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GRAFTING Issue 01 the Society for the Diffusion of Useful Knowledge June 2018

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GRAFTING Issue 01 the Society for the Diffusion of Useful Knowledge June 2018 GRAFTING Issue 01 The Society for the Diffusion of Useful Knowledge June 2018 Joseph Graham, William Newman, and John Stacy, The Geologic Time Spiral—A Path to the Past (ver. 1.2, 2008). U.S. GEOLOGICAL SURVEY GENERAL INFORMATION. graft (n.1) "shoot inserted into another plant," late 15c. alteration of Middle English graff (late 14c.), from Old French graife "grafting knife, carving tool; stylus, pen," from Latin graphium "stylus," from Greek grapheion "stylus," from graphein "to write". So called probably on resemblance of a stylus to the pencil-shaped shoots used in grafting. graft (n.2) "corruption," 1865, perhaps 1859, American English, perhaps from British slang graft "one's occupation" (1853), which is perhaps from the identical word meaning "a ditch, moat," literally "a digging" (1640s), from Middle Dutch graft, from graven "to dig". The Society for the Diffusion of Useful Knowledge is a serial broadsheet publication pro- 01 GRAFTING June 2018 duced by the Blackwood Gallery, University of Toronto Mississauga, as part of The Work 02 COMMUTING August 2018 of Wind: Air, Land, Sea, a site-specific exhibition, public program, and publication series 03 BEARING October 2018 On The Geologic Time Spiral designed to expand perspectives on climate change through artistic practices, cultural 04 SHORING December 2018 inquiry, and political mobilization. 05 ACCOUNTING February 2019 06 FORGING April 2019 The Work of Wind: Air, Land, Sea Publisher Lisa Hall Exhibition: 14–23 September 2018 Blackwood Gallery Books: September 2018, June 2019, September 2019 University of Toronto Mississauga Public Programs: June 2018–April 2019 Broadsheet Series: June 2018–April 2019 Editorial Collective D.T. Cochrane, Alison Cooley, Fraser Drawing attention to the relative scales of geologic and human time, the Geologic The Work of Wind: Air, Land, Sea aims to foster a deeper public awareness of the complex McCallum, Christine Shaw, Joy Xiang Time Spiral is an apt starting place for an inquiry into the Anthropocene. Earth’s entanglements of ecologies of excess, environmental legacies of colonialism, the finan- cialization of weather, contemporary catastrophism, politics of sustainability, climate Designer origin and early life are obscure, receding into a distant past some 4.5 billion years justice, and hopeful resilience. It sets out to develop durable visual-cultural literacies and Matthew Hoffman invites publics to create new encounters in the common struggle for a future. The project ago—but as time and the spiral unfold, more details emerge. Depicted is the story flows across the city of Mississauga and is distributed locally, nationally, and interna- Copy Editor of a changing planet and evolving life, a story recovered from the rocks that form tionally through a three-volume book series co-published with K. Verlag and The Society Jeffrey Malecki for the Diffusion of Useful Knowledge, an innovative public program and publishing platform. the planet’s crust. Human-time barely registers, yet our traces may define the Printer The Society for the Diffusion of Useful Knowledge (SDUK) Thistle Printing Ltd. next chapter. The spiral image also calls to mind oft-quoted lines from Yeats’s 1919 poem “The Second Coming.” The sentiment continues to resonate: In order to productively collide with the present crisis, we recognize that ideas cannot be constrained by disciplines. The Society for the Diffusion of Useful Knowledge (SDUK) composes and circulates an ecology of knowledge based on the relationship and an- Contributors tagonism of “useful” ideas. The name of this innovative platform is borrowed from a Amanda Boetzkes, Civic Laboratory Turning and turning in the widening gyre non-profit society founded in London in 1826, focused on publishing inexpensive texts for Environmental Action Research, The falcon cannot hear the falconer; such as the widely read Penny Magazine and The Library of Useful Knowledge, and aimed The Climate Change Project, Heather at spreading important world knowledge to anyone seeking to self-educate. Both con- Davis, Endocrine Disruptors Action Things fall apart; the centre cannot hold… tinuing and troubling the origins of the society, the Blackwood Gallery’s SDUK platform Group, Lisa Hall, Julie Joosten, circulates research, ideas, and debates from a range of exigent discourses and prac- Elizabeth LaPensée, The LEAP, Yihan Li, tices, including those among the visual arts, environmental humanities, public policy, Morris Lum, Shannon Mattern, political economy, sustainable design, science and technology studies, extinction stud- Andrea Olive, Kika Thorne, Zoe Todd, ies, and the major scientific and cultural debate of a generation—the Anthropocene. Kyle Powys Whyte, Tania Willard The SDUK broadsheet series brings together contributors from diverse fields in the Staff sciences and humanities, students and faculty from across the University of Toronto Christine Shaw, Director/Curator Mississauga, community organizations and activists, policy makers and policy agitators, Alison Cooley, Assistant Curator How to Read this Broadsheet artist researchers and speculative thinkers, all to advance new forms of literacy around Caitlin Sutherland, Project Coordinator climate change discourse. Joy Xiang, Curatorial Research Assistant Fraser McCallum, Publications and The Work of Wind: Air, Land, Sea Outreach Assistant The SDUK broadsheet series takes aim Tree Permit TP-2016-00332 Applicant John (p. 20) and then move on to Heather Curated by Christine Shaw D.T. Cochrane, Research Associate at a broad range of concerns—and this Ross… (p. 16) are both excellent points of Davis and Zoe Todd’s “Decolonizing the Presented by the Blackwood Gallery in partnership with the University of Toronto issue, GRAFTING, explores how we come departure for this exploration. Anthropocene” (p. 12). Mississauga, the City of Mississauga, and K. Verlag. to know, define, and interact with nature, 2018–2019 where we see its boundaries and iden- If you are interested in who is taking ac- In the face of environmental catastrophe, tify its needs, and how we understand tion on environmental issues in Missis- many of us are asking, “How do we reck- its entanglement with culture. Following sauga, profiles of the Association for Ca- on with time? How do we repair? What on the origins of The Society for the Diffu- nadian Educational Resources, Credit Riv- can we do?” If you are too, a poem by sion of Useful Knowledge, and in the spirit er Anglers Association, HOUSE Lab, En- Julie Joosten (p. 14) exploring the many of publishing, questioning, and problema- abling Garden, Making Social Knowledge, histories bound up in climate’s present The Society for the Diffusion of Useful Knowledge is developed in collaboration with tizing “useful knowledge,” we recognize and UTM’s Beehives provide short intro- may deeply resonate with you, and Kyle The Climate Change Project (City of Mississauga, Environment Division). our readers as curious people who may ductions to some important local initia- Powys Whyte’s “Climate Change as an pick up this publication with certain ques- tives (p. 26), and Andrea Olive’s essay on Unprecedentedly Old Catastrophe” (p. 8) tions already in mind. the Credit Valley Conservation Authority may offer some ideas for grappling with (p. 24) offers additional in-depth analysis. the timeline(s) of climate change and Perhaps you are asking, “Where do nature prevention. The Leap Manifesto (p. 10) and the city intersect? What does this Landowners, residents, and entrepre- calls for a Canada based on caring for The Work of Wind: Air, Land, Sea is one of the 200 exceptional projects funded in part mean for urbanism?” We suggest you neurs may be interested in asking, “What each other and the planet, moving swift- through the Canada Council for the Arts’ New Chapter program. With this $35M investment, begin with Shannon Mattern’s “How to are the implications of environmental ly to a post-carbon future, upholding In- the Council supports the creation and sharing of the arts in communities across Canada. Graft a City” (p. 5); Morris Lum’s photo- degradation on land ownership and digenous rights, and pursuing economic graphic project on Cooksville, a Missis- the economy?” D.T. Cochrane and Fraser justice for all. sauga neighbourhood built on intercultur- McCallum address this question through al relationships and subject to both urban the lenses of economics and biodiversity, Finally, this publication closes with a development and climatic events (p. 6); respectively (pp. 22–23). glossary—a tool designed to help de- or The Climate Change Project’s study fine the unfamiliar, but also describe, de- of natural resource management (p. 25). “How is climate change related to In- velop, connect, and trouble existing ter- Blackwood Gallery digenous knowledge, sovereignty, and minology. Words, too, are shifting ground, University of Toronto Mississauga We often wonder, “How can art and cul- kinship?” is a central, vital question for and each broadsheet’s glossary will re- The Blackwood Gallery gratefully acknowledges the additional support of the Jackman 3359 Mississauga Road ture contribute to an understanding reckoning with our relationship to land spond to its contents, accumulating new Humanities Institute and the University of Toronto Affinity Partner, TD Insurance. Mississauga, ON L5L 1C6 of nature-culture entanglement?” If and the legacies of colonialism. It is tak- language, and attesting to the need for 905-828-3789 you wonder this too, Amanda Boetzkes’s en up by many contributors in this is- a complex, entangled lexicon that equips [email protected] essay on grafting and contemporary art sue, but you might begin with EDAc- us to learn, understand, and confront a blackwoodgallery.ca (p. 18), and Kika Thorne’s artist project tion & CLEAR’s “Pollution is Colonialism” rapidly changing world. 3 How to Graft a City Shannon Mattern The machine-learning algorithm processes empires or claimed by colonizers often prints. They’ve swapped neural nets for a training set composed of images of graft- host grafted architectures and infrastruc- compulsive desires, automation for de- ed fruit trees.
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