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It’s true. And that’s the least of it. Click the video below to see more about trees and some people who love to plant them. This one gave me goosebumps. I want to be Wangari Maathai when I grow up. -RB
About Wangari Maathai
Wangari Muta Maathai was born in Nyeri, Kenya (Africa) in 1940. The first woman in East and Central Africa to earn a doctorate degree, Professor Maathai obtained a degree in Biological Sciences from Mount St. Scholastica College in Atchison, Kansas (1964). She subsequently earned a Master of Science degree from the University of Pittsburgh (1966). Professor Maathai pursued doctoral studies in Germany and the University of Nairobi, obtaining a Ph.D. (1971) from the University of Nairobi where she also taught veterinary anatomy. She became chair of the Department of Veterinary Anatomy and an associate professor in 1976 and 1977 respectively. In both cases, she was the first woman to attain those positions in the region.
Professor Maathai was active in the National Council of Women of Kenya in 1976-87 and was its chairman from 1981-87. In 1976, while she was serving the National Council of Women, Professor Maathai introduced the idea of community-based tree planting. She continued to develop this idea into a broad-based grassroots organization whose main focus is poverty reduction and environmental conservation through tree planting. With the organization which became known as the Green Belt Movement Professor Maathai has assisted women in planting more than 40 million trees on community lands including farms, schools and church compounds.
In 1986 the Green Belt Movement (GBM) established a Pan African Green Belt Network that has exposed many leaders of other African countries to its unique approach. Some of these individuals have established similar tree planting initiatives in their own countries using the methods taught to improve their efforts. Countries that have successfully launched such initiatives in Africa include Tanzania, Uganda, Malawi, Lesotho, Ethiopia, Zimbabwe and others.
In September 1998, Professor Maathai became co-chair of the Jubilee 2000 Africa Campaign, which seeks debt cancellation for African countries. Her campaign against land grabbing and rapacious allocation of forest lands has gained international attention in recent years.
Professor Maathai is internationally recognized for her persistent struggle for democracy, human rights and environmental conservation. She has addressed the UN on several occasions and spoke on behalf of women at special sessions of the General Assembly during the five-year review of the Earth Summit. She served on the commission for Global Governance and the Commission on the Future. She and the Green Belt Movement have received numerous awards, most notably the 2004 Nobel Peace Prize.
Other awards include the Disney Conservation Award (2006), the Paul Harris Fellow (2005), the Sophie Prize (2004), the Petra Kelly Prize for Environment (2004), the Conservation Scientist Award (2004), J. Sterling Morton Award (2004), WANGO Environment Award (2003), Outstanding Vision and Commitment Award (2002), Excellence Award from the Kenyan Community Abroad (2001), Golden Ark Award (1994), Juliet Hollister Award (2001), Jane Adams Leadership Award (1993), Edinburgh Medal (1993), UN’s Africa Prize for Leadership (1991), Goldman Environmental prize (1991), the Woman of the World (1989), Windstar Award for the Environment (1988), Better World Society Award (1986), Right Livelihood Award (1984) and the Woman of the Year Award (1983).
Professor Maathai was listed 6th in the Environment Agency (UK) peer review of the world’s Top 100 Eco-Heroes. She was also included in UNEP’s Global 500 Hall of Fame and named one of the 100 heroines of the world. In June 1997, Professor Maathai was elected by Earth Times as one of 100 persons in the World who have made a difference in the environmental arena. In 2005, Professor Maathai was honored by Time Magazine as one of 100 most influential people in the world, and by Forbes Magazine as one of 100 most powerful women in the world.
Professor Maathai has also received honorary doctoral degrees from several institutions around the world: Williams college (1990), Hobart & William Smith Colleges (1994), University of Norway (1997), Yale University (2004), Willamette College (2005), University of California at Irvine (2006), and Morehouse University (2006).
The Green Belt Movement and Professor Maathai are featured in several publications including: Speak Truth to Power (Kerry Kennedy Cuomo, 2000), Women Pioneers for the Environment (Mary Joy Breton, 1998), Hopes Edge: The Next Diet for a Small Planet (Frances Moore Lappe and Anna Lappe, 2002), Una Sola Terra: Donna I Medi Ambient Despres de Rio (Brice Lalonde et al, 1998), Land Ist Leben (Bedrohte Volker, 1993. Dr. Maathai has also written two books of her own: an autobiography, Unbowed, and an explanation of her organizational method, The Green Belt Movement: Sharing the Approach and the Experience.
Professor Maathai serves on the boards of organisations including the UN Secretary Generals Advisory Board on Disarmament, the Jane Goodall Institute, Women and Environment Development Organization (WEDO), World Learning for International Development, Green Cross International, Environment Liaison Centre International, the Worldwide Network of Women in Environmental Work, the Global Crop Diversity Trust, Prince Albert II of Monaco Environmental Foundation, and the National Council of Women of Kenya.
In December 2002, Professor Maathai was elected to Kenya’s parliament with an overwhelming 98 percent of the vote. Until 2007, she represented the Tetu constituency, Nyeri district in central Kenya (her home region). From 2003- 2007 Professor Maathai served as Assistant Minister for Environment and Natural Resources in Kenya’s ninth parliament.
In 2005 Professor Maathai was elected the Presiding Officer of the Economic, Social and Cultural Council (ECOSOCC) of the African Union based in Addis Ababa, Ethiopia. ECOSOCC was formed to advise the African Union on issues related to the African civil society. Dr. Maathai was also honored with an appointment as Goodwill Ambassador to the Congo Basin Forest Ecosystem, where she serves in an advocacy role for the region’s conservation and protection.
In April 2006, the President of France, Mr. Jacques Chirac honoured Professor Maathai with France’s highest honour, Legion d’Honneur. The decoration ceremony took place in Paris in April 2006 and was presided over by Minister of Ecology and Sustainable Development, Madam Nelly Olin. Also in 2006, Professor Maathai founded the Nobel Women’s Initiative with her sister Nobel Peace Laureates Jody Williams, Shirin Ebadi, Rigoberta Menchú Tum, Betty Williams and Mairead Corrigan. In 2007 Professor Maathai was invited to be co-chair of the Congo Basin Fund initiated by the UK government to help protect the Congo Forests.
2008, Royal Institute of British Acrchitects, Honorary Fellowship (2007)
Nelson Mandela Award for Health and Human Rights (2007)
Jawarhalal Nehru Award (2007)
World Citizenship Award (2006)
The Disney Conservation Fund Award (2006)
Paul Harris Fellowship (2005)
The Sophie Prize (2004)
The Petra Kelly Prize (2004)
The Conservation Scientist Award (2004)
The J. Sterling Morton Award (2004)
The WANGO Environment Award (2003)
Outstanding Vision and Commitment Award (2002)
The Excellence Award from the Kenyan Community Abroad (2001)
The Juliet Hollister Award (2001)
The Golden Ark Award (1994)
The Jane Addams Leadership Award (1993)
The Edinburgh Medal (1993)
The Hunger Project’s Africa Prize for Leadership (1991)
The Goldman Environmental Prize (1991)
Women of the World Award (1989)
The Windstar Award for the Environment (1988)
The Better World Society Award (1986)
The Right Livelihood Award (1984)
The Woman of the Year Award (1983)
My God. I don’t think I’ve seen a more beautiful home. Here’s another angle:
Discovered by Erin Carmean. More info here: http://neverwashaul.com/
While reading the incredible book, Sublime Spaces and Visionary Worlds, I was introduced to Emery Blagdon and the realization that I’d finally stumbled across my first gnome. The following article is from the Foundation For Self-Taught American Artists. -RB
In 1986, when Dryden and Christensen were visiting North Platte, they learned the old farmer had died of cancer at 78. He had no will, and his estate was put up for auction.
The friends from New York placed the only bid for the healing machines.
“After more than a decade of absence, I happened to plop in there at a pivotal moment,” he said. Had they not bought Blagdon’s work, it’s likely his creations would have ended up on a scrap heap.
-JOE DUGGAN / Lincoln Journal Star | Posted: Saturday, January 7, 2006 6:00 pm<http://www.journalstar.com/news/local/article_aebdfa60-c9bd-5726-b31b-3bec62d8b9f3.html>
Emery Blagdon constructed the enigmatic environment that is his legacy in a small ramshackle shed on his farm about twenty miles northeast of North Platte, Nebraska, in the desolate Sandhills country. Not much is known about the man himself: he was born to a Lincoln County farming family in 1907, attended school through the eighth grade, and spent much of the Depression years on the road and riding the rails.
In the early 1950s, he inherited his uncle’s 160-acre farm and returned to Nebraska where he worked the land minimally as a subsistence farmer. Around 1955, at age forty-eight, Blagdon embarked on the project that would occupy and sustain him for the next three decades of his life, the construction of a dense network of “Healing Machines.”
As a young man, he apparently lost his parents and three of his five younger siblings to cancer, and he designed his shed––which housed a system of elegant, spindly mobiles and delicate freestanding sculptures made out of baling wire and found objects––to produce energy fields with preventative, restorative, and curative powers. The objects’ reflective, kinetic, and color properties were intended to resonate and release an electromagnetic force to combat physical and psychic pain. Blagdon’s cure also relied on an equally remarkable, but smaller, group of abstract geometrical panel paintings, which display a transcendental sense of color, proportion, and pattern.
Blagdon considered himself more a healer or scientist-inventor than an artist, although he welcomed visitors to view his shed and bask in its regenerative effect. Although a bit of a recluse, his easy manner and willingness to share his work led local pharmacist Dan Dryden on a pilgrimage to view the installation after Blagdon approached him at the pharmacy in search of “earth elements” for his Machines.
“It was just an explosion of color and reflections. It was probably the biggest surprise in the world to me, this phantasmagorical display. The blinking Christmas tree lights were reflecting off the foil. The contrast between the outside dark and inside the shed was just over the top.” –Dan Dryden
After the artist’s death––of cancer––in 1986, Dryden and a friend purchased the shed in its entirety at auction and have since campaigned to restore and exhibit the environment in its original form (with certain smaller pieces for sale commercially). Blagdon’s integral “Healing Machines” environment has been exhibited at the Philadelphia Museum of Art and the Fourth Biennale in Lyon, France; after conservation, the environment was acquired by the John Michael Kohler Arts Center in Sheboygan, Wisconsin, for its permanent collection.
—Greaves, Brendan. “Emery Blagdon.” Foundation For Self-Taught American Artists.<http://www.foundationstaart.org/artist_single.aspx?artist=42>
“Everyone should be able to build, and as long as this freedom to build does not exist, the present-day planned architecture cannot be considered art at all. We must at last put a stop to having people move into their quarters like chickens and rabbits into their coops.”
-Freidensreich Hundertwasser, from Mouldiness Manifesto against Rationalism in Architecture
Hundertwasser was born in Vienna in 1928 as Friedrich Stowasser. Around 1949 he exchanged the Czech “Sto-” (which translates to ‘hundred’) in his surname for the German “Hundert-” (which also translates to ‘hundred’). At this same time, he went from “Friedrich” to “Friedensreich” – effectively becoming “Peace-Kingdom Hundred-Water.” He initially gained acclaim for his paintings, but is currently more renowned for his unique architectural stylings. His revolutionary ecological stands with regard to architecture have earned him the nickname “Architecture-Healer.” His works have been used for flags and stamps, coins and posters, schools and churches.
Hundertwasser so believed in the negative influence of “straight line” architecture on one’s health, that he encouraged people to refuse to enter into buildings that were based on the ninety degree angle / grid paradigm. He told people that if they were supposed to meet somebody in one of those straight buildings, they should call from a phone outside and ask the person to meet them under a tree, or in a Baroque pavilion. He said “I will carry a kilogramme of plaster of paris around with me. If I receive an invitation to go somewhere, i will have a look at the building first. If it is a smooth one in which people are confined who are not allowed to do anything, who can do nothing, want to do nothing, I will insist on putting a nice lump of plaster of paris on the wall with my own hands. If I am not permitted to do this I won’t go in.”
Hundertwasser was a big fan of decay, deterioration, rust, vandalism, graffiti – anything that would encroach upon the tyranny of the rigid, measured and sterile world, undermining its fascist authority and returning objects to a state more harmonious with nature. He yearned for bright colors, twisting and irregular lines that reflected man’s meandering path through his day, the unstructured debris of life careening towards entropy. –Ciphe
Hundertwasser Manifestos and Texts
…Hundertwasser’s thoughts are a philosophy of the aesthetic, the life and art in harmony with nature. Mostly the texts were devised and written for special occasions or individual concerns. The publications appeared singular and texts were distributed differently. Hundertwasser saw himself not as a writer but rather as a thinker
Since his first artistic actions his thoughts circulate around the same topics: life, nature and all beauty, what happens between, next to function and profit. It attracts attention that the texts were cumulative subdivided, more targeted and gets more profoundness by and by. They obey not the trends, the rumour of the public and the exchange value, they owe their appearance the diligently and exact study of humans and their manifold interdependences and addictions, necessities and opportunities, but also their lapses…
Walter Schurian, in:
Friedensreich Hundertwasser, Schöne Wege, Gedanken über Kunst und Leben [Beautiful Paths, Thoughts on Art and Life]
Writings 1943 – 1999, Munich 2004 (translation from German)
For more about Hundertwasser, click the photo below.
Mouldiness Manifesto against Rationalism in Architecture
Painting and sculpture are now free, inasmuch as anyone may produce any sort of creation and subsequently display it. In architecture, however, this fundamental freedom, which must be regarded as a precondition for any art, does not exist, for a person must first have a diploma in order to build. Why?
Everyone should be able to build, and as long as this freedom to build does not exist, the present-day planned architecture cannot be considered art at all. Our architecture has succumbed to the same censorship as has painting in the Soviet Union. All that has been achieved are detached and pitiable compromises by men of bad conscience who work with straight-edged rulers.
The individual’s desire to build something should not be deterred! Everyone should be able and have to build and thus be truly responsible for the four walls in which he lives. And one must take the risk into the bargain that such a fantastic structure might collapse later, and one should not and must not shrink from human sacrifice which this new mode of building demands, perhaps demands. We must at last put a stop to having people move into their quarters like chickens and rabbits into their coops.
If such a fantastic structure built by the tenants themselves collapses, it will usually creak beforehand, anyway, so that people will be able to escape. But from then on the tenant will deal more critically and more creatively with the housing he lives in and will bolster the walls and beams with his own hands if they seem too fragile to him.
The tangible and material uninhabitability of slums is preferable to the moral uninhabitability of utilitarian, functional architecture. In the so-called slums only the human body can be oppressed, but in our modern functional architecture, allegedly constructed for the human being, man’s soul is perishing, oppressed. We should instead adopt as the starting point for improvement the slum principle, that is, wildly luxuriantly growing architecture, not functional architecture.
Functional architecture has proved to be the wrong road to take, similar to painting with a straight-edged ruler. With giant steps we are approaching impractical, unusable and ultimately uninhabitable architecture.
For the rest of the Manifesto, click here: PDF-Download
I don’t even know where to begin with a subject like the Coilhouse blog, so go ahead and dig in: Coilhouse.net
“Alternative subcultures. They were a crucial aspect of industrial civilization in the two previous centuries. They were where industrial civilization went to dream. A sort of unconscious R&D, exploring alternative social strategies … but they became extinct.”
“We started picking them before they could ripen. A certain crucial growing period was lost, as marketing evolved and the mechanisms of recommodification became quicker, more rapacious. Authentic subcultures required backwaters, and time, and there are no more backwaters…” [William Gibson, All Tomorrow’s Parties]
“COILHOUSE is a love letter to alternative culture, written in an era when alternative culture no longer exists. And because it no longer exists, we take from yesterday and tomorrow, from the mainstream and from the underground, to construct our own version. We cover art, fashion, technology, music and film to create an alternative culture that we would like to live in, as opposed to the one that’s being sold or handed down to us. The result, in the form of articles, features and interviews, is laid out on our blog and in our print magazine for all to see. If our Utopia is your Utopia, then welcome! Anyone can contribute, and we encourage you to go to our submission page and get in touch.
Here, you will find an assemblage of the visual, cerebral, amusing, challenging and, above all, the ever-evolving. Below are samples of the topics you’ll find here, bits of the Info Strada aimed at inspiring literate progress and bringing entertainment to architects of their own past, present and, especially, future:
* cryptohistory and misanthropology
* abandoned structures + sprawling metropolises
* pre-apocalypse pleasure islands
* Genghis Khan’s bow and Hiro Protagonist’s sword
* Siamese twins, and other such nature’s curiosities
* otherworldly beauties with faces painted bright
* unreasonable footwear
* complicated hair
* technological body enhancement
* incredibly strange music
* flagrant futurism
* whalebone, absinthe & silk
* patricide girls
* body scaffolding
* dressing for war
The above is just a taste, and in the COILHOUSE magazine + blog we chronicle our adventures as we research these and our other favorite topics, find out what different people do with them, and why they do it.”
-From Coilhouse’s Mission page