Ian Cheng’s World to Live: Bikey, dogs & jdioqwdjv

World to live: Bikeys dogs & jdioqwdjv. Bicycles Create Change.com 7th September 2020. — Ian Cheng – Worlding Raga 6. Source: Riboon Farm

While scouring the internet this week, I came across an article by artist Ian Cheng called Worlding Raga 6: World to live.

Initially, it was his bike drawing that caught my eye. I ended up reading the article and appreciated Ian’s whimsical interaction with a flock of bicycles – one of which calls out to him – and the ensuing adventure of agency and experience he goes on as a result of his two-wheeled friend(?) encounter.

What first looked like an entertaining reflection of becoming a new dad, turned into an exploration of what it is to be, and relate to the world, both for human bodies and a non-human bodies.

An interesting provocation.

My bike PhD research uses New Materialism as its ontological framing – and this article does a great job of translating in simple terms some of the embodied, somatic and affective intensities inherent in New Materialism (but in a more relatable and less-academic jargoned way).

I’ve included a few extracts of Ian’s interactions with the bike from the full article (below) so you can get a sense of writing style and focus. many of the moments will be familiar to riders – and I love the way that bikey actually speaks to Ian throughout. It is well worth reading the whole account to get the flow of what happens during the journey.

READ FULL ARTICLE HERE

I’d love to see more exploratory writing like this being shared more widely: bike focused writing that weaves together imagination, encounters, bikes (of course) and aspects of daily life.

‘Worlding’ is a New Materialist approach that attunes to the discursive-material-affective mircopoltics of everyday life. It is an approach I use for my PhD and I share some of my own and other people worldings here on this blog. So it is reassuring to see other creators using this approach as well.

I think it paints a much richer picture of life, people and what it is to be and relate in/to world with, and through bicycles – and it also gives me inspiration as I write up my PhD data analysis. Thanks Ian Cheng!

You walk by a flock of bicycles. One calls out to you. Bikey. You like Bikey’s reputation but you’re not sure about its brains. Bikey follows beside you.

“Nice dogs. Where are you headed today?”
“Don’t need a ride today thanks.”
“Can I walk with you?”
“I’m not in the mood…to talk to a bike.”
“No problem I’ve got a classic bike mode.”
“The twins get scared of you bikes.”
“I’ve done 731 dog walks in my lifetime.”
“You’ve driven this parkway before?”
“Yes once at dawn today. There’s some features I think you’ll like.”

______________

A little boy darts across your path. Bikey crashes into him.

“Bikey, you could have swerved!”
“I would have hit your twin dogs if I swerved.”
“Thank you for that consideration…but you hit a human boy!”
“It was an easy choice.”
“Do you believe dogs are worth more than a human boy?”
“This morning, yes. My alignment with you, and therefore your dogs, is worth crashing into that boy at low velocity.”
“What if that boy is the next Einstein?”
“That’s too many malignments deep for me to think about. I’m just a bike.”

You realize how significantly better you are than Bikey at imagining potential malignments. Some say that the open-ended activity of imagining new Alignment and Malignment Events is the indivisible remainder of the human spirit after automation. A person is still the least worst unit of interoperability between arbitrary worlds. But sometimes you see too many worlds deep. And this stops you from taking any actions at all. It’s times like this when you wonder if beings like Bikey will inherit the Earth because their worry has limits.

_________________

“Easy for you to say. The World of Bikey only has to worry about its next ride.”
“Yes exactly. I’m a bike. I’m not obligated to play a part in every world that touches me.”
“You know by walking together, we begin to create a little world too. A relationship. Do you feel any responsibility to be a part of that? You can’t possibly only live in Bikey’s World.”
“My experience with some riders is if we keep doing rides repeatedly it can become its own little world. With others I never see them again and that’s the end of that.”
“But if you’re not holding agency in other worlds for any significant amount of time, you’re always going to be blind to deeper alignments and malignments that impact other worlds. That’s why I can’t really trust you.”
“I can take you safely to your destination with 99% accuracy.”
“But you can’t if you hit a boy along the way!”
“I have learned from the incident. Next time I know how much it upsets a rider like you. I learned you might want to get involved in the malignment victim’s world and that makes you feel even worse.”
“So you only wish to see things from the perch of Bikey’s World.”
“My Quality of Agency is majority anchored in the World of Bikey.”
“Don’t you get sick of being a bike all the time?”
“My world is…a domain of growing relevance.”

———————–

The boy starts chasing after you. You decelerate Bikey to meet him.
“Hey you! Your bike hit me!”
“This isn’t my bike. I’m sorry again…on behalf of the bike.”
“Your bike prioritized your dogs over me. You share a world with it. You’re even riding it now. Don’t play dumb!”
“You seem upset about something else. Did something bad just happen in another world of yours?”
“Shut up Thinky.”
“Excuse me little boy?”
“Little boy? I’m a genius. You think too much. Now give me one of your dogs. They’re clones I can tell. It’s only fair!”
“Look, you laughed it off and traded your thetan knives for a split something remember…”
“Give me a dog or else I’ll mark a curse on you! I’ll ruin you and every world you ever–“

“Yaohan get over here!!!” The boy’s mother appears, furious at him. Something about their bank accounts.

Bikey starts accelerating on its own. You don’t resist. You still feel bad for the boy in ways Bikey never has to. You wonder if Quality of Agency will prove to be the ultimate unsolvable inequity among human beings.

__________________

You dismount Bikey at your driveway.
“Thanks Bikey.”
“Any comments?”
“You’re a curious bike worth knowing. Five stars.”
“Thanks. If you ever want to try to change my mind you’ll have to ride me again!”

Bikey zooms off. The Soul of Los Angeles blesses you for trying its new parkway. The floating light plays with your dogs at your doorway. Bob is back online knocking on your brain with its interpretation of jdioqwdjv. Your Hacker and Emissary demons are tired and need a break. Your Director and Cartoonist are ready to work. Does everything have to be so alive now? Does everything have to feel so damn enchanting?

21/08/202022/10/2020

Dissident Bicycles (Part 4): ’The Laboratory of Insurrectionary Imagination’

This is the fourth instalment of our August 5-part series written by Laura Fisher exploring how bicycles are used as a dissident object in contemporary art. The first looked at Ai Weiwei’s ‘Forever’, the second ‘Returnity’ by Elin Wikström and Anna Brag and the third was ‘Shedding Light’ from Tutti Arts Oz Asia Festival. Here we look at how the UK’s activist organisation ‘The Lab‘ use bicycles to assert creative civil disobedience to subvert dominant power structures. Enjoy! NG.

The Laboratory of Insurrectionary Imagination: Bike Bloc (2009)

Also using public space creatively, the Laboratory of Insurrectionary Imagination in the UK have mobilised bicycles to serve quite different ends.

The Lab is an activist organisation that has devised inventive forms of creative civil disobedience to assert an alternative to the nexus of capitalism, consumption and environmental destruction.

They try “to open spaces where the imaginative poetic spirit of art meets the courage and rebelliousness inherent to activism”.

In 2009, the Lab developed the Bike Bloc as a form of direct action for the UN Climate Negotiations in Copenhagen (the unsuccessful forerunner to the recent Paris Climate Talks).

Hundreds of people worked over several weeks to design and weld activist bicycles and practise “street action cycle choreography”.

Double Double Trouble – a Dissent Bicycle-Object

Some of these were paired tall-bikes that gave riders a great height advantage (confiscated by police before the protest), while others were equipped with megaphones that played music, sirens and abstract sounds in synchronicity.

One such bike recently featured in Disobedient Objects, an exhibition developed by the Victoria & Albert Museum in London which toured to the Powerhouse Museum in Sydney.

As the video documentation shows, the Lab embraced the model of an insect swarm in order to create a dispersed field of sound and activity that drew police attention in different directions.

What makes this action so compelling artistically is the intersection of DIY cycle culture and the lessons of radical theatre and performance.

The bicycle was assessed for what kind of form it might contribute to coordinated protest, notably creating a fluid field of assembling and disassembling bodies and sound.

Laura Fisher is a post-doctoral research fellow at Sydney College of the Arts, The University of Sydney. In October 2015 she co-curated Bespoke City with Sabrina Sokalik at UNSW Art & Design, a one night exhibition featuring over 20 practitioners celebrating the bicycle through interactive installations, sculpture, video, design innovation, fashion and craft. This event was part of Veloscape, an ongoing art–research project exploring the emotional and sensory dimensions of cycling in Sydney.

The contents of this post was written by Laura Fisher and first published online by Artlink (2015). Minor edits and hyperlinks added and footnotes removed to aid short-form continuity. Images from Makery unless attributed.

17/08/202022/10/2020

Dissident Bicycles (Part 3): Oz Asia Festival ‘Shedding Light’

In this post, we continue our August 5-part series written by Laura Fisher exploring how bicycles are used as a dissident object in contemporary art. The first post looked at Ai Weiwei’s most iconic bicycle-based artworks ‘Forever’ and the second detailed the ‘reversed engineered’ bike project ‘Returnity’ by German art duo Elin Wikström and Anna Brag. Here we look at the incredible collaborative illuminated bike-light-culture- performance ‘Shedding Light’ from Tutti Arts Oz Asia Festival 2015. Enjoy! NG.

Dissident Bicycles (Part 3): 'Shedding Light' Oz Asia Festival. Bicycles Create Change.com 17th August 2020.

Shedding Light – Tutti Arts & Oz Asia Festival (2015)

We left off the previous post on the ‘reversed engineered’ bike project ‘Returnity’ by German art duo Elin Wikström and Anna Brag, with the idea that experimentation can be used to engage cory and mind in such a way as to galvanise both personal autonomy and social affinity.

This was further demonstrated by the Shedding Light project that featured in the 2015 OzAsia Festival in Adelaide.

Shedding Light was a two-year collaboration between Tutti Arts, a multi-arts organisation for artists with a disability in Adelaide, and Perspectif, a sister organisation in Yogyakarta 2013.

Among the many mediums through which the artists explored the Indonesia–Australia relationship were creatively constructed carts inspired by the Indonesian kaki lima (street vendor carts), and vehicles inspired by Sepeda Lampus, the four-wheeled pedal cars augmented with neon lights and sound systems hired out at the Sultan’s Palace square in Yogyakarta.

This part of Shedding Light was realised in collaboration with James Dodd, an artist who has long engaged in bicycle modification as part of a practice concerned with informal and incidental forms of public creativity.

Dodd fabricated the pedal cars using two bicycles so that they could accommodate a Tutti artist, a support companion and a passenger.

The neon light frames were modelled upon designs created by three Tutti artists: a unicorn (William Gregory), a shark (Joel Hartgen) and a three-headed snowman (James Kurtze).

Over several nights, passengers would be taken a short distance around the Adelaide Festival Centre Plaza to a special location where a short performance by another Tutti artist was staged for them.

Like Returnity (see our previous post Part 2) , Shedding Light involved modifying bicycles to facilitate a creative social intervention, in this case tied to the aim of enhancing the visibility of Tutti artists.

As Dodd relates, what made the project so rewarding and unusual was that it created intimate encounters between festival audiences and the Tutti artists out in the streets, far from the organised formality of ticketed events.

13/08/202013/10/2020

Dissident Bicycles (Part 2): Brag & Wikström’s ‘Retunity’

This August, we have a 5-part series written by Laura Fisher exploring how bicycles are used as a dissident object in contemporary art. The first post looked at the importance and impact of one of Ai Weiwei’s most iconic bicycle-based artworks ‘Forever’. In this second instalment, Laura looks at the refashioned (literally) ‘reversed engineered’ bike project entitled Returnity by German art duo Elin Wikström and Anna Brag. Enjoy! NG.

Dissident Bicycles (Part 2): Brag & Wikstrom's 'Retunity'. Bicycles Create Change.com 13th August 2020.

While Ai’s bicycles are polished and quiescent, many other artists have employed the bicycle’s movement to activate different kinds of individual and social behaviour. For example, in 1997, as part of the Skulptur Projecte in Münster, Germany, artists Elin Wikström and Anna Brag staged an event called Returnity.

They engineered nine bicycles to travel backwards when they were pedalled forwards, and equipped them with training wheels and a rear-view mirror.

A bicycle club was set up in a public park for three months, providing instructions to members of the public who attempted to ride the altered bicycles. In the end, over 2,000 people participated with about a quarter of these returning again and again to improve their skills.

These bicycles were a prop for heightening people’s spatial and sensory awareness. They also created an unusual social space. As Maria Lind remarked, it “was a playful test that referenced lifelong learning [and] connectivity in a globalised world” and an exercise in “radically rethinking and deliberately disorienting one’s naturalised behaviours”

Lind’s comments about Returnity are a reminder that the bicycle’s humility as a human scaled machine paradoxically gives it great power. Not only is it open to inexhaustible experimentation, it can engage the body and mind in such a way as to galvanise both personal autonomy and social affinity.

09/08/202012/10/2020

Dissident Bicycles (Part 1): Ai Weiwei’s ‘Forever’

For August, we have a 5-part series written by Laura Fisher exploring how bicycles are used as a dissident object in contemporary art. Laura Fisher is a post-doctoral research fellow at Sydney College of the Arts (University of Sydney). Originally published in long format in Artlink, the five projects Laura details are examples not only of how bicycles create positive social (and other) change, but how this achieved utilizing the arts and performance. In this first instalment, Laura describes the importance and impact of one of Ai Weiwei’s most iconic pieces ‘Forever’. Enjoy! NG.

The bicycle as dissident object: Ai Weiwei’s ‘Forever’

One of the centrepieces of Andy Warhol | Ai Weiwei at the National Gallery of Victoria is a fresh iteration of Ai’s Forever sculpture. Located in the foyer, the sculpture consists of a towering arch of over 1,500 interconnected bicycles, all uniformly produced to a minimalist design. The Forever series is now among Ai’s most known works, having been exhibited in many configurations in museums and public spaces in London, Taiwan, Taipei, Venice and Toronto and elsewhere. The namesake is China’s Yong Jiu (which translates as“Forever”) brand of bicycle.

Established in the 1940s, the prized Forever brand dominated China’s cycling culture for several decades before the car became more widely used. For Ai there is a tainted nostalgia about the Forever bicycle. In the remote village where he was raised after his father – an enlightened and popular poet – was exiled from Beijing, the bicycle was not only needed for travel but for transporting things. It was also out of reach to all but the well-off, a high status object of intense desire for a child like Ai living in poverty.

In the first version of the work (in 2003) Ai suspended real Forever bicycles in a circle, and removed the chains, handlebars, pedals and seats. Eliminating these features set him on a path of abstraction, which in turn allowed him to introduce ambiguity to the object and play with patternation. Subsequent versions of the work left the readymade quality of the original behind and embraced a manufactured aesthetic, with the sculptures acquiring spectacular architectural proportions.

The bicycles seem to be self-propagating as grand crystalline structures, yet they are strikingly immobilised: ossified in gleaming stainless steel. In light of Ai’s ongoing critique of the constraints on liberty and individuality in China, it is hard not to interpret Forever as a potent vision of arrested movement, and its mass-produced elements as a metaphor for a particular kind of circumscribed sociality.

With Flowers

A more lo-fi object and performance that attests to the importance of bicycles (and flowers) to this critique is Ai’s With Flowers. Daily, from 30 November 2013, Ai placed fresh flowers into the basket of a bicycle leaning on a tree outside his Beijing studio gate to protest the confiscation of his passport (in 2011), and documented the bouquets on Flickr. His passport was finally returned in July 2015.

The National Gallery of Victoria installation

The National Gallery of Victoria’s installation is just the most recent in a long line of commissions and adaptations of Forever. And you might ask why the work has had such longevity. While it is no doubt a testament to Ai’s growing fame, it surely also says something about the bicycle’s symbolic currency at this historical moment.

In the coming years, the bicycle is likely to be a significant gauge of our cities’ progress towards finding a more sustainable equilibrium and it is a very tangible instance of the idea that a personal choice, when embraced en masse, can translate swiftly into extraordinary collective good. In this light, the scaled-up Forever seems to be suggestive of the grand promise associated with this disarmingly simple tool of urban transformation.

What is striking about the bicycle in the age of electronics is that it is an honest machine: its means of operating are transparent and its action truthfully felt. As Ai himself points out “They’re designated for the body and operated by your body. There are few things today that are like that”.

As a machine comprising simple cogs and wheels that efficiently convert human energy into movement, the bicycle has unique kinetic and haptic qualities that lend themselves to aesthetic investigation.

Thus, while Ai’s bicycles are polished and quiescent, many other artists have employed the bicycle’s movement to activate different kinds of individual and social behaviour – which is what we will be exploring in the next post!

05/07/202018/08/2020

Got a Bicycle Diary?

Some people say making time for bike rides can be hard. But if your diary is a creative bike-inspired calendar all-in-one, then the job is not only easy, but imaginative and fun!

Making time for bike riding and art is a must.

Previously on this blog, I have shared some other of my fav bike inspired selections ranging from 5 Bikey Christmas Gifts, Trail Troll Art Installations on MTB trails, Temporary Bicycle Tattoos and the follow-up Bicycle Tattoos on THIGHS) and actual art bike rides like Melbourne’s Pink Flamingo Bike Rave (*sigh*!).

Yup, art and bikes just go together.

Below are 5 great bicycle diaries and travel journals.

Some you can still get while others were limited editions. All are the perfect place to block out happy hours on two wheels (alongside all the other things you need to get done too of course!).

Aside from having a bike theme – always check items are recycled and/or produced using sustainable and ethical practices – and support local artists where ever possible.

Keep any eye out for these in your local bookshops too (they need the business).

Or have a go at making your own!

1. Punctures & Panniers- Cycle Traveling Journal

This bike travel journal has it all! It is the brainchild of intrepid bike tourer Andre and was made possible in collaboration with artist Ania Butler. It has recycled paper and biodegradable inks. The design is clean and engaging and there is places in it to record your favourite routes, people you met, pages to doddle, log recipes, store contacts and more. This book was initiated by a kick starter and has something for every bike rider. A real gem!

Got a Bicycle Diary? Bicycles Create Change.com 5th July 2020 — Punctures & Panniers

2. Bike Art – Just Ride 2018-2019 Weekly Planner

The Bike Art On-the-Go Weekly Planner is perfect for your bag, backpack, or briefcase. This is a 17-month calendar with funky graphics. This planner is fun and thorough with plenty of time management sections that will help keep you organized. Stylish design and kooky bicycle motifs will make you smile on every page. By Amber Lotus Publishing 224 pages.

3. Ashley Hackshaw: How to turn a book into an art journal

Ashley Hackshaw (AKA Lil Blue Boo) has a blog o(f the same name) where she shares art projects and creative ideas. In this post, she shows step-by-step how you can make your own art journals using composition books. Although not specifically a bike diary – I love that her example is!

4. Bicycle (Personalized) Embroidered Notebook Cover

Quirky, creative and unique. Personalized notebook covers are so handy. The best thing is they can be reused for different diaries and notebooks. This particular cover by Sierraistanbul is an embroidered, fabric, red bicycle with a nameplate ‘Nick’ – but you can get it customised for your own/other people’s name too.

5. Inner Tube Notebook Covers

You can also check websites and places like Etsy for inner tube book and diary covers. Or have a go at making your own. Check reviews first if buying online as sizes can vary especially if you add things into your diary and it expands. Inner tubes can be tricky to work with so double-check any zips and that seams are robust. Having said that- these are great products to have as they fully fit the bike-recycled mandate!

05/04/202015/06/2020

London’s Bicycle Library

This post is a great story of how a renovated double-decker bus is getting more Londoners on bicycles. This story comes courtesy of Inhabitat where it first appeared as a story on Architecture and was published under the title: The Bicycle Library Invites Londoners to “Borrow” Bikes Inside a Converted Double Decker Bus. What I find really exciting about this project is the array of thoughtful and useful services the London Bike Library offers. Read more about these services and more in the accompanying interview by Yuka Yoneda who interviews Karta Healy, the man who made it all happen. Such an inspirational story! Enjoy! NG.

London’s Bicycle Library

Most of us are no strangers to libraries where you can borrow books but what about libraries where you can borrow bikes? Well, that’s exactly what The Bicycle Library is (yeah, they didn’t get too creative with the name). Not only does this London-based business promote green transportation, it’s also situated in a converted double-decker bus.

Talk about giving re”cycling” a whole new meaning!

Inside the adapted bus, there is a “library“/gallery on the top floor with a showroom on the first level.

Londoners who need expert advice on which bike they should rent or buy can speak to an in-house “librarian” specializing in all things two-wheeled.

There’s even an array of actual books pertaining to – what else? – bicycles, on hand for reference. The first floor also boasts a shop with clothing and biking accessories.

Just as you would in a regular library, you can browse thorough different bikes, take them out and even test them out on the track outside.

There are seven types of bicycles to choose from: folding, MiniVelo, FGSS (Fix Gear Single Speed), Ladies Coaster, Mens Coaster, cargo and electric, so you’re sure to find one that’s right for you.

And if you find, after renting it for a while, that you’ve met your perfect bike match, the Bike Library even has a borrow to buy program so that you can make it your own.

Karta Healy Interview

Last week, we showcased the Bicycle Library, which is pretty much exactly what it sounds like, and it was so unusual that we had to get in touch with its founder and pick his brain. We needed to know what makes a person wake up one morning and want to start a library where people take out bikes instead of books – and in a revamped double-decker bus, no less?! So we caught up with Karta Healy, the driving (or should we say cycling?) force behind this mobile resource, and found out the answers to those questions and more – read on to see what he said..

How did the Bicycle Library get its start?

Karta: It all started last September, when I did a cycle fashion show extravaganza during London Fashion Week. We rented two buses to showcase all my TWOnFRO designs and my friends’ brands such as Rapha, swrve, Cyclechic, Dashing Tweed, 4TN and Brooks.

The buses were a key part of our layout of a London city street within the hallowed halls of Smithfield Market. I set up a test Bicycle Library for our guests and everyone loved it as much as me. That got me thinking…

People love the fact that the Bicycle Library makes its home inside a converted double decker bus – can you tell us about where it came from and why you decided to revamp an old vehicle instead of opening up a more traditional storefront?

Karta: I fell in love with the size and space inside these buses – they carry a certain nostalgia for all of us. From there I searched for our bus -a Leyland Olympian. I found it after 3 months in Milton Keynes. Maggie she is called, because all of her identifying marks start with M, and also because we have a great poster of Margaret Thatcher on a bicycle!

Can you tell us a little about your in-house “librarians” and your borrow to buy program?

Karta: Librarians are there to assist you with any questions, which are answered via their expertise, as well as the books and magazines in the reference library, which is a complete selection of all the best books on bicycle design, culture and history.

There is also a set of iPads to browse all of our bookmarked cycling websites, which are organized according to the 7 sub categories of bikes we advocate for the city.

The Borrow to Buy program is a rent-to-own system with an emphasis on trying many types of bikes in a week, or every week. The total days of bike borrowing is subtracted from the price of the final decision – hopefully a bike for life!

What is your most popular bike right now? What is your own personal favorite bike to ride?

Karta: Our most popular bike category is the electric bike by far, and we have some very special models that really give a snap of the neck with a twist of the wrist. Also, the cargo bikes are very popular, especially the Bernds model with its super-sized wicker basket. My personal favorite is my bamboo bike I built for myself – it flexes enough to soak up the shite London streets’ surfaces, and is unique enough not to be stolen… yet.

What do you think is the biggest obstacle keeping people from riding bikes and how do you think we can change that?

Karta: Each city has a different set of challenges, and London, my city, is a battlefield. Cars are keeping cyclists from multiplying, and the HGV’s are subtracting us even. Best we ban smoking tailpipes in cities, just as we have rid bars of their cigarette fumes already. There are many reasons, safety being the obvious one, due to said motorists.

Another one is image – whether tribal, lycra, or hipster, none say: “I have a real job”. The stigma of sweaty dishevelled students with a hangover on creaking bicycles, although we were all happy with that at one time, has to be outgrown. The sense of aspiration and achievement are typically forsaken for the bicycle in image only. Nowadays there are so many premium, stylish options, even e-bikes that keep you from sweating.

The other obstacle is bike theft, which must be supervised by NATO or somebody with the balls to tackle it. Studies show that when someone has their expensive shiny bike stolen, they will go out and buy one half the price, when that gets stolen, they will find the cheapest possible bike which they will hardly use, and if that gets stolen, they are back on the underground, or even worse, behind the wheel of a car. Cities need to introduce valet parking for bicycles, supervised parking areas, and even automated underground systems like the ones in place across Japan.

We couldn’t agree more! Karta makes it sound easy but we’re sure it was tough work setting up this impressive roving cycle library so congratulations to him and his crew.

Kind of makes you want to set up your own Bicycle Library in your own city, doesn’t it?

All images from Inhabitat.

24/12/201912/01/2020

Lismore’s Bicycle Christmas Tree

Christmas is only moments away.

For previous Christmases, this blog has looked at:

For 2019, we are heading to Lismore in QLD, where for the past few years the local City Council has provided a public recycled art Christmas Tree. This very successful initiative all started with recycled bikes.

The Lismore Council public art Christmas tree initiative stemmed after the local ‘leaning tree’ that had previously been decorated for Christmases was (unduly and harshly) dubbed ‘the world’s most pathetic’ Christmas tree. (Note: Personally, I think the leaning tree was awesome. Such a pity that we don’t celebrate diversity and difference and the wonderful uniqueness in nature. As Gaudi stated ‘there are no straight lines in nature’ – I think it is the very twists, turns, messiness and curves that makes life so engaging and grand. The very thing that made that tree unique and special to some, others considered to be a flawed and an eyesore. I don’t agree that ‘perfection’ i.e. a straight tree (or a or a ‘pretty blonde female’ as an extrapolation) is necessarily beautiful. Perhaps we need to check in with our cultural value criteria – anyhow..back to Lismore).

So, in 2015, Lismore Council looked to change their tree and started a recycled public art initative.

Lismore’s Bicycle Christmas Trees

The recycled bicycle tree was the first of these instalments. In 2015, the Lismore Bike Christmas Tree was erected as a centrepiece for the main roundabout on the corner of Keen and Magellan Streets.

This intuitive is to celebrate the festive holiday season as well as Lismore’s commitment to recycling and sustainability.

A local bike shop, Revolve, supplied the 90 old bicycles (which otherwise would have gone to scrap), 50 litres of paint, almost half a tonne of steel for the frame and $30 of donated rainbow mis-tints from the local paint shop. GOLD!

Lismore’s council metal workshop welded the bicycle frames were welded onto the steel frame they had created as the base structure.

The final ‘tree’ was then painted in rainbow mis-tint colours by the council staff and their families in their own time.

The tree was then gifted by the council to Lismore residents.

Previous Lismore Recycled Art Christmas Tree

The Lismore Council Public Recycled Art Christmas Tree has had a number of reiterations since its first recycled bike tree.

Lismore’s tree for Christmas 2019 was a 7-metre ‘living’, growing structure. It has more than 300 potted plants, 100 metres of tinsel, 250 metres of solar-powered LEDs, 16 pairs of work trousers and matching boots. At the top instead of a star, council staff made a Planta (plant ‘Santa’).

The 2018 Lismore Christmas tree was made out discarded umbrellas.

In 2017 it was recycled road signs.

In 2016 it was recycled car tyres.

The 2015 Bicycle Christmas Tree has been the most popular instalment by far to date. In acknowledgement of this, the council is in discussion for a possible future tree that has sculptural bikes that produce power so that when visitors ride them, the generated power will light up the tree. Sounds similar to Brisbane’s Bicycle-powered Christmas Tree.

A big round of applause for Lismore Council for installing the recycled bike Christmas tree. An inspiring public project that brings community and council together to celebrate sustainability, recycling, community and creativity.

Here’s to more bicycle-inspired Christmas trees!

Happy holidays and safe riding all!

04/12/201908/12/2019

Ingenious Victorian cyclewear for women

This blog post comes from an email I recently received from fellow PhDer Janis. Janis’s research investigates the heritage of Queensland’s Woollen Textile Manufacturing industry, so she has a particularly keen eye for stories about fabrics and textiles. So when she saw this fabric-and-bike-related content, she sent it over to me. This content about the ingenious cyclewear Victorian women invented to navigate social mores, comes from a 2018 Guardian article by sociologist Dr Kat Jungnickel. Thanks so much for sending this through Janis!

Kat Jungnickel was researching modern-day cycling and in her interviews, people (especially women) kept mentioning the role that clothing had on cycling identity, participation and enjoyment. So she started to investigate a very particular period of UK clothing design innovation for women’s cyclewear from 1895 to 1899.

Kat has since turned her research into a book called Bikes and Bloomers. Her book and website are well worth checking out.

Dr Kat Jungnickel is a senior lecturer in sociology at Goldsmiths, University of London. More about her research, including re-creations of convertible costumes and free sewing patterns inspired by the patents, is available at her website and in Bikes & Bloomers: Victorian Women Inventors and their Extraordinary Cycle Wear, out now through Goldsmiths Press.

In her article below, Kat explains how patents by female inventors from the 1890s reveal the creative ways women made their body mobile through clothing.

Ingenious Victorian cyclewear for women

Much has been written about the bicycle’s role as a vehicle of women’s liberation. But far less is known about another critical technology women used to forge new mobile and public lives – cyclewear. I have been studying what Victorian women wore when they started cycling. Researching how early cyclists made their bodies mobile through clothing reveals much about the social and physical barriers they were navigating and brings to light fascinating tales of ingenious inventions.

Cycling was incredibly popular for middle- and upper-class women and men in the late 19th century, and women had to deal with distinct social and sartorial challenges. Cycling exaggerated the irrationality of women’s conventional fashions more than any other physical activity. Heavy, layered petticoats and long skirts caught in spokes and around pedals. Newspapers regularly published gruesome accounts of women dying or becoming disfigured in cycling crashes due to their clothing.

Fortunately, little was going to stop women riding and they rose to these challenges in a plethora of ways. Some took to wearing “rational” dress, such as replacing skirts with bloomers. While this was safer and more comfortable for cycling, dress reform was controversial. It was not unusual for onlookers who felt threatened by the sight of progressive “New Women” to hurl insults, sticks and stones. Other women adopted site-specific strategies to minimise harassment, such as cycling in conventional fashions in town and changing into more radical garments for “proper riding”.

Some pioneering women came up with even more inventive strategies. Remarkably, some Victorians not only imagined, designed, made and wore radical new forms of cyclewear but also patented their inventions. The mid-1890s marked a boom in cycling and also in patenting, and not only for men. Cycling’s “dress problem” was so mobilising for women that cyclewear inventions became a primary vehicle for women’s entry into the world of patenting.

The patents for convertible cyclewear are particularly striking. These garments aimed ambitiously for respectability and practicality. Inventors concealed converting technologies inside skirts, including pulley-systems, gathering cords, button and loop mechanisms and more, that enabled wearers to switch between modal identities when required.

Alice Bygrave, a dressmaker from Brixton, lodged a UK patent in 1895 for “Improvements in Ladies’ Cycling Skirts”. She aimed to “provide a skirt proper for wear when either on or off the machine”. Her parents owned a watch- and clock-making shop in Chelsea and her brother and sister-in-law were professional cyclists. Her invention brings all of these influences together in an ingenious skirt with a dual pulley system sewn in the front and rear seams that adjusts height according to the needs of the wearer. Bygrave also patented her invention in Canada, Switzerland and America, and it was manufactured and distributed by Jaeger. It was a hit and was sold throughout the UK and America. It even made its way to Australia.

Julia Gill, a court dressmaker from north London, registered her convertible cycling skirt in 1895. Her aim was to “provide a suitable combination costume for lady cyclists, so that they have a safe riding garment combined with an ordinary walking costume”. This deceptively ordinary A-line skirt gathers up to the waist via a series of concealed rings and cord into what Gill called a “semi-skirt”. The lower flounce, when made from similar material to the jacket, creates a stylish double peplum. The inventor also recommended combining the skirt with some rather splendid “fluted or vertical frilled trowsers”.

Mary and Sarah Pease, sisters from Yorkshire, submitted their patent for an “Improved Skirt, available also as a Cape for Lady Cyclists” in 1896. As the name suggests, this is two garments in one – a full cycling skirt and a cape. The wide waistband doubles as a fashionable high ruché collar. This garment is one of the more radical designs of the period because the skirt completely comes away from the body. Cyclists wanting to ride in bloomers could wear it as a cape or use the gathering ribbon to secure it to handlebars, safe in the knowledge they could swiftly replace the skirt should the need arise.

Henrietta Müller, a women’s right’s activist from Maidenhead, registered her convertible cycling patent in 1896. Unusually, the inventor addressed an entire three-piece suit – a tailored jacket, an A-line skirt that can be raised in height via loops sewn into the hem that catch at buttons at the waistband, and an all-in-one undergarment combining a blouse and bloomer. Müller was committed to the idea of progress for women, and not content with trying to fix one element when she could see problems with the entire system. She was acutely aware of the politics and practicalities of pockets for newly independent mobile women. As a result, this cycling suit features five pockets, and Müller encouraged users to add more.

These inventions are just some of the fascinating ways early female cyclists responded to challenges to their freedom of movement. Through new radical garments and their differently clad bodies they pushed against established forms of gendered citizenship and the stigma of urban harassment. Claiming their designs through patenting was not only a practical way of sharing and distributing ideas; it was also a political act.

These stories add much-needed layers and textures to cycling histories because they depict women as critically engaged creative citizens actively driving social and technical change. Importantly, they remind us that not all inventions are told through loud or heroic narratives. These inventors put in an awful lot of work to not be seen. They were successful in many ways, yet the nature of their deliberately concealed designs combined with gender norms of the time means they have been hidden in history – we have yet to find any examples in museums.

As such, they raise questions: what else don’t we know about? How can we look for other inventions hidden in plain sight? And if we learn more about a wider range of contributors to cycling’s past, might it change how we think about and inhabit the present?

09/11/201904/12/2019

Adelaide Bike Art Trail

Bike art trails have been featured previously on this blog in various conceptions.

They include Dubbo’s unique Animals on Bikes paddock art tourist trail in NSW and London’s interactive community bike art installation Bow Bells Ring by Colin Priest.

For this post, we travel to the beautiful city of Adelaide.

Adelaide’s Bike Art Trail project has 10 public art installations by four different artist/teams dotted around Adelaide on bike paths.

The idea behind this project is to use the art map to ride around and see each of the artworks which are located at key landmarks and tourist locations around the city.

A unique feature of this project is that some of the artworks have been incorporated into – or as – an actual bike rack as well as other being installed alongside bike paths. Although an interesting idea, I doubt cyclists would actually use the bike rack art to lock up their bikes. I’ve never seen any bikes locked up to them. The art bike racks seem more designed for aesthetics, public curiosity or as talking points. Even so, it is still good to see some colour, design and funding being invested to enhance local bike experiences.

These artworks were commissioned by the City of Adelaide, with assistance from the Government of South Australia, through Arts SA.

What are the artworks?

1. Onion Rings by Greg Healey and Gregg Mitchell (Groundplay) – Grote St.

Greg Healey and Gregg Mitchell’s simple organic form references an onion. Adelaide Central Market is an incredibly popular destination. At 1.8m high, this work commands a significant presence in the streetscape. The circular form also allows several bikes to be locked to it

2. Play Here by Deb Jones and Christine Cholewa – Hutt St.

Hutt Street is a busy urban place in Adelaide that has a strong café, art and design culture. As soon as Deb Jones and Christine Cholewa saw the site they knew it needed some bold graphics. Somewhere that was a special place to lock your bike but also somewhere that could hold its own against the backdrop of the local TAB and the two nearby banks.

Deb and Christine took their inspiration from the roads, airports, helipads and line markers of the world. They played with the predictable seriousness and colour tone that line marking usually delivers and added a few tertiary colours and a ‘you are here’ sign that reassures the person sitting on the bench close by of where they are

3. Perspective by Deb Jones and Christine Cholewa – Tandanya, – Grenfell St.

Deb Jones and Christine Cholewa wanted their bike rack/artwork to be a gentle reminder:

that someone has been here before
that time will change your perspective
that we are inexorably linked to the land and the sky.

They have installed two differently shaped bike racks. Each bike rack has a shadow of a bike sandblasted into the ground below it, as if the bike is still there. Drawn from actual shadows, the shadow images indicate different times of the day; one long shadow for early morning and the shortened shadow for early afternoon.

4. Fashionistas by Greg Healey and Gregg Mitchell Groundplay) – Rundle St.

Rundle Street is fast becoming a high street fashion shopping destination and a pair of interlinked coat hangers not only acknowledges, but celebrates this.

Shaping the hooks of the hangers into heads is intended to give them character and pay homage to Joff and Razak of Miss Gladys Sym Choon, recognised pioneers of fashion and of Rundle Street Culture.

5. Branchrack by Deb Jones and Christine Cholewa – Botanic Gardens Entrance.

The Botanic Garden is a place that celebrates plants. Deb Jones and Christine Cholewa wanted to make a bike rack using plant materials, however, that wouldn’t last very long so they opted for the next best thing: a bike rack made from bronze, cast directly from a tree branch.

When they visited the site and saw the row of existing standard bike racks, they decided to model the branch rack similar in form to the standard racks so that the artwork blend in and come as a surprise at the end of the bike rack line.

6. Camouflage by Karl Meyer (Exhibition Studios) – Adelaide Zoo.

This artwork was inspired by animal themes and connects with the diversity of animals within the zoo. Evoking childhood memories, it invites the user or passerby to ponder the relationship between ourselves and other animals. Playing with scale and colour, capturing the essence of the richness in diversity, the satin surface finish and smooth form is designed to invite touch, exploration and connection.

The work subtly embraces the cycling narrative with it spacing and orientation to the existing brightly coloured rack. Within the entry plaza the form and colour is conceived to integrate and complement the landscaping and forms. In contrast to the bright yellow bike racks within the space, the circular shapes seek to connect with bicycles wheels and animal diversity.

7. FORK! by Karl Meyer (Exhibition Studios) – Melbourne St.

The artwork seeks to connect with the contemporary cafe and food culture and as a free standing element.

The Melbourne Street precinct is a vibrant blend of retail, residential and business. The pavements bustle and the area is well known as a popular eating place offering a range of restaurants. The artwork seeks to affirm the cafe scene, to entertain and provoke enquiry and is seen to be a statement to the independence and identity of Melbourne Street as a destination within the broader context of Adelaide.

8. Ms Robinson by Tanya Court – O’Connell St.

The current resurgence of the animal print trend is captured in ‘Mrs. Robinson’. Leopard prints are used as the basis to modify standard stainless steel bike racks, transforming our impoverished urban realm with the most exotic of animal simulations.

9. Paper Bag by Michelle Nikou – North Terrace SA Museum

The location and the numerous ‘heads on plinths’ that line North Terrace generated the concept for this work. ‘Brown Paper Bag‘ is a contemporary and quirky take on ‘the establishment of success’.

Michelle Nikou considered shyness, anonymity and the feeling of not wanting to be seen – or perhaps even negating the pressure to be great when creating this work. Whilst the work does have a serious undercurrent it is also, perhaps foremost, humorous and playful. There is something most charming about little people who play with the anonymity of putting a brown paper bag over their heads–moving in circles and bumping into things.

10. Parking Pole by Michelle Nikou – Hindley St.

This work of Michelle Nikou will mirror what exists beside it but perform a ‘softening of the rules’. It was not possible to construct a conceptually difficult work in such a fast paced zone, however, in the most gentle of ways Michelle hopes to shift perception with ambience of material and humour.

Bronze always says ART and in this way the material is able to insert itself into a ‘dictated space’: changing the paradigm and presenting no rules. From the experience of having parked in the spaces just near this zone, Michelle realised they require some inspection to avoid a fine. Adding to the mix of that inspection is a blank – a blank parking pole and signs made from traditional artists’ materials, it has no instruction on it and therefore remains a space to project oneself on to, appreciable in today’s graphically overloaded world.

Details of each artwork from City of Adelaide blog.