- UC Santa Cruz
- The Arts
This is a subject matter driven course, based in the main, on a current work in which the Harrison Studio is engaged. It is the subject matter, as it emerges from research, observation and discourse, that determines the media, digital and otherwise, that will express the meaning and intention of the work. It is entitled “The Force Majeure: Six Considerations for the Sacramento/San Joaquin Drain Basin and the Bays at San Francisco.” We use the term “whole systems” in the sense that the 42,000 square mile Sacramento/ San Joaquin drainage basin can be understood geo-physically, and originally ecologically, as a whole system. The fundamental subject matter is the coming ecological, social and political turbulence that will come about as the temperature in the Central Valley of California raises. If predictions are accurate, the whole region will experience a profound loss of its species, both natural and cultivated.
Paleoclimatological research done on this campus by the Paleoclimate and Climate Change Research Group (CCIL) indicates that the valley floor will experience rising temperatures during the next 50-100 years of around 5-7 degrees Fahrenheit. Furthermore, the high grounds in much of the Sierras will experience a temperature raise between 7-10 degrees Fahrenheit. This course of events suggests that there will be both a botanical, in terms of natural ecosystems, as well as a farming or cultivation systems die-off of 70%, perhaps even more. The Harrison Studio, for this work, will pose two questions, simple in their statement, complex in their enactment. What do we think we can do about this state of affairs and how do we go about it?
The researchers that the project will be working with are members of the Paleoclimate and Climate Change Research Group on campus, Warren Sack of DANM, whose basic research is large conversations, and Ronnie Lipschutz (Department of Political Science), whose work looks at Global Justice from legal, political and ecological perspectives and future possibilities.
The Harrison Studio only proceeds at this scale by invitation. It has been invited by Yerba Buena Center for the Arts to present these problems and possible solutions as a large installation in their galleries and outside of their galleries. To do this, a major fundraising effort is in process (if appropriate funding is not found, this work will take a much simplified conceptual shape). Typically people who engage in the studio work and add serious creative content are acknowledged and cited in the work as co-creators (see “Santa Fe Watershed: Lessons from the Genius of Place”) The students in this project who engage in support of this work, over the course of the year, will have three possible outcomes available to them. The first is that they in fact take up an issue in such detail that they do become co-creators. The second is working in the studio may set off the conditions for creating the subject matter for their own MFA, or they might produce a critical paper.
Finally, the core belief that the studio operates with is that the cultural landscape and all that we see in it and all that is happening in it is the outcome of the desire, intention and will of the people in power in a place or a subsystem. Underlying this belief is the notion that forms in the cultural landscape come about as a result of people in position of power often, though not always, seeing opportunity and acting for advantage. This begins with storytelling behavior, which then turns into propositions or structures, which in turn become the ever-changing fabric of the cultural and now natural landscape. The strategy for change employed by the studio is to pick up on the core narrative of place, come to some understanding and to veer an existing dysfunctional narrative, for instance as manifested in the Central Valley, into a more viable social and ecological state, which in turn establishes grounds for redesign in the face of coming turbulence.