Proposal Addition

As a group of artists we look forward to putting some artistic modernity onto the face of what is arguably one of the most world famous pieces of architecture in the world. The Houses of Parliament and Big Ben have come to represent a very old, traditional and stately feature of English Heritage. It could be considered a mould for the forming of this country as a nation. Putting onto the face of it the seedling aspect of it’s future as represented by children’s art will put a wonderful flux into motion. Even by having such a short and temporal work on such a enduring structure will stretch the imagination. It could be said that this project goes in direct contrast to the stayed if not extra-ordinary aesthetic of the Houses of Parliament and Big Ben. Using everyday faces in fixed and limited time sets projected onto one of the most noble and celebrated clocks in the world. Almost distracting it’s own fame by the ordinary faces who admire it on a daily bases, steeling it’s limelight in the shadow of it’s loud objections as it strikes it’s all encompassing bell. Or could it be the voice of oneness striking the same sound for all who speak in unity?

Big Ben by Andre Derain 1905

revised proposal

Public Art Presentation/Proposal “Time is the one universal measurement in which all of humanity are in agreement.”

AIMS AND OBJECTIVES

The main objective of the piece is to project our art onto the main body and the clock of the houses of parliament.We also aim to raise awareness of global warming in the public’s conscience, and draw a bridge between the government and the individual on a global level. By highlighting the issue artistically we will inspire a sense of personal responsibility by creating debate and thought on the issue raised. This will include instilling a sense of duty and responsibility on the part of today’s adults to insure a planet with hope for the generations to come, as did the armies of the past who preserved our freedom to make that decision possible.The project will educate children about the consequences of global warming through workshops that will encourage awareness. It will also give a voice to children who are otherwise unheard politically and whose opinions are often disregarded despite the obviousness of the catastrophic inheritance left to them, their future families, and the tomorrow of humanity.

This would be achieved by including images in the form of paintings done by the children at our rally workshop in Trafalgar square, which will be used in the final piece. These images would be projected onto the very seat of power and decision making of this country, ‘The Houses of Parliament’. The drawings would be their interpretation of what the effects of global warming would look like in their adulthood, and based on scientific predictions by recognised and respected scientists specialising in the area of global warming.
Such as Dr. Ashok Sinha of Climate Chaos and Mike Hulme of the Tyndall Centre for climate change.
By projecting the art onto Big Ben we hope to demonstrate that government parties on all sides of the political spectrum should be aware of the seriousness of the issue and be prepared to take action on behalf of the public. This will be shown by the very fact of the sight specific place of Big Ben and the Houses of Parliament being used as our canvas and by possible funding of the project, or at the very least a voice of support for the project. Also the fact that Houses of Parliament is recognised on an international level, publicity of the piece will be seen all over the world. WHO IS INVOLVED?The project will be spear headed by our group comprised of: Glenda, Stephanie, Molly, and Tara.

The government will be involved in gaining permission on the use of Houses of Parliament, possible funding and publicity.In addition we will be employing the help of projectionists in the form of a Production Company, security personnel surrounding the equipment. Further to this we will be employing other activists for the workshop at the icount.Promotion will be generated via icount, Green Peace, The Green Party, any other environmental agency prepared and able to contribute promotion towards the project. Local, National, and international press agencies, television broadcasts, magazine articles, Internet blogs etc…WHO WILL BENEFIT AND HOW?

We the artists, will gain a lot of publicity of our work, and will also profit from working in partnership with each other and organisations involved.
The piece being projected onto to Big Ben, means that the art work will be available to the general public. The children collaboratively involved in making the paintings, will be able to see their work projected in such a hugely important public arena, and will hopefully feel a real sense of achievement and pride.

The whole of humanity will benefit by awareness being raised in the minds of the government and the public. This would encourage the lowering of emissions that cause global warming and therefore have a positive relief to the current destruction being caused to the environment. This would be achieved by the acceptance of the public that they need to lessen their demand of wasteful products. The government would be feeling this tide of public opinion and bring in more restrictions within industry and campaign more effectively on an international level to put more pressure on other nations to follow suite. Also, as the public demand became apparent to industry, they in turn would naturally want to accommodate this demand by providing goods that are in the interest of the environment.

HOW WILL THESE AIMS BE ACHIEVED?

By projecting our public art piece we will be drawing attention to the issue of global warming and manifesting awareness. Also by bridging the gap between the government, the individual and the greater public at large. This would then make the focus less on who should be responsible for the issue, and who is to blame, but rather focus attention on the challenge itself. This would make for a positive foundation for tackling global warming more effectively.

WHAT IS THE PROCESS AND HOW WILL YOU DO IT?

The process will include gaining permission and approval from the government.The hire of a stall/workshop from the icount pressure group to be erected during a rally day at Trafalgar Square.Photographing individuals at the rally and collecting artwork from the children, as well as the permission to use these works in the Big Ben project.The hire of a projectionist company and briefing them on the lay out and plan for the instillation.Generating as much publicity as possible through newspaper interviews, news broadcasts, magazines, advertising, leaflets and publicity through environmental agencies such as icount, Green Peace, and The Green Party.Meetings between ourselves to coordinate, organise and move forward.The co-operation of the projection sites i.e. office buildings.

WHAT IS THE END PRODUCT?

A temporary (three day), site-specific art instillation via projection of images on both sides of Big Ben and the houses of Parliament from adjacent buildings, or sites. The images will be of children’s paintings of, what they imagine the future will look like without action being taken to combat global warming. These would be projected onto the two broad sides of the houses of Parliament, and photographic images of everyday faces will be projected onto the two corresponding faces of the Big Ben clock faces at timed intervals in conjunction with the bell sounding. This will be an evening event as the projections would not be visible during the day light hours.

MATERIALS
Children’s art and art equipment in the form of paper, and various mediums: paints, crayons, pens, pencils, paint brushes etc…Photographs and photographic equipmentProjection equipment and projectionistsBig Ben and the Houses of ParliamentAdjacent buildings, or sites used to project the images from. Trafalgar Square workshop stand.Leaflets, advertising and the press.A web site possibly connected to icount or even a part of their website by which means we will be able to promote, inform and advertise the piece and the contributors and sponsors.

COSTS

Projection (equipment/power/projectionist/security staff) Production Company hire:. £1200 per day (including power costs) for three days, plus on day set up. So full cost for project = £4,800Salary of Big Ben Staff (if necessary?) £80 per person per day.
Total= £240Health, Safety, insurance, license fee (if necessary): Government will pay in kind?Trafalgar Square rally workshop stall: £100Children’s art materials, equipment and stall decorations: £250Publicity i.e. posters, leaflets: £500 Press conferences, interviews for radio and television: £1,000Paying ourselves, (taking in to account that four of us will be fully employed for a period of approximately six months): £80,000 grossSundries i.e. transport, phone bills, paper and office materials and other miscellaneous: £2,000

Total costs= £88890

FUNDING
Our main funding will come from the Arts Council, who we hope will fund 50% of the costs. We will also approach various environmental charitable associations, various political parties, any other environmental agency prepared and able to contribute, corporations and companies such as Co-op Bank, Body Shop, Fair Trade.
We hope that the Government will pay in kind, for any wages of Houses of Parliament staff involved.
All of these will all be included in the publicity and the actual piece in some instances (with company logos being included in the projection and publications). Their contributions will be repaid by their names being included either on the web site or on the actual artwork.

TIME SCALE:

6 months of organisation, and 3 days for the presentation of the work. The piece will be displayed Thursday, Friday, and Saturday evening of a weekend on the run up to the elections.

FUNDING RESEARCH
Regular funding for organisations
These are grants for organisations who receive funding from us on an ongoing basis. We have a funding agreement with these organisations and we review them regularly to ensure the funds we invest in them are meeting the terms of their funding agreement. Regular funding to arts organisations is paid out of grant-in-aid.

You can download a list of all our regularly funded organisations across England [DOC 1.77MB].

You can also download a list of each region's regularly funded organisations:
. East [DOC 120KB]
. East Midlands [DOC 205KB]
. London [DOC 551KB]
. National [DOC 63KB]
. North East [DOC 191KB]
. North West [DOC 270KB]
. South East [DOC 197KB]
. South West [DOC 184KB]
. West Midlands [DOC 168KB]
. Yorkshire [DOC 257KB]

Information about our disinvestment process is available:
. procedural guidance for disinvestment from regularly funded organsiations [DOC 70KB]

If you would like to make a complaint about any funding decision, please read our complaints procedure.

Funding
Grants for the arts - individuals and organisations
Grants for the arts are for individuals, arts organisations and other people who use the arts in their work. They are for activities that benefit people in England or that help artists and arts organisations from England to carry out their work.

Funding
Communication needs
We are committed to being accessible, and want to make the Grants for the arts application process open to everyone.

. We provide Grants for the arts information in alternative formats (see below)
. We also accept completed application forms in alternative formats
. We can help applicants who have specific communication needs to complete the application form

Please tell us about your access requirements so we can assist you during the application process, from your first enquiry to the final decision on your application. If we offer you a grant, we can also offer support as part of the monitoring process.

If you need communication access support, please contact our enquiry team. The enquiry team will put you in touch with staff in the Arts Council office for the region you are based in, to discuss your needs and agree necessary arrangements.

Getting an application pack in other formats
We provide Grants for the arts application materials in a variety of formats. You can request the application pack in large print, audio CD, Braille or on BSL DVD. We can also arrange to accept applications in these formats. Please contact your regional office to arrange this.

You can also download the documents in the application pack in RTF, MS Word or PDF formats. You can download and change the RTF files for your needs, for example, if you need a larger typeface.

Information about the programme is available in languages other than English, although we can only accept applications in English.

If you require any of these formats, please phone our enquiry team on 0845 300 6200, fill in our enquiry form or textphone 020 7973 6564.

Application forms must be signed by hand. However, if a disabled person finds it difficult to do so, we will accept their usual signing method.


Funding
When you can apply
Grants for the arts is a continuous programme. There are no deadlines and you can apply any time, but we aim to make regular improvements. This means we may introduce new materials from time to time, so make sure you have the latest version before sending us your application.

We will normally make a decision on a complete application within:
. six working weeks for applications for £5,000 or less, or
. 12 working weeks for applications over £5,000.

Applications for buildings for arts use (including buying,refurbishing and improving them, feasibility studies and developing designs) often need specialist and more detailed assessment. We may need more time to reach a decision about these applications.





Eligibility
The information included on these pages is a summary of the eligibility requirements for Grants for the arts. For complete details, please read the guidance notes. You can download the guidance notes or get them as part of the application pack through our enquiry team.

Our grants are for individuals, arts organisations and other people who use the arts in their work. They are for time-limited activities that benefit people in England or that help artists and arts organisations in England to carry out their work.

Your activity must take place mainly in England. There are some exceptions to this when artists or arts organisations from England are involved in activities in other countries. (Please see our information sheet International activity for more information.)

Funding
Urban cultural programme
The Urban Cultural Programme provided £19.5 million of National Lottery funding for cultural projects in 19 urban areas across the UK, including 14 in England.

The programme was a partnership between Arts Council England and the Millennium Commission. It built on the successful European Capital of Culture 2008 competition, run in 2003. Activities are taking place between 2004 and 2006. You can find out more, including a list of grants awarded, from the Millennium Commission website.

Funding
Download electronic files
The application pack includes the following documents. You should download and read all the application materials to make sure that you are sending an eligible application. You can download the documents in RTF format, MS Word format or PDF format. Remember you can only complete the application form electronically using the MS Word and RTF formats. See below for more information about the different file formats.

. guidance notes, which explain your budget and your proposal
Available in: RTF format [358KB], PDF format [138KB]
.
.
. an application form, which includes a preliminary tour schedule form to fill in for touring activities
Available in: MS Word format [388KB] - to fill out on screen, with adjustable fonts and colours, Standard RTF format [885KB] - use this format if you prefer RTF files to Doc files, Screenreader RTF format [134KB] - to use with screenreaders, PDF format [140KB] - to fill out by hand
.
. Note: all formats have to be printed out and signed
.
. Understanding the assessment criteria and our priorities, information sheet
Available in: RTF format [134KB], PDF format [70KB]
.
.
. How we treat your application under the Freedom of Information Act, information sheet
Available in: RTF format [23KB], PDF format [24KB]
.
.
. How to contact us
Available in: RTF format [46KB], PDF format [1.727KB]

Remember, we cannot accept faxed or emailed application forms, or applications on disk as we require an original signature. Before you send your application, make sure you check it is complete, or ask someone else to check it for you.

If you have communication needs that make it difficult for you to send your application, please see our communication needs page, phone our enquiry team at 0845 300 6200 or contact the Arts Council office in the region you are based in. The enquiry team will put you in touch with staff in the Arts Council office for the region you are based in, who can agree necessary arrangements.

File formats
RTF: You can view RTF files (Rich Text Format) with most word processing programs. The application form can be saved to your computer and filled in on screen. You need to print it out and sign it when you send us your application.

MS Word: To view the application form as a MS Word document, you should have either a version of Word or one of the free Word readers available from Microsoft. Microsoft's Word reader software is available from www.microsoft.com. The application form can be saved to your computer and filled in on screen.

PDF: PDF files (Portable Document Format) can be read if you have the Adobe Acrobat Reader program which is available free of charge from the Adobe website at www.adobe.co.uk. The application form can be printed out and filled in by hand.



Funding
Where to send your application
Please send your application to the grants management unit in the Arts Council office for the region you are based in. You can find the details for our regional offices:
. on the Contact us page
. by downloading the document How to contact us, which is available in PDF [46KB] and RTF [1,727KB] formats (see the download page for more information about these formats)

We cannot accept faxed or emailed application forms, or applications on disk. If you have communication needs that make it difficult for you to send your application, please see our communication needs page, phone our enquiry team at 0845 300 6200 or contact the Arts Council office for the region you are based in. The enquiry team will put you in touch with staff in the Arts Council office for the region you are based in, who can agree necessary arrangements.

Make sure you have signed the declaration at the end of the application form, and check you have sent everything we ask for. If we need more information, we will contact you and ask for it.

Please tell us immediately if anything changes while we are assessing your application.


Funding
Projects funded by Grants for the arts
Since 2003 we have funded a broad range of projects through Grants for the arts.

You can read about some of these in our Case studies and Featured projects sections. This is a small selection of the variety of projects we fund.

If you have received a grant from us, you may want to see our information for successful applicants.


How to make your application eligible
An application to Grants for the arts must include a number of items to be eligible to be assessed. The guidance notes have full details about what makes an eligible application.

Your application must include:
. a signed and dated application form with all the required questions and any other relevant questions filled in
. a filled-in budget in section F of the application form (you may also include a more detailed budget on a separate sheet if necessary)
. a balanced budget (that is, your income and expenditure, including how much you are asking for from us, must be the same)
. a filled-in tour schedule (if you are applying for touring activity)
. a proposal following the headings we ask for in the guidance notes
. a CV (if you are applying as an individual)
. our written agreement for you to apply if you receive regular funding from us, if you are applying for a building project or if we are already assessing an application from you

If your application does not contain the necessary information in the format we ask for, it will not be assessed. There are other things you must include depending on the type of activity you are applying for. See the guidance notes for more details.


Funding
When you can apply
Grants for the arts is a continuous programme. There are no deadlines and you can apply any time, but we aim to make regular improvements. This means we may introduce new materials from time to time, so make sure you have the latest version before sending us your application.

We will normally make a decision on a complete application within:
. six working weeks for applications for £5,000 or less, or
. 12 working weeks for applications over £5,000.

Applications for buildings for arts use (including buying,refurbishing and improving them, feasibility studies and developing designs) often need specialist and more detailed assessment. We may need more time to reach a decision about these applications

Funding
How to apply
The guidance notes explain exactly what you need to do to make an eligible application. You will need to write a proposal about the activity you want us to fund and also fill in the application form. To get the full application pack, you can:
. download all the documents in the application pack
. phone our enquiry team at 0845 300 6200
. fill in our enquiry form, or
. textphone 020 7973 6564

The application pack is also available in large print, Braille, audio and on BSL DVD. Please contact the enquiry team for any of these formats, or see the communication needs page for more details.

We also have information sheets on particular aspects of applying for Grants for the arts. You can find these on the Grants for the arts subject page under Information & publications.

We cannot accept faxed or emailed application forms, or applications on disk. If you have particular communication needs, please see our communication needs page, phone our enquiry team at 0845 300 6200 or contact the Arts Council office in the region you are based in. The enquiry team will put you in touch with staff in the Arts Council office for the region you are based in, who can agree necessary arrangements.

If you have questions that the application materials do not answer, or if you need advice about your application or the activity you are applying for, we strongly advise you to contact us before you apply. Please read the application materials and be ready to describe your activity clearly to us. This will help us give you good advice and will save time.

Funding
Annual submission - full
The full annual submission should be completed by those organisations that received £100,000 or more of regular funding from Arts Council England in 2005/06. If your organisation received less than that level of funding, please complete the short submission.

The annual submission is an electronic document that you can download to your computer. Section 2 of the submission - the narrative on 2005/06 and 2006/07 - should be completed using the separate Word document. Please complete all sections of the submission electronically and return them by email to your regional office by Friday 30 June 2006.

East
E-submission@artscouncil.org.uk
East Midlands
EM-submission@artscouncil.org.uk
London
L-submission@artscouncil.org.uk
North East
NE-submission@artscouncil.org.uk
North West
NW-submission@artscouncil.org.uk
South East
SE-submission@artscouncil.org.uk
South West
SW-submission@artscouncil.org.uk
West Midlands
WM-submission@artscouncil.org.uk
Yorkshire
Y-submission@artscouncil.org.uk
National
NAT-submission@artscouncil.org.uk

Please ensure that you read the following instructions carefully before opening the document.

. Click on the link below to open the document
. Save the document to your desktop, or some other location on your hard drive

If you have problems downloading the document or would prefer to complete a paper version of the annual submission, please contact the Research department on 0845 300 6200. The paper version is also available in large print.

Please note: If you no longer receive funding from Arts Council England but did receive funding in 2005/056, you are still expected to complete the sections of the annual submission document that relate to 2005/06:

. Section 1: general information
. Section 2: narrative on 2005/06 funding year - there is no need to provide any information for 2006/07 and beyond
. Section 3: statistical information - you should supply actual figures for 2005/06 but there is no need to provide target figures for 2006/07

If your Arts Council funding began in 2006/07, it would help us in getting to know your organisation if you would complete as much of the annual submission as you can relating to 2006/07. Please note that you will be required to complete this document in future years if you continue to receive regular funding.

Related documents
Annual submission - full version (Excel) [XLS 357KB]
Section 2 - narrative (Word) [DOC 43KB]
Notes for completing the submission - full version (Word) [DOC 128KB]
Frequently asked questions (Word) [DOC 56KB]

Funding
Other funding
Managed funds are not normally open to application. These funds allow us to identify new opportunities for the arts, take new initiatives, establish new partnerships and address particular ambitions for growth, such as in cultural diversity or support for the European Capital of Culture.

Between 2003/04 and 2005/06 a total of £82 million will be available in managed funds - £44 million for the regional offices, £33 million nationally and with a £5 million strategic contingency.

We present prizes and awards through our managed funds - rewarding creative talent in the arts.

. Arts and Science Research Fellowships
. The Brian Way Award (formerly the Children's Award)
. The Chrisi Bailey Award
. Client of the Year
. Cultural Business Venture
. David Cohen British Literature
. Independent Foreign Fiction Prize
. Jerwood Choreography Awards
. John Whiting Award
. Meyer Whitworth Award
. Raymond Williams Community Publishing
. Artist Links

Arts and Science Research Fellowships
Supported by the Arts and Humanities Research Board, Arts Council England and the Scottish Arts Council.

The Arts & Humanities Research Board (AHRB), Arts Council England and the Scottish Arts Council welcome applications to the second Arts and Science Research Fellowships scheme which supports collaborative research in arts and science. This scheme aims to support collaborative research specifically between the fields of the creative and performing arts and science and engineering, as well as providing opportunities for individual researchers within the arts to work alongside those working in a scientific context. It also seeks to explore wider questions about whether and how art and science can mutually inform each other.

The Fellowship offers individuals working within the creative and performing arts the opportunity to engage in a process of collaborative research in a UK Higher Education Institution (HEI) for 6-12 months, on a full or part-time basis, working with colleagues in a scientific or engineering discipline. For further information read our news item on the Arts and Science Research Fellowships scheme.

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The Brian Way Award (formerly the Children's Award)
This annual prize of £6,000 is for playwrights who write for young people of at least 45 minutes long. Submitted plays must have been produced professionally within the past year. The award is funded by the Arts Council and administered by Theatre Centre. For further details please contact: admin@theatre-centre.co.uk .

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The Chrisi Bailey Award
This award highlights media arts projects by children under the age of 10 which explore photography, digital art, animation and video as a creative visual medium and form of coummunication rather than as documentary or record of events. There are three awards, all of which include some of the latest educational multimedia tools to aid learning. First prize also includes £1,000 and second prize includes £500. Find out more information about the award by phoning our Visual Arts Department on 020 7973 6427.

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Client of the Year
Client of the Year is awarded through the RIBA (Royal Institute of British Architects) as part of the Stirling Awards ceremony. The RIBA openly advertises for entries from clients and architects to nominate completed projects for consideration for a RIBA award. From the first round of awards, the various sub categories of the Stirling Award are drawn - this includes Client of the Year. Administered by RIBA, the Arts Council sponsors the award.

Further information is available from www.architecture.com

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Cultural Business Venture
The Cultural Business Venture is designed to provide financial support to small to medium size enterprises (SMEs) working within the creative industries in North East England (Tees Valley, County Durham, Tyne & Wear and Northumberland).

The aim of the Cultural Business Venture is to increase the viability and sustainability of creative businesses, encourage job creation and support overall growth of the creative industries in North East England.

Applications can now be accepted until March 2006. Please note there is no change to the application form or guidance notes. If you would like to discuss the scheme further, please contact Louis Coles on 0191 255 8578 or email louis.coles@artscouncil.org.uk.

For an introduction to the Cultural Business Venture and eligibility you can download an information brochure [PDF 87KB]. For further information about making an application, please download the Cultural Business Venture guidance notes [DOC 240KB] and application form [PDF 32KB]. You can also download contact details [DOC 47KB] for business support agencies in the North East who can assist you in making an application.

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David Cohen British Literature Prize
This prize marks a lifetime's literary achievement. The winner receives £30,000 plus an additional £10,000 to fund new work. For further information about the prize, including how members of the public can forward their choice of author to be considered by the judges for 2004, contact the Literature Department on 020 7973 6442. Read our news item on the David Cohen British Literature Prize 2003 to find out about this year's winners.

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Independent Foreign Fiction Prize
In collaboration with the Independent newspaper and Champagne Taittinger, Arts Council England awards the £10,000 prize to honour a great work of fiction by a living author which has been translated into English from any other language, and published in the UK. The prize is shared equally between the author and the translator. Read more about previous winners and how to enter the prize at www.artscouncil.org.uk/independentforeignfictionprize

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Jerwood Choreography Award
These awards are offered in partnership with the Jerwood Foundation and are administered by Dance Umbrella. Under this scheme, launched in 1997, a total of three awards are made each year to choreographers based in the United Kingdom. There is one award of £17,000 and two awards of £8,500 each. These awards encourage a degree of experimentation to further choreographic development, enabling new work to be developed within a structured and supported environment. For more information, including details of when submissions have to be made by, phone Dance Umbrella on 020 8741 4040.

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John Whiting Award
This award of £6,000 is to help further the careers and enhance the reputations of British playwrights. The play does not have to have been staged, but must have been written during the years 2004 and 2005. For further details please phone Charles Hart on 020 7973 6480 or email charles.hart@artscouncil.org.uk.

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Meyer Whitworth Award
This award of £8,000 is to help further the careers of UK playwrights who have had their work professionally produced but are not yet well-established. For further details please phone Charles Hart on 020 7973 6480 or email charles.hart@artscouncil.org.uk.

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Raymond Williams Community Publishing
This award commends published works of outstanding creative and imaginative quality that reflect the life, voices and experiences of the people of particular communities. The winning entry will be awarded £3,000 and the runner-up £2,000. For further information contact the Literature Department on 020 7973 6442.

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Artist Links
Artist Links is an unprecedented artists' exchange programme between England and China. The programme is a joint project between Arts Council England and the British Council. It operates out of the British Council office in Shanghai.

For further information read our Artist Links China 2002-2006 press release or contact: simon.kirby@britishcouncil.org.cn
ophelia.huang@britishcouncil.org.cn

“TIME IS THE ONE UNIVERSAL MEASUREMENT IN WICH ALL OF HUMANITY ARE IN AGREEMENT.”

Quote courtecy of Elizabeth Suzanne Lennon Wellesley

WHY BIG BEN?

1.Time is a universal language that almost anybody can understand and relate to.

2.Big Ben is a national icon instantly recognised by just about anyone in Great Britain and internationally.

3.There is a political connection i.e. The Houses of Parliament, suggesting government support of the issue of raising ecological awareness and the consequences of ignoring these issues for the next generation and us. Also, the government’s own responsibility in these issues and being a part of the process of change, and a part of the solution.

4. A symbolic bridge between the political powers that be and the ordinary person, who also must bare the responsibility as well as the consequences.

5.Internationally, nationally and locally anything about Big Ben is potentially a news worthy piece thereby gaining maximum exposure to generate more awareness of the issues raised.

6.A time keeper that people of all classes, genders, etc have put their trust in for hundreds of years to tell them a thing of everyday importance to themselves individually and collectively.

7.Big Ben has been reconstructed itself after destruction and that holds great meaning to the reconstruction of attitudes, life styles and priorities that must take place in order to sustain a finite environment.

8.A national admission to the international community and recognition of this nations responsibility and commitment towards stewardship of the planet and recognition of the ecological struggle the world is now facing.

9.Time having relevance to past, present and future, and endless symbolisms and meanings.

10.The present having it’s own duration as did the past and as does the future.

11.Finite durations of historical human history’s and events.

12.A symbolic statement of a period in the history of the Earth and a heralds in sound and vision the perils we now face ecologically, economically, and morally.

Presentation for Public Art 16/11/06

Children's Earth Art

Courtesy of Fleet Primary School, Hampstead, London, England

Living Without Cruelty Stand 2000

This is an example of how our workshop may be set up.


Courtecy of 'The Green Party'

TRAFALGAR SQUARE DEMONSTRATION with compliments of 'Reclaim the Future'

TIME POEM By Alice Oswald

Saturday August 23, 2003
The Guardian

now the sound of the trees is
worldwide

and I'm still here
staring when I should be bathing
children.

it's late, the bike's asleep on its feet.

the fields hang to the sun by
slackened lines...
when the grass breathes, things fall.
I saw
the luminous underneath of a moth.
and a blackbird
mouth to the glow of the hour in
hieroglyphics.

who left the light on the step?
pause

what is the pace of a glance?

the man at the wheel signs his speed
on the ringroad

right here in my reach, time is as
thick as stone
and as thin as a flying strand

it's night and somebody's
pushing his mower home
to the moon

· From New Writing 12, edited by Blake Morrison, Jane Rogers and Diran Adebayo, published by Picador

A ROW OF BEACH HUTS WITH MORE OF A SEA FRONT VIEW THEN THEY ANTICIPATED!

Titled: "BEACH NUT"

KRZYSZTOF WODICZKO

images with the courtecy of the artist

CONTRACT:

I ……………………………………………
give permission for the image taken here at the iCount stall, on 20th December to be used in the Public Art Piece proposed to me by Molly Blair, Stephanie Richardson, Glenda Xavier, Tara Weilesley. This will involve a photographic portrait of myself being projected onto the clock face of Big Ben. The artists own the copyright of the image, but do not have permission to use it on projects other than the iCount project.
Signature………………….
Date……………………..


I ……………………………………………
give permission for the image of my child/children ……………………………..
taken here at the iCount stall, on 20th December to be used in the Public Art Piece proposed to me by Molly Blair, Stephanie Richardson, Glenda Xavier, Tara Weilesley. This will involve a photographic portrait being projected onto the clock face of Big Ben. The artists own the copyright of the image, but do not have permission to use it on projects other than the iCount project.
Signature………………….
Date……………………..

Richard Demarco
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Richard Demarco (born Portobello near Edinburgh, 1930) is a Scottish artist and promoter of the visual and performing arts.

He was co-founder of the Traverse Theatre in Edinburgh in 1963. Three years later he and other organisers of the gallery space left the Traverse to establish what became the Richard Demarco Gallery.

For many years, the Gallery promoted cross-cultural links, both in terms of presenting artists such as Marina Abramovic within Scotland and in establishing outgoing connections for Scottish artists across Europe.

His involvement with Joseph Beuys led to various presentations, from Strategy Get Arts in 1970 to Beuys' hunger strike during the Jimmy Boyle Days in 1980.

Also particularly notable were the presentations by Tadeusz Kantor's Cricot 2 group during the 1970s and 1980s. An unofficial performance of The Water Hen at the former Edinburgh poorhouse during the Edinburgh Festival in 1972 was a notable success. Cricot 2 returned to Edinburgh in later years. Demarco introduced Beuys and Kantor to one another and in one performance of Lovelies and Dowdies Beuys performed under Kantor's direction.

For many years the Gallery led a financially-straitened existence. Since the early 1990s, Richard Demarco's activity has been through the Demarco European Art Foundation.

Richard Demarco has attended every Edinburgh Festival. He has attended or been extensively involved with the Edinburgh Festival Fringe, the largest arts festival in the world, since its inception. His current involvement at the Fringe is in collaboration with Rocket Venues.


[edit] External links
Studio International article by Demarco on Edinburgh
[1]
A biography of Richard Demarco by Charles Stephens [2] Charles Stephens
Retrieved from "http://en.wikipedia.org/wiki/Richard_Demarco"

Enlightenment in the darkness of the unknown
VISUAL ART
DUNCAN MACMILLAN

LUMEN DE LUMINE *****
TORNESS POWER STATION

MODERN ART was born of a conundrum: if you are part of the world how can you describe it? It was formulated by David Hume thus: "It is absurd to imagine we can ever distinguish betwixt ourselves and external objects." The truth of this was particularly critical for artists because in the previous century art had joined with science and philosophy with precisely that ambition, to understand the world by describing it. Painters soon realised that because objectivity is a paradox, the enterprise was doomed to fail. Rembrandt and Vermeer reflect on this, and Velasquez's Las Meninas is perhaps the greatest formulation of all of the impossibility of separating the observer from the observed.

Nevertheless, having recognised the problem, artists did not abandon the original ambition. They tried to incorporate the paradox into the solution and to describe the world from within; to proceed, recognising that they were inextricably part of any description and that they shape the world even as they describe it. Modern art was born, not from any perverse vision, but from the artists' increasingly acute awareness of the elusive complexity of what at first seemed so simple.

Science, meanwhile, ignored Hume's conundrum and maintained instead the fiction of the detached and objective observer. This worked very well until scientists came to quantum physics, the study of the fundamental particles from which our world is built. They discovered that on that level objectivity is impossible - the observer and the observed are locked in a dance that alters both. So, has science caught up with art?

It is an intriguing question. But first consider an apparently very different dance. On a dark, cold and windy night a girl in a red dress dances in the dark, projected on a vast screen on the East Lothian coast. As she dances, she is illuminated fitfully by the light from a single bulb that she whirls around her head on a long flex, like a cowboy with a lasso. The image flickers for a few minutes against the night, then disappears.

This happened on Thursday. The screen was the enormous blank north wall of Torness nuclear power station. Even though it is huge, both it and the dancing girl projected on to it were dwarfed by the much greater vastness of the night. It was easy to see this dance as an image of an individual human life: brief, shadowy, no more than a flicker in the darkness of the great unknown.

Equally, perhaps, it symbolised the strange dance of observer and observed - the quantum physicist and those elusive fundamental particles - for this film, made by artist Ken McMullen, was commissioned by CERN, the giant European particle accelerator. The film was made in one of the CERN accelerator tunnels. On one level at least, quantum physics is its subject.

The film also proposed a dialogue between Torness, where it was projected, and nearby Skateraw farm, where the projector was - between science and agriculture. At Skateraw, thanks to farmer John Watson's extraordinary generosity, one of the barns is home to Richard Demarco's collection. So, in this dialogue, Skateraw represents art as well as farming. However, that is no big step, as Watson reminded us, quoting Hume's friend Lord Kames, that farming itself is the chief of all the arts.

Whether you like it or not - and most distrust it profoundly - the technology harnessed at the power station is testimony to the way scientists have penetrated to the very heart of matter itself. And so the finger of light across the dark and windy space between the farm and the power station was reaching out from art to science. Projecting the fragile image of a dancing girl as a metaphor for a single human life, it was also emphatically restating the centrality of the human to the business of science. Without that it breeds monsters that may devour their creators. So, art has something crucial to offer science.

The idea of the film was Neil Calder's. He had been employed by CERN to make meaningful to the public what the organisation does, to tackle mistrust of science and the scientists' own lamentable lack of skill in explaining what they do. In this instance, as Calder remarked, McMullen shows a remarkable, intuitive grasp of science. The figure with her tiny light in the greater darkness could stand as a metaphor for what we have only recently understood, that the most of the universe is invisible to us - dark matter and dark energy. These are truths we can barely grasp except at this metaphorical level and which, thus far, the light of science itself cannot penetrate any more than the girl's swinging light bulb could illuminate the landscape.

This kind of profound reflection is not new to Skateraw, however. The coast there is the site of James Hutton's "nonconformity", the place where the strange configuration of the rocks provided Hutton (another farmer) with a key part of his proof of the nature of the earth's geology: that even the rocks themselves change constantly, but the expanse of time in which they do so is unimaginably vast. It extends "till a' the seas gang dry and the rocks melt wi' the sun." Burns was a visitor to Skateraw.

That fragile figure was dancing to a tune first composed by Hutton, therefore, or perhaps even to a song by Burns. Watson reminded us of these Enlightenment links and, as he did so, argued passionately that in the predicament in which we now find ourselves, we should reach back to the Enlightenment to relearn the convergence of the arts and sciences and the shared human focus that brought such strength then. The message from all the other speakers was the same. We must not repeat the mistakes of the 20th century, seeing the arts and sciences in opposition. They need each other. If we are to survive our environmental crisis, they must work together, and the dialogue proposed by that beam of light must be meaningful. Science needs the humanity symbolised by that dancing figure and that only the arts can bring, and we now need science to solve the problems that, unchecked by that sense of humanity, science has itself created. Art, farming, quantum physics and nuclear power seem unlikely bedfellows but they need each other. Their conjunction here, perhaps, points to the only possible way forward.

• An agreement is currently being sought to screen Lumen de Lumine for a 28-day period.

This article: http://living.scotsman.com/index.cfm?id=228152006

Last updated: 14-Feb-06 11:59 GMT

These are examples of what the childrens drawings could/would look like after the work shop:

Hi had a look for projtion equipment and stuff, found quite a few sites but no prices were attached..... so not sure how we would find this out?
http://www.deepvisual.com/africa.html

South Africa Freedom Day

15,000 people braved the freezing rain to see REM

play a tribute for Nelson Mandela

Trafalgar Square, London, March 2001

Projection by deepvisual











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