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Which clippings match 'Seed' keyword pg.1 of 1
12 APRIL 2013

Guerrilla Gardening: Seed Bombs & Seed Balls

"I've been following guerrilla gardening on Twitter for quite some time, and have become familiar with the term 'seed bombing' as a result. It's an idea that's always appealed to me – it's a kind of eco–friendly, bee–friendly, slightly radical anti–vandalism activism – but it's just one of those things that I'd never pursued. ...

So how do they work? It's a simple process really – the seeds I bought are encased in a ball of peat–free compost, dried clay and chilli, which are hand–rolled in North London (yes, really, and no, it's not what you're thinking). The dried clay acts as a protective casing from common seed predators (such as ants, mice and birds). When enough rain permeates the clay, the seeds inside begin to germinate – helped along by the nutrients and minerals contained within the balls. So it's like a tiny self–sufficient seeding system. Maya [http://www.mayaproject.org/] have added chili powder to the mix to help to deter predators while the seed ball slowly degrades, and eventually the seeds sprout."

(Lucy Small, 5 April 2013)

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TAGS

activismagriculture • anti-vandalism activism • ball • bee-friendly • chili • compost • DIY gardening • earthcare • eco-friendly • fairshare • gardening • germination • guerrilla gardeningguerrilla tacticsNative Americans • peat-free compost • peoplecare • permacultureplants • project MAYA • seed • seed balls • seed bomb • seed bombing • seed bombs • seeding system • self-sufficientsustainable society

CONTRIBUTOR

Simon Perkins
02 NOVEMBER 2011

You can have a garden: Edible Island Planters

"Eliza Donald couldn't find a large enough planter that suited her purposes, so decided to make her own. 'It took two years, working with plant specialists, and industrial designers, also asking a lot of people questions. It's important that a design functions well but it's equally important to ask why a person would want to use it in the first place,' she says. Eliza is now director of Edible Islands – handy aesthetically lovely planters the size of a small bathtub. You can plant out your veggies and a small tree, or once all your herbs die (if you have my touch) you can pop a lid on and just sit under your tree. Ingenious.

As Eliza points out, the potential benefits are plentiful, 'Sometimes people don't have an easy access to fresh veg. The planters help with Transition Towns – educating people on how to grow their own food and prevention of depression as people swap seeds, plants and recipes, and grow plants with their grandchildren. They increase flight pathways across cities for birds, bees and butterflies as more Edible Island Planters are put on roof tops, back yards, and schools.' The planters are all made in Pakenham, Australia."

(Lou Pardi, (small)LUST, 02 August 2011)

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TAGS

Australia • backyard • bathtubbetter-functioning productsbusiness women • domestic furniture • ecodesign • Edible Island Planters • Edible Islands • Eliza Donald • entrepreneurshipenvironmentally conscious design • fresh food • gardeninggreen design • grow your own food • herbs • industrial designkiwi ingenuity • Little Veggie Patch Company • Pakenham • planter • plantsproduct designproduct designerprotoductionresearch and developmentrooftopseedself-sufficientsustainable agriculture • sustainable cities • sustainable landscape and garden design • swappingtransition towns • veggies • women designers

CONTRIBUTOR

Simon Perkins
09 NOVEMBER 2008

Viral marketing is much easier to tell stories about than to implement

"Viral marketing has generated a lot of excitement in recent years, in part because it seems like the ultimate free lunch: Pick some small number of people to 'seed' your idea, product, or message; get it to 'go viral'; and then watch while it spreads relentlessly to reach millions, all on a shoestring marketing budget.

Adding to this intuitive appeal, viral ideas, products and media also make compelling stories. 'Flash mobs', started by Bill Wasik as something between a social experiment and an art project, became popular in New York City in the summer of 2003, and then spread around the world as imitators as far afield as Asia, Europe, South America, and Australia copied Wasik's idea. Amusing videos like the 'Star Wars Kid', and entertaining or controversial websites like Jib Jab's 2004 election spoof and 'blackpeopleloveus.com' also started from small initial groups of people and ultimately attracted millions of unique visitors, often generating additional exposure from an interested mass media. And viral email forwards, like one initiated by a customer who ordered Nike shoes customized with the word 'Sweatshop', or another describing an intimate exchange between a London lawyer and his onetime girlfriend, made news headlines and generated considerably notoriety for its authors, after reaching a global audience of millions via word–of–mouth networks.

Viral marketing, however, is much easier to tell stories about than to implement. For every high profile example of a viral product, there are many more unsuccessful attempts that one never hears about. Moreover, predicting which of these attempts will succeed and which will not is extremely hard, if not impossible–even for experienced practitioners. After the fact, it is usually possible to understand what was entertaining, titillating, or otherwise intriguing about a given viral entity; but it is rarely obvious in advance. For example, in a recent 'contagious media' contest conducted by the media art nonprofit Eyebeam.org, a roomful of subject matter experts failed to predict which of 60 submitted websites would generate the most page views. Even creators of successful viral projects are rarely able to repeat their success with subsequent projects. Indeed, looking across a wide range both of successful and also unsuccessful attempts over the past several years, there is little in the way of attributes to which one might ascribe consistently viral properties. As a result, is extremely difficult, and perhaps impossible to consistently create media that will spread virally from a small seed to millions of people.

Thus as appealing as the viral model of marketing seems in theory, its practical implementation is greatly complicated by its low success rate–a problem that is exacerbated by the constraints imposed by the commercial, political, or social agendas inherent to marketing campaigns. One may need to design and conduct dozens or even hundreds of such campaigns before one of them succeeds; and even if a campaign is successful at spreading it still might not propagating the desired message of the advertiser."
(Duncan J. Watts, Jonah Peretti, and Michael Frumin)

TAGS

ig seed • Collective Dynamics Group • contagious media • exposureflash mobs • Frumin • go viral • mass mediamedia artNike • Peretti • popularityseed • Star Wars Kid • viral • viral email forwards • viral marketing • Wasik • Watts • word-of-mouseword-of-mouth

CONTRIBUTOR

Simon Perkins
02 JANUARY 2004

Deleuze: Actual And Virtual

"The crystal–image has these two aspects: internal limit of all the relative circuits, but also outer–most, variable and reshapable envelope, at the edges of the world, beyond even moments of world. The little crystalline seed and the vast crystallizable universe: everything is included in the capacity for expansion of the collection constituted by the seed and the universe. Memories, dreams, even worlds are only apparent relative circuits which depend on the variations of this Whole. They are degrees or modes of actualization which are spread out between these two extremes of the actual and the virtual: the actual and its virtual on the small circuit, expanding virtualities in the deep circuits. And it is from the inside that the small internal circuit makes contact with the deep ones, directly, through the merely relative circuits.What constitutes the crystal–image is the most fundamental operation of time: since the past is constituted not after the present that it was but at the same time, time has to split itself in two at each moment as present and past, which differ from each other in nature, or, what amounts to the same thing, it has to split the present in two heterogeneous directions, one of which is launched towards the future while the other falls into the past." Time has to split at the same time as it sets itself out or unrolls itself: it splits in two dissymmetrical jets, one of which makes all the present pass on, while the other preserves all the past. Time consists of this split, and it is this, it is time, that we see in the crystal. The crystal–image was not time, but we see time in the crystal. We see in the crystal the perpetual foundation of time, non–chronological time, Cronos and not Chronos. This is the powerful, non–organic Life which grips the world."
(Gilles Deleuze p.80–81. 1989)

Gilles Deleuze, 1989.Cinema 2: The Time Image. University of Minnesota Press.

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TAGS

actualisation • chronologicalcircuitcollectioncrystal • crystal-image • dreamGilles DeleuzeHenri Bergsonheterogeneousmemory • mode • pastpresentseedteleologytimeuniversevirtualvirtuality
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