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Coastal public art: an innovative way to disseminate ocean science

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Coastal public art: an innovative way to disseminate ocean science

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Content COASTAL PUBLIC ART: AN INNOVATIVE WAY TO DISSEMINATE OCEAN SCIENCE by Christine Ann Decker A Thesis Presented to the FACULTY OF THE USC, ROSKI SCHOOL OF FINE ARTS UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree MASTER OF PUBLIC ART STUDIES August 2007 Copyright 2007 Christine Ann Decker ii Dedication I would like to delicate this thesis to marine and coastal ecosystems around the world. May this thesis inspire artists, scientists, and anyone willing to work together in creating art that will inspire all of us to reflect upon our relationship with the life and sprit of the sea. iii Acknowledgements Thank you to everyone I interviewed: Megan Bailiff, Marry Coakly, Judit Hersko, and Helen Lessick. Your insightfulness into art and science truly helped me develop my ideas for coastal public art. Thanks to Anne Bray and Janet Owen Driggs for sitting on my committee and thank you to Caryl Levy for being a gracious mentor. I would like to thank my dearest friends Talina Konotick and Lauren Severs who have inspired me to pursue this topic. Their knowledge and passion for science has led me down this path and it is through their support that I have endured. I would like to acknowledge my Fiancée, Nathan Goodson for being my support system. I want to thank him for constantly challenging my ideas, making them stronger, and for always reminding me that I can make a difference in this world. I would like to thank my family for always believing in me. My parent’s excitement for life and perception of this beautiful world has driven my passion to protect it. Their adventurous sprit and courageous attitude makes them my heroes for life. It is my brother’s steadfast positive attitude and ability to see the good in every moment that reminds me that it is our perceptions of life that feeds the energy of this world. And last I would like to thank Eric Goodson for being a wonderful editor during my time at graduate school. I would not have grown as a writer without him. iv Table of Contents Dedication……………………………………………………………………………ii Acknowledgements………………………………………………………………….iii List of Figures…………………………………………………………………….…..v Abstract…………………………………………………………………………....…vi Forward: Keep your mind below as you act above.………………………………….1 Chapter One: The need to disseminate ocean science………………………………..3 Chapter Two: Expanding the audience of ocean science…………………………….8 Chapter Three: Why public art?.................................................................................11 Chapter Four: A vision for coastal public art………………………………………15 The criterion that defines coastal public art…………………………………….15 The mission of coastal public art……………………………………………….17 The creation of coastal public art through art and science collaborations……...20 Coastal public art spawning from the blending of conceptual art and science…26 The utilization of and experimentation with new media and technology……….38 The value and benefits of existing in public spaces…………………………….48 Chapter Five: Feasibility and Implementation……………………………………...57 An overview of the process to initiate coastal public art……………………….57 The specifics for each program to integrate coastal public art………………....68 Strengthening the mission of Aquariums’ through coastal public art……….…69 Awareness proliferation through government initiation of coastal public art….73 Environmental groups congealing their efforts through coastal public art……..78 Building vital partnerships and powerful work through individual collectives...80 Inspiring future perception and awareness of ocean science………………………..83 References…………………………………………………………………………...85 v List of Figures Fig. 1: “Seven Day of Dissolution”…………………………………………………33 Fig. 2: “Seven Day of Dissolution” Detail………………………………………….33 Fig. 3: “Winners or Losers?”………………………………………………………..34 Fig. 4: “Winners or Losers?” Detail………………………………………………...35 Fig. 5: “Humzer”……………………………………………………………………36 Fig. 6: A. Skagit Streaming………………………………………………………….43 Fig. 7: B. Skagit Streaming………………………………………………………….45 Fig. 8: C. Skagit Streaming………………………………………………………….45 Fig. 9: “The Map”…………………………………………………………………...51 vi Abstract In order to sustain life on our planet the public’s perception of the world’s oceans needs to change and it is vital that progress is made towards greater ocean consciousness. To do this, I propose an innovative model for communicating ocean science, which I have called coastal public art. I envision this art genre evolving as artists and scientists collaborate to develop an interdisciplinary communication that intertwines art and ocean science, uses new media and technology, engages community, and exists in public spaces. This new genre of art will spawn effective dissemination of ocean literacy. Through coastal public art, I suggest several ways in which aquariums, government programs, environmental groups, and independent collectives can establish dynamic relationships between public audiences and ocean science, thereby engendering more ecological awareness. 1 Forward: Keep your mind below as you act above. My desire to create a new genre of public art comes from a life long relationship with the sea. With a passion for adventure and the desire to sail around the world, my parents gave my brother and me the extraordinary experience of living on both the land and sea. I have lived half of my life along the Southern California coast and the other half on a sailboat traveling along island and continental coastlines. Through years of studying the ocean and analyzing humanity’s relationship with it I am most intrigued by how our lives are so intertwined with the life that exists in the ocean, yet we remain detached from it. It is vital for both human existence and the existence of delicate marine ecosystems that we realize our interconnectedness with the sea and acknowledge that our actions directly affect the state of our ocean and our planet. Once we do so we will become more proactive in conserving and restoring marine and coastal ecosystems. To expand universal ocean stewardship I propose a new genre of art that is founded in ocean science and utilizes the power of art to touch people’s souls. I have called this new genre of art coastal public art 1 . I believe that coastal public art will contribute to the current efforts set forth by numerous aquariums, research institutions, government initiated programs, as well as non-profit and commercial organizations, to present ocean science to the 1 Coastal public art is a term that I use in order to describe a specific genre of public art that I realize through this thesis. 2 public. It is time to expand ways to promote ocean literacy and I believe that coastal public art is the tool to do so. In this thesis I examine current ways science is presented to public audiences and propose a set of criteria that is the foundation for coastal public art. The language used in this thesis has been geared towards an interdisciplinary audience that includes anyone who is involved in the fields of art, public art and ocean science. While the evolution of coastal public art is open, I encourage artists, scientists, and others interested in disseminating ocean science to a broad public audience to consider the criteria that I set forth for coastal public art as a starting point for inspiration and initiation. 3 Chapter One: The need to disseminate ocean science Current social, environmental, and political situations make it an ideal time to investigate new ways to disseminate ocean science to a universal audience. Satish Kumar, an Indian philosopher, points out that “we have become dualist and have separated our selves from nature,” and have come to “see nature out there-- for us to dominate, to use and exploit, for us to manipulate for our benefit, for our comfort, for our convenience, for our luxury” (Gablik 148). Kumar believes that artists can still see and translate the relationship between human beings and nature. He has faith in artists to recognize and reveal the most important relationship that people lack in their lives – A relationship with natural surroundings (Gablik 148). The ocean levels are rising due to global warming and coastlines all around the world are changing. As a result marine and coastal ecosystems are in constant flux. To understand the effects of this current phenomenon it is extremely important to investigate the changes that are generating along coastlines around the world. According to the Intergovernmental Panel on Climate Change (IPCC) Report finalized in April of 2007 coral reefs, coastal ecosystems, and sea-ice regions are some of the most vulnerable ecosystems that are directly affected by global warming (6). If efforts are not made to reduce the emissions of green house gases, the IPCC’s assessment report projects that the Earth’s average surface temperature will increase 2.5 and 10.4 degrees over the next 100 years, which will likely lead to a rise of sea level between 3.5 to 34.6 inches (Union of Concerned Scientists 5). As a result of this sea-level rise, along with the increase in current human development trends, 4 problems such as coral bleaching, storm surges, flooding, permanent inundation and erosion of beaches will amplify (IPCC 3-11). This is not including the direct economic, cultural, and social effects. In addition to development and pollution, another anthropogenic source of global warming and coastal vulnerability is rapid population growth. According to the University of Southern California Sea Grant Program’s Strategic Plan 2003- 2008 as the population of the planet moves from 6 billion to 9 billion over the next 50-100 years, most of this population increase will occur along coastal areas (USC Sea Grant Program 3). Currently 51 percent of the population of the United States now lives in coastal communities and the amount of people living in coastal watershed areas is projected to reach 165 million by the year 2015. As this unprecedented growth increases more and more people’s daily actions will have direct and indirect impacts on marine and coastal ecosystems (Environment California). The challenges occurring within coastal zones due to this population increase and global warming have become national and international issues. And yet, the current ways people live their lives separates people from marine and coastal ecosystems, so much that people do not even considered it important when making their day to day decisions. Unfortunately, coastal and inland dwellers alike, the majority of people forget or ignore their relationship with the ocean because life is confined by urban and suburban environments. According to The National Ocean Report: Ocean Policy and Action for the 21 st Century, released by the National Oceanic and Atmospheric 5 Administration (NOAA) in 1999, there are very few people who understand the complex relationship between the ocean’s and the earth’s atmosphere and far fewer people who grasp the magnitude of the impact humans have on fragile marine resources. As a result, marine and coastal ecosystems are not part of people’s consciousness and thus people’s relationship with this ecosystem is detached. The ocean is a valuable resource that plays a large role in controlling climate and it is a leader in providing oxygen. It provides societies with materials for medicine and food. It is a place of recreation, spiritual contemplation and self regeneration (Environment California). The contributions that marine and coastal ecosystems provide humanity with are bountiful and yet, people go about their lives rejecting the fact that global climate change, over fishing and pollution are destroying this delicate ecosystem. Besides the current environmental situation it is politically a prime time to introduce ocean science to the general public. While attending the 2006 California and World Ocean Conference, the Joint Ocean Commission Initiative Executive Summary entitled From Sea to Shining Sea: Priorities for Ocean Policy Reform was distributed to all attendees. The introductory page of the summary revealed that the United States Senate has adopted the recommendations of the U.S. Commission of Ocean Policy and the Pew Oceans Commission. The contents of the summary provided evidence that ocean issues are coming to the forefront of policy reform. The summary states that the U.S. Commission on Ocean Policy and Pew Ocean Commission recognizes that we are in a time of unprecedented opportunity: 6 Today, as never before, we recognize the links among the land, air, oceans, and human activities. We have access to advanced technology and timely information on a wide variety of scales. We recognize the detrimental impacts wrought by human influences. We can and should act now to ensure that the ocean, coasts, and Great Lakes are healthy and productive and that our use of their resources is both profitable and sustainable. (1) In response to the recommendations of the U.S. Commission on Ocean Policy and the Pew Oceans Commission the Governors of California, Oregon and Washington announced the “West Coast Governor’s Agreement on Ocean Health.” This arrestment sets forth the development of new approaches to regional collaboration with the aim to protect and manage the ocean and coastal resources throughout the entire west coast. One of the seven priority areas that are identified in the Governor’s Agreement is to increase ocean awareness and literacy among our citizens. Needless to say it has taken years upon years of fighting by environmental advocates to achieve this recognition from the government and even more time to initiate action, it is truly a moment in history that marks the movement towards change. The progressive action being taken on the west coast proves that positive changes are being initiated and coastal public art can be an option for obtaining the goals set forth in the Governor’s Agreement. As policy is being formulated to promote ocean literacy on a national level, Californians are ready and eager to be a part of the momentum. According to Mark Baldassare, “Californians treasure the ocean and the state’s beaches” and this attitude is present across Republican, Democratic and Independent parties, and both coastal and inland residents (Baldassare v). According to the Public Policy Institute of California’s (PPIC) 2006 Statewide Survey: Special Survey on the Environment, 7 developed by Baldassare, nine out of 10 Californians, from a pool of 2,300 California residents who responded, believe that the quality of beaches and the ocean is equally important to them as their overall quality of life and the state’s economy. It also stated that 87% of the voters polled will take political candidates’ positions on the environment and coastal issues into account when they decide who to support (Baldassare v). These polling numbers reveal the public’s desire to see that our oceans are cared for and managed properly. The environmental crisis along with current political initiatives proves the need to expand the options to promote ocean literacy. It is an atmosphere that makes coastal public art timely, and will powerfully assist in its adoption and proliferation. 8 Chapter Two: Expanding the audience of ocean science Both scientists and artists are recognizing the need to disseminate ocean science to a larger public audience and, as they band together, so the move towards universal ocean literacy will be strengthened. Acknowledging this need is the first step to new ways of exposing the public to ocean science. The next step is to assess the general awareness level, identify goals and learn from those who have started to fulfill this expansive mission. In comparison to the mid and late 90’s “it has currently been much more difficult to teach people about science and generate interest in it,” according to Megan Bailiff, a marine biologist who has been working to promote ocean science for close to thirty years. The current level of both appreciation and respect for science has depreciated phenomenally. When Bailiff used to work for the U.S. Senate, she strived to ensure that people’s decisions were informed by science. Unfortunately, she says, that the current political administration is denying science its ability to inform decision making, and is thereby endangering public health. In the 1950s and 1960s, scientists were respected but now, she asserts, they struggle for recognition. Bailiff suggests that their dismissal is largely due to the ways in which science is presented to the public (Bailiff). All scientists know that it is important to translate their science, but it can be an intimidating endeavor for them to convey their work to policy makers and the general public, who do not share their specialist training and languages. There is a 9 fear that their science will be discredited if they do not present their work with clarity and this situation needs to be remedied. At the 2006 California and World Ocean Conference the idea of expanding ocean literacy through new ways of presenting science was an underlying agenda. Conference speakers presented on how they use the internet and publish articles to expose their programs, projects and research. The Monterey Bay Sanctuary Outreach Program identified different tactics, such as publicizing on several internet sites, promoting on news media and radio stations, as well as developing a brief documentary of the program which they distributed to local broadcast stations, all of which ensured that their exploration of rare deep-sea corals on the Davidson Sea Mount was exposed to the public. Other institutions were in the process of designing new outreach programs and development groups in order to fulfill their mission to garner support beyond the institutional walls. An example of this is the Aquarium of the Pacific’s creation of the Aquarium on Wheels, which is an exhibition that traveled throughout the surrounding community and reached an estimated 45,000 people in 2004. These examples prove that some institutions are eager to strengthen their outreach efforts and that they are willing to consider new ways to present ocean science. Other then looking at new methods to engender public stewardship, conference attendees also discussed expanding the target audience for their work well beyond readers of Science Magazine, and to include both formal and informal audiences. It is comparatively easy to catch the attention of the formal audience, 10 which comprises of people whose vocation is science and who are often in search of this type of information. However, it is more difficult to get information out to informal audiences. This task is evidenced by the creation of a new course named “Communicating Ocean Sciences to Informal Audiences” by the Department of Biological Sciences at the University of Southern California. The course is geared to improving the ability of scientists to communicate their knowledge to informal audiences primarily by requiring practice and supplying mentoring opportunities. The need to effectively communicate science to non-scientific and informal audiences is embodied in this course. As scientists acknowledge the importance of disseminating ocean science to a broader public, so several artists have also taken the initiative to engage with scientists and create artwork that expands science’s public audience. A few example artists are Judit Hersko, Michele Oka Doner and Betty Beaumont all of whose work I describe latter. These artists are leading the way forward by initiating ways to teach people about marine and coastal ecosystems. The next step in reaching the masses and expanding ocean literacy is to inspire more artists and scientists to join them in exploring innovative ways to disseminate ocean science through art and science partnerships. Scientists are eager and artists are ready- so let the collaborations begin. 11 Chapter Three: Why Public Art Having identified the need to disseminate ocean science and revealed that both artists and scientists acknowledge this need, the question remains: how are we going to disseminate ocean science to a widespread public? My answer to this question is to do so via public art. To familiarize readers with what public art is I will introduce it by its most general definition, which describes the unique qualities that separate it from other genres of art. By reaching out into society both socially and physically, public art extends beyond the traditional definition of art that is concerned with individual private experience. Public art has the power to affect people on both individual and societal levels and it can therefore offer new ways to present ocean science to the general public. Public art takes many forms. While the most general are sculptures, murals, installations, and performances there are also works that engage in public spaces through the use of posters, the internet, or video. Public art exists in public spaces, is created for the public, addresses public issues and involves community participation. Public art is for everyone’s consumption. It will often refer to a particular community or the site where it is created, but public art is not restricted to any particular racial, cultural or economic group. This does not mean that it will be appealing to everyone who sees it. This means that the artist considered his or her audience when creating the work. Suzanne Lacy, a performance and conceptual artist 12 who has written extensively on contemporary pubic art, points out in her book Mapping the Terrain: New Genre Public Art that public art is a form of art that puts emphasis on, and is sensitive to, its public audiences. Public art is not an elitist form of art that can only be understood by those who are art educated or art literate, its purpose is to communicate with the public (19). An art genre that is all inclusive resonates closely with what the Indian culture defines as art. In the book Conversations before the End of Time, Suzi Gablick describes how the Indian culture views art when she writes: Art’s primary function is to define the communal, not the individual self and to express the unity between humans and nature. We in the West have paid a great price by viewing creativity not as the birth right of everyone, but only of the artist as a special genius. The dichotomous thinking that has separated art from life, and segregated aesthetic experience to the exclusive realm of the museum, art gallery or concert hall, means that we are left to live in an otherwise ugly world. The arts belong to all of us, not just to a select few. (136) This perception of art describes the status to which public art aspires in American society. As society moves towards developing public art that exemplifies these ideas, so people’s relationship with culture, natural surroundings, and personal ego will develop on a more spiritual level. Next, public art exists in public spaces. It leaves the gallery and museum walls and extends into public spaces, thereby providing people with new artistic energy. While it exists in these public places, public art has the ability to enhance and transform a space. When describing the rise of public art in the 1960’s Lacy states that, “Art in public places was seen as a means of reclaiming and humanizing the urban environment” (21). As people’s vision of nature has been fogged by urban 13 environments, public art will clear the air so that they stay physically and spiritually aware of present natural elements. As the artwork refers to the place and site, it will help people reclaim the space by drawing attention to its inherent character and natural elements. Public art is also a way to engender communication and interaction with contemporary issues. Moreover, public art also requires public engagement through the process of creating the work. Public art starts with the artist’s ideas and as this idea develops, it creates a ripple effect that engages collaborators and a broader audience. Lacy calls these collaborators shareholders and she states that they are the ones who often identify with the work and invest time and energy into the project’s creation. These shareholders could be artists, community members, city officials, local activists groups, or other partners. These collaborative partners help develop the project while the artist takes on the role as imaginer and coordinator (178-181). As the work utilizes these shareholders, it establishes itself within a community and garners support from more community members. Sometimes this participation becomes the public art in of itself. As Lacy states: The inclusion of the public connects theories of art to the broader population: what exists in the space between the words public and art is an unknown relationship between artist and audience, a relationship that may itself become the artwork. (20) Outside of those who partake in the creation of the work there are many people who have the opportunity to experience the work on different levels. There are those who randomly encounter the work in public spaces, those who get to directly interact with it, those who are exposed to the work through the media or 14 other promotional material; and finally there is the audience who comes in contact with the work through documentation, reports, or representations. So, in general, the community participation involved in creating a work of public art is expansive and thus another reason why public art is a good host for disseminating ocean science to a large public audience. It is these qualities that define public art and make it a valuable way to communicate with a broader public audience. Now that I have provided a basic definition of what public art is, I would like to present my vision for coastal public art and introduce the specific qualities that will guide it in rejuvenating people’s relationship with marine and coastal ecosystems. 15 Chapter Four: A vision for coastal public art The criterion that defines coastal public art I derived at a vision for coastal public art by researching the current ways in which ocean science is presented to the general public. I investigated current exhibition techniques used by aquariums, analyzed how Sea World captivates audiences, considered current methods used by environmental groups, and probed the art world to find artists who have created works that relate to ocean science. Drawing from this interdisciplinary palate has allowed the ideas for coastal public art to become a hybrid genre that embodies a range of aesthetics and conceptual qualities. The criteria that I bring forth are defined by the following qualities: Coastal public art will develop out of interdisciplinary collaborations: primarily artists working with ocean scientists. Ocean science will be the foundation of coastal public art. It will incorporate ocean research and present this research. Art and science visuals will cohesively operate as scientific facts are amalgamated with conceptual artistic forms. The content of coastal public art will have layers of connotations, so that viewers can engage with it on different levels and over time. Coastal public art will be experiential and interactive and so may well use new media and technology. Coastal public art will personalize marine and coastal ecosystems by not being 16 merely representational. It will focus on the relationship between humans and marine and coastal ecosystems. Coastal public art will demand active viewers by being multi sensorial. It will integrate education, entertainment, activism and art as it intertwines sound, visual, and tactile elements. Coastal public art will reach out to society - its content will be tangible and scalable, from billboards to brochures. Coastal public art will exist in public spaces, thereby becoming part of daily life. Coastal public art will initiate discourse by creating spaces in which active viewers can convene and discuss environmental issues outside of institutions. It will be an educational tool for the community. Coastal public art will refer to place and site in order to draw attention to the connection within the watershed and coastal ecology. Coastal public art will address timely issues that reveal current environmental threats, and will focus on the impact that humans have on marine and coastal ecosystems. Coastal public art has not yet been fully achieved, but it has partially taken form in the public artworks that I will discus in this following section. Imagine that all the works that I mention are on a painting palate. As I begin to paint a picture of coastal public art, see it emerge as a blending of these past works. My hope is that artists and scientists will imagine the possibilities of coastal public art and envision their own projects. 17 To start I will introduce the mission for coastal public art and consider content development, its focus on presenting ocean science to the public, and the role of the artist in creating the work. I will then describe the different qualities that I have listed as part of the criteria of coastal public art by providing examples of how former works have incorporated these qualities. These works have laid the foundation, allowing coastal public art to be the next phase in disseminating ocean science to a broad public audience. The mission of coastal public art To successfully disseminate ocean science and engender steadfast stewardship the mission of coastal public art is to rejuvenate people’s relationship with marine and coastal ecosystems. The definition of this mission has been inspired by several art exhibitions that have presented ocean science through art. First, the Your Ocean gallery in the National Maritime Museum in Greenwich, England displays works that have been chosen “to show how each of us is connected to the sea by lifestyles, actions and choices, emphasizing that we all have a role to play in marine conservation.” The gallery exhibit’s artwork that “explore(s) current thinking on such issues as climate change, over-fishing, pollution, conservation and the use of renewable energies; and relates these subjects in connection to local, national and international situations” (National Maritime Museum Press Office). Another project that was driven by a similar mission was the California Current, a project that involved fourteen exhibitions, which displayed art, 18 performance, and film in Santa Barbra, California. As stated in the project’s “Statement of Purpose California Current Online”, the aim of the work created for this project was to “reveal the multitudinous relationships we have with the ocean,” while focusing on the California current. As a result, 50 artists created work that reflected their varying perspectives on issues that effect ocean health and productivity, preservation and sustainable practices. While the artwork created for these exhibitions is a starting point for coastal public art, the advancement of environment health is a concern that needs to be universal. In a conversation with Suzi Gablick, Christopher Manes demands that we start to create art that focuses on this issue: I really think that it’s time for our culture, and artists, to change the subject. For the last five hundred years, all we have talked about is man- his political existence, his economic existence, his psychological existence. I think we have to take that subject and just put aside, not talk about it anymore. We need to start talking about this other kingdom. (102) Marine and coastal ecosystems are in dire need of attention and coastal public art will contribute to giving this delicate life resource the attention it deserves. Coastal public art will be the necessary link between the public and science by being incorporated with ocean research and then presented publicly. It will inspire community action toward ocean conservation and preservation by increasing public interest in the subject. It will contribute to ocean advocacy by symbolizing a community’s commitment to reestablishing a more respectful relationship between human and marine and coastal ecosystems. According to an Environmental Perceptions Survey conducted in 1999 as part of the University of Southern 19 California’s Beach Project, “More then half of all Angelinos will go to the beach next year, but less than one fifth will ever get in the water (Pendleton 11).” Some people may never get to explore what abundant life exists in the ocean, yet it is necessary that all people are aware of it to build life long stewardship. In addition to raising awareness, the content of coastal public art will be built with layers of meaning and ideas that express people’s connection to marine and coastal ecosystems. Christopher Manes, an environmentalist writer, says it perfectly when he states “we should give nature a voice and reveal our relationship with it through art” (Gablik 93). The flaw with the majority of current public art that shows marine life is that it is purely representational, such as bronze sculptures or murals that depict marine animals, and thus people’s experience of this work is merely observational. An effective way to get people involved in protecting these animals and conserving the environment is to emphasize the fact that each person is connected to the sea and depict people’s role in marine conservation. Coastal public artists will be concerned with what motivates people. People’s attention and intentions are driven by motivation, a requirement to hold one’s attention long enough to influence their perception. People’s motivation, at an aquarium is often to learn, examine and investigate, while Sea World visitors are more likely to enjoy and be entertained. This is what largely differentiates the human behavior found in an aquarium versus Sea World. It will be the goal of coastal public art to be a combination of these venue’s strategies; an integration of education, entertainment, activism and art. 20 The role of the coastal public artist is an exciting but challenging one. Suzanne Lacy best defines it as “artist as activist.” Lacy writes, when being an artist activist: Entirely new strategies must be learned: how to collaborate, how to develop multilayered and specific audiences, how to crossover with other disciplines, how to chose sites that resonate with public meaning and how to calcify visual and process symbolism for people who are not educated in art. (174) These descriptions of an artist as an activist pinpoint the demanding role that artists will fulfill in order to create successful coastal public art. They will collaborate with ocean scientists and create work that is a hybrid of science and art. They will be conscious of the location of their work both socially and physically, as well as consider the diverse audiences involved. They will find a balance between the conceptual art form and popular culture’s way of communicating. These guidelines will lead motivated artists to develop coastal public art that will achieve its mission. I realize that the qualities that I have just introduced and the ones that I will introduce in the following sections are idealistic, yet I feel it is important to set precedent by striving for an art genre that will make a difference in this world. Furthermore, as I provide examples of works that have already, fully or partly, met these standards, it will become clear that coastal public art is within reach. The creation of coastal public art through art and science collaborations The diverse translations of ocean science that artists and scientists offer are integral to providing society with varying interpretations of ocean science; allowing 21 us to engage with ocean science in multiple ways. When an artist and a scientist are introduced and begin to collaborate something very exciting occurs- they share their different skills and knowledge. Artists share their knowledge of visual metaphor, while the scientists can share their research and discoveries. Dr. Frank Oppenheimer, founder of the Exploratorium in San Francisco, promotes the idea of using art and science to interpret the world around us when he stated: Art is included, not just to make things pretty, although it often does so, but primarily because artists make different kinds of discoveries about nature than do physicists or geologists. But both artists and scientists help us notice and appreciate things in nature that we have learned to ignore or had never been taught to see. Both art and science are needed to fully understand nature and its effects on people. (Exploratorium) There are two forms of art and science collaborations that I foresee can generate the hybrid genre of coastal public art. There is the collaboration between artists and scientists, and then there is the collaboration between scientific information and artistic forms. It is this first collaboration that I will discuss in this section and in section following I will address the latter. The collaboration between artists and scientists requires conversation and exchange in order to conceptualize how the scientific data or research will be translated or become art. The evolution of the relationship depends on the will of the individual artist and scientist to collaborate and their comfort with collaboration. The next thing is to stimulate meaningful relationships to establish an atmosphere where continual exchange of questions will occur. In their own practices, both artists and scientists are constantly asking questions that lead them down the path to a final product. For example scientists start with a question and a hypothesis; 22 then through their work they begin to develop further questions. As they start to piece together what they have discovered, they begin to see if their findings fulfill or stray from their original hypothesis. This process is very similar to the way in which artists work. Artists will be inspired by an idea and, as they conceptualize their work, so they ask questions that lead them down a particular path of discovery, which eventually leads to their final form. When artists and scientists come together on a similar topic – in this case ocean science - and begin to exchange their questions, what will develop is a hybrid of both the artist’s and scientist’s vision. Since coastal public art will look at the many roles of ocean science in society, some of the questions that should be asked during such collaboration include: Why is this research pertinent to current issues? How is it effecting the environment? How is it affecting people personally and socially? What is the general public’s relation to this information? What is the most vital message that needs to be disseminated? Questions such as these will guide artists and scientists to imagine an art form that will address people’s relationship with the ocean. Each collaboration is unique, but there are a few models that demonstrate successful structures of collaboration. One method of exchange exists as an artist is introduced to a scientist’s research and discoveries, and vice versa. Through conversations and presentations the artist and scientist are able to exchange examples of their work, ideas, and questions. From this exchange an art form that is inspired by the scientist’s work is conceptualized. How much control each person has in conceptualizing the final artwork is a decision that needs to be made by those 23 involved. Sometimes there will be equal participation between the artist and the scientist as they envision the final form of the artwork. On the other hand, some artists might take full control of the visual form, while the work of the scientist acts primarily as the informational foundation. This later direction was taken by conceptual artist Judit Hersko and biological oceanographer Victoria Fabry when they collaborated. Their collaboration began through a series of conversations that allowed both Hersko and Fabry to exchange images and background information on each other’s work. Hersko showed Fabry slides of her work, while Fabry provided Hersko with information about her research as well as papers that she had written about ocean acidification (Hersko e-mail). Fabry introduced Hersko to her studies on plankton snails called teripods, as well as other microscopic calcifying organisms such as various corals and shellfish. She explained that these microscopic snails are significantly important because they are the ones that will be threatened first by ocean acidification. In fact, scientists predict that these snails will not be able to form any longer by the year 2015 due to ocean acidification. This research is vital to discovering the consequences of carbon dioxide emissions and its damaging effects on the microscopic organisms in the ocean (Hersko “Artist Statement”). Once Hersko became familiar with the calcification process she started to conceptualize her vision for the installation piece, which was displayed at the California Center for the Art in Escondido, California. The show, which adopted the title “Shifting Baselines”, was mainly Hersko’s creation as she had full control of its 24 conceptual design. However, because of the preliminary exchange with Fabry the exhibition was also a reflection of Fabry’s research. Hersko revealed that she used Fabry’s research as a “point of departure to reflect on ocean acidification and other social issues” (Hersko interview). This type of collaboration worked well for Hersko and Fabry because Hersko did not have any constraints or pressure on her work and Fabry found herself unable to contribute further to the project because of the demands of her own research. Another mode of collaboration that requires both artist and scientist to be committed to constant communication is one in which the artist and scientist work hand in hand throughout the creation of the work. Michele Oka Doner’s public art sculpture Wave and Shells Obelisks located in Santa Monica, CA developed out of such collaboration. Doner’s collaborator for the project was marine biologist and president of the Marine Resources Development Foundation, Ian Koblick. Koblick has dedicated his life to studying the ocean and his collaboration with Doner was the first opportunity he had to translate his work through art. Koblick’s work deals with the process of mineral accretion, which is described by Koblick as the following: Calcium carbonate is the bony substance with which sea animals create reefs. This substance is dissolved in seawater throughout the world. An electric current can take the calcium carbonate out of solution and deposit it on a mineral screen. The process was originally developed to create a concrete- strength structure for underwater buildings. (Turner) As Doner and Koblick began collaborating they began experimenting with the possibilities of utilizing mineral accretion. After coming up with different experiments and running several tests they discovered a way to harness the process 25 so that they could develop a long lasting material. From these experiments Doner developed the design for the obelisks. It took three years for the two twelve-foot tall obelisks to build up a thick layer of calcium carbonate and throughout this time both Doner and Koblick worked together monitoring the process until the final forms were complete (Doner 3). Other collaborations extend beyond a single artist and scientist. These projects require a diverse range of credentials, while the work is primarily launched by the artist and scientist as they take the role of project manager or coordinator. For example, Betty Beaumont took on this type of role when creating her work Ocean Landmark. After being inspired by a team of marine scientists who had been experimenting to stabilize fly ash (a coal by-product found in sea water), Beaumont initiated the creation of an artificial coral reef formed from 17,000 fly-ash blocks that were submerged 70 feet beneath the ocean’s surface, three miles off the coast of Fire Island along the Atlantic Continental shelf. In this ambitious endeavor, Beaumont collaborated with scuba divers, biologists, chemists, oceanographers and engineers to create the reef. To record the process, so that the public could view the reef being created, Beaumont worked with technicians who recorded echogram images and sonic recording of the fish. The number of people involved in the project gave the work an expansive presence in both the fields of science and art. Creating the artificial reef brought benefits, including the revitalization of the Long Island fishing industry that was prompted by the rebuilding of a spawning habitat for fish; and increased public awareness of the damage that over fishing and waste dumping are 26 causing to coastal wetlands (Spaid 73-74). Beyond these three examples, collaborations can take many divergent paths, but the overall beauty of all of them accrues from their effectiveness at merging two fields to create an interdisciplinary genre. As artists and scientists work together to mold an art genre that sparks interest in both the process and theories of science, so the voice of science can become more widely known. Scientists are currently awarded for the articles they publish and their findings, but they can now be rewarded in another way; they can be rewarded for their collaboration and their contributions to a public artwork. Intertwining artistic vision with scientific knowledge is not an easy task, as it requires dedicated collaborators willing to publicly expose their selves and their work. Putting work out into the public will leave collaborators vulnerable to public scrutiny, but this challenge that must be taken. As artists and scientists begin to collaborate with the common goal of presenting ocean science, it will be come evident that endless possibilities will develop. Coastal public art spawning from the blending of conceptual art and science After coordinating collaborations between artists and scientists the next step is to ensure that art and science visuals operate cohesively. Coastal public art will neither lean heavily on the mimicry of scientific didactics, nor on modernist art forms that are grounded in a critique of art. It will blend art and science by presenting scientific process, protocols, artifacts and phenomenon through the nature 27 of art. While conceptually imagined, it will be driven by the science. The effectiveness of the work will depend on how these two parts intermingle and this is thus the challenge. To clearly explain what I refer to here, I will discuss a work that fall short of the expectations of coastal public art by relying rather too heavily on narrative design, in comparison to a conceptual public sculpture. I will then describe a work that successfully harmonizes the visuals of art and science in the manner that I described above. A topic of discussion that was brought up when I attended the “Science Research and Exhibitory Retreat” held by CoSEE West at the Cabrillo Marine Aquarium on February 12 th , 2007 was that scientists don’t always have the facts, but they do have a good picture of what is going on. Because science is evolving and changes all the time nothing is directly concrete. This idea is something people have difficulty understanding. The perception of science is that it contains the facts and the answers to life; we turn to science in order to understand the world. But just like art, science is organic and thus presenting science through art will make people more aware of the evolving nature of science. Coastal public art will provide science with a new language that will provide science with a new language enabling the public to better engage with scientific ideas and data. This will assist in presenting ocean science to a broader demographic as it will stray from typical scientific jargon and offer a more sensorial experience of the information. Art can make science more real and more relational to people’s personal lives. Because art is subjective having science presented in this manner will 28 thus allow it to become humanized. Outside the Aquarium of the Pacific is a mosaic tile fountain, entitled Rios de la Vida, which depicts the story of Los Angeles and San Gabriel Rivers. It represents the flow of water through watersheds from the mountains to the sea and the wildlife that calls this natural resource home. The vision statement for the project is, “To create an exhibit that will tell the evolving story of the changing relationship of people within the San Pedro Bay drainage basin and their environment- the terrestrial ravine, and coastal ocean” (Schubel). The goal for this project is seemingly similar to the mission that is set forth for coastal public art, but the work that was created does not embody the genre that I am stressing. Rios de la Vida relies so heavily on its design components that the work operates only as a narrative didactic. This is not to say that the work is not aesthetically appealing or tastefully designed, rather I am more pointing to the fact that it does not embody layers of meaning beyond those it sets forth visually and literally. The fountain and the information boards surrounding it operate successfully as informational objects that teach people about their watershed system, while explaining the impact that humanity has on this delicate ecosystem. But herein lays the problem. To reach the general public the information needs to be more than informative, it also needs to stimulate emotions. Artist Judit Hersko believes that the mind and body have polarized within the human psyche. In addition, being constantly fed so much information as we are in this ‘Information Age’, can cause desensitization to ideas that are trying to reach people through their 29 intellect. The alternative to this is to try and reach someone through their senses, or their emotions. Hersko believes that artists can create sensorial experiences for people to be drawn to, and into (Hersko interview). It is art, as Hersko has indicated, that will reach people through their senses and impact the ways in which people perceive the environment. Art is a unique form of communication that has the ability to touch souls and egos. This belief is held by many artists in addition to Hersko, including conceptual artist Helen Lessick who feels that “Art is a good way of increasing sensitivity and getting information out about the environment” (Lessick). Public art can inspire people to start looking at the environment in new ways and, as people begin to investigate the environment on this new level, so it will become more personal. As the project assessment report declares, Rios de la Vida might be successful in making “a significant contribution in educating Los Angeles and Orange County residents about the open spaces in our urban habitat as well as increasing their appreciation of their watershed and their understanding of the water cycle” (Schubel). However the project still lacks an important element that I anticipate coastal public art will emphasize. Coastal public art will dig into the emotional subconscious and reach the psyche. It will stray away from narrative design and instead it will build complex narratives through layers of connotation. It will bring together the emotional, sensorial, and intellectual in order to stimulate people to consider their relationship with the ocean in many ways. It is this element of the work that will also separate coastal public art from 30 environmental activism. One of the most magnificent things about art is that it does not have to be straight forward as the information presented by such efforts as Heal the Bay 2 or the Thank You Ocean Campaign 3 must be. It is necessary that these groups present clear, precise, and informative messages. Coastal public art does not have to operate in this way. Successful public art projects are like an onion that has many layers and, as one experiences the works, so they start to peel off the different layers. The more one thinks about the work the more the different, subtle, or less obvious elements of the work that the artist has implanted are revealed. The beauty of this is that people do not have to take in all the layers at once; the work will unveil itself over time. Another quality of coastal public art that will make it effective is that it will consider all viewers. The work will not conform to safe aesthetics that everyone is comfortable with, but it will recognize that it exists in spaces where people of all ages and cultures, educational and economic statuses can participate in the experience. To do this the art form will be layered with a combination of conceptual and informational visuals for people to engage and interpret. For coastal public art both the artwork developed by the artist and the scientific information provided by the scientist will be present in the final form. 2 Heal the Bay is an environmental group that was started by a small group of people who were simply concerned about the health of the Santa Monica Bay. The group is based on community initiative to oversee that Santa Monica Bay is a safe place for both marine life and humans to enjoy. For more information visit: http://www.healthebay.org 3 The Thank You Ocean Campaign developed in 2006 as part of the California Public Awareness Campaign set forth by the state government. It was developed in order to instill in Californians a sense of personal connection and responsibility to our ocean and coast. For more information go to: http://www.thankyouocean.org 31 A public artwork that is in dire need of diversifying its aesthetics is Michele Oka Doner’s Wave and Shell Obelisks, which I introduced in the previous section. When encountering the two sculptural forms for the first time it is difficult to grasp their complexity and even over time these forms can remain somewhat mysterious. As the obelisks stand now they are simply objects to observe, but if people were made aware of the science that was required to create the two obelisks, the work would become more engaging and even educational. The general public is interested to know how it took three years to grow the obelisks underwater and, through knowing this, they will develop a more profound relationship with the work. It is valuable for people to be informed about the process of mineral accretion and the ways in which it is being used around the world as a conservation method. To do this, I suggest that an informational didactic should be placed in close proximity to the work; not so close that it detracts from the overall minimal ocean- framing composition of the two obelisks, but within proximity. As Doner states in her proposal for the project “the work visually speaks of the ocean before them, its life and texture, ebb and flow.” Yet, it also speaks to a scientific process that mimics the natural course of calcification and it is important that the public has access to both of these components of the work. In comparison to the two works I have just described, a project that successfully includes scientific facts and the beauty of art is Hersko’s exhibition Shifting Baselines, which developed out of Hersko’s collaboration with Victoria Fabry, as I have explained previously. The primary components of this exhibition 32 included three conceptual pieces developed by Hersko, presented in a dimly-lit room. All three of these works allude to the implication of carbon dioxide emission and ocean acidification, but each has a different set of metaphors that can be pieced together to connect this phenomenon to people’s personal lives. The first piece “Seven Days of Dissolution” presents seven small tanks that hang on the stark white wall. Within these tanks are dark colored sea fan coral that are being engulfed by capiz shells in the shape of a heart and a lung. In the corner of the room there is a cylindrical tank filled with carbon dioxide connected to a long tube that runs along the smaller tanks slowly injecting them with carbon dioxide. The effects that carbon dioxide has on the growth of marine shells and corals, as well as on people’s vital organs, becomes apparent as the calcified form is in full shape in the first tank, but begins to diminish tank by tank until there is only the reminisce of this form in the last tank. Bringing awareness to this process leaves people questioning the effects of ocean acidification. If this phenomenon is not slowed or reversed what will become of our delicate ocean’s biodiversity? 33 Fig. 1: Hersko, Judit. “Seven Days of Dissolution”. 2006. © Judit Hersko. Photographed by Robert Steinberger. Fig. 2: Hersko, Judit. “Seven Days of Dissolution” Detail. 2006. © Judit Hersko. Photographed by Robert Steinberger. 34 Hersko provides a theorized answer to this question with her second piece entitled “Winners or Losers?” This work alludes to what marine biologist believe will happen if ocean acidification keeps occurring. It is predicted that, as the desirable species are stripped out, what will be left are the hardiest species, such as jellyfish and bacteria (Olson). Thus, Hersko has assembled two large circular tanks holding translucent jellyfish that represent the winners, as they are the ones who are not being affected by the climate change and are still prevailing. Projected onto the jellyfish tanks is Nicholas Roeg’s film “Insignificance”. On one tank the film runs in forward motion, while on the other the film runs backwards. Hersko points out that the title “Winners or Losers?” connotes the question, “In the end, who are the winners in a destructive cycle … when everything is eventually destroyed?” (Hersko Interview). Fig. 3: Hersko, Judit. “Winners or Losers?” 2006. © Judit Hersko. Photographed by Robert Steinberger. 35 Fig. 4: Hersko, Judit. “Winners or Losers?” Detail. 2006. © Judit Hersko. Photographed by Robert Steinberger. In “Seven Days of Dissolution” and “Winners or Losers?” Hersko ties art and science in with ocean acidification and human issues, and she does this even more so in her third piece “Huzmer”. This piece alludes to the ways in which consumerism is contributing to the phenomenon of ocean acidification. Along the gallery wall there are a set of tiny Hummers formed out of capiz shells. At first glance the small objects are intricately beautiful, yet as people start to consider what the popular oversized vehicle symbolizes and start to make connection between the other works in the exhibition, so the underlying connotations of the work begin to reveal themselves. As Hersko states, she likes to create installations because the different elements of 36 the show can play off each other, relating to each other in various away or not, allowing viewers to make their own conclusions. Fig. 5: Hersko, Judit. “Humzer” 2006. © Judit Hersko. Photographed by Robert Steinberger. The success of this exhibition is a result not only of the three works I have described, but also of what existed in the adjacent room. While developing the conceptual vision for her show, Hersko had two of her students, Eric Gompper and Jody McCoy, work with her on developing two other components of the exhibition, which would inform viewers of the facts about ocean acidification. The result was two tastefully designed posters encased in plexi-glass, which acted as informational didactics for viewers to better understand the process of ocean acidification, as well as its causes and effects. There was also a video that depicted coastal and marine 37 images overlaid with text that questioned people’s relationship with this environment (Hersko “Artist Statement”). The two rooms stood as separate works, but they also informed each other. The information presented in the didactic panels provided the foundation for Hersko’s work, while Hersko’s work made the information on the panels more personal, more sensorially stimulating, more complex, and more holistic. The juxtaposition of the purely artistic forms created by Hersko and the tastefully designed informational panels allowed for the evolution of more metaphors than each alone could conjure. Hersko points to this jiving of art and science in her artist statement: “The goals of the projects were to disseminate scientific information and to further build on my interests in using scientific effect to express broader metaphors” (Hersko “Artist Statement”). This duality of highly conceptual artwork juxtaposed next to sensitively designed informational artworks is what makes this exhibition so successful. This is, however, not the only way in which these two visual forms – the fine arts and design - can come together; it is only an example of one way in which an artist decided to choreograph the blending of scientific information and her art forms. As artists and scientists work together they will discover new ways to accomplish this end. Scientists have a desire to present their research and their findings with clarity and informational didactics will serve this purpose. On the other hand, conceptual artwork is able to reach viewers through their senses, allowing the science to embed itself into the subconscious on a more spiritual level. Such interplay of scientific 38 information, balanced by the metaphorical and conceptual forms of art, will provide the grounding for coastal public art. The utilization of and experimentation with new media and technology The innovation of coastal public art will spawn as artists use new media and technology to merge science and art. Using new technology and media will detour coastal public art away from pure representational, and enable it to be more experiential and interactive. New technology offers playful, visual, and sensorial ways to present ocean science. Louise Poissant, the editorial advisor of the magazine Leonardo, describes the role of new technology in society when she claims that society is moving towards a global media ecology where “technologies are no longer reduced to tools of environmental transformation: they have become the very environment. They determine our sensory apparatus and our exchanges with the environment and with others- in short, our way of being” (180). One of the main reasons numerous aquariums and Sea Worlds successfully engage audiences is their use of new media and technology. They provide multi- interactive and entertainment experiences that capture audiences’ attention and intrigues people from all over the world to come and see their exhibitions. Coastal public art should consider this mode of engagement selectively. Coastal public art can look to the interactivity of aquarium exhibits and the essence of spectacular productions produced by Sea World for inspiration. However, in the end it should not replicate these forms, but hybridize them. 39 Similar to how aquariums integrate audio, visual, and tactile components in their exhibits, coastal public art can intertwine sound, visual, and tactile elements. The experience of watching the marine specimen within a representation of its natural habitat, while learning about the specimen from an instructive video, and having the choice to read about the specimen, stimulates all senses. This experience allows people to have an experiential and educational encounter with ocean science, while also giving viewers a variety of optional ways to engage. For example, if viewers do not want to stand and read a didactic, they can listen to a somber male voice describing what is displayed, or they can simply watch what is being presented on a video monitor. The power of a sensorial experience is expressed in the theories of environmental behaviorism. In his book Creating Architectural Theory: The Role of the Behavioral Sciences in Environmental Design, Jon Lang introduces the theories of environmental behaviorism and points out that, just as our experience within a space influences where we pay attention, so sensorial experiences shape people’s perceptions of the world. Through experiences consequently, people will come to discover what is important to them (90). The experience of encountering coastal public art should be able to engage people with ocean science, so that they develop more personal relationship with marine and coastal ecosystems. Utilizing new media and such technology as the interactive video that is found in aquariums could enhance this experience. Stimulating all senses will create an experience that is engaging and influential for multiple types of audience members. 40 The sensorial experience of an aquarium is magnified by what one encounters at Sea World. Sea World’s use of new media and technology grabs the attention of viewers who thrive on being entertained. With annual revenue of close to $1.9 billion and a chain of marine mammal parks in the United States, the Bush Entertainment Corp., the owner of Sea World, has the resources to embark on ambitious entertainment projects that draw visitors from all around the world (“Sea World”). Their most recent addition to the park, the Shamu show Believe, is an example of their use of entertainment to attract the masses. The show consists of a technologically innovative stage set that includes four revolving LED screens, thunderous music amplified throughout the stadium from the latest surround-sound system, not to mention a freshly choreographed killer whale performance; all of which contributes to a truly spectacular experience that grabs viewer’s attention through multiple sensorial stimuli, thus captivating the masses (Sea World). Yet, the show is so hyped up and dramatic that the only thing people leave the stadium with is awe. A common reaction to the show is “wow that was amazing!” There are not many people who leave the stadium feeling that they have learned anything about these magnificent animals, other then that they can create a big splash or eat a lot of fish. The Believe show sets Shamu on a pedestal just like an object purely meant to be looked at, thus people’s relationship with these animals is described as distant. In this way an abstract relationship is perpetuated, in which marine life is nothing more than a collection of foreign objects. Only their trainers 41 really relate to these animals, understand them, and dedicate their lives to them. While it would be impossible for everyone to have a deep connection with these animals, people’s relationships with them should be more real and natural than the distance stimulated by Believe. In contrast to the Shamu show, coastal public art can have more – and more beneficial - impact on people’s relationship with marine life than spectacular shows such as the ones at Sea World. Coastal public art will make the viewer’s interactions with and responses to these animals real – not phantasmal. Coastal public art will ask questions that will intrigue people to learn more. It will not leave them in a blank slate of awe, but will instead evoke layers of epiphanies. Coastal public art will not completely ignore the spectacular feelings that Sea World is able to spawn either. Coastal public art will learn from the ability of such spectacles to captivate an audience, while always keeping in mind that attention, once captivated, need to be directed. The beauty of coastal public art will be its ability to a balance between the subtler and the more grandiose. When discussing the possibilities of how to introduce ocean science to the public, Megan Bailiff pointed out that ocean science should be presented in an entertaining manner. She stated that people are more interested in being entertained then being taught, thus educational messages should be conveyed through entertainment, so that the educational component becomes captivating. Bailiff feels that Sea World has been able to accomplish this goal and grab the attention of the masses. However, she feels that Sea World needs to consider sending out an 42 environmental message. Because the Shamu show grabs the attention of so many people, Sea World should take responsibility for educating people about the reality of species endangerment and habitat destruction (Bailiff). Bailiff’s viewpoint brings up a good question: should art be entertaining, so that it can captivate an audience in order to educate people about ocean science? This is a question that artist Dan Corson faced when he created his temporary public artwork Skagit Streaming in Seattle, Washington. Corson believes that “art can be entertaining, but it is not solely entertainment” (Corson). He feels that art is not intended to entertain an audience, but to entice viewers to pay attention to the simple beauty of nature. Through Skagit Steaming he applied this methodology, allowing “the quiet sequences of time … reveal their own secrets and provide a sustaining energy of its own” (Corson). It is this contemplative quality that separates art from entertainment and allows it to find its way into the subconscious. Corson believes his work is able to present nature’s beauty through the silent sequences of video, and that this imagery has enough energy to be appealing, revealing its secrets over time; an idea of which coastal public artists will be conscious (Corson). As I describe Corson’s project Skagit Streaming it will become more evident how his work is able to play along the border of entertainment, while being grounded in the artist’s objectives. The idea for Skagit Streaming sprang when Corson saw a video in the System Control Center of twigs floating along the Skagit River while he was the artist in residence at Seattle’s City Light (SCL). The preliminary purpose of this video was to assist dam operators, who are hundreds of miles away, to measure 43 the level of discharge at the Ross, Newhalem and Gorge Dams and to make sure that the dams have not burst. Corson then discovered that this video was being fed from the Skagit Hydroelectric Facilities to various administration and operating locations in the city via a new fiber optic cable that runs on top of the power lines and connects to the city’s communication system. When Corson discovered that this connection could pick up imagery of the Skagit River and could be viewed in downtown Seattle, Corson asked if some of the fiber space could be used for his artwork (Corson). Fig. 6: A. Corson, Dan. Skagit Streaming. Seattle, Washington. 2006. © Dan Corson. http://www.corsonart.com/gallery/album06 Corson’s information source for this project - Laurie Geissinger of the Environment and Safety Division at SCL - explained that SCL has put energy toward the protection of salmon habitats and natural water flow at the forefront of their policy decisions. With this in mind, Corson’s project began to develop with the 44 intentions of showing the public that SCL successfully sustains the natural populations of salmon, while also connecting Seattle’s urban population with the natural cycles of the river that often go ignored (Corson). The project provided a window into the Skagit River through five fiber optic cables that stretch to Seattle’s hydroelectric facility – 150 miles away. There were three video images. The creek side camera provided a static shot of the flowing river, reeds, trees and the creek side animal activity. The fisheye camera, which was hidden in an artificial boulder, captured the underwater activity of flowing water, debris, and fish. The third camera, which had a microscopic lens captured the microscopic life in the river. The first two cameras were streamed live, while the microscopic camera had to be pre-recorded and then edited into the video feed to ensure that the most interesting footage was being shown. Having three different perspectives of the river shown in one to two minute rotations provided three views of the river – each telling a slightly different story (“Skagit Streaming”). The recorded video signal was sent via the fiber optic channel to various buildings within the city, including being projected onto a 34-foot by 40-foot screen, which was mounted on the west side of the Bon Marche parking garage in downtown Seattle. The rotating live images could also be viewed around the clock on a webpage, which also included a description of the project and links to information on salmon (Corson). 45 Fig. 7: B. Corson, Dan. Skagit Streaming. Seattle, Washington. 2006. © Dan Corson. http://www.corsonart.com/gallery/album06 Fig. 8: C. Corson, Dan. Skagit Streaming. Seattle, Washington. 2006. © Dan Corson. http://www.corsonart.com/gallery/album06 46 Corson recognized that live web cams were becoming extremely popular in America and saw how this new technology could intrigue a techno-savvy public audience. The project might disguise itself as a familiar technological trend but Corson is quick to point out that there are “a few twists that elevate the work” beyond what is found on TV or Internet. The “project aspires to connect the downtown urban core with the source of its electricity and quiet cycles of nature”, while at the same time act “as a sort of ‘canary in a coal mine’ allowing the salmon to be an indicator for the health of the region … and ultimately us” (Corson). Having the live food chain projected on the side of a major department store’s parking garage, at a busy intersection, adds another layer of meaning to the project. For the imagery draws viewers closer to the totality of nature’s life cycle by bringing it into the domain of urban civilization. Corson describes the project in his artist statement as being “a natural oasis in an urban corridor.” The projection transforms a very rigid building into a serene natural landscape, and thus plays with the layers of metaphor in a non-didactic way. It reminds people that humanity does not stand separate from this nature and encourages people to reflect upon their own life through both micro and macro lenses. Embedding the Skagit into a common urban space on a daily basis allows for it to become engraved into the community’s consciousness. This phenomenal experience could have further engraved itself into the community, but unfortunately the project was only temporary. According to a City of Seattle press release Skagit Streaming was originally planned as a permanent 47 public artwork. Unfortunately, the project was being completed at a time when Seattle’s City Light was cutting back on its own energy use and asking customers to do the same. This energy crisis reduced the times the projection was screened and eventually lead to its de-installment (“Skagit River Flows”). Another element that makes Corson’s work so successful, and runs parallel to the ideas presented in the previous section of this thesis, is its lack of an environmental message through didactics or a distinct message. Rather, Corson uses imagery, time, and site to allude to messages that he had in mind when he began developing the project. This tactic is successful in getting people to think about their relationship with the environment because it demands that the viewer analyze and question what they are observing and experiencing. The processing required for this type of work is just like being asked a question in a classroom setting. When people are asked to articulate the answers to a question they are more likely to process and fully comprehend the concept concerned, rather than if it is simply being preached. It is important to note that this work would have not been possible without Corson’s other collaborators. Key players include Technical Video Consultant, Steve Monsey and Project Communication Engineer, Mike Losk. Monsey had worked with Dan before on several high tech projects and for this project designed the complex internal video system and helped piece the technical side of the project together. Losk, SCL’s engineer, designed the system that brings the live video from Skagit to Seattle using SCL’s existing fiber optic communications systems. Through these collaborators and Corson’s imagination, the fiber optics that were initially to be used 48 to improve communications for SCL’s employees became a work of public art that provided the entire community with a new mode of interacting with the Skagit River (City of Seattle “Key Players”). Corson’s work is a perfect example of ways in which artists can use new media and technology to create an experience for members if the public. His work sits on the border of the grandiose entertainment that Sea World exhibits, while it is also grounded in the metaphors to which that it alludes by its placement, scale, and content. It does not mimic the multi sensorial experiences that aquarium exhibits provide, but it does begin to head in that direction through its interactive website. All said, Corson’s work leads the way for the strengthening of people’s relationship with marine and coastal ecosystems via the integration of new media and technology into coastal public art. The value and benefits of existing in public spaces Most importantly coastal public art will exist in public spaces. Existing outside institutions and organizations, coastal public art provides people the opportunity to spontaneously interact with ocean science. As it embeds itself into public spaces within coastal zones, so it will reach people who directly have an impact on this space and yet are not associated with or interested in the science field. The work is not limited to the coast or coastal zones, but it is important that it initially develops within this space. In the following section I will delineate the reasons why coastal public art should occupy public spaces within coastal zone 49 communities and describe the benefits of expanding ocean literacy in this way. To expand ocean literacy, the target audience needs to be expanded to include a larger demographic. Currently ocean science exists in literature, on the internet, in formal and informal institutions. As the people who access the information provided by these sources are already associated with ocean science because of their avocation or vocation, these people are already invested in protecting marine and coastal ecosystems. Yet everyone is impacting oceans and thus, there needs to be a way to present ocean science to a broader audience. To reach people of all ages, diverse backgrounds and interests, ocean science needs to permeate public spaces within communities where both community members and visitors will come in contact with it. As a result, community members who are invested in the place will take initiative on a community level to protect their coastal ecology and hopefully beyond; while visitors will be inspired to consider their relationship with this site, consider changing their actions in order preserve this environment and share what they have learned with their own community. None of this will happen without an innovative strategy to decide where the artwork will exist. There are two requirements that must be considered when deciding what public spaces the work should permeate. It should be placed within highly popular and well-visited public spaces, such as main community thoroughfares, city centers, malls, boardwalks, store fronts, etc. These spaces are places where people are usually leisurely visiting, so it is more likely that they will take the time to engage with the things around them. The work should also exist in 50 spaces where people will view it during their day-to-day commute, such as billboard locations, store facades, or on the side of freeways, etc. This will allow people to repeatedly encounter the work as thousands of people pass through these spaces on a regular basis. The benefit of expanding public exposure in this manner will be an increase in the visibility of ocean science, which will open up the possibility for people’s perception of marine and coastal ecology to change. Dan Corson’s work Skagit Streaming, described in the previous section, is a good example of the kinds of placement and visual impact that coastal public art should mimic. Corson placed his work in several locations within the downtown urban environment of Seattle, Washington. Having three views of the Skagit River projected on the downtown parking garage gave both drivers and pedestrians the opportunity to randomly encounter the work repeatedly. The same visuals were also presented on a smaller scale on TV monitors placed throughout various administrative and operating locations in the city. Coastal public art should also exist in multiple places within the community and if possible on different scales, such as Corson has done here. It is also important that the work is related to or reflects the site and community in which it is placed. Corson’s work does this by presenting the natural ecology of the Skagit River, a very valuable resource for everyone living in Seattle. Similarly The Map project developed by Friends of The Map, which is located adjacent to the boardwalk along the La Jolla Shores beach in San Diego, California. The Map is a lithocrete mosaic map that represents the La Jolla Shores reserve, 51 which exists right offshore. When viewers stand looking down at the map facing the ocean they are introduced to what exists under the water directly in front of them. The Map teaches about the bathymetry of the underwater canyons, the marine life, and the dive sites that exist in the reserve. By directly referencing the coastline of the La Jolla Shores community, the work’s conservation content becomes more personal and real to the observer. This direct association with the site makes both visitors and locals more aware of the valuable resource that exists in this community. Fig. 9: The Map. 2006. Photographed by Don Blach. © Don Blach. When the work becomes a part of a community it also becomes a community issue. The main problem with the current ways in which environmental messages are presented is that people can dissociate accountability and pass on the responsibility of caring for oceans. A way to ensure that this does not happen is to disperse the 52 significance of the work on a local and community level so that the message becomes more personal. The goal is to make the content tangible enough and small enough that that people will relate to it. If coastal public art occupies community spaces and directly reflects the community in which it exists, it will become more personal. Having coastal public art exist in a public space such as this, will not only engage viewers once the work is erected, but also while it is being developed. When the creators of coastal public art inform members of the community of the project, the work will attract a group of supporters and advocates who will believe in what the work stands for, thus spreading ocean advocacy throughout the community. This is what makes The Map project successful. The Map involved the community from the very beginning of the design phase and will continue to involve the community once the project is constructed. The Map was first imagined by project manager Mary Coakly after coming upon a map of the La Jolla Shores canyons in a local dive shop, just down the street from the Shores. She quickly discovered that the shape of the shore and the underwater canyons aligned perfectly with a plot of land between the newly designed public restrooms and the children’s playground along the boardwalk. It was difficult to grow vegetation on the site because it is one of the main access ways to the beach, and Coakly saw it as a perfect location for The Map. In order to move forward with her idea and create a physical public artwork, Coakly brought together community leaders to form a group, who have come to call themselves Friends of the Map. This group includes many local experts who are 53 involved with several community entities, such as the Birch Aquarium, the La Jolla Shores Association, San Diego Coast Keeper, the Surfrider Foundation, scientists and graduate students from Scripps Institute of Oceanography, local scuba diving organizations, and dive instructors. Involvement from a broad range of community members has allowed the project to gain attention, engender community support, and initiate conversation about ocean science throughout the community (Coakly Interview). Furthermore, the 150-plus people who have been involved in the development of the project have also contributed to initiating conversations about the project and what it stands for. Spreading the word about the project is a very important component, as it develops a network of conversations, which are dispersed out into the community and adopted by different people. As it reaches different people, so the conversation often drifts away from the project and develops a life of its own thereby having a ripple effect. Ideally, it can reach several different networks, thus strengthening many people’s relationships with marine and coastal ecosystems. In the case of The Map, the main objective of the project is to “raise awareness of the ecological reserve in order to encourage people to become stewards of the area” (Coakly “The Map”); and because of the network of conversations between community members, ocean awareness is spreading throughout the community. Like The Map coastal public art will initiate conversation within a community engendering a network of conversations that extend beyond the 54 development of the work. Through such development coastal public art can become a permanent or semi-permanent educational tool for the community. As coastal public art invades public spaces within coastal zones, so it will become an evocative destination point for schools and other programs within the community for field trips. As local schools have been informed of the project and shown interest in using the map as a launch pad to discuss ocean science, so The Map has taken on just such a role as this. According to Coakly The Map will continually be used by local schools, Scripts Institute of Oceanography and the Birch Aquarium as a way to engage students and other visitors in understanding ocean science (Coakly Interview). Having coastal public art exist in public spaces allows the community to take ownership of the work and thus adopt it in the manner that the San Diego community has adopted The Map. The location of the work and its reference to its specific site play important roles in determining the project’s impact, for viewers associate the work with the marine and coastal ecosystems directly in front of them. Such placement allows the ideas presented to become more relatable to viewers, who therefore are more likely to remember the work’s form and content. Such placement also invites viewers to look at the space in a new way. As the environmental behaviorist Jon Lang states, “If the built environment does not afford a behavior, the behavior cannot take place” (104). If, for example, there are no recycling bins present on the beach, or for that matter no trashcans in close proximity, then it is most likely that people will not dispose of their trash properly and trash will end up on the ground or, eventually in 55 the ocean. In the same way, if no coastal public art exists along the coastline or within coastal zones, what is going to inspire people to look at the space differently? What is going to have people turn their attention away from day to day activities and make them consider their relationship with the ocean and effect upon this environment? When coastal public art is ensconced throughout public spaces it can provoke enough interest that people are inspired to seek out other ocean science resources within the community in order to learn more. Thus coastal public art will need to incorporate reference to such information sources as websites, aquariums, or environmental groups where people can find out more about the topics and ocean science issues at hand. This will not only lead people towards greater familiarity with ocean science it will also bring more attention to local ocean science organizations and institutions that have the pertinent resources and programs. Ocean science organizations are continually striving to expand their membership and aquariums are always looking to get more people through the door. Coastal public art will assist in these endeavors by informing both avid viewers and chance passers-by and inspiring them to seek out other ocean science sources. By utilizing coastal public art, institutions and environmental groups who are invested in disseminating ocean science beyond their current affiliates will be able to fulfill their mission. Both the fields of art and science need to expand their established audience and become more inclusive of all people from all disciplines to extend their practice. Initiating the creation of coastal public art will assist in this 56 endeavor. It will be challenging, but it will be an effective step towards expanding stewardship, support, and universal ocean literacy. 57 Chapter Five: Feasibility and Implementation An overview of the process to initiate coastal public art In this last chapter I will provide a step-by-step guide to initiating coastal public art. I created this guide as the first step in thinking about how coastal public art will be adopted by aquariums, environmental groups, government programs, and individual collectives. It is meant to be flexible so that each organization will consider adopting this plan into their programming. My hope is that as organization leaders read this section they will be introduced to the benefits of using coastal public art as a way to disseminate ocean science, and understand how it will become apart of their outreach efforts. Listed below are the procedures that an organization should take in order to develop coastal public art. I then describe each of these steps and what they generally entail. Because aquariums, environmental groups, government programs and individual collectives will need to follow these procedures according to their nature, I divide up the last part of this chapter to take account of these different entities. For each program I describe the benefits of adopting coastal public art into their programming. I then consider how the program can establish funding, determine the content of the work, initiate collaborations, and determine where the work will exist. This guide will assist in the creation of coastal public art throughout the California coastline. 58 Process: A) Establish Funding B) Identify the Science C) Initiate Artist and Scientist collaboration through: Meetings Workshops Art and science residencies Grants Informational database D) Involve the community hold community meetings inform schools and local ocean related venues promote work E) Determine and secure site(s) F) Design work G) Initiate construction of work H) Hold an unveiling Process Details: A) Establish Funding Each program will have its own resources to build from, but in general there are several ways in which all programs can fund the development of coastal public art. Once the basic idea for incorporating coastal public art into a program’s agenda has been established, the program should then start researching funding entities that 59 are interested in funding art, culture, environment, science and/or ocean issues. As the artist and scientist begin to develop the vision for the project then the process of requesting funding can commence. Funding options: - Government and foundation grants - Sponsorship from corporate or private companies - Community businesses - Independent donors B) Identify the science For each program there will inherently be current ocean science topics, issues, or research to inspire the development of coastal public art. The inspiration for the work does not have to be content based; it can also be based upon a broad range of options. It could develop out of the current technology that is being developed, for example, or a current phenomenon that is taking place, or simply from an educational message that needs to be shared with the community, such as urban runoff. Identifying the science that will be the project’s foundation will help establish the mission of the work. Of course, the manner in which this mission is carried out will be determined by the form that the project takes. However, by establishing a mission early in the project, the program will be able to ensure that its needs are met by its investment in coastal public art as a way to disseminate ocean science. 60 C) Initiate artist and scientist collaborations: As I have addressed in chapter four, coastal public art will develop out of artist and scientist collaborations. A program can coordinate meetings, host workshops, or establish an art and science residency program. Hosting such collaborations through a program will ensure that the artist and scientists not only have the resources to work together, but also the equipment, expertise, funding, and research that they need to begin a project. The goal is that through meetings, workshops, and residency programs, artists and scientists will have the opportunity to share ideas, carry out research, and design the foundation for creating coastal public art projects within their local coastal communities. In order to consider the needs and requirements of each of the program types that I have mentioned, I will describe the different methodology of choosing an artist and scientist team when I discuss each program individually. Meetings In order to ensure a successful collaboration the program should coordinate several meetings between the artist and scientist until they feel comfortable meeting on their own accounts. Coordinating meetings between artists and scientists will be a simple endeavor, however, it takes planning to ensure that the meeting is invigorating for both the artist and scientist. Collaboration becomes productive when both participants start to become familiar with the mission of the program. Important components to a successful meeting include: 61 - Explaining work and sharing examples of past work - Exchanging samples of work - Researching mission or topic together and exchanging findings - Introducing possible projects Workshops When a program wishes to have more than one artist and one scientist developing a project, they should consider hosting a series of workshops. Workshops will enable several artists and scientists to come together and develop ideas. The participants of these workshops will be those who will develop the coastal public art projects. Alternatively, these workshops could function as think tanks for initiating the development of ideas, while a few of the participants take the role of actually creating the work. As people contribute to the project vision, so this is good way to start imagining the possibilities of coastal public art. As example of such workshop practice is the “Science Research and Exhibtry Retreat”, which was run by CoSEE West at the Cabrillo Marine Aquarium in Los Angeles, February 12 th , 2007. The goal of the workshop was to prompt collaborations between scientists, educators, exhibit directors, and designers. The workshop was run so that attendees listened to presentations given by information science center directors, exhibit designers, and scientists. After these presentations, nine groups were formed. Each 62 group had a scientist who presented their work, and the team worked together to come up with an exhibit model. They each come up with an exhibit that dealt with a timely issue, could be created within a six-month time frame, and had a limited budget. In less then six hours, each group came up with an innovative way to present the scientific topic. Workshops such as this are extremely valuable in making all participants aware of how important collaborations are, and how successful they can be. From this workshop connections were made, ideas were shared, innovative solutions to presenting ocean science were discussed and everyone at the retreat left with new ideas on how to improve their own current tactics for disseminating ocean science to the public. When workshops are held between artists and scientists who will work together to come up with new ways to disseminate ocean science innovative forms of coastal public art will spawn. Art and science residencies An art and science residency program gives an artist and a scientist the opportunity to collaborate on the program’s site. Establishing such a program will give an artist and a scientist the ability to interact with program staff and have access to their facilities and research resources. The artist/scientist team can therefore delve into the program’s mission and create a work that incorporates the program’s goals. 63 An example of such an art and science residency program is “The Synapse Art and Science Residency”, which is a national and international program managed by the Australian Network for Art and Technology (ANAT). The program grew out of an initiative called the Synapse initiative, which has been implemented by The Australia Council for the Arts to support creative partnerships between scientists and artists, science institutions and art organizations. According to the ANAT website the program “provides opportunities for artists to work with key areas of ongoing research and science expertise, whilst contributing to the creative needs of the science organization.” As ocean science programs adopt an art and science residency program, so they should look to this mission as a starting point. Another example of this type is the Exploratorium’s residency program in San Francisco, California. Through a fellowship program established by the Bernard Osher Foundation, every year, the Exploratorium hosts four to six outstanding people from the arts, sciences, and humanities to be in residence at the museum for approximately four weeks. Each of them works with Exploratorium staff to help formulate new ideas for education programs and exhibit projects, and add their expertise to ongoing projects within the museum. At the end of their residency they are required to give public lectures discussing their work (Exploratorium). Aquariums, environmental groups and government programs should look to these two programs as guides, with the recommendation that these 64 programs require that the art and science residencies produce a coastal public art project that reflects their findings while in residence. Rather then giving lectures, creating exhibitions, or writing publications, art and science residency programs should host the development of coastal public art that will extend the program’s mission and message out into public spaces. Grants If a program has the means to do so they should consider developing a “Coastal Public Art Grant”. The grant would be awarded to an art and scientist team thus providing the opportunity to develop innovative and experimental proposals. Such a step also enables programs to support a project, while not obligating them to provide other resources such as administrative or procedural support. Informational database As a program begins to develop coastal public art projects, so it will be necessary to establish an online database that exposes the work to online viewers. The database could be integrated into the program’s current website and could be a highlighted feature of the program’s outreach efforts. Developing such a database will also establish a network of artists and scientists who are interested in getting involved with such projects in the future. 65 Currently there are several databases that promote the collaboration of art and science, assisting in the development of this discourse. The following sites are a few examples: UCLA Art/Sci Center: http://artsci.ucla.edu/links.html Australian Network for Art & Technology: http://www.anat.org.au/ Synapse: http://www.synapse.net.au/ Art & Science Collaborations, Inc.: http://www.asci.org/ D) Involve the community During the development of the project, facilitators will need to work with the artist and scientist to determine how the project will involve the community. Often the nature of the project will determine how the community is involved. For instance, some projects might require that the community participates in the creation of the work, while others might develop on their own and only involve the community members as they experience the work. No matter how the work develops, informing the community about the project while it is being developed is vital to the project’s success. The following are a few tactics to use that will ensure that the community is aware of the project: - hold community meetings - inform schools and local ocean related venues - promote the work (press releases, postcards, radio broadcasts) 66 E) Determine and secure site(s) As I have proposed in chapter four coastal public art will first develop within coastal zone communities. How the artist and scientist imagine the project will determine the precise location of the work. However, the program should be available to assist the artist and scientist team in securing the site they propose. Securing a site will depend on the program’s presence within the community and the available resources. If coastal public art involves new media and technology, a site needs to be chosen at which the necessary power sources are available. If the project involves technology it should be designed to run from a power source that is controlled by the program, or from a source for which the program can negotiate. By, for instance, obtaining permission to use power from a nearby business, company, or city owned electric source and incorporating costs into the project’s budget. Placing artwork along the beach can be a challenge depending on the city and community in which it is created. In order to counteract this, it is important to gain community support and permission from community members who are invested in the chosen space. If the team chooses to create a work that will be on a beach that is not part of a public beach, but is lined with private homes or businesses, it is important to either receive permission from the owners or to consider another site. If the community is informed before the project, then people can express their support or opposition for the project, ensuring that members anticipate its infusion into the community. 67 F) Design work Designing the work will primarily be the job of the artist and scientist team; however, the program should establish a few deadlines for the team to present their designs to the program’s board, staff, and/or whoever will be overseeing the project. As a timeline for the project is established, so it should include having the artist and scientists present their preliminary design. At this time the program can then provide support to the team, if needed, or voice any major concerns that the program might have. There should also be a second meeting in which the artist and scientist team presents their final design for the project so that the program can provide any necessary support the team needs to enter the construction phases of the project. As I have mentioned in chapter four, coastal public art can involve new media and technology. During this preliminary design phase the artist and scientist team needs to work out the logistics of the media and technology that they wish to use. If possible the hosting program will assist in obtaining the necessary equipment. Furthermore the program should work out a maintenance schedule with the artist and scientist. If the project is temporary then the initial budget for the project should cover the costs, however, if the project is permanent than there should be a funding allocation for the project to be maintained over time. How the project will be maintained and who will maintain it should be determined during the initial design phases to ensure that the project is kept up and not abandoned. 68 G) Initiate construction of work If all the other steps have been performed diligently and the design for the project includes a blue print for construction, then the creation of the project shall simply be the artist and scientist team creating the work, while the program oversees the construction. If the project requires subcontractors then the artist and scientists can be in charge of handling these necessary procedures. While the work is being created, initiated, or constructed the promotion for the project’s unveiling should be set forth by the program that is hosting the work. H) Hold an unveiling An unveiling for the project is important for people to become informed of the project’s completion. It will commence the dispersion of conversations about the project, while further numbers of artists and scientists will be introduced to the possibilities of coastal public art. Such a ceremony will also promote and recognize the host program for its work. The specifics for each program to integrate coastal public art I have divided the following section into aquariums, environmental groups, government programs, and individual collectives. For each organization I introduce the benefits of adopting coastal public art into its programming and briefly describe what form of coastal public art would best suit the program. I then point out the specific ways each program can establish funding, identify the science, select an 69 artist and scientist team and determine a site. I divided this section in this manner, to correspond to reader’s interests. Strengthening the mission of aquariums’ through coastal public art Aquariums should adopt coastal public art into their programming for several reasons. First the coastal public art will support the aquarium’s mission and promote its institution. Most aquariums are looking for a way to get more people in the door and increase membership. Coastal public art can introduce ocean science in a way that will inspire people to want to know more. When an aquarium hosts a coastal public art project, the artwork will include information on where to learn more about the science by referencing the aquarium’s name, its website, and possibly a map. The Santa Monica Aquarium, located under the Santa Monica Pier, wants to raise public awareness of the aquarium and increase visitation. By hosting a project in the Santa Monica coastal zone, people will not only be intrigued by the work, they will also be informed about the aquarium’s existence and location. Being associated with the artwork will draw more people into the aquarium, while the work will also be a symbol for the aquarium’s dedication to sharing ocean science with the community. Coastal public art can be used by an aquarium as a field trip destination for the educational programs. By taking the science outside of the aquarium the educational leaders of the field trip can explain the artwork in natural and urban 70 environments, thereby teaching students that ocean science can exist everywhere not just in a class room, a lab, or the aquarium. Establish funding: One percent allocation: When an aquarium is built and the city requires that one percent of the capital improvement costs are dedicated to public art, the aquarium should consider allocating this one percent money towards developing coastal public art. Integrated into programming: Possible funding for coastal public art could derive from an aquarium’s communication or public relations department. It could be a program subsidized by the community through fundraising, or it could serve as a perk of membership donations. This type of funding will be easier for larger aquariums that have the resources to commission an artist and science team to create works that will exist outside their organization. For example, the Aquarium of the Pacific has strong support from over 37,000 donors, dedicated Board of Directors members, the Marine Conservation Research Institute Board of Directors, and Trustees of the Pacific (Aquarium of the Pacific). 71 For smaller aquariums that do not have abundant resources, the money to create coastal pubic art could come from the funding sources that I mentioned in the above guidelines: - Government and foundation grants - Sponsorship from corporate or private companies - Community businesses - Independent donors Identify the science: The science that the coastal public art project addresses will be defined by the aquarium, or by the artist and science team that the aquarium hosts. If the aquarium is struggling to get a particular message out to the public, or if there is a new discovery or new technology that they want to develop further, coastal public art can embody this science. Otherwise, the science that the work addresses will be the decision of the scientist that the aquarium chooses to create the work. There are opportunities for artists to be involved in the development of new ocean science technology. Yet artists and scientists are not always aware of the possibilities of collaborating, the resources, or means to initiate collaboration. Thus it is important for aquariums to initiate these collaborations. In 2006 the Santa Monica Pier Aquarium managed to build and operate a Remote Operated Vehicle (R.O.V.). The vehicle was designed and built by Aquarium Educator Nick Fash and Kurt Holland, a middle school teacher from Santa Monica Alternative School House and a 72 member of the Aquarium advisory board. The instrument had its debut during the Commotion in the Ocean event at the Santa Monica Pier Aquarium. The R.O.V. was built out of simple materials that can be found at local hardware and electronics stores for the cost of a few hundred dollars, and a submersible camera was added. Artists could be involved with such a project and could add elements to the development of the R.O.V (Fash). This type of experimentation and innovation is of great interest for some artists and is a good example of where collaborations will begin. Select and artist and scientist team: How a program identifies the artist and scientist will depend on what type of project the program wants to support, but here are a few options to consider: - Invitation: Invite an artist and scientist who are known by the community, or the program, or whose work reflects the issue that the program wishes to address through the development of costal public art. - Issue a Request for Qualifications (RFQ): A program can issue a RFQ that will invite artists, scientists, or artist and scientist teams to submit their portfolios. The program can then put together a selection panel that will chose an artist and scientist who will work together to create the artwork. - Issue a Request for Proposal (RFP): A program can issue a RFP that will invite artists, scientists, or artist and scientist teams to submit a proposal for a project along with examples of their previous work and research. 73 - Yearly Application: Programs could develop an application process that allows artists to submit proposals for projects once a year, for example the Exploratorium in San Francisco www.exploratorium.edu. Determine and secure site(s): The coastal public art hosted by aquariums should start by developing the work around the aquarium or within the community in which the aquarium is located. Awareness proliferation through government initiation of coastal public art When a city supports the creation of coastal public art they will be recognized not only for the development of a new and innovative art genre, they will also be recognized for supporting ocean science and being environmentally conscious. Coastal public art can stand as a symbol for the community’s dedication towards art, science, and the environment. Coastal public art will enhance a community’s identity by revealing its awareness of their marine and coastal ecosystem and dedication to protecting the community’s natural resources. A model for how government can support the collaborations between artists and scientists on a national level is The Australia Council’s Synapse Initiative. Funded by the Australian Government, the Synapse Initiative has been created to develop a grant program, establish art and science residency programs, and gather a data base that is an information network, which connects artists and scientists with 74 organizations and funding sources. Supporting art and science collaborations through these three methods has generated a nexus that is developing awareness and understanding of art and science practices throughout Australia (Australia Council). The grant program is supported by The Australia Council in conjunction with the Australian Research Council (ARC). The ARC is the primary source of advice to the Government on investment in the national research effort and thus oversees the grant application process. Artists and scientists submit their proposals to ARC, which then makes recommendations to The Australian Council. So far four projects have been funded. The art and science residency program also developed from a partnership. In collaboration with the Australian Network for Art & Technology (ANAT) the Australian Council put out a call for applications from Australian science organizations invested in hosting artist residencies and has received many responses. As a result, the ANAT has established four residencies in 2004 and three residencies in 2006. Their database is open to all artists, scientists and organizations to submit their profiles, contact information, project descriptions and imagery. Artists, scientists, researchers, curators, and industry workers through this database engage in dynamic collaborations and connections (ANAT). This initiative puts Australia in the forefront of establishing a progressive movement between art and science that will result in an innovative system of communication. Because the Synapse Initiative encompasses all sciences and all art, while what I have been discussing throughout this thesis is a more specific genre of art, it is not imperative to have an all-encompassing initiative to generate coastal 75 public art projects. I foresee coastal public art initially developing specific projects on the level of city and county governments. Establish funding: There are various ways that the government can support the development of coastal public art, yet there is one funding source that should be targeted. Circa 1950 cities across the United States adopted a one percent for art policy. Typically the policy is set up so that one percent of the total construction costs of a capital improvement project is put towards the commission or acquisition of artwork. The money allocated for art through a one percent for art policy is typically used by the developer to integrate public art into their development project or it is put into an arts fund that is overseen by the city. Therefore, there are two ways in which coastal public art can be adopted: 1) Coastal public art could be an option for a developer if they decide to create an onsite public art project. When developers are advised by the city on how to utilize the one percent monies towards an onsite public art project coastal public art could be presented as an option. In this case the developer would commission an artist and scientist team to design a coastal public art project, which is incorporated into the capital improvement project. 2) Coastal public art could develop out of the one percent for art program if the city commissioners defined a coastal public art project 76 as part of its art fund. The city could develop a program where a grant program or an art and science residency is established, coordinate meetings between artists and scientists, host workshops, or create an informational database. The structure of a program such as this will need to be developed by city staff. Identify the science: If the developer commissions an artist and scientist team to create an onsite public art project then the science should relate to the area surrounding the project. Typically the developer will commission a permanent project that somehow is incorporated into the architecture or the site and thus it is important that the project is specific to the site. When coastal public art is developed out of a city’s art fund, the project can take a range of forms and in this case the science will be decided by the scientist and artist team. Select an artist and scientist team: The selection process of the artist and scientist team will be similar to that which I have proposed for aquariums. The city should be in charge of organizing this process. - Invitation: Invite an artist and scientist who are known by the community, by the program, or whose work reflects the issue that the program wishes to 77 address through the development of costal public art. - Issue a Request for Qualifications (RFQ): A program can issue a RFQ that will invite artists, scientists, or artist and scientist teams to submit their portfolio. The program can put together a selection panel who will chose an artist and scientist who will work together to create the artwork. - Issue a Request for Proposal (RFP): A program can issue a RFP that will invite artists, scientists, or artist and scientist teams to submit a proposal for a project along with examples of their previous work and research. - Yearly Application: Programs could develop an application process that allows artists to submit proposals for projects once a year, as does the Exploratorium in San Francisco www.exploratorium.edu. When an artist and scientist are commissioned to create a work for a developer it is particularly important make sure that this team collaborates with the engineers and architects that are working on the project. Often when an artist is put onto a large team their contribution to the project is put as a low priority when it should be in the forefront and be a part of the development of the project. Determine and secure site(s): In the case that a developer commissions a coastal public art project the developer will decide the site for the work, while the artist and scientist team decides how their work will be incorporated into this site. 78 When projects are commissioned by the city the artists and scientist team will determine the site of the work, but they should consider utilizing city owned public spaces or other spaces that the city oversees. Environmental groups congealing their efforts through coastal public art Environmental groups should adopt coastal public art as a way to disseminate their mission and current message to the public. In particular they should develop temporary projects, so that the work can focus on the current or timely issues that the environmental group is addressing. For example, the Surfrider Foundation is currently fighting against the creation of a new toll road that will run through North County San Diego destroying San Onofre State Beach. This type of issue can inspire a temporary coastal public art project that will make people aware of this issue and the repercussions of building the toll road. Adopting coastal public art into an environmental group’s programming will make more people aware of the organization and will encourage people to join the group. Coastal public art is a way to get people interested in ocean science and the next step that one will take is to join a group that is currently taking action to conserve and preserve oceans. Coastal public art is a good way to recruit members, or at least get people to become familiar with the organization. It will engage people to become stewards of marine and coastal ecosystems and thus it should be adopted into an environmental group’s programming. 79 Establish funding: Funding for coastal public art should come from the organization’s promotion or public relations budget. As most environmental groups are non-profit organizations the following funding options could also available be sought: - Government and foundations grants - Sponsorship from corporate or private companies - Community businesses - Independent donors Identify the science: The science chosen for the coastal public art projects should be derived from the current issues being addressed by the organization. The manner in which this science is interpreted will be decided by the artist and scientist team; however, the underlying message of the environmental group will be the foundation for the work. Select an artist and scientist team: The best way for an environmental group to host artist and scientist collaborations is to hold workshops. Holding workshops will bring together members of the organization, artists, and scientists to brainstorm on what type of projects should be created to best fulfill the organization’s mission and message. From these workshops, artist and scientist teams can be formed and these teams can begin to develop the work. 80 Determining the site: The site should be determined by the area currently targeted by the environmental group. This could be the community in which the organization is working or a space that is currently under investigation due to environmental concerns. Building vital partnerships and powerful work through individual collectives The initiation of partnerships between artists and scientists can form a group that will work together on imagining, creating, and implementing coastal public art projects. A model group that had a parallel mission is Experiments in Art and Technology (EAT). EAT was formed in 1966 in the New York area by engineers Billy Kluver and Fred Walhauer and artists Robert Rauschenberg and Robert Whitman. The group’s mission was to bring artists and engineers together to work on creating performances and artwork that incorporated new technology. The initial group consisted of 40 engineers and 10 contemporary artists. In three years E.A.T. grew to a group that had over 2,000 artists and 2,000 engineers as members. Beyond this group there were also smaller E.A.T. groups of 15 to 20 who independently formed in communities all throughout the United States, in Canada, Europe, Japan, South America and elsewhere. As a result the organization initiated interdisciplinary events and projects and built up an extensive portfolio that included artists’ projects, proposals, reports, lectures, announcements, newsletters, information bulletins, and much more 81 (Kluver). Artists and scientists interested in the idea of creating coastal public art should come together and form a group that is similar to E.A.T. It can simply start through the collaboration between a few people and develop momentum as it brings in more members into its collaboration. Establishing funding: The group could start by seeking out private funding, but as they develop into a non-profit organization they could seek out the following funding options: - Government and Foundations Grants - Sponsorship from corporate or private companies - Community businesses - Independent donors Identify the science: One of the greatest benefits of establishing an independent group is that the topics that the artist and scientist teams choose to base their coastal public art projects on can be open ended. They will be able to experiment with ideas as they wish and can grow projects out of topics on which the scientists in the group are working. Select an artist and scientist team: The group that forms to create coastal public art could mimic E.A.T’s methodology to initiate art and science collaborations. E.A.T put together an 82 ongoing Technical Services Program that provided artists with access to new technology and matched them with engineers or scientists for one-on-one collaborations. They tried to have artists work with engineers in the industrial environments where the technology was being developed. The only difference for a group based on developing coastal public art will be that instead of pairing an artist with an engineer, an artist will be paired with an ocean scientist. E.A.T was a true catalyst for stimulating the involvement of industry and technology with the arts and just as E.A.T attracted this collaboration, I believe that an organization founded on partnerships between artists and ocean scientists would engender the same enthusiasm. The collaboration between scientists and artists could be managed in a similar manner to E.A.T but could focus its mission on developing coastal public art projects. These projects would be created independently, be proposed as temporary or long-term projects, and could even develop as large-scale public art projects. The benefits of being an independent non-profit organization would encourage experimentation and eliminate constraints that could incur if it were attached to a formal institution. Identify a Site The artist and scientist will determine the site at which they wish to create their work and they will be responsible for obtaining permission from the owners or overseers of the site. 83 Inspiring future perception and awareness of ocean science Coastal public art represents the future for the dissemination of ocean science. We are currently at a prime moment in time when communication strategies are changing, and developing a new model for communicating ocean science is imperative. Coastal public art will be this new model as it develops the qualities that I have identified. Creating work that embodies these criteria will generate environmental awareness. Coastal public art will disseminate ocean literacy by presenting ocean science in fresh and exciting new ways that combine the visual power of art with the powerful force of science. It will expand audiences beyond academia and communicate ocean science through many cultural facets, influencing people of diverse vocations to discover ways in which their actions and creativity will contribute to protecting and conserving marine and coastal ecosystems. It will encourage the proliferation of discussion throughout public spheres and engage people with scientific processes, research, and ethical issues surrounding ocean science; strengthening people’s knowledge and perception of the world, enhancing respect for marine and coastal ecosystems. The criteria set forth in this thesis are meant to inspire and not to designate. The goal is to encourage artists, scientists, public art administrators, academics and the general public to assertively delve into the development of a new genre with which to communicate ocean science. Humanity can no longer have a cautious voice when discussing the future of marine and coastal ecosystems. It is necessary that we 84 develop a more humanized and demanding voice and coastal public art is the tool that can do this. The possibilities are endless and, as the ideas presented in this thesis are shared with colleagues, friends and family, so coastal public art will become a reality. 85 References Australia Council. “Profile: Art/Science initiative – Synapse.” Arts in Australia. 2006. Australia Council. Massive Interactive. February 2007. <http://www.ozco .gov.au/arts_in_australia/projects/projects_new_ media_arts/synapse_ artsceince_intiative/> Australian Network for Art and Technology (ANAT). “Schools and Residencies: Synapse art and science residencies 2006.” 2006. 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Environment California. 2006. July 2006. <http://www.environmentcalifornia.org/oceans>. Exploratorium. “Opportunities for artists.” Exploratorium. Frank Oppenheimer. 2006. November 2006. <http://www.exploratorium.edu/about/air.html> Fash, Nick. “Exploring Plant Water.” 2006. Heal the Bay. October 2006. <www.healthebay.org/assets/pdfdocs/newsletters/2006_fall.pdf> 86 Gablik, Suzi. Conversations before the End of Time. New York: Thames and Hudson, Inc., 1995. Hersko, Judit. "Artist Statement." Shifting Baselines. 2006. December 2006. <http://www.judithersko.com/as/index.html>. Hersko, Judit. E-mail to Christine Decker. 19 November 2006. Hersko, Judit. Personal interview. January 6 th , 2007. Intergovernmental Panel on Climate Change. Climate Change 2007: Impacts, Adaptation and Vulnerability. Working Group II Contribution to the Intergovernmental Panel on Climate Change Fourth Assessment Report. Summary for Policymakers. Brussels: IPCC, April 2007. April 2007. <http://www.ipcc.ch/SPM13apr07.pdf> The Joint Ocean Commission. From Sea to Shining Sea: Priorities for Ocean Policy Reform Executive Summary. Washington, DC: The Joint Ocean Commission, June 2006. Kluver, Billy. "Experiment in Art and Technology." 2000. December 2006. <http://www.fondation-langlois.org/html/e/page.php?NumPage=306>. Lacy, Suzanne, ed. Mapping the Terrain, New Genre Public Art. Seattle, Washington: Bay Press, 1995. Lang, Jon. Creating Architectural Theory: The Role of the Behavioral Sciences in Environmental Design. New York: Van Nostrand Reinhold Company, 1987. Lessick, Helen. Personal interview. December 13 th , 2006. National Maritime Museum Press Office. “Your Ocean-A New Marine Environment Gallery at the National Maritime Museum.” Sea Britain 2005. September 2005. October 2006. <http://www.seabritain2005.com/server.php?show= ConWeb Doc.865> National Oceanic and Atmospheric Administration. "National Ocean Report: Ocean Policy and Action for the 21 st Century." 2 September 1999. October 2006. <http://www.publicaffairs.noaa.gov/oceanreport/education.html> Olson, Randy. "Environment: Slow-Motion Disaster Below the Waves." LA Times. 17 November 2002. sec. Sunday Opinion Section. 87 Pendleton, Linwood, Nicole Martin, and D. G. Webster. Public Perceptions of Environmental Quality: A Survey Study of Beach use and Perceptions in Los Angeles County. 26 January 2000.1-30. November 2006. <http://wrigley.usc. edu/ PDF/WebsterSurvey.pdf> Poissant, Louise. “The Encyclopedia of New Media Arts.” Editorial. Leonardo 3 Nov. 2006, Vol.39. Schubel, Jerry, Barbara Long, and Fahria Qader. Los Angeles Rivers' Watershed Forum Report. Aquarium of the Pacific, 2005. October 2006. <http://www.aopmcri.org/ com/article/ oid/7/ht/aquarium>. Sea World. “'Believe' Shamu show Fact Sheet." 16 May 2006. October 2006 <http://4adventure.com/SWC/ftp_press_releases_articles.aspx?ID=5>. 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April 2007. <http://www.ucsusa.org/global_warming/science/global-warming- faq.html> USC Sea Grant Program. “University of Southern California Sea Grant Program: Strategic Plan 2003-2008.” Sea Grant Program, Wrigly Institute for Environmental Studies, University of Southern California: 30 June 2003. November 2006. <http://www.usc.edu/org/seagrant/StrategicPlanner 0403.pdf>

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Asset Metadata

Creator Decker, Christine Ann (author)

Core Title Coastal public art: an innovative way to disseminate ocean science

School School of Fine Arts

Degree Master of Public Art Studies

Degree Program Public Art Studies

Publication Date 07/30/2007

Defense Date 05/01/2007

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag coastal public art,environmental fine arts,OAI-PMH Harvest,ocean science

Language English

Advisor Levy, Caryl (committee chair), Bray, Anne (committee member), Owen Driggs, Janet (committee member)

Creator Email cdecker@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-m726

Unique identifier UC1204173

Identifier etd-Decker-20070730 (filename),usctheses-m40 (legacy collection record id),usctheses-c127-534822 (legacy record id),usctheses-m726 (legacy record id)

Legacy Identifier etd-Decker-20070730.pdf

Dmrecord 534822

Document Type Thesis

Rights Decker, Christine Ann

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Repository Name Libraries, University of Southern California

Repository Location Los Angeles, California

Repository Email cisadmin@lib.usc.edu