{"id":1269,"date":"2019-10-21T02:50:24","date_gmt":"2019-10-21T02:50:24","guid":{"rendered":"https:\/\/sporastudios.org\/greenstudio\/?page_id=1269"},"modified":"2019-10-21T02:50:24","modified_gmt":"2019-10-21T02:50:24","slug":"agri-arts","status":"publish","type":"page","link":"https:\/\/sporastudios.org\/greenstudio\/agri-arts\/","title":{"rendered":"Agri-Arts"},"content":{"rendered":"\n

agriART<\/strong>  |  Syllabus<\/p>\n\n\n\n

AVT 496  |  599
<\/strong>School of Art | George Mason University<\/p>\n\n\n\n

Professor: Mark Cooley

<\/p>

“…the way we eat represents our most profound engagement with the natural world. Daily, our eating turns nature into culture, transforming the body of the world into our bodies and minds.” – Michael Pollan<\/p><\/blockquote>\n\n\n\n

Course Description<\/strong><\/p>\n\n\n\n

The course brings together students with diverse interests and skills from a broad spectrum of academic programs in the interest of developing collaborative projects that explore the interdependence of our cultural and biological systems. The course proposes that, in particular, an examination of agricultural ecosystems offers an ideal site for artists working with ecological concerns. A look at the human food web reveals a series of sites and situations that dissolve the neatly divided concepts of nature and culture and open up opportunities for projects that work in the space between these opposing ideas. Every meal is a representation of our relationship with the land and the living things occupying it. But, it\u2019s more than that. With every bite we are in fact consuming the land, becoming the land, as well as becoming the chemicals sprayed on it. With a single bite we become the nexus for a grand and elaborate cultural and biological project, the subject of decades of government policy, corporatization, marketing, branding, and so on, all tied up into the intricate (and often taken for granted) ritual of eating.  The course takes a good look at the dominant food system at work on the planet today, investigates alternatives, and explores ways in which artists are challenging and inventing creative alternatives to industrial food culture.<\/p><\/blockquote>\n\n\n\n

SoA Green Studio<\/strong><\/p>\n\n\n\n

Located on the grounds of the Art and Design Campus, Green Studio<\/em> offers artists a living studio for working on eco-cultural projects that interface with the campus public. <\/p><\/blockquote>\n\n\n\n

Course Requirements<\/strong><\/p>\n\n\n\n

Reading
The Omnivore’s Dilemma: A Natural History of Four Meals by Michael Pollan<\/p>

ECOcentric Topics : Pioneering Themes for Eco-Art: (Series: Avant-Guardians: Textlets on Art and Ecology) by Linda Weintraub
<\/p>

Projects
The class will conceptualize and organize the production of several collaborative projects that respond to opportunities outlined by the professor during the initial class meetings. The class will form work groups around each project and divide the work equitably based on the interests and skills of group members. Projects will consist of several stages including: research & analysis, design, construction, documentation (media), and maintenance.<\/p>

Field Work
There will be two mandatory field trips scheduled for the course. We will organize transportation for those without.<\/p>

Attendance
Attendance and participation at all class meetings is mandatory and critical to the success of the class as a whole. In short WE NEED YOU. In the event of illness or emergency please notify the professor.<\/p>

Participation
Students will be expected to participate and contribute equitably to the development of projects in this course.<\/p><\/blockquote>\n\n\n\n

Assessment<\/strong><\/p>\n\n\n\n

There will be quarterly critical reviews with students. At this time students will present the work they have personally contributed to the class projects during the quarter and respond to questions and criticism from the professor and classmates. Critical reviews will engage student work from various perspectives taking into account the various definitions of effectiveness and quality offered by various disciplines. The interdisciplinary nature of the course necessitates a questioning and recreation over time of the standards of quality developed for independent studies. For example, what might qualify as an effective aesthetic choice in a given instance may not qualify as an effective ecological choice in the same instance. Evaluations will take these competing interests under consideration and begin to try to bridge these gaps by examining the ultimate cultural and biological goals established for each project and beginning to learn how to harmonize disparate standards of evaluation. Regardless of the philosophical dilemmas inherent to interdisciplinary discourse, students will be rewarded for hard work and consistent participation in the class. Following critical reviews, students will receive a letter grade representing their contribution to the class for the quarter. Contributions will be determined by reviewing each student’s participation (including attendance) and workload within the class, the quality and vigor of their work and the success to which they contribute to the collaborative process. Quarterly evaluations will be averaged to obtain a final grade. Letter grades represent the following:<\/p>

A   Work that represents an excellent contribution to the class. Work that is consistently conceptually vigorous and skillfully applied.<\/p>

B   Work that demonstrates a knowledgeable and creative understanding of relevant tools and concepts and contributes significantly to the class.<\/p>

C   Work that satisfactorily meets the requirements of a given project and displays adequate know-how. <\/p>

D   Work that may or may not meet the minimum requirements of the project and is unsatisfactory.<\/p>

F   Work that does not fulfill the requirements of the assignment, incomplete or excessively late, and\/or work that displays very little effort and interest.<\/p><\/blockquote>\n\n\n\n

Important University Dates and Deadlines<\/strong><\/p>\n\n\n\n

GMU Academic Calendar<\/a><\/p>

Once the add and drop deadlines have passed, instructors do not have the authority to approve requests from students to add or drop\/withdraw late. Requests for late adds<\/em> (up until the last day of classes) must be made by the student  in the School of Art office (or the office of the department offering the course), and generally are only approved in the case of a documented university error (such as a problem with financial aid being processed). Requests for non-elective withdrawals<\/em> and retroactive adds <\/em> (adds after the last day of classes) must be approved by the academic dean of the college in which the student\u2019s major is located. For AVT\/School of Art majors, that is the CVPA Office of Academic Affairs, Performing Arts Building A407.<\/p><\/blockquote>\n\n\n\n

Important School of Art Dates<\/strong><\/p>\n\n\n\n

ArtsBus<\/strong>
The dates for this fall\u2019s ArtsBus trips are September 25, October 23, November 13.
– If you need ArtsBus credit for this semester, you MUST enroll in AVT 300  (CRN 72362, 72363, 72364) before September 14, 2010. Anyone who intends to travel to New York independently, or do the DC Alternate Assignment for credit MUST enroll in AVT 300. There will be NO exceptions. If you need multiple AVT 300 credits this semester, you must enroll in multiple sections of AVT 300. Please go to the ArtsBus website: http:\/\/artsbus.gmu.edu<\/a> “Student Information” for additional, very important information regarding ArtsBus policy.<\/p>

Visual Voices Lecture Series<\/strong>
Visual Voices is a year-long series of lectures by artists, art historians and other art professionals that enriches the School of Art curriculum. Visual Voices lectures are held on Thursday evenings from 7:30- 9:00 p.m. in Harris Theater.  The fall schedule includes four lectures:
September 30, 2010: Julie Belcher and Kevin Bradley, \u201cYee-Haw Industries, 32 Flavors of Gravy\u201d
October 14, 2010: Enrique Chagoya, \u201cIllegal Aliens Guide to Reverse Anthropology\u201d
October 21, 2010: John Carson, \u201cTimeLines\u201d
December 2, 2010: John Mason, \u201c Art and Law\u201d<\/p><\/blockquote>\n\n\n\n

University and School of Art Policies<\/strong>
<\/p>\n\n\n\n

As a courtesy to others in the class, and in accordance with George Mason University policy, please turn off all beepers, cellular telephones and other wireless communication devices at the start of class. The instructor of the class will keep his\/her cell phone active to assure receipt of any Mason Alerts in a timely fashion; or in the event that the instructor does not have a cell phone, he\/she will designate one student to keep a cell phone active to receive such alerts.<\/em><\/strong><\/p>

Commitment to Diversity<\/strong>
This class will be conducted as an intentionally <\/em>inclusive community that celebrates diversity and welcomes the participation in the life of the university of faculty, staff and students who reflect the diversity of our plural society. All may feel free to speak and to be heard without fear that the content of the opinions they express will bias the evaluation of their academic performance or hinder their opportunities for participation in class activities. In turn, all are expected to be respectful of each other without regard to race, class, linguistic background, religion, political beliefs, gender identity, sex, sexual orientation, ethnicity, age, veteran\u2019s status, or physical ability.<\/p>

Statement on Ethics in Teaching and Practicing Art and Design<\/strong>
As professionals responsible for the education of undergraduate and graduate art and design students, the faculty of the School of Art adheres to the ethical standards and practices incorporated in the professional Code of Ethics of our national accreditation organization, The National Association of Schools of Art and Design (NASAD).<\/p>

Open Studio Hours<\/strong>
School of Art teaching studios are open to students for extended periods of time mornings, evenings and weekends whenever classes are not in progress. Policies, procedures and schedules for studio use are established by the AVT studio faculty and are posted in the studios.<\/p>

Students with Disabilities and Learning Differences<\/strong>
If you have a diagnosed disability or learning difference and you need academic accommodations, please inform me at the beginning of the semester and contact the Disabilities Resource Center (SUB I room 234, 703-993-2474).  You must provide me with a faculty contact sheet from that office outlining the accommodations needed for your disability or learning difference. All academic accommodations must be arranged in advance through the DRC.<\/p>

Official Communications via GMU E-Mail<\/strong>
Mason uses electronic mail to provide official information to students. Examples include communications from course instructors, notices from the library, notices about academic standing, financial aid information, class materials, assignments, questions, and instructor feedback. Students are responsible for the content of university communication sent to their Mason e-mail account, and are required to activate that account and check it regularly.<\/p>

Attendance Policies<\/strong>
Students are expected to attend the class periods of the courses for which they register. In-class participation is important not only to the individual student, but also to the class as a whole. Because class participation may be a factor in grading, instructors may use absence, tardiness, or early departure as de facto evidence of nonparticipation. Students who miss an exam with an acceptable excuse may be penalized according to the individual instructor’s grading policy, as stated in the course syllabus.<\/p>

Honor Code<\/strong>
Students in this class are bound by the Honor Code, as stated in the George Mason University Catalog. The honor code requires that the work you do as an individual be the product of your own individual synthesis or integration of ideas. (This does not prohibit collaborative work when it is approved by your instructor.) As a faculty member, I have an obligation to refer the names of students who may have violated the Honor Code to the Student Honor Council, which treats such cases very seriously.<\/p>

No grade is important enough to justify cheating, for which there are serious consequences that will follow you for the rest of your life. If you feel unusual pressure about your grade in this or any other course, please talk to me or to a member of the GMU Counseling Center staff.<\/p>

Using someone else\u2019s words or ideas without giving them credit is plagiarism<\/em>, a very serious Honor Code offense. It is very important to understand how to prevent committing plagiarism when using material from a source. If you wish to quote verbatim, you must use the exact words and punctuation just as the passage appears in the original and must use quotation marks and page numbers in your citation. If you want to paraphrase or summarize ideas from a source, you must put the ideas into your own words, and you must cite the source, using the APA or MLA format. (For assistance with documentation, I recommend Diana Hacker, A Writer\u2019s Reference<\/em>.) The exception to this rule is information termed general knowledge<\/em>\u2014information that is widely known and stated in a number of sources. Determining what is general knowledge can be complicated, so the wise course is, \u201cWhen in doubt, cite.\u201d <\/p>

Be especially careful when using the Internet for research. Not all Internet sources are equally reliable; some are just plain wrong. Also, since you can download text, it becomes very easy to inadvertently plagiarize. If you use an Internet source, you must cite the exact URL in your paper and include with it the last date that you successfully accessed the site.<\/p>

A note on art and digital technologies:
Digital technologies are particularly suited to copy, sample, or appropriate, mash etc. previously created content. Many artists (visual, audio and literary) have used these techniques quite successfully in order to parody, celebrate or otherwise comment on cultural icons and what they represent. As a class, we will discuss techniques such as these and their relevance to copyright law and the university honor code, but as a rule students should always be up-front and honest with the class and professor as to what visual content has been sampled and how it has been manipulated or rearranged in any given project. Failure to do so will be considered a honor code violation.<\/p>

Writing Center<\/strong>
Students who are in need of intensive help with grammar, structure or mechanics in their writing should make use of the services of  Writing Center, located in Robinson A116 (703-993-1200). The services of the Writing Center are available by appointment, online and, occasionally, on a walk-in basis.<\/p><\/blockquote>\n\n\n\n

Course Outline<\/strong><\/p>\n\n\n\n

Changes to this outline are likely and will be announced in class and posted here.<\/p>

T 8\/31
Course introduction
Video – Food Inc.
<\/p>

R 9\/2
Site visit: Art and Design Building and surrounding areas
Video – The Future of Food
A brief history of agriArt
Discuss Reading – Omnivore’s Dilemma Chapter 1
Reading – Omnivore’s Dilemma Chapter 2 & 3<\/p>

T 9\/7
Potluck
A brief history of agriArt
Discuss Reading – Omnivore’s Dilemma Chapters 2 & 3
Reading – Omnivore’s Dilemma Chapter 4<\/p>

R 9\/9
A brief history of agriArt
Discuss Reading – Omnivore’s Dilemma Chapter 4
Reading – Omnivore’s Dilemma Chapters 5 & 6<\/p>

Saturday 9\/11
Crop Mob at Neighborhood Farming Initiative<\/strong><\/p>

T 9\/14
Project work – Conceptualizing & organizing projects
Discuss Reading – Omnivore’s Dilemma Chapters 5 & 6
Reading – Omnivore’s Dilemma Chapter 7<\/p>

R 9\/16
Project work – Conceptualizing & organizing projects
Discuss Reading – Omnivore’s Dilemma Chapter 7
Reading – Omnivore’s Dilemma Chapters 8 & 9<\/p>

T 9\/21
Site visit: GMU Organic Garden
Discuss Reading – Omnivore’s Dilemma Chapters 8 & 9
Reading – Omnivore’s Dilemma Chapter 10<\/p>

R 9\/23
Project work
Discuss Reading – Omnivore’s Dilemma Chapter 10
Reading – Omnivore’s Dilemma Chapters 11 & 12<\/p>

T 9\/28
1st Evaluation
Project work
Discuss Reading – Omnivore’s Dilemma Chapters 11 & 12
Reading – Omnivore’s Dilemma Chapter 13<\/p>

R 9\/30
Project work
Discuss Reading – Omnivore’s Dilemma Chapter 13
Reading – Omnivore’s Dilemma Chapters 14 & 15
<\/p>

T 10\/5
Project work
Discuss Reading – Omnivore’s Dilemma Chapters 14 & 15
Reading – Omnivore’s Dilemma Chapter 16<\/p>

R 10\/7
Video – Fresh
Discuss Reading – Omnivore’s Dilemma Chapter 16
Reading – Omnivore’s Dilemma Chapters 17 & 18<\/p>

Saturday 10\/9      
Polyface Farm Tour<\/strong><\/p>

T 10\/12
Project work
Discuss Reading – Omnivore’s Dilemma Chapters 17 & 18
Reading – Omnivore’s Dilemma Chapter 19
<\/p>

R 10\/14
Project work
Discuss Reading – Omnivore’s Dilemma Chapter 19
Reading – Omnivore’s Dilemma Chapter 20<\/p>

T 10\/19
Project work
<\/p>

R 10\/21
2nd Evaluation
Project work
Video – The Garden<\/p>

T 10\/26
Project work
Discuss video – The Garden
<\/p>

R 10\/28
Project work
Video – Killer at Large<\/p>

T 11\/2
Project work
Discuss video – Killer at Large<\/p>

R 11\/4
Project work
Video – Flow<\/p>

Friday 11\/5<\/strong>
Foraging trip and garden harvest with Bill Marable<\/strong><\/p>

T 11\/9
Project work
Discuss video – Flow<\/p>

R 11\/11
3rd Evaluation
Project work
Video – Poisoned Waters
<\/p>

T 11\/16
Project work
Discuss video – Poisoned Waters<\/p>

R 11\/18
Project work
Video – The World According to Monsanto
<\/p>

T 11\/23
Project work
Discuss video – The World According to Monsanto<\/p>

R 11\/25
Project work<\/p>

T 11\/30
Project work<\/p>

R 12\/2
Project work<\/p>

T 12\/7
50 mile potluck
<\/p>

R 12\/9
4th Evaluation<\/p><\/blockquote>\n\n\n\n

agriART<\/strong>  | Resources<\/p>\n\n\n\n

Projects<\/p>\n\n\n\n

Critical Art Ensemble<\/a><\/p>\n\n\n\n

Molecular Invasion<\/a> with Beatriz Da Costa<\/a> 2002-04
Free Range Grain<\/a> with Beatriz Da Costa<\/a> 2003-04
GenTerra<\/a> with Beatriz Da Costa<\/a> 2001-2003
Cult of the New Eve<\/a> – with Paul Vanouse<\/a>, and Faith Wilding<\/a> 1999-00<\/p><\/blockquote>\n\n\n\n

Beatriz Da Costa<\/a><\/p>\n\n\n\n

Invisible Earthlings<\/a> 2008-09<\/p><\/blockquote>\n\n\n\n

SubRosa<\/a><\/p>\n\n\n\n

Love is Strong as Death<\/a> 2006
U-Gen-A-Chix<\/a> 2003
Expo EmmaGenics<\/a> 2001
Biopower! A Walking Tour of Biotechnology, University of Illinois<\/a> 2004<\/p><\/blockquote>\n\n\n\n

Fritz Haeg<\/a><\/p>\n\n\n\n

Edible Estates<\/a> 2005-Present<\/p><\/blockquote>\n\n\n\n

The Beehive Collective<\/a><\/p>\n\n\n\n

Biotech Campaigns<\/a> 2001, 2007
FTAA<\/a>
Plan Columbia<\/a><\/p><\/blockquote>\n\n\n\n

Nance Klehm<\/a><\/p>\n\n\n\n

Humble Pile<\/a> 2008-Present
Urbanforage<\/a> 2006-present
Urban Homestead<\/a> 2006-Present
Living Kitchen<\/a> 2006-Present
Clean Livin’<\/a> 2005-Present
Greenhouses<\/a> of Hope 2005-Present
rambling range<\/a>
Field Trip<\/a><\/p><\/blockquote>\n\n\n\n

Future Farmers<\/a><\/p>\n\n\n\n

Nearest Nature<\/a> 2008Headlands Garden Boat<\/a> 2008
Victory Gardens<\/a> 2007
Rainwater Harvester\/Greywater System Feedback Loop<\/a> 2007
Bingo Field<\/a> 2006
F.R.U.I.T Network<\/a> 2005
<\/p><\/blockquote>\n\n\n\n

Ted Purves & Susanne Cockrell<\/a><\/p>\n\n\n\n

The Meadow Network<\/a> 2008
Lemon Everlasting Backyard Battery<\/a> 2008
Sonoma County Preserve<\/a> 2006
Temescal Amity Works<\/a> 2004-2007<\/p><\/blockquote>\n\n\n\n

Tattfoo Tan<\/a><\/p>\n\n\n\n

NMS-Nature Matching System fruits sticker<\/a>
NMS \u2014Nature Matching System<\/a>
SOS<\/a>
The Rhizome<\/a>
The Green Stewardship<\/a>
Black Gold<\/a>
Mobile Garden<\/a>
Greenade<\/a>
<\/p><\/blockquote>\n\n\n\n

The Rhizome Collective<\/a><\/p>\n\n\n\n

Grove Brownfield Cleanup<\/a>
Autonomous Sustainability Demonstration<\/a><\/p><\/blockquote>\n\n\n\n

Joe Scanlan<\/a><\/p>\n\n\n\n

Paydirt<\/a><\/p><\/blockquote>\n\n\n\n

Natasha Wheat<\/a><\/p>\n\n\n\n

Bean In<\/a> 2010
American Seed <\/a>2009
Project Grow<\/a> 2008-Present<\/p><\/blockquote>\n\n\n\n

Claire Pentecost<\/a><\/p>\n\n\n\n

Plastic Greenhouses by the Sea<\/a>
ExpoChacra<\/a>
<\/p><\/blockquote>\n\n\n\n

Sarah Kavage<\/a><\/p>\n\n\n\n

Industrial Harvest<\/a>  (more<\/a>)
Living Barge<\/a> with Nicole Kistler<\/p><\/blockquote>\n\n\n\n

Joseph Beuys<\/a><\/p>\n\n\n\n

Mel Chin<\/a><\/p>\n\n\n\n

Revival Field<\/a><\/p><\/blockquote>\n\n\n\n

Agnes Denes<\/a><\/p>\n\n\n\n

Wheat Field – A Confrontation<\/a> 1982<\/p><\/blockquote>\n\n\n\n

The Enviromental Health Clinic + Lab<\/a><\/p>\n\n\n\n

NoPark<\/a><\/p><\/blockquote>\n\n\n\n

The Common Studio<\/a><\/p>\n\n\n\n

GreenAid<\/a>
(C)urban Ecology<\/a><\/p><\/blockquote>\n\n\n\n

Green Guerillas<\/a><\/p>\n\n\n\n

The Liz Christy Community Garden<\/a> 1973 – Present<\/p><\/blockquote>\n\n\n\n

The Yippies<\/a><\/p>\n\n\n\n

All Seasons Park, Vancouver – 1971<\/p><\/blockquote>\n\n\n\n

People’s Park, Berkeley<\/a><\/p>\n\n\n\n

The (San Francisco) Diggers <\/a>1967-<\/p>\n\n\n\n

The (English) Diggers<\/a> 1649-1650<\/p>\n\n\n\n

Collections<\/p>\n\n\n\n

The RSA Arts and Ecology Centre<\/a>
<\/p>

agriArt: Companion Planting for Social and Biological System<\/a>
<\/p>

The Green Museum<\/a>
<\/p>

EcoArtSpace<\/a>
<\/p>

Sustainability Research Group – Eyebeam: Art and Technology Center<\/a>
<\/p><\/blockquote>\n\n\n\n

blogs<\/p>\n\n\n\n

foodpolitics.com<\/a>
civileats.com<\/a>
guerrillagardening.org<\/a>
arts & ecology<\/a>
foodnotlawns.net<\/a>
cityfarmer<\/a>
<\/p><\/blockquote>\n\n\n\n

Books & Articles<\/p>\n\n\n\n

Is Capitalism Sustainable?: Political Economy and the Politics of Ecology<\/a>, by Edited by Martin O’Connor<\/p>

Edible Estates: Attack on the Front Lawn<\/a>. Second Revised Edition, Edited by Fritz Haeg
<\/p>

Ecovention: Current Art to Transform Ecologies<\/a>, by Sue Spaid
<\/p>

Relational Aesthetics<\/a>, by Nicolas Bourriaud
<\/p>

Guerrilla Gardening: A Manualfesto<\/a>, by David Tracey
<\/p>

Food Not Lawns<\/a>: How to Turn Your Yard into a Garden And Your Neighborhood into a Community, By Heather Coburn Flores
<\/p>

Toolbox for Sustainable City Living: A do-it-Ourselves Guide<\/a>, By Scott Kellogg, Stacey Pettigrew
<\/p>

Urban Wilds: Gardener’s Stories Of The Struggle For Land And Justice<\/a>, Edited by Woelfe-Erskine
<\/p>

You Can Farm:<\/a> The Entrepreneur’s Guide to Start & Succeed in a Farming Enterprise, by Joel Salatin<\/p>

Everything I Want To Do Is Illegal:<\/a> War Stories From the Local Food Front,
by Joel Salatin
<\/p>

The Omnivore’s Dilemma<\/a>, by Michael Pollan
<\/p>

In Defense of Food: An Eater’s Manifesto<\/a>, by Michael Pollan
<\/p>

Food Politics: How the Food Industry Influences Nutrition and Health<\/a>
by Marion Nestle
<\/p>

Stuffed and Starved: The Hidden Battle for the World Food System<\/a>,
by Raj Patel
<\/p>

Animal, Vegetable, Miracle: A Year of Food Life<\/a>, by Barbara Kingsolver, with Steven L. Hopp and Camille Kingsolver
<\/p>

Closing the Food Gap: Resetting the Table in the Land of Plenty<\/a>, by Mark Winne
<\/p>

Slow Food Nation’s Come to the Table: The Slow Food Way of Living<\/a>, by Alice L. Waters (foreword), Katrina Heron (editor)
<\/p>

Fast Food Nation: The Dark Side of the All-American Meal<\/a>, by Eric Schlosser
<\/p>

Chew On This: Everything You Don’t Want to Know About Fast Food<\/a>,
by Eric Schlosser
<\/p>

Harvest For Hope: A Guide to Mindful Eating<\/a>, by Jane Goodall
<\/p>

Food Inc.<\/a> Karl Weber (editor)
<\/p><\/blockquote>\n\n\n\n

“Manifesto for Maintenance Art\u2014Proposal for an Exhibition,”<\/a> Mierle Laderman Ukeles, 1969
<\/p>

“Leftovers \/ It’s about Time for Fresh Kills”<\/a> Mierle Laderman Ukeles, 2002
<\/p>

Journal – Capitalism, Nature, Socialism<\/a>
<\/p><\/blockquote>\n\n\n\n

Movies<\/p>\n\n\n\n

Dirt<\/a>, Bill Benenson, Gene Rosow
<\/p>

The Garden<\/a>, Scott Hamilton Kennedy
<\/p>

Food Inc.<\/a>, Robert Kenner
<\/p>

Fresh<\/a>, Sofia Joanes
<\/p>

The Corporation<\/a>, Joel Bakan, Jennifer Abbott & Mark Achbar
<\/p>

Poisoned Waters<\/a>, Frontline, PBS
<\/p>

FLOW<\/a>, Irena Salina
flowthefilm.com<\/p>

Blue Gold: World Water War<\/a>, Sam Bozz<\/p>

King Corn<\/a>, Aaron Woolf
<\/p>

Fast Food Nation<\/a>, Richard Linklater
<\/p>

The Future of Food<\/a>, Deborah Koons Garcia
<\/p>

We Are What We Eat<\/a>
<\/p>

Killer at Large: Why Obesity is America’s Greatest Threat<\/a>, Steven Greenstreet
<\/p>

The World According to Monsanto<\/a>
<\/p><\/blockquote>\n\n\n\n

Clips<\/p>\n\n\n\n

Stuffed and Starved: As Food Riots Break Out Across the Globe<\/a>, Raj Patel \u201cThe Hidden Battle for the World Food System\u201d – Democracy Now
<\/p>

Michael Pollan on \u201cFood Rules: An Eater\u2019s Manual\u201d<\/a> – Democracy Now
<\/p>

Fast Food Nation: The Dark Side of the All American Meal<\/a>, Eric Schlosser – Democracy Now
<\/p>

\u201cBacon as a Weapon of Mass Destruction\u201d<\/a>, Arun Gupta, Dr. David Kessler – Democracy Now
<\/p>

\u201cOmnivore\u2019s Dilemma\u201d Author Michael Pollan\u2019s New Advice on Buying Food:<\/a> \u201cDon\u2019t Buy Any Food You\u2019ve Ever Seen Advertised\u201d, Michael Pollan- Democracy Now
<\/p>

In Defense of Food:<\/a> Author, Journalist Michael Pollan on Nutrition, Food Science and the American Diet, Michael Pollan – Democracy Now
<\/p>

Radical Nature – Environmental Activism<\/a>
<\/p>

Radical Nature – Guerrilla Gardening with Richard Reynolds<\/a>
<\/p>

Joel Salatin: Building Forgiveness into the System<\/a>
<\/p>

Polyface Farms: USA Today<\/a>
<\/p>

Polyface Farms pt1<\/a>, pt2<\/a><\/p>

Radical Nature<\/a> – The Dalston Mill
<\/p>

Radical Nature – Sustainable Architecture<\/a>
<\/p>

Fresh Kills Park Project<\/a>
<\/p><\/blockquote>\n\n\n\n

Processes & How-to’s<\/p>\n\n\n\n

composting
deq.state.va.us\/waste\/compost.html#two<\/a><\/p>

Vermiculture
deq.state.la.us\/portal\/default.aspx?tabid=2101<\/a>
cityfarmer.org\/wormcomp61.html<\/a>
<\/p>

Phytoremediation
ars.usda.gov\/is\/ar\/archive\/jun00\/soil0600.htm<\/a>
ars.usda.gov\/pandp\/people\/people.htm?personid=949<\/a>
en.wikipedia.org\/wiki\/Phytoremediation<\/a>
youtube.com\/watch?v=IabslL-SgqY<\/a>
https:\/\/fcrevite.org\/nvswcd\/newsletter\/phyto.htm<\/a>
clu-in.org\/download\/remed\/phytoresgude.pdf<\/a>
plantbio.berkeley.edu\/%7Eterry<\/a>
satorimedia.com\/fmraWeb\/chin.htm<\/a><\/p>

Rain gardens
co.arlington.va.us\/Departments\/EnvironmentalServices\/epo\/
EnvironmentalServicesEpoRainGarden.aspx<\/a><\/p>

Window Farms
eyebeam.org\/events\/window-farms-how-to<\/a>
windowfarms.org<\/a><\/p>

Chickens
http:\/\/urbanchickens.org
<\/a>backyardchickens.com<\/a><\/p>

Forest Gardening, Edible Landscaping, Urban Permaculture
video.google.com\/videoplay?docid=659155658226666080#<\/a>
<\/p>

Backyard Permaculture
video.google.com\/videoplay?docid=659155658226666080#docid=-918331001764551597<\/a><\/p>

High tunnels
hines.blogspot.com\/2010\/03\/low-cost-high-tunnel-construction.html<\/a>
ext.vt.edu\/news\/mediakits\/releases\/hightunnel.html<\/a>
<\/p><\/blockquote>\n\n\n\n

Groups<\/p>\n\n\n\n

Slow Food DC<\/a>
GMU Students for Workers Rights<\/a>
Sustainability at Mason<\/a>
Neighborhood Farm Initiative<\/a>CropMob<\/a>
DC CropMob<\/a>
Common Good City Farm<\/a>Buy Fresh Buy Local VA<\/a>
DC Urban Gardeners<\/a>
Ecolocity DC<\/a>
Guerrilla Gardening<\/a>
Neighborhood Farm Initiative<\/a>
<\/p><\/blockquote>\n\n\n\n

Farms<\/p>\n\n\n\n

Polyface Farms<\/a>, VA
Common Good City Farm<\/a>, DC<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

agriART  |  Syllabus AVT 496  |  599School of Art | George Mason University Professor: Mark Cooley “…the way we eat represents our most profound engagement with the natural world. Daily, our eating turns nature into culture, transforming the body of the world into our bodies and minds.” – Michael Pollan Course DescriptionRead More →<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":983,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/sporastudios.org\/greenstudio\/wp-json\/wp\/v2\/pages\/1269"}],"collection":[{"href":"https:\/\/sporastudios.org\/greenstudio\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sporastudios.org\/greenstudio\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sporastudios.org\/greenstudio\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sporastudios.org\/greenstudio\/wp-json\/wp\/v2\/comments?post=1269"}],"version-history":[{"count":3,"href":"https:\/\/sporastudios.org\/greenstudio\/wp-json\/wp\/v2\/pages\/1269\/revisions"}],"predecessor-version":[{"id":1272,"href":"https:\/\/sporastudios.org\/greenstudio\/wp-json\/wp\/v2\/pages\/1269\/revisions\/1272"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sporastudios.org\/greenstudio\/wp-json\/wp\/v2\/media\/983"}],"wp:attachment":[{"href":"https:\/\/sporastudios.org\/greenstudio\/wp-json\/wp\/v2\/media?parent=1269"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}