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The Society for the Preservation of Wild Culture (SPWC) was a Toronto arts organization in existence from 1986 to 1991 that explored environmental and ecological issues from an artistic perspective in a "quirky and innovative" way.〔''Ryerson Review of Journalism'', April 1991, Megan Park, "Call of the Wild", p. 55.〕 The SPWC was best known for three programs: a literary magazine, The Journal of Wild Culture; artist-guided walks, "landscape readings"; and a series of cabarets, The Café of Wild Culture. The organization was a unique hybrid. The oxymoron "wild culture" tweaked the interest of contrasting types: artists, scientists and activists, and the efforts made by the organization to develop creative projects and discourse around the term were well received.〔 It was concurrently accepted as an arts organization by artists and an environmental organization by environmentalists. The organisation was resurrected in 2011 and is now producing an online magazine based in London and Toronto. == Art and ecology == The style of the organization was determined by how participating artists expressed themselves around the undefined idea of "wild culture" (also see "wildculture"). While calling for new articulations of wild culture through its projects, at its height the society filled the cultural vacuum in Toronto with an eclectic kind of "thinking man's" fun and provided a forum for experimentation amongst performance artists.〔''Metropolis'', March 30, 1989, Donna Lypchuk, "Mock on the Wild Side".〕 The broader public was encouraged by the SPWC to engage with questions about nature and art, while frequently congregating in the outdoors. This audience was also attracted to the organization's ability to 'soft pedal doom and gloom while partying for the planet".〔''Toronto Star'', April 20, 1990, Vit Wagner, "Wild Culture artists party for the planet"., p. D1.〕 During a landscape reading on the aboriginal history of downtown Toronto, poet M.T. Kelly offered a view of how the SPWC sought to affect its audience: "There is a bridge between history and landscape. To get people to change their view of the environment, you can't just argue in economic terms. It's an emotional thing. People act politically when they get emotionally involved".〔''Globe and Mail'', Sept 7, 1988, June Callwood, 'sunday morning landscape readings cultivate food for thought"., p. A2.〕 The notion of "wild culture" grew out of multidisciplinary artist Whitney Smith's experience of "a spiritual updraft in the art spheres" while foraging wild foods in the Ontario forest that he sold to local chefs. From 1982 to 1985 a series of three performances, "Fern Policy", explored the possibilities of artistic growth in the nature-culture ecotone. In May 1985 Smith made the first public announcement on the formation of the society at a Toronto art event, "L'Affaire 'Pataphysique", that presented examples of 'pataphysics by local artists parodying theory and methods of modern science. Following this event Smith began recruiting artists to help develop ''The Journal of Wild Culture''. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「The Society for the Preservation of Wild Culture」の詳細全文を読む スポンサード リンク
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