{"id":295,"date":"2011-10-24T19:05:49","date_gmt":"2011-10-24T19:05:49","guid":{"rendered":"http:\/\/balance-unbalance2011.hexagram.ca\/?page_id=295"},"modified":"2011-10-24T19:05:49","modified_gmt":"2011-10-24T19:05:49","slug":"transdisciplinary-activities","status":"publish","type":"page","link":"https:\/\/balance-unbalance2011.hexagram.ca\/?page_id=295","title":{"rendered":"Transdisciplinary Activities"},"content":{"rendered":"

Do birds have a conductor?<\/em><\/strong><\/span><\/h2>\n

Catherine Bouchain & Christophe Piot<\/strong><\/span><\/p>\n

Abstract: \u00a0<\/strong><\/span>In one place, all the singing birds are male ; they use their song to try to drive the\u00a0other males out of the territory, at the same time attracting the females. Each song\u00a0must therefore be heard from as far away as possible and must also be recognized\u00a0by the males and females of the species. How to avoid all the songs getting mixed\u00a0up in a general cacophony where no-one recognizes anyone? In this context, is the\u00a0tree allied to the bird or does it hinder the propagation of the song?<\/p>\n

The composition of the soundscape can also be analysed as a succession of sound\u00a0events, the latter carry information and are thus going to cause reactions, influence\u00a0the behaviour of other birds (song, alarm or contact calls, noise of movement\u00a0indicating presence, …) This game of cause\/effect, question\/answer is also the\u00a0basis for the organisation of improvised music. Musical signals which allow\u00a0musicians to communicate and therefore to play coherent music together, without\u00a0following a score to the note.<\/p>\n

Examples to listen to, explanations, public participation, will guide us on the tracks\u00a0of a universal composer…<\/p>\n

Bio: \u00a0<\/strong><\/span>Catherin Bouchain:\u00a0Bioacoustics and musical illustration,\u00a0animator in science and nature.\u00a0University studies in Biology (Rennes\u00a0and Gabon), specialized in audio\u00a0communication in primates. Then\u00a0discovered the practice of sound and the\u00a0craft of sound editing in Sitelle. A degree\u00a0in multimedia design and construction\u00a0(Paris).<\/p>\n

The transmission of feelings that can be\u00a0in nature, especially the sounds,\u00a0motivates me and I try to awaken the\u00a0public to this dimension.<\/p>\n

Piot Christophe:\u00a0Drummer \/ percussionist, studied music\u00a0since the age of 6 years. Studies with\u00a0Yves Teslar to CIM, Peter Erskine\u00a0(master class), studied Afro-Cuban\u00a0music in France and Cuba (Olivier\u00a0Congar, Alberto Villareal, Panga,\u00a0Availles Armando, Ernesto Gatel,…).<\/p>\n

Fascinated by the rythms of all kinds, he\u00a0is actively involved in many projects jazz,\u00a0chanson, world, trad …<\/p>\n

—-<\/p>\n

Bio.mythic Beings in a Biological World<\/em><\/strong><\/span><\/p>\n

John Cimino<\/strong><\/span><\/p>\n

Abstract:\u00a0<\/strong><\/span>We human beings are creatures of imagery and narrative as much as we are\u00a0creatures of logic and technology. The stories we tell ourselves about how the\u00a0world works, how to get ahead and how to manage the planet have their roots in a\u00a0long ago time and can no longer guide us. Yet we cling to the old stories as \u201cmindforged\u00a0manacles\u201d (Blake) limiting our range of motion, emotion, empathy and\u00a0possibility.<\/p>\n

One well-worn story aptly named \u201cThe Course of Empire\u201d, tracks our development\u00a0from hunter-gatherers tucked into Nature\u2019s fierce embrace, to inventors of craft and\u00a0religion, and onward to great metropolises built on the backs of the less fortunate\u00a0and torn from the hide of the natural world. Of course, the tale ends badly. Greed\u00a0and vengeance topple our empire and we leave the place in ruins. How many times\u00a0have we witnessed this cycle and are we capable of re-envisioning a different\u00a0course?<\/p>\n

In this session, we immerse ourselves in bio-mythic tales, those which govern us\u00a0still and those emerging from the periphery demanding a more dedicated form of\u00a0attentiveness which philosopher, Georg Kuhlewind, has called love. We treat\u00a0ourselves to Thomas Cole\u2019s epic paintings, The Course of Empire , to A.R.<\/p>\n

Ammons\u2019 mind-shifting meditation on nature, Corson\u2019s Inlet, and a prologue to a\u00a0play by Anne Rhodes, The Blackbird Project. Our essential question: What are our\u00a0convictions concerning Sustainability and how can the arts help us address these\u00a0issues and move us toward action?<\/p>\n

Bio:\u00a0<\/strong><\/span>John Cimino is president and CEO of\u00a0Creative Leaps International and The\u00a0Learning Arts. Educated at Rensselaer\u00a0Polytechnic Institute (biology & physics),\u00a0the State University of New York at\u00a0Albany (learning theory), and the\u00a0Manhattan and Juilliard Schools of Music\u00a0(music & voice), Cimino holds a uniquely\u00a0interdisciplinary perspective and works\u00a0across a variety of disciplines dedicated\u00a0to learning, human development and\u00a0social change.\u00a0As a champion of the arts in education,\u00a0business and professional life, Cimino\u00a0has brought his “Concerts of Ideas” and\u00a0other innovative programs into projects\u00a0of the White House, the Center for\u00a0Creative Leadership and the leadership\u00a0training programs of dozens of Fortune\u00a0500 companies including GE, IBM, Pfizer\u00a0and McDonnell Douglas as well as to\u00a0numerous universities, business schools\u00a0and institutes for professional\u00a0development. Projects include\u00a0presentations before the Global\u00a0Leadership Forum (Istanbul), the\u00a0International Organization Development\u00a0Association (Guanajuato), the\u00a0Organizational Behavior Teaching\u00a0Society (Irvine), the Academy of\u00a0Management (Chicago), the Association\u00a0for Supervision and Curriculum\u00a0Development (Alexandria, VA) and the\u00a0Association for Managers of Innovation\u00a0(Greensboro),<\/p>\n

Cimino is also an advisor to universities\u00a0engaged in interdisciplinary restructuring\u00a0and the integration of\u00a0creativity, leadership and\u00a0entrepreneurship as essential learning\u00a0across the disciplines and in all aspects\u00a0of university life. Finally, Cimino is a\u00a0composer, author and winner of more\u00a0than 20 national and international\u00a0awards and prizes as an operatic and\u00a0concert performer and has performed to\u00a0acclaim throughout Europe and the\u00a0United States including opposite opera\u00a0luminaries Luciano Pavarotti, Carlo\u00a0Bergonzi and Anna Moffo.<\/p>\n

—-<\/p>\n

Strategies for Product and Service Design<\/em><\/strong><\/span><\/p>\n

Dr. Carmela Cucuzzella<\/strong><\/span><\/p>\n

Abstract:\u00a0<\/strong><\/span>This workshop explores and discusses the differences in output and applicability between design approaches that focus on (1) the redesign of the sample product more efficiently by understanding and identifying problem areas (based on an eco-efficiency strategy); (2) the redesign of the functionality of the product more efficiently, so rethinking how else the function can be provided and designed (based on strategies such as closed loop approaches etc.); and (3) exploring the way in which the needs addressed by the given product can be provided differently (based on a sufficiency strategy).<\/p>\n

Bio:<\/strong><\/span> Carmela Cucuzzella is a professor in the Department of Design and Computation Arts, Faculty of Fine Arts of Concordia University. She received her PhD in Environmental Design in 2011 from Universit\u00e9 de Montr\u00e9al. She is a researcher at the Laboratory LEAP and leads the research focus on sustainable development. She is an expert in sustainable design (design for sustainability) as well as on assessment methodologies for analyzing the impacts of designed entities (Life Cycle Assessment – LCA, Leadership in Energy and Environmental Design – LEED) and has developed several comparative analyses on the repercussions of the introduction of environmental standards in the public space design competitions. Her research interests lie predominantly in integrating concerns and questions related to sustainability with the exploratory nature of design thinking by adopting ethical approaches to the environment (built as well as natural).<\/p>\n

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ART as UNBALANCE; UNBALANCE as ENLIGHTENMENT<\/em><\/strong><\/span><\/p>\n

Louise Davey and Marjolaine Arpin<\/strong><\/span><\/p>\n

Abstract:\u00a0<\/strong><\/span>Through continued elevation of and adherence to conventional business doctrine,\u00a0much of the corporate world is now adrift from its anchors in society. Continuously\u00a0fueled by technology and largely closed to criticism, the fragility of a singularly\u00a0focused global economic model is revealed. At the core of this divergent macrosocioeconomic\u00a0process is its dogged pursuit of \u201cperformance enhancement\u201d\u00a0through specialization, as evident by the increasingly segmented and isolated roles\u00a0of those operating within the corporate sphere.<\/p>\n

Ironically, the solution to rebalancing and reintegrating the market economy into a\u00a0table socio-economic system starts by destabilizing and challenging those within it.\u00a0Using transdisciplinary teachings and methods, conventional business doctrine can\u00a0be both examined and remedied in new and remarkably powerful ways. Among\u00a0many possible disciplines, few are quite as potent as the visual arts. Used as a\u00a0catalyst, contemporary art allows us to engage business people in conversations\u00a0that could never be initiated in the language of business. This process of\u00a0enlightenment ultimately leads to a broader understanding of one\u2019s place in the\u00a0world and to more socially and environmentally conscious business models.<\/p>\n

The lecture-gallery experience proposed applies new lenses to business and,\u00a0through a few select art works, illustrates the contrasts (and continuities) between\u00a0the \u201creal object\u201d and its representation. Specifically, how (1) a work of art allows us\u00a0to approach very challenging topics, (2) make us aware of our relationship to the\u00a0“every day” world and (3) through that experience make us want to make a very real\u00a0change.<\/p>\n

Bio:\u00a0<\/strong><\/span>Louise has over 20 years experience\u00a0helping companies design and navigate\u00a0major change processes. She currently\u00a0operates as an independent\u00a0Management Consultant specializing in\u00a0the area of business transformation\u00a0where her work includes strategic\u00a0reorientation, operational effectiveness\u00a0optimization, corporate culture\u00a0transformation, corporate restructuring,\u00a0operational due diligence and merger\u00a0and acquisition integration support.\u00a0Adept in both strategy and execution\u00a0with broad interests inside and outside\u00a0the field of business, Louise is able to\u00a0influence and leverage the many facets\u00a0of the business environment including its\u00a0operating culture, its people, its internal\u00a0and external processes and its\u00a0technology.<\/p>\n

Prior to becoming an independent\u00a0consultant, Louise held several senior\u00a0executive level positions where she has\u00a0helped her companies of service achieve\u00a0higher levels of sustainability and\u00a0business performance. Her combined\u00a0operational and consulting experience\u00a0make her particularly effective in helping\u00a0other organizations overcome day-to-day\u00a0challenges of in order to think and\u00a0progress in new strategic directions.<\/p>\n

Louise also has a long-standing interest\u00a0in community involvement and\u00a0environmental causes and has\u00a0introduced these values into business\u00a0cultures with positive effects.\u00a0Louise holds a Master\u2019s degree in\u00a0Physics from McGill University. She is\u00a0fluent in English and French.<\/p>\n

Since 2007, Marjolaine Arpin, a selfproclaimed\u00a0\u201cArt Ambassador\u201d has been\u00a0working as a catalyst between the art\u00a0and business world, endeavouring to\u00a0develop ever new forms of corporate\u00a0philanthropy in line the realities of the\u00a0emerging art world. This includes taking\u00a0the role of manager and curator at Les\u00a0Zones d’art actuel while acting as an\u00a0assistant and guide for emerging artists.<\/p>\n

In addition to her work as an academic\u00a0researcher, artistic critic and collaborator\u00a0with private galleries and art centres, she\u00a0combines theory and practice to identify\u00a0and present new perspectives on\u00a0emerging art while investing herself fully\u00a0in the Quebec contemporary art\u00a0community.<\/p>\n

Supported by the Fonds qu\u00e9b\u00e9cois de la\u00a0recherche sur la soci\u00e9t\u00e9 et la culture\u00a0(FQRSC) and the Social Sciences and\u00a0Humanities Research Council of Canada\u00a0(SSHRC), Marjolaine is currently\u00a0completing a Master in Art History at\u00a0Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al\u00a0(UQ\u00c0M), where she specializes in\u00a0contemporary art. Her academic\u00a0research, referred to \u201chypermodern\u201d in\u00a0contemporary society, focuses on\u00a0emerging artists and their works on the\u00a0miniature scale with a nod to \u201cnew\u201d\u00a0forms of excess and the sublime.<\/p>\n

Marjolaine is also an active contributor to\u00a0Esse arts+opinions and Spirale, two\u00a0prominent Quebec-based art magazines\u00a0and writes texts for art exhibition\u00a0catalogues and booklets.<\/p>\n

—-<\/p>\n

Dialogues about Mother Earth: First Nation and Mapuche Youth addressing Biocultural Diversity Issues through Cinema<\/em><\/strong><\/span><\/p>\n

Thora Herrmann (Session organizers: Wapiloni mobile, Ariella Orbach, Andr\u00e9s Ib\u00e1\u00f1ez, Guido Huaiquil, Elke Sh\u00fcttler, and Thora Herrmann)<\/strong><\/span><\/p>\n

Abstract:\u00a0<\/strong><\/span>The challenges faced by indigenous communities in the Americas to access and\u00a0control traditional lands and resources and maintain local livelihoods and cultural\u00a0identities require transdisciplinary efforts and innovative tools. Video is an\u00a0accessible, powerful information and communication technology (ICT) for enabling\u00a0marginalized and disenfranchised indigenous communities, particularly indigenous\u00a0youth, to make their voices heard, bring local perspectives to the forefront of\u00a0national and global policy debates and overcome barriers of prejudice and\u00a0discrimination. This session explores the power of cinematographic art, and ICTs for\u00a0addressing biocultural diversity issues of concern for indigenous communities\u00a0through the eyes of their youth across two distinct realities: First Nations\u00a0communities in Quebec and Mapuche communities in Chile. This session offers a\u00a0round table discussion and exchange with Chilean and Canadian research, cultural\u00a0and indigenous organizations, and young First Nations and Mapuche film maker;\u00a0and screenings of a number of short films created by youth trained in scriptwriting,\u00a0directing, camera, sound recording and editing. In an era where fragmentation and\u00a0destruction of ecosystems essential to indigenous cultures have led to erosion of\u00a0traditional ecological knowledge, we open a space for collective reflection on\u00a0‘cinema’ as a vehicle for enabling indigenous voices to reach a wider public and to\u00a0foster a deeper understanding of indigenous perspectives and bringing these to the\u00a0forefront of environmental debates. The short films screened illustrate youth\u00a0attitudes toward biocultural diversity challenges, well-being and self-identity, as a\u00a0medium for self-representation and advocacy for change.<\/p>\n

Bio:\u00a0<\/strong><\/span>Wapikoni mobile: Mobile audiovisual\u00a0training program for rural\/remote First\u00a0Nations youth, working in 18\u00a0communities across Qu\u00e9bec and\u00a0initiating 2,000 youth in the use of new\u00a0ICTs. A new international development\u00a0actor, working in three South American\u00a0countries since 2010. Representative\u00a0and First Nations Filmmaker attending\u00a0this session to be confirmed.<\/p>\n

Thora Herrmann: Associate Professor at\u00a0the Universit\u00e9 de Montr\u00e9al, with\u00a0expertise in participatory and\u00a0community-based research projects on\u00a0indigenous ecological knowledge and\u00a0practices, and biocultural diversity\u00a0conservation in Mapuche and First\u00a0Nation contexts. Worked at United\u00a0Nations and German Agency for\u00a0International Development on issues\u00a0related to cultural and spiritual values of\u00a0biodiversity and indigenous rights.<\/p>\n

Elke Sch\u00fcttler: Post-doctoral Researcher\u00a0at PUC and Helmholtz Centre for\u00a0Environmental Research (Germany),\u00a0with expertise in conservation and\u00a0sustainable use of biodiversity in Latin\u00a0America. Works in interdisciplinary and\u00a0applied investigation projects on\u00a0Mapuche knowledge and practices of the\u00a0natural environment in Chile.\u00a0Guido Huaiquil: Founder and Director of\u00a0Mapuche TV and member of board of\u00a0directors of the Centro de Desarrollo\u00a0Socio-Cultural Mapuche. Partnered with\u00a0Wapikoni mobile for the implementation\u00a0of the First Mapuche Summer School in\u00a0Cinematography (2010-2011).<\/p>\n

Ariella Orbach & Andr\u00e9s Ib\u00e1\u00f1ez: Cofounders\u00a0and Directors of Strategic\u00a0Video Initiative, with a background in\u00a0rural development, project management,\u00a0and capacity development. Since 2008\u00a0implementing audiovisual capacity\u00a0development projects with Mapuche\u00a0communities, emphasizing local\u00a0applications of video for promoting\u00a0indigenous rights and self-determination.\u00a0Co-planned and managed the First\u00a0Mapuche Summer School in\u00a0Cinematography.<\/p>\n

—-<\/p>\n

Soundwalking Interactions<\/em><\/strong><\/span><\/p>\n

Dr. Andra McCartney and Don Sinclair<\/strong><\/span><\/p>\n

Abstract:\u00a0<\/strong><\/span>The Soundwalking Interactions project investigates how people listen during soundwalk activities and artworks. We will present a public soundwalk, invite members of the public to listen to a recording of the walk during a workshop, and then participate in the creation of a sound work out of that recording that will document the event. Participants are invited to bring audio recording equipment if they wish.<\/p>\n

The session will include a 30 minute soundwalk, discussion of listening practices, and demonstration by collaborators Andra McCartney (Concordia University) and Don Sinclair (York University) of ways to work with soundwalk materials to make meaningful environmental narratives. All participants will be given access to a sound recording of the walk online and invited to take part in an internet forum of soundwalk recording and listening exchanges.<\/p>\n

Bios:<\/strong><\/span> Andra McCartney. Since the mid 1990s, I have been developing an approach to the creation of electroacoustic soundwalk art which integrates audience responses into the creative development of walks and installations. Through my background in ethnomusicology, communication, and cultural studies, I think and write about electroacoustic, sound art and sound recording fields as cultures, considering what kinds of interpretive routines are acceptable within these disciplines, and how aesthetic and professional discourses are established. I transform soundwalk recordings into interactive installations, produced collaboratively in recent years with Don Sinclair, interactive artist and professor at York University in Toronto. I am especially interested in questions of gender in relation to sound technologies. I have written most extensively about Vancouver soundscape composer, Hildegard Westerkamp. The In and Out of the Sound Studio research project investigates the working practices of soundmakers from a range of different professions, focusing particularly on the work of prominent women soundmakers. My present project, Soundwalking Interactions, focuses on the experiences of audiences with different kinds of soundwalk activities.<\/p>\n

Don Sinclair is an Associate Professor in the Digital Media program in the Faculty of Fine Arts at York University in Toronto, Canada. His creative research revolves around physical computing, interactive sound art, laptop performance, web art, database art, interactive dance, video projection, cycling art, sustainability, green architecture and choral singing. In addition to his internationally exhibited web art and video projects, he collaborates with dance artists, theatre practitioners and sound artists to create works that explore movement-based manipulation of sound and image. See his research creation web site http:\/\/www.yorku.ca\/dws\/research-creative.html<\/a><\/p>\n

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Using Improv to Save the World<\/em><\/strong><\/span><\/p>\n

Belina Raffy<\/strong><\/span><\/p>\n

Abstract:\u00a0<\/strong><\/span>How do we work together when we don\u2019t know what the ultimate solution is? Or\u00a0when we know what we want, but we have no idea how to get there? How can we\u00a0allow ourselves to change and to be generous with others when we are afraid? How\u00a0can we train ourselves to be masterful at adapting to and including new information\u00a0in to the story as it arises?<\/p>\n

In this experiential session, we will work with either a) the boldest transformation\u00a0challenge that we\u2019re working with leading organizations in the UK on to solve or b)\u00a0the most radical vision of the future from the conference \u2013 whichever is most\u00a0inspiring to the group. We will introduce and use improvisational mindsets,\u00a0principles, and techniques as a powerful technology to support people tackling\u00a0these issues in doing what improvisers do best: to co-create solutions under\u00a0pressure, in real-time, with the client watching \u2013 joyfully.<\/p>\n

Our context is the most important one around – working with business people to\u00a0fundamentally change how business is done. We support them in shifting the global\u00a0crisis from something to fear and be mentally shut down by \u2013 to something we can\u00a0work with collaboratively, creatively, quickly and nimbly to create changes now. We\u00a0develop mindsets and skills so that no matter what emerges, we can respond well,\u00a0together.<\/p>\n

In this session, we will be exploring what improvisation is and how it might be useful\u00a0in working collaboratively to save the world. Everyone is welcome. No experience\u00a0necessary.<\/p>\n

Bio:\u00a0<\/strong><\/span>Belina is half French, half American and\u00a0lives in England. She was made in\u00a0Paris, born in the US, and raised in the\u00a0US, Mexico and Canada. She grew up\u00a0playing in the forests of North America\u00a0She spent the first part of her\u00a0professional life as a cross-functional\u00a0project manager for Citigroup, using her\u00a0ability to intuitively work with complex\u00a0systems, connect with people and ask\u00a0good questions. During this time, she\u00a0started taking improvisation classes and\u00a0noticed that her complex, dynamic role\u00a0felt easier. In 1999, she got an MBA\u00a0from Cranfield in England and has\u00a0worked ever since with people around\u00a0the world to build skills in business\u00a0transformation, change, improvisational\u00a0leadership, collaboration, creativity, and\u00a0communication.<\/p>\n

She uses improvisation mindsets,\u00a0principles and techniques originating in\u00a0theatre and adapted to business as both\u00a0technology and content. Her passion\u00a0and next book topic is to \u2018use improv to\u00a0save the world\u2019 \u2013 and for her, this can\u00a0range from improving the interaction\u00a0between two people to world work.\u00a0Belina is the Empress of Maffick Ltd, and\u00a0has worked with organizations including\u00a0Charities Financial Directors\u2019 Group,\u00a0Kew Royal Botantical Gardens, Bristol\u00a0Myers Squibb, Johnson & Johnson,\u00a0Novo Nordisk, General Motors, the\u00a0Cranfield School of Management,\u00a0London Business School, Exeter\u00a0Business School, London School of\u00a0Economics, and Moscow Higher School\u00a0of Economics.<\/p>\n

To keep her improv skills\u00a0sharp, she also works with young\u00a0offenders at the Reading HM Prison.\u00a0She has also chaired two Applied\u00a0Improvisation Network world\u00a0conferences (Portland and Baltimore).<\/p>\n

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Deep Listening Bathysphere Sub Aquatic Audio Listening Station<\/em><\/strong><\/span><\/p>\n

Paul Scriver<\/strong><\/span><\/p>\n

Abstract:\u00a0<\/strong><\/span>Deep Listening Bathysphere<\/em>\u00a0is an immersive multichannel audio installation in sculptural form. This mobile installation is conceived as an intimate, enveloping space that will allow audience members to interface aurally with sounds being gathered underwater from historically significant and environmentally compromised waterways in the Montreal metropolitan area. The intent of\u00a0Deep Listening Bathysphere<\/em>\u00a0is to place audience members in a direct aural relationship with sounds otherwise inaudible, but nonetheless significant to the cultural and historical matrix of their environment.<\/p>\n

—-<\/p>\n

From genomes to the environment: Can we create a sustainable future? A sticky wiki installation<\/em><\/strong><\/span><\/p>\n

David Secko, Anne Goldenberg, Anne Gorry, Lisa Gualtieri and David Mason<\/strong><\/span><\/p>\n

Abstract:\u00a0<\/strong><\/span>The Genozymes-GE3LS project is a Concordia based science and society group which, among other activities, attempts to trigger public discussion and knowledge building about the environmental and societal dimensions of genomic science, with a special focus on environmental footprints, sustainability, communications and public engagement.<\/p>\n

For Balance \u2013 Unbalance 2011, this multidisciplinary team will present an installation that plays the role of catalyst for a public discussion on the potential outcomes of genomic research as related to our degrading environment. It will include a three dimensional participatory mind-map that includes diverse material for participants to consider and include in the structure, as well as an innovative synchronized structured wiki interpretation, as a continuous way to openly develop knowledge in this field.<\/p>\n

The participatory installation will invite the public and experts to discuss the relationship between science and society, with a focus on the role of genomics. We will use participant-generated content from a previous public engagement event as a starting point and encourage participants to contribute and link ideas, projects and themes. Ultimately, the installation will work to integrate all contributions into a structured wiki to add both permanence and impact to deliberative outcomes on the event. This will make the generated content, which will address our collective future in the face of a global environmental crisis, available for successive projects focusing on linked ideation and the generation of meaningful environmental solutions that respect multiple value systems.<\/p>\n

Bio: \u00a0<\/strong><\/span>Anne Goldenberg has a Ph.D. in communication and sociology. She is a facilitator and a socio-cognitive sculpture that has produced several participatory installations around the word. In particular, the installation ourcollnnectiveminds (http:\/\/ourcollnnectiveminds.blogspot.com\/ ) is the partial inspiration for this project. She will lead the physical installation.<\/p>\n

Anne Gorry is an epistemologist, and specialist in the relationship between sciences and society. She is finishing an MD about scientific mediation and the sciences and society discourse. She will provide analytic resources for the installation.<\/p>\n

Lisa Gualtieri is a Research Assistant with the Genozymes-GE3LS project, where she studies environmental sustainability issues related to genomics-based biofuel development. She will provide research support and issue documentation.<\/p>\n

David Mason is a long term innovator and technologist, supporting knowledge development, public engagement and digital literacy in fields including the formative Internet, government, health, science and non profits. He will lead the structured wiki.<\/p>\n

David Secko is an Associate Professor in the Department of Journalism at Concordia University. His research links across journalism, public engagement, science and ethical issues to clarify and experiment with the roles of the public, experts and journalists in the democratic governance of biotechnology. He is the team leader and will add expertise in communications, public engagement methodologies and event facilitation.<\/p>\n

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GAMES FOR A NEW CLIMATE: Participatory activities for linking climate science with humanitarian work through the art of choice.<\/em><\/strong><\/span><\/p>\n

Pablo Suarez<\/strong><\/span><\/p>\n

Abstract:\u00a0<\/strong><\/span>Why do people continue to suffer and die due to entirely predictable natural\u00a0hazards? The remarkable progress in science and technology over recent decades\u00a0allows us to anticipate future conditions, communicate early warnings and take early\u00a0action to avoid losses, yet many recent disasters are evidence of a dreadful gap\u00a0between science and the humanitarian sector. Can forecasters and risk managers\u00a0build common ground through creative processes?<\/p>\n

The natural and social systems involved in disasters have dynamic elements that\u00a0are not easy to grasp through conventional, linear educational approaches. How to\u00a0devise a communication platform that can successfully convey the existence and\u00a0relevance of system complexity? Feedbacks, non-linearities, delays, unanticipated\u00a0\u201cside effects\u201d, and trade-offs between the macro and the micro levels are inherent in\u00a0risk management decisions, and should be part of the learning experience of\u00a0government officials and illiterate farmers alike. Well-designed games, like\u00a0adaptation measures, involve decisions with consequences. Games can help\u00a0people and organizations improve access, understanding, trust and utilization of\u00a0information for climate adaptation. Through games we can learn how climate sensitive\u00a0systems work and the system rewards us as we learn.<\/p>\n

In this session we will experience the challenges confronted by subsistence\u00a0farmers, the Red Cross and donors through a seriously fun game that combines\u00a0collaboration and competition, as well as art and science: participants will make\u00a0decisions about disaster management with limited resources. There will be winners\u00a0and losers. We will discuss the role of innovative participatory approaches for\u00a0linking knowledge with action.<\/p>\n

Bio:\u00a0<\/strong><\/span>Pablo Suarez is Associate Director of\u00a0Programs for the Red Cross\/Red\u00a0Crescent Climate Centre, as well as\u00a0consultant for Oxfam America, visiting\u00a0fellow at Boston University, and research\u00a0scholar at the International Institute for\u00a0Applied Systems Analysis (IIASA) in\u00a0Austria. He has consulted for the United\u00a0Nations Development Programme, the\u00a0World Food Programme, the World Bank\u00a0Development Economics Research\u00a0Group, and about twenty other\u00a0international humanitarian and\u00a0development organizations, working in\u00a0more than 45 countries. His current work\u00a0addresses institutional integration across\u00a0disciplines and geographic scales, and\u00a0the use of innovative tools for climate\u00a0risk management \u2013 including the design\u00a0and facilitation of participatory games fo\u00a0learning and managing complex dynamic\u00a0systems. Pablo holds a master\u2019s degree\u00a0in planning, and a Ph.D. in geography.<\/p>\n

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Do birds have a conductor? Catherine Bouchain & Christophe Piot Abstract: \u00a0In one place, all the singing birds are male ; they use their song to try to drive the\u00a0other males out of the territory, at the same time attracting … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":66,"menu_order":3,"comment_status":"closed","ping_status":"open","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/balance-unbalance2011.hexagram.ca\/index.php?rest_route=\/wp\/v2\/pages\/295"}],"collection":[{"href":"https:\/\/balance-unbalance2011.hexagram.ca\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/balance-unbalance2011.hexagram.ca\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/balance-unbalance2011.hexagram.ca\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/balance-unbalance2011.hexagram.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=295"}],"version-history":[{"count":2,"href":"https:\/\/balance-unbalance2011.hexagram.ca\/index.php?rest_route=\/wp\/v2\/pages\/295\/revisions"}],"predecessor-version":[{"id":317,"href":"https:\/\/balance-unbalance2011.hexagram.ca\/index.php?rest_route=\/wp\/v2\/pages\/295\/revisions\/317"}],"up":[{"embeddable":true,"href":"https:\/\/balance-unbalance2011.hexagram.ca\/index.php?rest_route=\/wp\/v2\/pages\/66"}],"wp:attachment":[{"href":"https:\/\/balance-unbalance2011.hexagram.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=295"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}