta-Kalleinen (b.1975, Finland and b.1971, Germany/Finland) and SUPERFLEX (artist group, Denmark). Launching June 2026 in Oulu, Finland – one…

# data[].attributes.headline
Episode 43 (Part 2) – The Amateur Ancestor Tour

# data[].attributes.subject
Episode 43 (Part 2) – The Amateur Ancestor Tour

# data[].attributes.body
Cultural Peeps’ Amateur Ancestor special podcast episode with Justine Boussard, describing her practice from the Great North Museum, Newcastle

🔗https://culturalpeeps.wordpress.com/episode-43-part-2-the-amateur-ancestor-tour/

# data[].attributes.body
A short video by philosopher Roman Krznaric explaining how we’ve colonised the future, and the role of art in redefining how we think about time.

🔗https://www.youtube.com/watch?v=61hRq0D8Zcs&ab_channel=TED

# data[].attributes.attachment_link.title
How to be a good ancestor | Roman Krznaric

# data[].attributes.body
Develop work that is responsive to the unique character of a place, its communities as well as its ecosystems and biodiversity. Drawing on the knowledge of local people who understand and are already taking care of their local environment will root the work in the culture of a place, and enable an environmentally supportive approach that is context-specific. Sourcing local makers, fabricators and materials will reduce the need for travel and shipping, support the local economy and enhance local connectedness.

# data[].attributes.body
Regenerative practice requires us to address the deep narratives that underpin the way we see the world, starting with the contemporary western view that humans are separate from nature. If we reposition ourselves as part of the living world, both in the way we work and in the stories we tell, we can start to produce projects that will reconnect us with all of life. It is essential that this unlearning and relearning is done in ways that do not perpetuate legacies of harm and exploitation, but instead, actively centre and support the communities that have upheld their ancestral knowledges and practices, and that are often now on the frontline of climate impacts.

# data[].attributes.body
Artists have a specific role to play in enabling the shift towards regenerative practice due to their ability to tell vivid stories that positively change mindsets. Art can lead by example, provoke discussions, shift perspectives, question value systems and create desire for a better world. Public art in particular has a key role to play in cultivating our capacity for imagining and visualising diverse, regenerative futures that are rooted in place. This is the first step towards bringing about the positive change we want to see in the world. Art’s power of storytelling can activate people and reignite their sense of agency.

# data[].attributes.body
Devise projects that have a low carbon impact, produce minimal waste, support communities and improve ecosystems. Creating and producing art in the public realm is complex, often constrained by agendas and parameters beyond our immediate control such as tight budgets and timescales. Acknowledge that compromises often have to be made, but ensure that environmental responsibility is always foregrounded. Keeping a decisions journal that documents how and why decisions that increase the project’s carbon footprint are made, can assist with making decisions mindfully and with due care.

# data[].attributes.body
Creative interventions in public space can enable the ecological systems they inhabit to grow and evolve in ways that are beneficial for human and more-than-human communities. This requires a shift in mindset where public art is not just understood as a permanent intervention in a public space, but rather as a process that evolves over time. When establishing a new project, imagine what it will become in the future. How will it support the ecosystems it coexists with? What will its afterlife be? So many decisions that result in an increased carbon footprint are driven by tight timescales; but if we can slow things down and allow ourselves to think ahead, it is possible to shift from being delivery-driven to being legacy-oriented.

# data[].attributes.headline
Permaculture design as a compass for reimagining the arts, Liz Postlethwaite (2025) - Arts Professional

# data[].attributes.subject
Permaculture design as a compass for reimagining the arts, Liz Postlethwaite (2025) - Arts Professional

# data[].attributes.body
Artist and permaculture designer Postlethwaite describes how she’s supporting Heart of Glass’s to grow their regenerative practice through Permaculture principles.

🔗https://www.artsprofessional.co.uk/magazine/feature/permaculture-design-as-a-compass-for-reimagining-the-arts

# data[].attributes.headline
The Good Ancestor: How To think Long Term in a Short-Term World, Roman Krznaric (2020)

# data[].attributes.subject
The Good Ancestor: How To think Long Term in a Short-Term World, Roman Krznaric (2020)

# data[].attributes.body
A fascinating guide and reminder of humanity’s capacity to plan for posterity and act accordingly.