To co-create a cultural transformation, we wish to enable the creation of thematic + community Networks for the Planetary Arts.
Planetary Arts Networks can be established for themes or principles reflected in the Manifesto for Planetary Arts, with a national, regional, and global reach, bringing together like-minded organisations and communities for collaborative action.
Planetary Arts Networks can be established with virtual or locally based communities to enhance local engagement with creatives and inspire imaginative, creative community events.
Planetary Arts Networks can co-brand collaborative events + activities, and share highlights with the wider Planetary Arts community.
Volunteers for Planetary Arts Networks:
Volunteers for Planetary Arts Networks can identify the theme or community they wish to coordinate and advance.
Coordinators for Planetary Art Networks can identify their scope, objectives, and future plans in discussion with the 被窝影视福利 of Art and Science, become part of a community of Planetary Art Networks, and share highlights with the wider community.
Aim: to source, coordinate, and provide human and textual resources for spoken-word or Ecopoetry elements of PAM/WAAS materials, events, and publicity, and ensure such resources are broadly in alignment with WAAS aims and goals.
Objectives:
1. Engage organisations/partners to apply Ecopoetry as a catalyst for insight, pro-environmental change & peace;
2. Engage organisations/partners to seek ways to enmesh artistic activity towards greater collaboration that drives mutual enrichment, transformation & ecological respect;
3. Enhance diverse word-based exchanges that foster a sense of oneness in difference, towards greater global unity and ecological respect;
4. To grow a stable of Ecopoetic and spoken-word excellence; to deploy when requested for PAM’s ongoing engagements with general audiences, schools/youth, the media, key influencers, and communities worldwide; and to act as main liaison and record-keeper for said stable;
5. Contribute to the Plan for the Planet by orchestrating high-impact Ecopoetry & spoken art participations and interventions that persuade/challenge/celebrate rather than blame or merely indict, in accordance with the principles upheld in the Manifesto for Planetary Arts;
6. Provide said resources in support of PAM projects and activities in corporate and other sectors.
Mario Petrucci (born in Lambeth, London) is a British-Italian poet, literary translator, educator, and broadcaster. Known for his pioneering work in science poetry听补苍诲听ecopoetry. Trained as a physicist at Cambridge, and later earned a PhD in crystal growth at University College London. He also studied and taught environmental science at Middlesex University before turning fully to literature.
He became the听first poet-in-residence听at both the Imperial War Museum and BBC Radio 3. His debut collection听Shrapnel and Sheets听(1996) won a Poetry Book Society Recommendation. Over his career, he has won more than 20 national and international poetry competitions, with themes ranging from love and loss to war and ecological issues.
Petrucci鈥檚 work extends into听translation听(including Hafez, Montale, Catullus, Sappho, Rumi, and Saadi) and听film, notably听Heavy Water听补苍诲听Half Life, which explore the Chernobyl disaster. He also created听Tales from the Bridge in collaboration with Martyn Ware, a large-scale poetry soundscape for the London 2012 Cultural Olympiad, experienced by millions.
Beyond poetry, he has contributed to听cross-disciplinary projects听linking science, ecology, and the arts. He has delivered talks for organizations such as the British Council and the United Nations. His archive is held by the British Library, and his recordings are preserved in The Poetry Archive, cementing his role as a major voice in contemporary poetry and eco-literature.
mmpetrucci@hotmail.com
Aim: Weave alliances, initiatives, and gatherings from Pacific archipelagos to Indigenous homelands across the Americas, nurturing a visionary arts current that treats shared systems of place, infrastructure, and interconnected media as evolving communal canvases shaped by collective imagination and care.
Objectives:
1. Engaging organisations and partners who are using artistic practice to foster peace, cultural renewal, and healing, with special attention to Pacific Islands, Indigenous communities, and people with disabilities.
2. Working with groups that are experimenting with new forms of shared governance, cooperatives, and community infrastructures, and helping them see their work as a form of living art in which systems themselves become expressive media.
3. Co鈥慶reating exchanges, residencies, and events that bring together indigenous knowledge, design science, spatial computing, accessible media, and AI to tell new stories about energy, climate, and community futures.
4. Linking local experiments and campaigns to the broader Planetary Arts constellation so that lessons, images, and methods can travel between places without erasing their cultural specificity.
5. Supporting youth and emerging artists as co鈥慳uthors of this work, and treating civic tools such as PACs and cooperatives as creative instruments that can be tuned toward greater participation, stewardship, and care.
6. Reaching out to aligned philanthropies, patrons, and innovators in technology to support projects that make advanced tools (AI, digital twins, mixed reality) available as instruments for community imagination and self鈥憆epresentation.
Gordon Lee Fuller is an artist, futurist, design scientist, systems architect, and author whose work fuses imagination, civic purpose, and planetary responsibility. Guided by what he calls his “Future Sense,” he has spent five decades at the intersection of visual art, emerging technology, and community stewardship. As co-founder of Fullervision Design Science, he develops frameworks that treat the planet itself as a shared artwork in progress.
Fuller pioneered the world’s first digital twin cyber-physical cities of the metaverse, demonstrating that three-dimensional worlds, broadband networks, and real-time data can become navigable public spaces. His early work proved that immersive media could serve spatial justice, expand accessibility, and allow communities to rehearse and co-author their collective futures.
Across decades of entrepreneurship and systems design, he has shaped projects spanning community broadband, resilient communications, renewable energy, and human-centred smart city frameworks. He approaches infrastructure as a macrocommons 鈥� a shared field of resources designed for common prosperity rather than extraction 鈥� applying AI and networked tools to widen participation, strengthen local capacity, and honour culture.
Fuller is also a widely recognised author and inspirational speaker, known for translating complex systems into clear, compelling narratives that bridge policy, philosophy, and lived experience. His writing articulates an “age of awareness” in which energy, information, and value form one living continuum, calling humanity to act as future ancestors rather than short-term consumers of the planet.
Grounded in place-based responsibility and indigenous wisdom traditions 鈥� including kuleana, aloha 驶膩ina, and relational abundance 鈥� Fuller aligns advanced technology with cultural respect and intergenerational care. Through collaborations with the 被窝影视福利 of Art and Science he contributes as both systems thinker and practicing artist, developing planetary civic artworks and narrative digital twins that make global risks and opportunities tangible to broad audiences.
fullervision@me.com
Aim: Coordinate related planetary arts partnerships, activities, and events to enhance a culture of peace.
Objectives:
1. Engage organisations and partners that apply the arts as a catalyst for peace.
2. Engage organisations and partners that work together on creating cultural transformation.
3. Enhance East-West cultural exchange and understanding through planetary arts activities and events.
4. Connect partner activities to related planetary arts events and apply AI and innovative technologies to enhance community engagement to create a culture of peace.
5. Contribute to advancing the Plan for Peace and youth leadership by enhancing the role of planetary arts in creating a culture for peace.
6. Active outreach to the corporate sector to mobilise resources that support the planetary arts movement, deliver projects and activities related to enhancing a culture of peace.
Fumiko Green听is a Planetary Arts Network Coordinator advancing a culture of peace through intergenerational arts, cross-cultural dialogue, and governed cultural collaboration across Japan, the United States, and global partners.
For over three decades, she has built bridges between communities, educational institutions, civic organizations, and international networks. Her work integrates hands-on artistic engagement, historical memory, and cultural diplomacy to strengthen human security from the individual to planetary level.
She is a long-standing leader in the听Kids Guernica Peace Mural Project听(est. 1995), engaging children globally in collaborative mural creation inspired by Picasso鈥檚听Guernica, fostering early peace literacy and community resilience. She also coordinates the听Dual Peace Violin Tours, featuring the Hiroshima Hibaku Violin and Violins of Hope, using music as a gateway to historical consciousness and reconciliation across cultures.
Her initiatives extend to kimono cultural preservation, youth STEM engagement (including nuclear workforce education), architectural sustainability internships, and AI-assisted cultural knowledge transfer鈥攁ligning with the Age of Culture (TAOC) and Horizon鈥檚 governance vision of culture as infrastructure.
Through collaboration with Rotary International, universities, cultural schools, and civic partners across Kakogawa, Bethlehem, Fujinomiya, Pittsburgh, and beyond, she strengthens East鈥揥est exchange and youth leadership.
Her work embodies the Plan for Peace principle: culture as a living system that connects individuals, communities, and nations toward planetary peace.
mikogreen@yahoo.com
Aim: coordinate artistic behavioral-change initiatives aligned with planetary well-being within PAM, and integrate creative expression, community engagement, and cultural narratives to develop an intersectoral network of stakeholders interested in shifting ethics and norms towards stewardship and sustainability.
Objectives:
1. Establish a cross-sectoral network and database of organizations interested in SBC Arts.
2. Build a global professional network of companies producing artworks or conducting research on SBC Arts and related fields.
3. Facilitate stakeholders’ matchmaking, connecting governments, intergovernmental organizations, civil society groups, private enterprises, in particular, media production, and think tanks for providing social behavior change campaigns and creating policies.
4. Provide a collaborative environment to enable easy and effective communication among SBCA professionals, as well as interaction with representatives from other sectors.
5. Create both virtual and in-person spaces for sharing research findings on arts and ethics, behavior change, communications philosophy, and sustainability.
6. Organize thematic events aimed at implementing SBCA projects on a planetary scale and exploring the role of art as a catalyst for social change.
Alena Maslova is an international media producer, ethicist, language philosopher, art researcher, and active co-author and supporter of the concept of Sustainability and Well-Being Arts. Graduated with honors from Lomonosov Moscow State University and Kingston International College in Singapore.
In 2022, Alena founded a Sustainability Arts think tank and production company, “Dobrosphera,” which produces research-based films, cartoons, songs, translations, and poems on the well-being of humans and nature to provide social behavior change communications worldwide. At the intergovernmental level, Alena has been highlighting the “art as a social change tool” agenda.
Alena is the speaker of COP28 and the organizer of side events on arts for COP29, COP16 Colombia, COP30, and SB64, co-authored by Nobel Prize laureate Alexey Kokorin and Svet Zabelin, a Goldman Prize winner. In 2023, Alena became a winner of the UN Women EXPO prize as an entrepreneur and of the UNDP media contest 鈥淗ow can Kyrgyzstan achieve carbon neutrality by 2050?鈥�
The Social Behaviour Change Arts framework, developed by Alena at Dobrosphera, combines therapeutic hypnosis with effective communication strategies and an orientation to kindness, human and nature rights, and respectfulness. Nowadays, 76 pilot research-based behaviour change art projects in 49 countries have been launched, bringing both impact and international teams鈥� cooperation.
writetokindmedia@gmail.com
Aim: To bring together street artists to create meaningful and empowering art projects, helping to transform public spaces and give a powerful voice to marginalised communities.
Objectives:
1. Foster international networking amongst street artists through collaborative ventures such as street art events and festivals, shared spaces and studios, cross-disciplinary partnerships, and digital platforms.
2. Promote street art as a global tool for activism because of the visible, accessible, and memorializing way it can change urban environments into canvases for social and political commentary.
3. Advocate for street art as a means to enhance community identity and narrative ownership, social cohesion, and aesthetic revitalization.
4. Democratise art through street art by breaking down traditional barriers, removing gatekeepers, and increasing societal participation.
5. Provide mentoring and guidance to emerging street artists in regard to technique and style, legal and ethical considerations, and engaging with organizations and communities.
For over half a century, Andy has worked in various artistic disciplines, from photography for London’s Vogue in the 1970s to contributing to Bristol’s vibrant street art movement in the 1980s. After stepping away to live in Europe to overcome addiction, Andy has returned to the UK and re-established himself as a central figure in Bristol’s art scene, including using his lived experience to guide other addicts toward recovery through art-based programs.
As a prolific British painter and muralist whose visceral, technical mastery is forged from a life of profound upheaval and creative resilience, he emerged from the Bristol punk scene of the 1980s. Colwill pioneered a singular “soak-stain” technique鈥攄eveloping a method akin to those of masters like Helen Frankenthaler鈥攂y using untreated canvas, curtain linings, and household paints to achieve a raw, startling precision.
A former scenic artist for the BBC and theater backdrops, he is known for grand-scale ambition, notably his 1988 solo exhibition at Ashton Court Mansion, which drew over 1,000 visitors. Now supported by a dedicated global following of collectors, his work serves as a powerful intersection of fine detail and grit, documenting a life of “self-belief” shaped by the streets of Bristol and the landscapes of the Mediterranean.
andisart@live.co.uk