Last year we collaborated with the Possible Futures Lab of the Information Security Group at Royal Holloway University of London to assist local people in Pallion, Sunderland develop a way to come together and help each other map out the skills, knowledges, resources and capabilities for responding to and effecting change in their community. The outcome of this was the establishment of a regular group of people working out of the community centre Pallion Action Group. As part of our work with them we co-designed a series of simple ‘tools’ that could be used to help them do things like identify problem and solutions and share them online confidently and safely.
The tools use very simple paper-based formats – wall posters, postcards and notebooks – that can either be printed on standard home/office printers or cheaply printed at larger sizes at local copy shops. The notebooks are created with bookleteer and can be downloaded direct : http://bookleteer.com/collection.html?id=9
To make these tools available to anyone for use in their own communities, we have now designed generic versions and collected them into a Neighbourhood Ideas Exchange Toolkit. The toolkit is free to download and everything in it is free to adopt and adapt under a Creative Commons Attribution Non-commercial Share-Alike license.
Download the Neighbourhood Ideas Exchange Toolkit (zipped archive 48Mb)
We would love to hear of anyone’s experiences using or adapting these tools for their own purposes and keen to hear of suggestions for improvements or additions to the toolkit. One of the items we feel is currently missing is some form of simple self-evaluation tool for communities to use to determine how successful (or not) they are in achieving their aims and objectives. We are also working on a special set of StoryCubes designed to help both organisers and communities work through common issues and to devise solutions and activities that help them set up their own Neighbourhood Ideas Exchange.
Where possible (time and resources permitting) we are willing to develop new or customised versions of specific tools, such as the notebooks or worksheets. Please get in touch with us to discuss your ideas or suggestions.
Neighbourhood Ideas Exchange by Proboscis is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
“The visitors who told their stories are very proud of the work and the fact that they can see their work put to good use.” Cath Chesterton NEPACS
We were recently asked to create a set of 8 StoryCubes for Hidden Families (part of Royal Holloway University of London’s Families Disconnected by Prison project), to be used by Royal Holloway and partners such as Action for Prisoners Families, NEPACS and in training, talking about and raising awareness of the issues faced by families with a relative in prison.
We selected 48 of the images, originally created for the Hidden Families quilt, around the six key themes that had emerged – family, journey, time, finance, loneliness and support. Using a combination of participants’ photos, words and sketches with my illustrations, we created a block of 8 cubes that brings together some of people’s memories, comments and experiences.
Lizzie Coles-Kemp project lead said; “The focus of this project was to create a call to action by collecting the voices of families separated by prison and using different techniques to present the collective narrative. StoryCubes help us to develop the call to action by making the collective narrative interactive and providing another means for adding to and developing the story of this particular community. They make interactive and tactile objects from the textile quilt which are even more accessible to families, policy makers, practitioners and academics alike.”
NEPACS and Action for Prisoners Families will be using the cubes at training events and conferences, raising awareness of the impact of prison sentences on families.
In the last few months I’ve been working on Hidden Families, a project with families with someone in prison. The project, run by by Lizzie Coles Kemp of the Information Security Group at Royal Holloway University of London, was trying to find out how to improve the way information is made available to families, because people sometimes don’t or can’t engage with support services. The hardships families experience are diverse;- travel, costs of visiting, the huge distances to visit,the stress of uncertain weather and travel conditions that might cause someone to be late and miss their visit, bringing children, access to pension, welfare and benefits advice, sentence planning, prisoner safety and welfare, being stigmatised and outcast, and not expecting help or having the ability to improve the situation.
The project has several facets and I was involved in working with Action for Prisoners Families, NEPACS (who provide support services for families separated by prison), performer Freya Stang and visitors to a visitors’ center in a Category A prison.
Action for Prisoners’ Families (APF),
works for the benefit of prisoners’ and offenders’ families by representing the views of families and those who work with them and by promoting effective work with families…
A prison or community sentence damages family life.
NEPACS builds bridges between prisoners, families and communities that they will return to, they
believe that investment must be made in resettlement and rehabilitation to ensure that there are fewer crime victims in the future, and less prospect of family life being disrupted and possibly destroyed by a prison sentence… After all, the families haven’t committed the crime, but they, especially the children, are greatly affected by the punishment
Lizzie’s approach to working with people differs from typical academic studies. Rather than only surveying or asking questions of a community she collaborates with groups to create projects, workshops and events that are independently of value to that group, rather than just to fulfill research ends, she often works with artists, writers and performers to support partners and participants in articulating ideas.
The project partners and visitors contributed to booklets, postcards, conversations and a wall collage gathering experiences of the practical, technical and emotional issues people face. I brought together the stories, experiences and sketches, with a series of sketches I made, into a digitally printed textile hanging based on the idea of a patchwork quilt for the NEPACS Visitors’ Centre. Participants expressed a wish to produce a version that could hang in the Chapel and Action For Prisoners Families have versions which they will using for their training, education and work raising awareness of the hidden issues families face.
To support the Pallion Ideas Exchange, we have created numerous printed materials including posters, worksheets, postcards, work flow diagrams and eBooks. These have been designed to help record concerns, hopes and aspirations, which could then lead to further discussions and point to the right person who may have had the same experience.
The design ideas behind these printed materials relied on the feedback and conversations the team had gathered with the members of the community in Pallion. It became a highly iterative process of adapting earlier work though co-design and initiating and making new pieces such as the workflow sheets as a response to ideas and suggestions that had been gathered in our workshops.
The main consideration when designing, was the importance to keeping it visually simple and informal. One example being in the eBooks, we didn’t want to create pages that may put people off by making it look too similar to application forms, but we wanted the eBooks to have a familiar structure for people to fill in with ease. To overcome this, I simply drew the boxes by hand; adding a folded corner and colour coded the outline to indicate the page sets. We agreed that the hand drawn method seemed more approachable and was implemented on all the other printed materials.
The illustrated scenarios had to be within an informal environment and drawn simply, but most importantly; approachable. So instead of my usual mannequins which you may have seen in previous projects, these illustrations of people had a very simple outline. The props and environment were kept minimal, with only flat colours highlighting the activity. With this a library of illustrations were created for the team to use.
The most challenging part of the project when illustrating was creating the three “Aspirations” images that are used in the “Visualising the network” map to reflect what the community hope to achieve in terms of “social cohesion”, “a better local environment” and “better life opportunities”. Each had to reflect various aspects in a single image, most of which were easy to explain in words but to frame it in one image required a lot of conversations amongst the team and just thinking about situations which we ourselves may have experienced or seen. The process for this particular part of the project was to think of how each aspect would be illustrated individually and gradually piece them together and tweaking it to make it work as one whole image.
Although at first we weren’t sure how the “Visualising the network” map should look like we used these three aspiration images as a starting point and the rest was straightforward. Having created a library of illustrations for activities and resources for PIE that we’ve used across the project, I re-used many of the images so that they will become easily recognisable.
These image files will become part of Proboscis’ forthcoming Neighbourhood Ideas Exchange Toolkit along with generic versions of the posters, worksheets, work flow diagrams, eBooks and postcards we have developed for the Pallion Ideas Exchange project. With this toolkit we hope to inspire others to adopt and adapt the parts for their own local social innovations.
Its been over a year since we sent out our last newsletter – not that we haven’t been busy, in fact we’ve been absorbed in a whole range of projects and activities :
Storyweir at Exlab, Hive Beach, Dorset
We have been commissioned by Exlab to create a new project at Hive Beach, Dorset as part of the Cultural Olympiad. The work opens on Saturday 28th July and will remain on site until 9th September. We have 3 days of free talks and 2 nighttime events (projections with live cello) on Friday 3rd to Sunday 5th August – all welcome.
This October sees the launch of our new monthly publication – each month we will crowdsource, print and post out an eBook to subscribers created and shared on http://bookleteer.com sharing the most beautiful, experimental, thought-provoking and inspirational eBooks people have created to inspire and provoke others into creating more of their own.
SUBSCRIBE HERE : http://bookleteer.com/blog/2012/07/introducing-the-periodical/
We’re also introducing a whole range of new features to http://bookleteer.com this year – public sharing, library pages as well as some exciting new developments later this year. Follow our progress here :
We’ve also dropped the minimum print run for our Short Run printing service to just 25 copies per eBook and the prices for printing A6 eBooks have dropped between 30-50%. Check the prices with our estimator tool here:
Proboscis have been collaborating with Royal Holloway’s Information Security Group (as part of the their EPSRC/ESRC/TSB research project Vome – http://www.vome.org.uk) to work with a local community in Pallion, Sunderland to create a sustainable knowledge and support network for local people to help each other cope and deal with benefit changes. We have developed a set of simple tools and processes to assist this “Ideas Exchange” – co-designed with the local community and are helping them integrate and adopt them into their ways of getting things done.
This Autumn we will be releasing a “Neighbourhood Ideas Exchange” package with versions of the tools that any community will be able to adopt and adapt for their own uses. Look out for announcements in September/October.
Proboscis has been commissioned by Futurecity and Arts&Business Cambridge to collaborate with Philips R&D in Cambridge as part of Anglia Ruskin University’s Visualise Public Art programme. We are exploring new forms for motivating people to incorporate health monitoring into their lifestyles by linking personal health data to systems that create tangible outputs. Starting with 3D printed ‘shells’ whose growth and shape is determined by data sets collected from ourselves, we plan to move on to feeding data to affect the growth of crystals and eventually towards ‘growing’ a shell organically through tissue engineering.
Professor Starling’s Thetford-London-Oxford Expedition
by Lisa Hirmer, Andrew Hunter, Josephine Mills, Leila Armstrong, Giles Lane and Hazem Tagiuri
Download Free : http://diffusion.org.uk/?p=2587
Buy a limited edition set : http://proboscis.org.uk/store.html#profstarling
by Active Ingredient, Desperate Optimists, Jane Prophet, Janet Owen Driggs & Jules Rochielle, Karla Brunet, London Fieldworks, Ruth Maclennan, Sarah Butler
Download Free : http://diffusion.org.uk/?cat=1043
Buy a limited edition set : http://proboscis.org.uk/store.html#materialconditions
City As Material : London
Contributions by Tim Wright, Simon Pope, Ben Eastop & Alexandra Deschamps-Sonsino
Download Free : http://diffusion.org.uk/?cat=976
Buy a limited edition set : http://proboscis.org.uk/store.html#cityasmaterial1
One of the most fun things we’ve done this year has to be the little project we ran as part of the Soho Food Feast : helping some of the children of Soho Parish Primary School produce their own reviews of the amazing foods on offer in specially designed eNotebooks. The children would choose something from one of the many stalls, bring it to be photographed and a Polaroid PoGo photo sticker printed out an stuck into one of the eNotebooks, then they’d write about what the dish looked, smelt, felt, sounded and tasted like. This idea of doing the reviews through the 5 senses, along with the great introduction, was contributed by Fay Maschler, the restaurant critic of the London Evening Standard and one of the Food Feast committee members.
We’ve now published a compilation of the best reviews which is available via the Diffusion Library as downloadable eBooks and in the bookreader format. We’re also printing a short run edition which will go the children themselves (and a few for the school to sell to raise funds – get one while you can!). Thanks to everyone who took part in this project – the children of Soho Parish and Soho Youth, members of the Food Feast Committee (Anita Coppins, Wendy Cope, Clare Lynch), Rachel Earnshaw (Head Teacher) and the team here : Mandy Tang, Haz Tagiuri & Stefan Kueppers.
Last Thursday I visited members of the Pallion Ideas Exchange (PAGPIE) at Pallion Action Group to bring them the latest elements of the toolkit we’ve been co-designing with them. Since our last trip and series of workshops with them we’ve refined some of the thinking tools and adapted others to better suit the needs and capabilities of local people.
Using bookleteer‘s Short Run printing service we printed up a batch of specially designed notebooks for people to use to help them collect notes in meetings and at events; manage their way through a problem with the help of other PAGPIE members; work out how to share ideas and solutions online in a safe and open way; and a simple notebook for keeping a list of important things to do, when they need done by, and what to do next once they’ve been completed.
We designed a series of large wall posters, or thinksheets, for the community to use in different ways : one as a simple and open way to collect notes and ideas during public meetings and events; another to enable people to anonymously post problems for others to suggests potential solutions and other comments; another for collaborative problem solving and one for flagging up opportunities, who they’re for, what they offer and how to publicise them.
These posters emerged from our last workshop – we had designed several others as part of process of engaging with the people who came along to the earlier meetings and workshops, and they liked the open and collaborative way that the poster format engaged people in working through issues. We all agreed that a special set for use by the members of PAGPIE would be a highly useful addition to their ways of capturing and sharing knowledge and ideas, as well as really simple to photograph and blog about or share online in different ways.
Last time I was up we had helped a couple of the members set up a group email address, a twitter account and a generic blog site – they’ve not yet been used as people have been away and the full core group haven’t quite got to grips with how they’ve going to use the online tools and spaces. My next trip up in a few weeks will be to help them map out who will take on what roles, what tools they’re actually going to start using and how. I’ll also be hoping I won’t get caught out by flash floods and storms again!
We are also finishing up the designs of the last few thinksheets – a beautiful visualisation of the journey from starting the PAGPIE network and how its various activities feed into the broader aspirations of the community (which Mandy will be blogging about soon); a visual matrix indicating where different online service lie on the read/write:public/private axes; as well as a couple of earlier posters designed to help people map out their home economies and budgets (income and expenditure).
Our next task will be to create a set of StoryCubes which can be used playfully to explore how a community or a neighbourhood group could set up their own Ideas Exchange. It’ll be a set of 27 StoryCubes, with three different sets of 9 cubes each – mirroring to some degree Mandy’s Outside the Box set for children. We’re planning to release a full Neighbourhood Ideas Exchange package later this summer/autumn which will contain generic versions of all the tools we’ve designed for PAGPIE as well as the complete set of StoryCubes.
I have just packed Things I Have Found, Learned and Imagined on Burton Beach – the first set in a series of works on paper I am making to try and make sense of the the many narratives and local stories (of life, time, the sea, the land, folklore, history, industry, craft, science and geology) that have crossed our paths on Burton, Hive and Cogden Beaches for our Storyweir project. They are going to be part of an exhibition of work related to the Exlab commissions at the gallery in Arts University College at Bournemouth opening 9th July – 3rd August. There will be presentations by the 5 commissioned artists on the 12 July at 5pm.
You can’t spent much time in West Dorset and not get drawn into the true stories and tall tales of smuggling and how it affected people. (I’d like to know of any smuggling songs if anyone knows any.)
Its a well known saying near Chesil Beach that on a dark moonless night a smuggler could tell where he landed a boat between Portland and West Bay by the size of the shingle; which starts pea sized at West Bay and ends Boulder sized near Portland. I had read some accounts and stories, (returning again to the Burton Bradstock website among others), and was struck looking at lists of people prosecuted for smuggling by the breadth of ages and types people that were involved, from teenagers to widows. It could be a dangerous, violent activity with harsh punishments to those caught smuggling who were sometimes very young; several months in jail, hard labour, deportation and sometimes death. Having never read the classic novel Moonfleet by J. Meade Falkner (published in 1898), this seemed a good time since it is set somewhere along Chesil Bank near where our work will be sited. The bank is a huge shingle barrier beach that stretches from West Bay up to Portland (on it there are still remnants of anti tank defence from WWII). It drops steeply into the sea and the pebbles are so smooth that the combination of strong undertow and slippery pebbles can make it impossible for a person to get out of the sea. Locals tell me you can hear the thunder of waves upon shingle for miles inland.
Moonfleet, set in the 1750s is a thrilling yarn but also captures the relationship of people to the land, nature and sea and the way the geology of the area (the steep banked beaches, the grassy clifftops, the sliding shingle, the high sandstone cliffs and deep quarries) has such a strong influence on the way people live. You can read it on Project Guttenberg if you can’t find a copy.
For with that wind blowing strong from south, if you cannot double the Snout, you must most surely come ashore; and many a good ship failing to round that point has beat up and down the bay all day, but come to beach in the evening. And once on the beach, the sea has little mercy, for the water is deep right in, and the waves curl over full on the pebbles with a weight no timbers can withstand. Then if poor fellows try to save themselves, there is a deadly under-tow or rush back of the water, which sucks them off their legs, and carries them again under the thundering waves. It is that back-suck of the pebbles that you may hear for miles inland, even at Dorchester, on still nights long after the winds that caused it have sunk, and which makes people turn in their beds, and thank God they are not fighting with the sea on Moonfleet beach.
In his poem epic Lewesdon Hill William Crowe also describes the Dorset landscape of 1788 in great detail and in particular the lighting of a beacon on Burton Cliff for smugglers;
(…)From hostile shores returning, glad I look
On native scenes again; and fisrt salute
Thee, Burton, and thy lofty cliff, where oft
The nightly blaze is kindled ; further seen
Than erst was that love-tended cresset, hung
Beside the Hellespont: yet not like that
Inviting to the hospitable arms
Of Beauty’ and Youth, but lighted up, the sign
Of danger, and of ambush’d foes to warn
The stealth-approaching Vesslel, homeward bound
From Havre or the Norman isles, with freight
Of wines and hotter drinks, the trash of France,
Forbidden merchandize. Such fraud to quell
Many a light skiff and well-appointed sloop
Lies hovering near the coast, or hid behind
Some curved promontory, in hope to seize
These contraband: vain hope! on that high shore
Station’d, th’ associates of their lawless trade
Keep watch, and to their fellows off at sea
Give the known signal; they with fearful haste
Observant, put about the ship, and plunge
Into concealing darkness.(…)
I read on Real West Dorset about local filmaker Frank Trevett who in the 1930s created a film about sumggling using family friends and actors. Dope Under Thorncombe – which you can watch here on Close Encounters:
Finally…the poem that opens Moonfleet;
Says the Cap’n to the Crew,
We have slipped the Revenue,
I can see the cliffs of Dover on the lee:
Tip the signal to the Swan,
And anchor broadside on,
And out with the kegs of Eau-de-Vie,
Says the Cap’n:
Out with the kegs of Eau-de-Vie.
Says the Lander to his men,
Get your grummets on the pin,
There’s a blue light burning out at sea.
The windward anchors creep,
And the Gauger’s fast asleep,
And the kegs are bobbing one, two, three,
Says the Lander:
The kegs are bobbing one, two, three.
But the bold Preventive man
Primes the powder in his pan
And cries to the Posse, Follow me.
We will take this smuggling gang,
And those that fight shall hang
Dingle dangle from the execution tree,
Says the Gauger:
Dingle dangle with the weary moon to see.
Ive been doing a bit of searching around for sea shanties and fishermen’s songs that might be local to Lyme Bay and Bridport and I came across “the Wreck of the Napoli” by Bob Garrett and Bill Pring which reflects on the ship that ran aground in Lyme Bay in 2007. Apart from the controversy that followed over what happened to the cargo which washed up in Devon, a great many oil covered birds were washed up on Hive Beach at Burton Bradstock.
This searching for local music has also taken me, via my reading and rummaging around in Real West Dorset, to their article about the British Library folk song map to the Library’s online sound archive of traditional music, language, accents, and soundscapes called Sounds. It features a series of maps and archival collections. There seems to be a lot of material from West Dorset in the Traditional Music in England Collection and I’ve really enjoyed listening to the local accents and dialects of the time. I particularly liked George Hirst, cowman and ex-serviceman of Burton Bradstock talking in 1944 about Louis Brown of Burton Bradstock who used to sing ‘A Nutting We Will Go’ and ‘The Cobblers Song’, ‘Sweet Nightingale’ on the accordion, and finally this song, Barbara Allen recorded in the 1950s and sung by Charlie Wills.
I’d like to hear more about local music and shanties especially any that come directly from Burton Bradstock area.
Just before Easter we were back in Sunderland working with Pallion Action Group and Royal Holloway, University of London’s Information Security Group on the project to help build a community network for people to share ideas about money, spend and budgets in ways that help them cope with the massive changes in the benefits system and reduction of the public sector’s contribution to the local economy.
I’m finding each time I visit PAG I’m more and more amazed at their ability to bring people together and invent solutions to tackle serious problems through creative thinking and activity. Their projects range from street dance, to pre-employment confidence building, mentoring of young people and projects to engage older people with technology. Although PAG are not an arts organisation their approach does remind me of two media arts orgs – Information and Cultural Exchange (ICE) in Western Sydney Australia and Knowle West Media Centre in Bristol. ICE open their doors to all sections of the diverse western Sydney community to join in a program of activities that enable communities and artists to tell the stories of this extraordinary place. Knowle West Media Centre is a media arts charity that aims to develop and support cultural, social and economic regeneration supporting communities to engage with, and benefit from, digital technologies and the arts.
These places have a commitment to valuing everyone’s voice in a democratic space. They’ve created environments that, because they are trusted and run by the community, encourage people to come to them they need an answer or a problem solved or just want to be involved. They all use creative processes, arts, music and film in their projects and through it are able to connect up people, ideas and communities to find solutions, support initiatives and ‘make things happen’ that are both practical and transformative.
PAG “was formed in 1993 by a small group of local residents who intended to take action relating to some of the problems that their community was facing.” Its mission is “To work to improve the living conditions, community facilities, social, educational and economic opportunities available to the residents of Pallion and surrounding areas of the City of Sunderland.”
Spending a few days in the building you get to see the way that PAG subtly makes opportunities for people to work together, to help each other as well as themselves. They are adept in seeing people’s passions, capabilities and capacities and supporting them. It doesn’t take long being there to be struck by the perceptive, resourceful and intelligent people who are involved in Pallion Action Group. People of all ages from many walks of life who have found themselves facing degrees of difficulty over lack of employment and a complex confusing benefits system.
On this last visit we were working with PAG on a shared design approach to mapping the broad themes, areas and issues and began to collect sample stories and experiences. We started with some basic explorations of resources in the home; what comes in and what goes out. It led onto more in-depth explorations of people’s perceptions : where did these things sit in relation to one another; what things people can rely on and what are unreliable; what is fixed, what changes? Finally we moved onto mapping what people’s aspirations are and the barriers that get in the way of achieving those. After these sessions we collaborated with members of PAG on scoping the next stages of the project and how it will intersect with current PAG activities and be supported by people involved in PAG. The discussion concluded that for this network to be of value it will have to enable people to improve their situation and not reinforce fears. Our focus for the project now rests on how what Proboscis does or brings to the process can connect with and supports PAG’s own work; how we can build on and exploit PAG’s skills and enhances (rather than adding more work) their efforts to build on their positive approach.
As part of our work on the VOME project with researchers at Royal Holloway, University of London’s Information Security Group we are working with Pallion Action Group in Pallion in Sunderland on a community engagement project to co-design a process with the local community in Pallion, Sunderland to create a knowledge network around money, spend and budgets. We are collaborating with PAG to identify the areas and issues challenging people around household economies. The project feeds into VOME’s aim of “exploring how people engage with concepts of information privacy and consent in online interactions”.
We’ve have been co-designing designing a set of huge posters with people at PAG to help gather knowledge and find the right language to use. We took a first set up recently for the first exploration session, and based on peoples’ comments revised and changed them and will be heading off to do a two day series of activities with local people to dig deeper into peoples concerns about costs, spend, what we can rely on and what is unreliable. I think the project is going to involve some very interesting cycles of creating, discussing, revising, changing and re-producing materials until we can collaboratively come up with the right materials.
Since November we have been doing a lot of background research for Storyweir our commission to explore the relationship between the human story and physical geology at Hive Beach on the Jurassic Coast, working with local people, geologists, Human geographers at the University of Exeter the Hive Beach Cafe and the National Trust.
It is a place of many intersecting narratives of sea, land, farming, fishing, industry (the area was a flax, rope and net producer for several hundred years) and geology; which are all woven together amongst narratives of time. A walk on Hive beach takes you from the deep unimaginable time of geology to human time and through many cycles of tides, seasons, and patterns of life.
This month I head back to local village Burton Bradstock to spend a bit of time out and about again talking to people involved in geology and fossil hunting as well as people living and working in the area. I’m really interested in how the human ‘data’ that forms the aura of the place (stories, experiences, local knowledge) sits next to or can merge with scientific data and analysis.
We will be there from the 22 – 24 March and weather permitting will be on Hive Beach from 11.30am to 2.30pm on the 24th March offering a cup of tea in exchange for peoples experiences of the area so if you are in the area please come and join us.
Image: Strata in the Burton Sandstone Cliffs – an example of the distinctive layered geology of the cliffs which contain many fossils of the Jurassic era.
One of the definitions of Public Goods in economics terms describes them as goods that are not diminished by a persons consumption of them. The air is cited as an example, sometimes the beach, street lighting, free broadcast television and so on (though in the ‘real world’ perhaps nothing really fits this description). Are there other interactions we value that might be called public goods? Things that people feel are precious about the places and communities they belong to – stories, skills, games, songs and so on. Maybe they are more intangible than a place, or element or thing, like the way people use local markets as places to meet, converse or share knowledge.
The notion of Public Goods comes up often in our work; common space and ‘the commons’ as a public good for Being in Common; the role of markets and independent traders in Lancaster for As It Comes, and in Hertfordshire for With Our Ears to the Ground and the social impact of technologies for Urban Tapestries, Snout and Social Tapestries. I can’t quite pinpoint what these public goods are and I want to try and make a bit more sense of them for our Public Goods programme so I’m working with Mandy to create a Compendium of Public Goods – a series of short animations inspired by many of the conversations and interviews we have had with people about their lives and communities. We are starting with a look back over conversations I had with the March History Group in Lancaster about jumble sales, hand me downs and knitted swimming suits… remember knitted swimming suits anyone?
This year we will begin a major new programme of projects exploring the intangible things we value most about the people, places and communities we live in : Public Goods. Through a series of projects over a 5 year period we’ll be making artworks, films, events, exhibitions and publications in places across the nation (and hopefully abroad too) working in collaboration with both other creative practitioners and local people.
In this first year we’re planning a series of smaller research projects to help us meet and engage with collaborators, identify places and communities, themes and activities. We’ll be using our City As Material format for collaborative urban exploration and zine-making as a method of investigating new places with local people, and also focused projects, like Alice’s As It Comes, in both urban and rural settings exploring other knowledges and experiences that are often overlooked or are being swept away by the fast pace of social change. We also plan to continue our research collaborations into new technologies for public authoring, play and sensing the world around us (such as Urban Tapestries, bookleteer and Sensory Threads).
Our aim is to build up an archive, or archives, of the intangible goods that people most value and want to share – transmitting hope and belief through artistic practice to others in the present and for the future. In the teeth of a radical onslaught against the tangible public assets we are familiar with (libraries, forests, education etc), Public Goods seeks to celebrate and champion a re-valuation of those public assets which don’t readily fit within the budget lines of an accountant’s spreadsheet.
We’d love to hear from communities, practitioners or organisations who’d like us to work with them around this theme – do get in touch.
In August 2010 I was commissioned, by Mid Pennine Arts and Lancaster District Chamber of Commerce, to create a work about Lancaster’s independent traders, As It Comes. Building on my previous work about markets and traders I worked with historian Michael Winstanley and artist Caroline Maclennan to research the trading history of the city and to meet local people, shop keepers and traders.
I’ve been developing my use of drawing as a way to research the character of a place and to create a space for conversation; on my visits I began to draw in traders’ places of work, where we would talk about craft and knowledge; communities and friendships and the relationships they have with commodities, food, and people.
What’s inspired me is their skills, care and connection to local communities and suppliers; whether selling fabric, tailoring a suit, fitting a floor, repairing tools, advising on paint, gutting fish or butchering meat. Though I saw many tools of the trade, its not the physical things that people mention most but knowledge, ability to talk to people, honesty and trust.
I spent time with traders to have conversations, collect audio interviews, make drawings and take photographs which have inspired new works combining traditional embroidery with drawing and digital printing on fabric. Lancashire was once famous for cotton manufacturing. Embroidering in cotton seemed appropriate to capture fragments of conversations about intangible skills, experiential knowledge, an uncertain future and the unique relationships these traders have with their customers.
The project was commissioned to investigate the trading history of Lancaster as well as to use some of the empty shop units in town so some of the work is currently in the windows of 18 New Street until the end of Jan 2011 where after it is planned move to another home.
Mid Penine Arts are offering to post free copies of the Project Publication to the first 20 people to share their thoughts on the project. If you’ve seen the work in Lancaster or been have following the project online it would be great to hear your thoughts. You can post in response to this, or alternatively go to:
There are two publications and a special set of StoryCubes printed using bookleteer.com – you can download the print and make up version, or get in touch if you would like a specially printed version.
You can download print and make up versions of the project publication and StoryCubes here:
As It Comes by Alice Angus
A Lancaster Sketchbook by Caroline Maclennan
My time in Lancaster on As It Comes is drawing to a close this weekend with our final event this Saturday when we’ll be hosting a stall at the Vintage and Handmade Market at Storey Gallery in Lancaster from 11am until 6pm. Instead of a financial exchange for one of my drawings (with a brew, mince pie and piece of cake), I’ll be asking for your memories about independent shops. So bring me a memory and we will provide a drawing and some tasty refreshments. Directions are here.
At 1pm I’ll also be doing an informal talk about the work and weather permitting we will walk down to the hangings in 18 New Street and talk about Lancaster’s independent traders. You’ll also be able to pick up the set of storycubes and the project publication.
This week we had Caroline Maclennan in the studio using bookleteer to create a download-print and make sketchbook of documentation of As It Comes. We’ve been lucky to have Caroline as a placement on the project and she has also been documenting its progress. You can download her book here:
I’ve just returned from a research trip to Ontario, Canada with DodoLab where we spent a week planning new projects and doing a site visit to Windsor, Ontario for a batch of projects next Autumn with local artist-led group, Broken City Lab. Windsor is on the south side of the Detroit river from Detroit itself and, whilst being one of the earliest settlements in Canada, owes much of its former prosperity to Detroit’s auto industry. Today it is a town with serious industrial decline, urban blight and heavy pollution from the surrounding heavy industry and the vast numbers of trucks rolling across the Ambassador Bridge from the US into Canada.
Over the next year we aim to participate in DodoLab’s ongoing, intermittent residency in Windsor culminating in a week-long anarchaeological exploration of the city and the history of its futures. Building on the process we are developing through our current series of events here in London, City As Material, we’ll aim to work with local people in and around Windsor to create a series of shareable publications with bookleteer that can begin not just to map out the imagined futures of the past as created by the City and corporations, but also to project new ones based on hopes and aspirations of the grassroots communities who live there now.
For the past few weeks I’ve been heading up and down from Lancaster working on As It Comes. It was commissioned by Mid Pennine Arts and Lancaster District Chamber of Commerce and is inspired by both the heritage and future of local traders and shopkeepers.
I have been interviewing and drawing with some of Lancaster’s current shopkeepers and traders to understand more about their businesses and talk about; craft and knowledge; communities and friendships; and the relationship with commodities, food, and people that is different from chains and supermarkets.
The project is continuing my work on markets and shops exploring the people and communities they engender. I’ve been continually inspired by the skills, crafts and care of traders I’ve met in Lancaster – whether selling fabric, repairing tools or butchering meat. The As It Comes blog is recording some of the thoughts and conversations as the project continues.
Next week I am hanging some large scale work in New Street that combines traditional embroidery with drawing and digital printing on fabric, inspired by these conversations, the history of trade, development of textile technologies and history of cotton weaving in the area.
On the 4th December I’ll be leading a walk around of Lancaster talking about some of the issues raised by the project and thinking about the future of independent traders and town centers. NEF (New Economics Foundation) have published a follow up to their 2005 Clone Town report, entitled Re-imaging the High Street: Escape From Clone Town Britain which supports the need for independent traders; and the Transition Town movement – among others is gathering pace – so I am wondering what we want the new ecology of the high street to be? If you believe that supermarkets and large chains are unsustainable environmentally and socially, but we need some of what they offer, what new retail ecology might we build in the future?
For a week in early July Proboscis worked on Seven Days in Seven Dials a project by artistsandmakers.com and the West End Cultural Quarter to create an exhibition in one week with 30 young people on the Culture Quarter Programme of placements.
Proboscis currently has a scheme of placements funded by the Future Jobs Fund and the first two in the scheme, Shalene Barnett and Karine Dorset, joined Seven Days in Seven Dials to create download, print and makeup publications using bookleteer.com to accompany the exhibition. Here are their thoughts on the week:
“My role was to put together and produce a publication of the walking tour that took place… First we mapped out the places we were going to go and the route that we were going to take then we set out on the journey. By the end of the day we had taken pictures, collected facts and had most of the content for the eBook. On the Wednesday I spent my time at the shop in Covent Garden, editing photos and text, rearranging the eBook template I had already done and actually start putting in some content.
Friday we were in the studio. I began to finish the book, did some editing and rearranging just to make sure that the eBook was correct., printed off copies and ran them down to the shop in Convent Garden for display for the opening show on the project. It was a great experience and I had great fun working with a big range of different groups of people, I would love to do it again in the near future.” KD
“Seven Days in Seven Dials for me was a lovely experience. I spent seven days in an area called Seven Dials which is located in Covent Garden. I spent the seven days documenting different groups of people as they gathered various information about seven dials….All in all I highly enjoyed my time at Seven Dials. It was nice to meet young people that are on the same FJF scheme as myself and are trying something new and out of the box. I think the Empty Shops project is very creative and I would gladly do it again. At times it was hard work but the hard work most definitely paid off.” SB
You can see images here
and read more on the artistsandmakers website.
Alice has been commissioned by Mid Pennine Arts to undertake a new commission in their Arts Talking Shop programme. The commission is to explore the issues and history surrounding independent shopkeepers and retail in Lancaster and it draws on Alice’s interest in markets, shops, common spaces and the way communities define the identity of a place.
The issues of local distinctiveness and the idea of ‘creative city’ have recurred in Proboscis work across commissions in both the regeneration and art sectors. Independent shopkeepers play an important role in shaping the notion of ‘creative city’ as a shared, flexible space; using the street and pavement a selling space, a meeting space, a space of exchange. The project will be exploring the inherent creativity of shopkeepers; how the presence of shops affects life on the street and the way informal things can happen around local shops and markets. Local shops sometimes foster a very human scale of vibrant life on streets that have not been sucked dry by a shopping centre and often its the less regulated more informal spaces like markets that draw their communities together.
The project is a Mid Pennine Arts Arts Talking Shop project, delivered in partnership with Lancaster District Chamber of Commerce, Storey Gallery and Lancaster University.
Proboscis is collaborating in a series of labs, artworks and interventions with artist/curator Andrew Hunter of DodoLab. So far, DodoLabs have been run at the World Environmental Education Congress in Montreal (May 09); Confederation Centre, Prince Edward Island (Aug 09) the Guelph Jazz Festival (Sept 09), Rijeka, Croatia (June 2010). More labs and workshops are planned for 2010, including in the UK. DodoLab is supported by the Musagetes Foundation and the School of Architecture, University of Waterloo, Canada.
A continuing element of the collaboration centers on using bookleteer to create artists books, documentation, workbooks, storycubes and other publications about DodoLab and its activities which you can see and download them here. DodoLab was the founding member of the bookleteer alpha club.
DodoLab is a dynamic and experimental project exploring issues of resilience in places undergoing change and urban regeneration. The lab creates performances, artworks, interventions, events and education projects through an engagement with sites and communities. They use communication and social tools (such as posters, tagging, personal media devices, puppet figures and outdoor cafes) that are ubiquitous in the city.
DodoLab Montreal, Canada
The first DodoLab was held in Montréal in May 2009 at the 5th World Environmental Education Congress – a creative intervention in the exhibition hall and out and about in Montréal itself. Proboscis and the DodoLab team created a series of projects engaging the congress delegates in questioning concepts of sustainability. Giles Lane devised and a facilitated a social mapping and StoryCube activity engaging several hundred delegates in exploring their interconnections and ideas on sustainability and resilience.
DodoLab PEI, Charlottetown, Canada
DodoLab PEI is was hosted by the Confederation Centre Art Gallery and explored green space in the city, notably the Experimental Farm which is due to be redeveloped. Proboscis took part in creating and distributed seedbombs at the local Farmer’s Market, designing books, and undertaking research into the Experimental Farm Station for our new work, In Good Heart, (by Alice Angus), which considered the shift from rural to urban and the perception of ‘farm’. In Good Heart was exhibited as part of the show Dig Up My Heart: Artistic Practice in the Field curated by Shauna McCabe at the Confederation Centre Gallery in summer 2010.
DodoLab Riejka, Croatia
Alice Angus joined DodoLab in Reijka in June 2010 to research a new video installation and series of works on paper about Rijeka Market and its many traders. Dodolab are working in Rijeka in 2010 with the city and local groups to explore perceptions of Rijeka, collaboratively examining ideas about the city and its future with a particular emphasis on the role of young people.
Proboscis collaboration with Dodolab grows our work with RENDER, Andrew Hunters previous project. Our past collaborative projects have included At the Water’s Edge, a new work specifically for the atrium of the University of Waterloo School of Architecture in Cambridge exploring the social, cultural and natural histories of the Grand River; Anarchaeology and The Accidental Menagerie.
Neighbourhood radio is a project aimed at opening lines of communication amongst neighbours and form community connections by breaking down social distance and barriers.
New digital media and online culture is now widely accepted as the norm however it is still restricted by on age and price. Analogue radio use spans generations and affluence, making it the perfect medium to bridge these gaps. In this digital age, radio is fast becoming old media. Considering the changes that have happened to broadcasting over the recent years, such as digital and satellite communications, it’s important to look at the way we use older technologies and re-evaluate their purposes.
The every expanding digital presence has also heralded the way for new communication ideologies. Open source and hacktivist culture was born out of a global information gift economy, made possible through internet connection. This has given power to the people, creating a social need to make, repurpose and share technology.
This project seeks to repurpose current technologies to make them more socially relevant and to do so through an open source, easy to use model.
Radio is also a highly regulated system and to challenge this would deservingly called into question broadcast laws opening the way for new creative thinking and activity within the medium.
I undertook research into how Proboscis might create an online/off line ‘radio’ station as part of professional development commission. The commission was a way of me working with Proboscis in a professional manner to enable me to develop my individual artistic practice and freelance work as a recent graduate.
This project has helped me understand the depth of research required before undertaking artistic interaction design projects as a part of a functioning arts company. It has led me to develop my freelance work and helped me understand project management in the arts world. I have also been able to advance my understanding of technology, leading me to courses in programming to help me further my understanding of this subject area.
I hope to develop the project into a working prototype with the help of the Proboscis team and technology partners as I believe the project would be of great social benefit to community projects.
Download the Project Report PDF 3.3Mb
At the end of March I headed up to draw Coventry indoor Market to spend a few days on the next leg of the artistsandmakers.com Empty Shops Network Tour created by artist Dan Thompson (and involving Jan Williams (Caravan Gallery), Steve Bomford Natasha Middleton and podcaster Richard Vobes.) I’ve been commissioned to draw some of the spaces (and their occupants) the tour is visiting and Coventry Market follows from my drawings in Granville Arcade in Brixton.
An ancient city, Coventry’s medieval buildings were almost all destroyed during the second world war blitz that devastated the city. Its rich history is crossed by stories of King Canute and Lady Godiva. Today Coventry now has a maze of traffic free precincts and modern buildings built in the postwar period and it is far from what the medieval city must have been.
These precincts are watched over by many surveillance cameras and again on this project I to the issue of private and public space that has come up so often for Proboscis in the last 2 years as we find ourselves prevented from taking photos in shopping malls and public squares. PD Smith writes about this issue in an interesting blog post about Ground Control: Fear and Happiness in the 21st-century City, Anna Mintons Book looking at control, fear and the city.
Coventry’s indoor market is a circular space in which you can get lost, dizzy and a bit confused about which door you came in but in the process find everything from a cup of tea to 5 kinds of sweet potato, dog biscuits, birthday cards, fake flowers, fresh rolls, loose cake mix, baking tins and graph paper. Its got a real sense or people mingling from different communities and backgrounds and ages using it to meet, chat and hang out, not just shop. They once celebrated it in a musical.
In many of our recent projects people tell us its less regulated more informal spaces that draw their communities together, Watford Market, Coventry Market, Brixton Market…But these more informal spaces are on the decline it seems and everywhere we see what Paul Kingsnorth wrote in In “Cities for Sale” : From parks to pedestrian streets, squares to market places, public spaces are being bought up and closed down, often with little consultation or publicity. In towns and cities all over England, what was once public is now private. It is effectively owned by corporations, which set the standards of behaviour. These standards are the standards that are most congenial to their aim – getting you to buy things. … There will be no busking, and often there will be no sitting either, except in designated areas. You will eat and drink where you are told to. You will not skateboard or cycle or behave “inappropriately”.
The Empty Shops Network is aiming to celebrate the kind of local distinctiveness that gets lost in these developments and it is working with communities to use empty shops for projects in the spaces and times inbetween other uses. The Network’s projects involve public meetings, informal training for local artists, and showcase the tools needed to run empty shops projects. See artistandmakers.com for details.
You can see more images from Coventry here.
There are no fences here … when you go out of town there are no fences, but I wouldn’t call this a wilderness because peoples homes are here, people live here.
This week I’ve been packing up a set of drawings to send out to the Canadian arctic town of Inuvik for the first leg of a touring show during the the 25 year anniversary of Ivvavik National Park in Canada which was created by a historic Aboriginal land claim settlement The Inuvialuit Final Agreement, signed in 1984. In it the Inuvialuit agreed to give up exclusive use of their ancestral lands in exchange for guaranteed rights from the Government of Canada. The rights came in three forms: land, wildlife management and money. (read more on the Inuvaliuit Regional Corporation). As a result Parks Canada and the Inuvialuit co-operatively manage Ivvavik National Park with the Inuvaluit Wisdom that the “The land will protect the people who support the protect the land“. Parks Canada has organised a touring exhibition of work from their Artist in The Park programme which I was invited to be part of by artist Joyce Majiski, in 2003 with whom Ive been working with since them on projects such as Topographies and Tales.
Middle of Nowhere?
Bordered on the north by the Beaufort Sea and Alaska on the West, Ivvavik sits at the north western tip of Canada. A highly biodiverse region of the Western Arctic, its Inuvaluktun name ‘Ivvavik’ means nursery or place of giving birth. It is a portion of the calving grounds and migration route of the Porcupine caribou herd and forms a part of the Beringia Refugium; an area untouched by the last glaciation where an ice-free bridge allowed humans and animals to migrate from Asia into North America over twenty thousand years ago.
In summer 2003 I met up with artists Joyce Majiski Ron Felix, Audrea Wulf and James Ruben, guide Mervyn Joe and elder Sarah Dillon and flew out of Inuvik, across the Mackenzie Delta towards Sheep Creek. From the air (and in the imaginations of the temperate zone) the arctic taiga and tundra, is a frozen desert. But landing at the junction of Sheep Creek and the Firth River we saw tussocks of wild flowers, embroidered cushions with succulent jewel like plants, luminescent mosses and ferns; miniature gardens of Babylon. Out on the land there were larger traces of life and stories of trappers, miners, hunters and travelers. The language of the north I grew up with paints an image of bleakness, but there the myths of desolation fell away.
“Have good time miles from nowhere!” someone had said before I set off. In the world’s ‘wildernesses’ like Ivvavik it is easy for a visitor to be lost in such a reverie of wonder at landscape that you miss the lives and culture that are part of it. There is a disjuncture between the notion of wilderness as barren, by definition disconnected from the social, and the view of land as homeland, a social place of culture, food and everyday life. To many outside the north the Arctic is still shrouded in an aura of romanticism portrayed, as it has been through the history of polar exploration, as a landscape of sublime desolation. To some, I expect, it’s not a place but an imaginary landscape far away from their everyday lives. I wonder what is the global consequence of this enduring vision of the land?
One day we see five caribou. Pregnant cows lead the herd from Ivvavik into the calving grounds in the Alaska National Wildlife Refuge (ANWR); an area rich in oil reserves. So important are the grounds the Gwitchin people refer to them as the “sacred place where life begins”. If the ANWR is opened for drilling many people believe it will result in untold damage to the herd and the people whose lives and traditions depend on it.