Leah Stein Dance Company – Of Grass and Gravel
Saturday, July 18th, 2009

Fifteen Years of Environmental Art at the Schuylkill Center

By Christina Catanese, Director of Environmental Art

In 2000, Mary Salvante had an idea that the Schuylkill Center could be the perfect place to showcase environmental art. Nearly 15 years later, I’ve been reflecting on the past decade-and-a-half of environmental art at the Schuylkill Center: 20 outdoor exhibitions, 11 artist residencies, and dozens of shows in our gallery. Over the years, artists have grappled with issues and wonders in our ecosystem and shared their responses in diverse media. This post shows just a smattering of highlights of the art program going back to our very first gallery show and first artist-in-residence.

This January, we are kicking off the Schuylkill Center’s 50th anniversary celebration and celebrating fifteen years of environmental art at the Schuylkill Center with our fourth Annual Richard L. James Lecture by artist Mary Mattingly. Along with an interdisciplinary panel, Mattingly will reflect on the role of environmental art in a changing environment. With ecological challenges growing in complexity and scope, 2015 presents the perfect opportunity to consider the relationship of art and environment, and what it might look like in the next 15 years, 50 years, and beyond.

LandLab Residency (2014-2015), Artists: Jake Beckman; Leslie Birch; WE THE WEEDS (a collaboration of artist Kaitlin Pomerantz and botanist Zya Levy); Marguerita Hagan, B.H. Mills, and Maggie Mills

LandLab is a unique artist residency program that integrates art, ecological restoration, and education. A joint project of the Schuylkill Center and the Center for Emerging Visual Artists (CFEVA), LandLab residencies will make innovative installations that prevent or remediate environmental damage while raising public awareness about ecology. LandLab artist Jake Beckman created this mind-map to depict his early conceptualizing of his work on the cycles of soil formation and decay in the forest. Continue reading

Leslie making StormSnake

#StormSnakes Update – Wriggling Through Change

By LandLab Resident Artist Leslie Birch

Water flowRight now I’ve been experiencing some interesting emotional connection to my LandLab project. This may seem odd, as my project is probably the most tech oriented of the bunch! I can only describe it as this feeling of letting go of attached ideas and really just observing and listening, both to nature and the people that know it well. That is different for me, because most of the time my projects are conceived ahead of time so they can be “pitched” to the people that may green-light them. The process for LandLab is very different because the Schuylkill Center is trusting from past work that I have the ability to produce something interesting. They are looking for ideas, but they are not holding you to them. In fact if anything, they are excited by process and evolution, and the show in the gallery really speaks to that idea. The staff at the Center has been really great in encouraging my work, and allowing it to unfold. It is no different from allowing seasons to change, and I’m really experiencing that in my whole body. That’s it for the fuzzy stuff — let’s get back to the science!

You may remember that I wanted to get a glimpse of Port Royale Ave. and the Center’s property in the rain. It has been difficult to do this because this fall the rain storms have been coming at night, which would not be the best time for video. However, there was a morning when it was raining, and I rushed out of the house to record. Check out the video.

Steve in the woodsAlthough this was not a heavy storm, at least I saw the puddling on Port Royal Ave., and I can imagine in a larger storm what the situation might be. In fact, seeing how difficult it is to actually record a storm makes the idea of a stream monitor even more valuable. So, I made a visit to Stroud to check out their monitoring equipment, as well as Steve’s workspace.  The property has nets for insects, buckets for leaves and other organic matter, and monitors for the stream — it’s a Disney World for scientists.

Steve's officeThe tech space is full of controllers, sensors, cables, cases, batteries and canisters of water. It was encouraging that I was able to identify some of the parts in the bins, and Steve and I probably could have spent even more hours than we did just talking shop.

 

After seeing what was needed, Steve helped me to order some parts. So, now I have a datalogger and an ultrasonic rangefinder at my house. The datalogger is the main board in the circuit which will give instructions and allow for data to be collected. The ultrasonic sensor will measure the water depth throughout the day. So far this is a cost-effective set-up and there may be some room for another sensor. Right now I’m favoring conductivity, which looks at metals in the water. However, the sensor has to be able to withstand freezing temperatures, and Steve is currently testing a new one to see if it will be accurate. So, we will see which sensor wins. Steve has been testing equipment like this for years and is an expert on sensors and conditions.

One of the frustrating things about the field is that a good part may be discontinued, which leads to more testing of new products. Also, just because the paperwork says a part will operate in a certain way under certain conditions does not always mean this is true. So, the process is never-ending.

Leslie and Brenna sewing StormSnakeThe next step in the process was to work on building a snake from burlap, and luckily I found someone interested in assisting me — Brenna Leary. Brenna recently graduated with a degree in environmental education and also has a love of plants. So, we’ve been having a lot of fun bouncing ideas back and forth. We spent an afternoon at the Center stuffing a casing of burlap with stones, wood chips, and coir. Then, we stitched the fabric shut and created the features of a tail, head and tongue with some tucks and scraps. It was a lot of fun and the resulting piece reminds me of the corn husk dolls I used to make as a child in Girl Scouts. They were featureless, but they had a beauty none-the-less, and so it is the same with the snake.Leslie making StormSnake

I started this post with this idea of change, and it may be apparent with electrical parts, but it is even more so with art. I first imagined my burlap StormSnakes to be painted with environmentally safe paint. However, someone reminded me that even natural things can react badly when put in touch with chemicals in stormwater run-off. So, you never know what kind of brew you are going to get running into the stream. I know there are all sorts of compromises we make daily, however, I didn’t want any risk in this, no matter how small. So, one day I was having lunch with another artist friend and we got into talking about the cool plant holders made of felt and other natural ways people deal with urban plantings. I suddenly remembered those crazy Chia Pets with the bad commercials. They were ceramic objects with a seed goop smeared onto them which would eventually sprout into odd topiaries. What an interesting idea to make snakes that had growing material on them. So, I talked to Melissa at the Center about the possibility of incorporating seeds or plugs onto my stuffed burlap snacks. She definitely had some recommendations and was excited since plants are her expertise. So, I hope to now perform a test in the greenhouse to see what emerges. Can I do stripes? Would I work with different plants and textures? I don’t know and I like that answer.

Copy of photo 5

Botanical Weaving with WE THE WEEDS

Weaving detailsBy LandLab Resident Artists Zya Levy and Kaitlin Pomerantz, WE THE WEEDS

For our Landlab Residency project, the process of its creation is of great importance. As we work towards the installation of a large-scale sculpture created from woven plant material in Spring 2015, we invite Schuylkill Center visitors to participate right now in creating the tapestry panels which will comprise it. In this way, the exploration of global plant migration, and the ecological and cultural roles of non-native plants, becomes a hands-on, engaging experience, with a cumulative, archival result. The following photos show some moments in the process– from the building and stringing of the looms, to their on-site installation, to actual weaving. The looms will be up all fall– we hope these photos encourage you to come up and try your hand at weaving with invasive vines!

Loom construction

With the help of Philadelphia Woodworks we built two large, free standing, cedar tapestry looms.

Setting up looms

For the warp, we are using colorful braided mason line. For the weft we are using invasive plants such as oriental bittersweet, mile-a-minute, Japanese honeysuckle, wisteria, Japanese stiltgrass and bush honeysuckle harvested from the Schuylkill Center.

5.1 - collecting materials

A group volunteers help remove invasives and collect materials.

5.3 - collecting materials

We process the material by cutting it into workable lengths and stripping off the leaves revealing the colors and textures of the plant material, the silvery-grey of the oriental bittersweet and the rusty brown of the mile-a-minute.

Weaving on loomsWeaving on looms 2

With the looms strung up and material collected we are ready to weave. Friends, volunteers and students pitch in!

IMG_5827 Copy of photo 5

IMG_5634We contributed some process weavings, photos, and a vine installation to a beautiful show at  the Schuylkill Center called Progress & Process, and also included an indoor loom for this show. The show is up through December 13.

9.0 - invitation to join us!

The outdoor looms will be installed at  the Schuylkill Center through the end of November. Please come join us!

 

Do you think you can weave as fast as Zya?

Soil-Making in the forest_October 2014

Talking with Jake Beckman about LandLab

 By Guest Contributor Angel R. Graham

I had the pleasure of speaking with LandLab artist Jake Beckman over the telephone recently.  Jake explained that he is enjoying being a LandLab artist.  His LandLab experience allows him to engage himself more with the outdoors, he says, conning him more deeply to the land.

Science and art are really similar in a lot of ways.  You have to imagine the unknown.

A.G: What inspires your indoor/outdoor art pieces?
J.B: I think the thread that ties most of them together is an interest in how things work.  What are the processes that cause things to come into existence – things that we use, or part of our built environment, or things that we depend and rely on in society?  A lot of [my art] looks at materials and industrial ingredients.

A.G: Who inspires you artistically?
J.B: That’s a tough question.  I read a lot.  I am really interested in a wide range of things, popular science to scientific journals to sociological studies…I like work that engages in kind of a dialogue that is accessible.  [I like] public work that is playful but also has some sort of critical sense to it.  I like work that reaches beyond art and engages with people.

A.G: How did you connect with LandLab?
Jake explained that he received a fellowship through the Center for Emerging and Visual Artists (CFEVA).  Since they were aware of his science background, CFEVA let him know about the opportunity to work with LandLab.

J.B: I had been to the Center a couple of times before I ever even heard about LandLab.  I just enjoyed the grounds.  My wife and I had a garden plot [at the Center].

A.G: What does it mean to you to be a LandLab artist?

J.B: It’s wonderful to be outside, to be thinking about making work in an outdoor environment.  You know, I’m really hoping to honor this kind of spirit of engagement with the outdoors that I think the Center is trying to foster by making art that feels like it’s part of that dialogue and part of a process.  It is part of this ecosystem, bringing it to life in a different way.  I think it’s really been a wonderful change of perspective for me in thinking about my work and I’m really grateful for that.  When you make work that lives in this white box of a gallery, things sometimes feel a little claustrophobic.  This has been a nice experience to help to balance that and be engaged a little bit more.

A.G: What inspired your LandLab piece?
J.B: The whole overview of the project that I am working on and that I proposed is really based on my investigation into research about soil formation: the way that soils are so important for the ecology of any natural system.  They are really unique in a lot of ways.  They are not like normal ecosystems that we think of … because everything is happening at such a different scale and a different time period.  So you think of geological processes.  The project encompasses a lot of those ideas.  Two or three pieces that I am thinking of installing over the course of the fall, the winter, and into next spring really look at soil formation through these lenses of time-periods, if you will.  One of them is really going to look at the way stone dissolves over time and that is obviously going to be on a different time scale than the one I am making out of wood which will happen over the course of decades or less than that.

A.G: What is your definition of art?  What is art to you?
J.B: In some way, it is sort of philosophy made material…and you know art is many things to many different people.  What it means to me?  [laughs]  I don’t know; I think it’s play, it’s serious play.  I think some of it is convention and some of it people understand when you call something art, you are giving them license to think beyond what is it, what does it do, how does it work.  I think when you call something art, even though it is this nebulous term, it allows for some loosening of boundaries.  …It’s kind of frustrating but also freeing, and really fun, how many different disciplines I can borrow from… and then incorporate into [my art].

A.G: What you want people to take away from your work?
J.B: I guess I’m interested in drawing connections between things that we don’t necessarily connect.  In my life, I’m not really connected to the land in a way that I feel like I want to be.  I live in a city, in a place that is humming with activity, but it is a lot of human activity and a lot of infrastructure and I feel somewhat disconnected [from the land].  I don’t know that my work actually reconnects people or anything like that but I am hoping at some one point it’ll get to that stage where it forms those connections for other people as well as me.

A.G: How does your artwork connect to science?
J.B: Not as much as I would like.  I think that science is the process of asking questions, posing questions, and imagining ways to answer to them.  It is dealing with … mystery or exploring unknowns.  I think frequently my work strives to some small degree, to pose interesting questions and elicit that sense mystery and wonder that I think science has.  But I don’t think I’ve gotten there [laughs].  But I think science and art are really similar in a lot of ways.  You have to imagine the unknown.  You have to be really creative and come up with possible ideas; in science you then go on and test and [in] art you go on and make.

 

Angel Graham headshotAbout Angel R. Graham
Angel is currently a student at Mitchell College in New London, CT majoring in Environmental Studies with a minor in Communications.  After completing her undergrad studies, she wants to continue on to grad school where she plans to complete a Master’s degree in Public Health.  Angel hopes to become a public policy writer for the EPA or FDA.

19.Hagan (51)

What’s the bbuzzz?

By LandLab Resident Artists Maggie Mills, B.H. Mills, and Marguerita Hagan

Colony Collapse Disorder
The LandLab installation by Marguerita Hagan, B.H. Mills, and Maggie Mills addresses colony collapse disorder and the devastating global loss of honeybees.  At present in the United States alone, 1/3 of the honeybee population has been lost to this disorder. These mini, mighty pollinators make every third bite of food we take possible.  Ironically, it is human behavior that is responsible for the honeybees’ catastrophic disappearance. Our installation provides a chemical free, native pollinator garden for the bee population on the grounds of the Schuylkill Center. We will be spreading the word about ways that we all can contribute to positive, sustainable, and mutually beneficial outcomes through education and community partnering in the coming months. Continue reading

Trail

First Day as a LandLab Resident

By LandLab Resident Artist Leslie Birch

MeLesI’m Leslie Birch, and I’m very curious about Philadelphia’s water. Last Thursday, I felt a bit nervous as I headed my car down the long driveway towards the Schuylkill Center. Having looked at records online for water quality in this watershed, I’ve seen mixed reports. We are located downstream from some heavy-duty coal and energy industries and also share our waters with many manufacturing industries. What hope can there be? Well, after meeting Sean Duffy, Director of Land and Facilities, I was assured there actually is a shining star – apparently the Center has some of the best water quality around because it is spring fed. Originally the land was made up of farms, and in those days you had to have a well to get your water, so this makes a lot of sense. Now, most people are connected to a community source of water through pipes, so the fact that the Center still has its original clean water source is good news.

WindDancePondThe tricky news is the issue of storm water runoff. Sean said that in the last six years, he’s never seen it so bad, and certainly this is a result of what’s going on with the climate. I don’t want to argue about what to call this global warming, but I do want to understand the resulting chaotic weather and natural disasters that are occurring.  Storm water runoff is one of those disasters. I’m sure some of you have seen this damage first hand at the shore with hurricane Sandy or even here in Philadelphia with the recent flooding. This year I had a friend who was preparing to evacuate as her garage became flooded. Many people’s cars were considered “totaled” after this recent storm, along with furniture and sentimental items. I’ve also assisted in flood preparation and clean-up at the historic Canoe Club on the Schuylkill. I’ve seen first-hand the marks left by the water level on the first floor ceiling of the building, as well as the inches of thick silt left behind by the storm. I’ve even seen injured birds and a displaced baby heron desperately looking for its mother. Recently I was reminded that even people’s pets are later found as victims of these storms. So, this rushing water is something we need to face.

PortRoyalSo, how does storm water run-off translate here at the Center? Sean was able to pinpoint the main areas of runoff on a map for me, and one of the major culprits is Port Royal Avenue.  Often, roads have stormdrains that funnel rainwater away underground to be discharged into a larger waterbody during a storm – you’ve probably seen them around cities or even your neighborhood.  But on Port Royal, there are no storm drains, and when it rains, the water still needs somewhere to go.

TrailInstead, where Port Royal borders the Schuylkill Center property, there is a curb cut – the lower burm is removed to allow the water to leave the road surface.  That moves the water straight off the road, leading it to travel above the ground’s surface down the hill towards Wind Dance Pond, causing erosion of the soils. You can see evidence of this in the picture.  The pond soon overflows and causes water to divert towards the stream. Before you know it, you’ve got damage to the stream bed and possible trail damage and downed trees. This is cause for concern and really where my journey as an artist begins.

As a LandLab Resident, my goal was first to question the quality of the water, but that has now changed to question the movement of the water, specifically what happens before and after it enters Wind Dance Pond. Some things to consider may be the change in the height of water in the pond, the speed of the flow of water, and even the path the water takes as it exits the pond.

To gather information, I’ll need to do more scouts with Sean to see other forms of damage on the trails. I’ll also have to start researching equipment used to monitor these changes in water and figure out a way to keep it tethered under tough conditions. Finally, I’ll need to determine a way to make this information visual in a way people can understand, especially children.

So, what can I do about the trickle that I see leading to the pond, knowing it has the potential to become a torrent or flood with each major rainstorm? I’m not sure yet, but I know my answer will include community. Water is a powerful agent, and it will take more than one to tame it.

 

About the Author:

Leslie Birch is a tech artist with a love of Arduino microcontrollers. She lives near the Schuylkill River in the Art Museum area and loves birding.   She also blogs at Geisha Teku.  She can be found on LinkedIn, Facebook, and Twitter.

Meandering with Stacy Levy at Swarthmore

By Christina Catanese, Director of Environmental Art

Waterways (1)

I recently got to attend a lecture at Swarthmore College’s List Gallery given by Stacy Levy, one of the most exciting environmental artists working today.  Titled “Constructing Nature: What Art Reveals,” Levy’s talk (video here) touched on her approach to environmental art, some of her past pieces (including one we’re lucky to have onsite here at the Schuylkill Center), and two new pieces that were unveiled that night at Swarthmore. Continue reading

Beyond the Surface

On May 31, 2013 The Schuylkill Center for Environmental Education presented Beyond the Surface: Environmental Art in Action – A conference of ideas and innovative thinking about the relationships between art and nature.

This unique, first time conference brought over 100 professionals from the region and beyond (as far as Maine and North Carolina) to hear from the Advisory Team about their own individual practices, and then to join them in conversations.  Below are each team members’ presentations, for those of you who wish to hear from them directly.

The afternoon sessions were  titled “Activate,” Integrate” and “Engage.” Undoubtedly, this one-day conference has sparked ideas and ways forward to attendees from the cultural and environmental communities. We look forward to continuing the conversations.

Below, are each advisory team member’s morning presentations. Each were asked to speak on the work they do, have done, and speak to the issues pertaining to ecological art.

Lillian Ball

on how she became an ecological artist, focusing on water.

http://www.lillianball.com/

Sam Bower

on things that changed his life: Andy Goldsworthy, Deborah Small, Art as part of a system.

Stacy Levy

on a new kind of art, her own work, and the importance of collaboration and approaches, how artists make nature more visible.

http://www.stacylevy.com/

Amy Lipton

http://www.youtube.com/watch?v=D9lVQlC_14w

(we  are having technical issues here, but please click on link above to watch this video)

see more about Amy Lipton’s work with ecoartspace

Eve Mosher

on participation, interruption and interaction in her work. Watch her have the audience reflect on their first encounters with nature. See her nine concepts about her practice.

http://www.evemosher.com/

Frances Whitehead

on her work in sustainability, her practice: personal, pedagogical and professional.

 

This conference was made possible by the generous support of the Pew Center for Arts And Heritage Philadelphia Exhibitions Initiative and The National Endowment for the Arts.

 

Land Lab Program

Stacy Levy, Kept Out, 2009

We are very excited to announce our new residency program, The LandLab Program.

As a collaboration between The Schuylkill Center for Environmental Education (SCEE) and The Center for Emerging Visual Artists (CFEVA), The Landlab program invites professional artists to create projects which operate on the multiple platforms of artistic creation, ecological restoration and education. Specifically, four paid residencies of $3,000 each, taking place from April – October 2014, will grant selected artists resources and space on SCEE’s 340-acre property to engage audiences in the processes of ecological stewardship through scientific investigation and artistic creation. Our residency provides large outdoor spaces and limited indoor workspace, but does not provide living spaces. Artists will be expected to provide their own housing. Having a vehicle is recommended.

LandLab projects will result in innovative, art-based installations that prevent or remediate environmental damage conditions while raising public awareness about our local ecology.

LandLab seeks artists engaged in environmental exploration and discovery, who work well collaboratively across disciplines, have a working understanding and/or awareness of the ecology of Eastern Pennsylvania region, and are committed to deepening public awareness of environmental issues through their artistic practice. LandLab projects will prioritize time spent on site and a process of investigation.

The Schuylkill Center creates connections between people and nature by using our forests and fields as a living laboratory. The Center for Emerging Visual Artists provides career development services for professional visual artists, helps artists reach their audiences, and promotes interest in and understanding of the visual arts among citizens of the Philadelphia region. Together and through this first program of its kind in Philadelphia, we invite all professional visual artists who fit these criteria and are able to work on-site at SCEE for the summer of 2014 to apply before October 15, 2013.

For more information & to apply online, please visit www.CFEVA.slideroom.com

LandLab is supported by The Knight Foundation

 

Collaboration As a Means, Not an End

By Amy Lipton, Curator and SCEE advisory panel member, 2012-2013

In my work with ecoartspace over the past 12 years focusing on ecological artists and their projects, the term collaboration has been frequently evoked. The intention behind much of this work is to restore, remediate or transform damaged landscapes and also to educate the public about specific environmental problems or challenges. Artists taking on this imperative seek to inspire modification of human behaviors that have negatively impacted the earth’s ecological systems. Their work embodies what German artist Joseph Beuys coined as “social sculpture” over 50 years ago to illustrate art’s potential to shape society and the environment.

Joseph Beuys planting 7,000 Oaks for Documenta 7 (1982)

Ecological art demands forms of collaboration that are still rare in studio art practice in 2013. Collaboration in visual art (as opposed to design and architecture as well as performance-based art) is antithetical and contradictory to the position of the lone, iconoclastic artist of modernist/20th century ideals. Art schools continue to train artists to work independently as solo agents, emphasizing preparation for the entrenched market system of gallery and museum exhibitions and the art fair circuit to produce name brands. Ecological artists work from a different mindset, one which mirrors natural systems. Collaboration is not only a worthy goal or desire, but also a necessity in order to further community-based/public/infrastructure projects and to learn from needed specialists in other disciplines including science and engineering. Often the goal of these projects is to function (this word confronts all notions of art as useless) as components in ecological systems, operating outside of art spheres altogether. In order to succeed with their projects ecological artists must take into account the needs of specific communities with all constituents of these communities – human and non-human. Collaboration (and by implication participation) is a current art world buzzword. Used in terms of relational aesthetics, social practice art, and community based art projects, the word risks losing all meaning as just another trend for the art world to absorb. However collaboration is difficult and not for all artists – nor should it be.

The collaborative process itself is intrinsic to the art making and the results of art interventions in ecological systems usually improve over time. Time itself is a key component. Meaningful dialogue and discussion towards a shared goal takes a long time. Ecological art projects can take several years of planning before implementation. Aside from the vision of the initial collaborative team and the work that went into achieving consensus, projects often require a lengthy permission process from bureaucratic government officials and agencies, business and private interests as well as community support, involvement and at best citizen participation. In recent years emerging artists have been addressing environmental issues and sustainability on a smaller, more immediate scale. This comes from a desire to create work in less time by doing more temporal public art works and bypassing the need for permits. These artists have developed ways of working that are performative and include direct engagement by the artist with the public.

A recently completed curatorial project of mine titled TRANSported has been exemplary in demonstrating this collaborative participatory process. Habitat for Artists, an evolving collective of eighteen artists (they were included in my 2009 Schuylkill Arts Center project Down to Earth: Artists Create Edible Landscapes) created a self-sustaining artists studio and shared space for discussion and engagement held for one month by the Hudson River in Battery Park City, NY. Changing on a daily basis, artists and partnering organizations worked both inside and outside of a shipping container – converted into art studio space. The container was powered by the use of solar roof panels and included a square foot roof garden. Exterior sides included a vertical green wall, rain barrel collection for water, attached hoop greenhouse for growing seedlings and a blackboard for drawing and changing communications. Over the course of 30 days the container became a hub for workshops, an ecological information and education center, after-school art space, artist in residence program – one huge interactive social sculpture.

Artists working inside the habitat
photo credit: Mario Mohan

Artists working inside the habitat (Pictured: Marion Wilson, Michael Asbill and Michele Hersh)
photo credit: Mario Mohan

The elements that went into making this collaborative project successful included:

1. The artists having a shared purpose over and beyond their individual expression.
2. A non-hierarchical decision making process with no specific leader.
3. Process over product- viewer engagement was the goal.
4. An interest in crossing disciplines and working with partners to learn.
5. A willingness to accept unpredictability and flexibility including limitations of weather and last minute changes in personnel.
6. Understanding that evolving daily changes to the space over time were a key component of the overall project.

The Habitat for Artists participants each contributed a different component, working within their unique methods and styles for the benefit of a larger shared art/ecosystem and demonstrating that collaboration is a means and not an end.

The collaborative approach to art-making that is inherent in ecological art calls into question some of the most basic premises of the contemporary art world and artists.  However, both the pressing ecological issues and the need for broad social co-operation in global society necessitate the shift to a collaborative sensibility.  Following on Beuys’ idea of social sculpture, art can point society in meaningful directions.

Amy Lipton, Curator and SCEE advisory panel member, 2012-2013