# data[].attributes.attachment_link.description
Erin Manning’s philosophical reflection on transparency and logistics as forms of social control.

# data[].attributes.attachment_link.description
All of Tonal’s Podcast where Feral Practice discusses the River Tone with a guest

# data[].attributes.body
...interested in how time/motion seems to be play/reverse in this sketch but there are no effects its done through the cuts in edit - potential for exploring tensions - pull/push

# data[].attributes.body
playing with adding editing effects (speed and layering)

# data[].attributes.body
parking for future ref

# data[].attributes.body
watergate approach to river

# data[].attributes.attachment_link.title
Judith Butler: Who’s Afraid of Gender? | Southbank Centre

# data[].attributes.attachment_link.description
Take a seat for a timely discussion with Judith Butler exploring how a fear of gender is fuelling reactionary politics globally, in conversation with Ash Sarkar. Judith Butler, the ground-breaking philosopher whose work has redefined how we think about gender and sexuality, confronts the attacks on gender that have become central to right-wing movements today. Inflamed by the rhetoric of public figures, this movement has sought to abolish reproductive justice, undermine protections against violence, and strip trans and queer people of their rights.
But what, exactly, is so disturbing about gender? In this vital, courageous book, Butler imagines new possibilities for both freedom and solidarity, and offers us an essentially hopeful work that is both timely and timeless.
Judith Butler is a philosopher and Distinguished Professor in the Graduate School at the University of California, Berkeley. Their books, including Gender Trouble and Bodies That Matter, have been translated into more than 25 languages.
Ash Sarkar is a writer, lecturer, journalist and political commentator. A contributing editor of Novara Media, she has written for The Guardian, The Independent and The Huffington Post , with regular appearances on British television and radio, including Question Time and Good Morning Britain. Minority Rule: Adventures in the Culture War is her first book.

# data[].attributes.attachment_link.description
Leigh Bowery’s short but extraordinary life left a distinct, undeniable mark on the art world and beyond.

# data[].attributes.attachment_link.description
Discover the elaborate, provocative and imaginary worlds created by experimental artist Mike Kelley.

# data[].attributes.attachment_link.title
Shon Faye: Love in Exile | Southbank Centre

# data[].attributes.attachment_link.description
‘We ache for love, but love eludes us. Out of this crisis comes so much of what it means to be human.’

# data[].attributes.body
Oliveros - modalities of attention

diffused/focal - stay with both at the same time. 'started with diffused - how to approach complex ecology'

importance of returns, site sensitivities, relationships to place

what does is mean to repair/restore?

the island as troubled place/complexities of place - need time, to step carefully, how to land, how to gain access, rather than extractively assume

shift of attention firm objects/site to practices of engagements

not pressure access

who's guidance might need?

becoming sensitised to something - demands changes in practice

need to stay with, to return

microscopic reserach with scientists/artists - water samples - making visible - making extractable - lab - other worlds

fieldwork - how do we work with scientists - methods of taking samples - drawing practices - knowledges

modes of observation

- machine and embodied knowledges

Matterlurgy 2023

'at the edges of knowledge'

Undisciplinary insititute of Art and Ecology 2025

'what does it mean to undiscipline ourselves?'

The haunting - wehat is missing from the archves

medicine - what is the mediciine we need to walk into a place like this? time analysis 'scientists' Slow work - can be passed from one person to another (tanks/water worlds scientists were working with)

# data[].attributes.body
A seminar with Dr Taru Elfving and Lotta Petronella organised by Contemporary Art Archipelago and the Centre for Art and Ecology, Goldsmiths

# data[].attributes.attachment_link.title
Welcome to the Archipelago Research Institute! | Archipelago Research Institute

# data[].attributes.attachment_link.description
The Archipelago Research Institute, located on the picturesque island of Seili in the heart of the Turku archipelago, is a marine research facility with a r…

# data[].attributes.attachment_link.description
The Centre supports practice-based interdisciplinary research, fostering new approaches and strategies to ecological issues.

# data[].attributes.body
Towards Site-Sensitivity

Date: 27 feb • 16:00

Location: 8 Lewisham Way, London, SE14 6NW

https://www.eventbrite.co.uk/e/towards-site-sensitivity-tickets-1247024627229?aff=ebdsshother&utm_share_source=listing_android

# data[].attributes.headline
Ceramics experiments in response to Croome archive - vessel, water, becoming bird

# data[].attributes.subject
Ceramics experiments in response to Croome archive - vessel, water, becoming bird

# data[].attributes.headline
Ceramics experiments in response to Croome archive - vessel, water, becoming bird

# data[].attributes.subject
Ceramics experiments in response to Croome archive - vessel, water, becoming bird

# data[].attributes.headline
Ceramics experiments in response to Croome archive - vessel, water, becoming bird

# data[].attributes.subject
Ceramics experiments in response to Croome archive - vessel, water, becoming bird

# data[].attributes.headline
Ceramics experiments in response to Croome archive - vessel, water, becoming bird

# data[].attributes.subject
Ceramics experiments in response to Croome archive - vessel, water, becoming bird

# data[].attributes.headline
Documentation from performance/talk - Alluvial attentions

# data[].attributes.subject
Documentation from performance/talk - Alluvial attentions

# data[].attributes.body
Rivers through geological time: the fluvial contribution to understanding of our planet

# data[].attributes.body
finding patterns within variety in streams - geomorphosists

# data[].attributes.headline
disordered attentions as method to navigate A Croome archive materials/National maritime museum

# data[].attributes.subject
disordered attentions as method to navigate A Croome archive materials/National maritime museum

# data[].attributes.body
AC seeing stars by radio -

NMM space photography

Under the mediteranean - AC's scraps of paper page markers as leading scoring of performance

Handlings/touch (foreshore to audience)

glass barriers of museuem

Glitter ball and audeicne create sound

orlando - AC book - boyish hand/oak - Caird boat image/NMM connection - Oak stern

currents/flow

stone anchor - museum - Angela drawing - Honor Frost diving

HR writing on diving experience

AC's weather T-shirt (wear)

Poem from Caird libary book -

shanties from library?

ice kayak?

cracks/gaps (Yergeau ) in relation to water pedagogy

write extracts from lumb/croome letters on body

# data[].attributes.attachment_link.readable_text
A comparison of clinker and carvel construction. Carvel frames are much heavier than clinker ribs.

Carvel built or carvel planking is a method of boat building in which hull planks are laid edge to edge and fastened to a robust frame, thereby forming a smooth surface. Traditionally the planks are neither attached to, nor slotted into, each other, having only a caulking sealant between the planks to keep water out. Modern carvel builders may attach the planks to each other with glues and fixings. It is a "frame first" method of hull construction, where the shape is determined by the framework onto which the planks are fixed. This is in contrast to "plank first" or "shell first" methods, where the outer skin of the hull is made and then reinforced by the insertion of timbers that are fitted to that shape. The most common modern "plank first" method is clinker construction; in the classical period "plank first" involved joining the edges of planks with mortise and tenon joints within the thickness of the timbers, superficially giving the smooth-hull appearance of carvel construction, but achieved by entirely different means.

Compared to clinker-built hulls, carvel construction allowed larger ships to be built. This is because the fastenings of a clinker hull took all the hogging and sagging forces imposed by the ship moving through large waves. In carvel construction, these forces are also taken by the edge-to-edge contact of the hull planks.

From Middle English carvel, carvelle, carvile, kervel ("small ship; caravel"); from Old French caruelle, carvelle, kirvelle. The term was used in English when caravels became popular in Northern European waters from c.  1440 onwards, and the method of hull construction took the name of the first vessel type made in that way in English and European shipyards.

Carvel construction originated in the Mediterranean during the first millennium CE. It gradually replaced the edge-to-edge joining of hull planks by mortises and tenons - a "planking first" technique - which had been used by ancient Egyptians, Phoenicians and for much of the classical period. Archaeological evidence for this transition suggests it took place from c.  500 CE to the 9th century. Its slow adoption involved some variation and experimentation. Some ships were built using "framing-first", as opposed to the full "frame-first" system. In "framing-first", some of the framing is installed in the lower part of the hull, followed by the planking of that area, more framing is added to increase the height of the hull, and then more planking added to that. (The Romano-Celtic ship-building tradition of Northern Europe used "framing-first", but this part of Europe did not adopt the full "frame-first" method until much later, as discussed below.)

The changeover from planking-first to frame-first happened over the same period that the Mediterranean Square Sail rig was being replaced by lateen rig. That change has been suggested to save building, fitting out and maintenance costs (though previously it was thought to be to achieve better sailing performance - something which, against the presumptions of many maritime historians, can be shown not to have happened). The move to carvel construction is believed to be another cost-saving measure (though it is felt that this is not well understood by marine archaeologists). The difficult skill of mortising planks at precisely the right angle (where the hull is curved at the ) is avoided. Carvel construction allows hull shape to be determined by design, whilst planking-first relies on the "eye" of the builder. Therefore fewer very highly skilled personnel are needed.

One of the transitional ships is the Yassi Ada ship (7th century CE), which was excavated between 1960 and 1965. This had the lower of planking fastened edge-to-edge with mortises and tenons, then the s were added, followed by more planking joined with tenons. This brought the planking up to the waterline. Further frames were added to this next set of planking, but these continued up to the height of the intended sheerline. The strakes from the waterline up were then fastened on as carvel planking (with some interspersed with the regular strakes).

Northern Europe used clinker construction for the period discussed above, and into the 15th century (and continued to do so for many small craft into the present day). The different methods were known of by mariners in both places, but when, for instance, Mediterranean galleys were employed by the French and English during the Hundred Years' War, shipwrights familiar with carvel work had to be recruited to carry out maintenance and repairs. In the 1440s interest in the caravel grew in northern waters and shipyards there started building caravels in carvel construction.

Clinker was the predominant method of ship construction used in Northern Europe before the carvel. In clinker built hulls, the planked edges overlap; carvel construction with its strong framing gives a heavier but more rigid hull, capable of taking a variety of sail rigs. Clinker (lapstrake) construction involves longitudinal overlapping "riven timber" (split wood) planks that are fixed together over very light scantlings. A carvel boat has a smoother surface which gives the impression that it is more hydrodynamically efficient since the exposed edges of the clinker planking appear to disturb the streamline and cause drag. A clinker certainly has a slightly larger wetted area, but a carvel hull is not necessarily more efficient: for given hull strength, the clinker boat is overall lighter, and displaces less water than a heavily-framed carvel hull.

As cargo vessels become bigger, the vessel's weight becomes small in comparison with total displacement; and for a given external volume, there is greater internal hull space available. A clinker vessel whose ribs occupy less space than a carvel vessel's is more suitable for cargo which is bulky rather than dense.

A structural benefit of clinker construction is that it produces a vessel that can safely twist and flex around its long axis (running from bow to stern). This is an advantage in North Atlantic rollers, provided the vessel has a small overall displacement. Due to the light nature of the construction method, increasing the beam did not commensurately increase the vessel's survivability under the twisting forces arising if, for example, when sailing downwind, the wave-train impinges on the quarter rather than dead astern.[clarification needed ] In these conditions greater beam widths may have made clinker vessels[which? ] more vulnerable. As torsional forces increased in proportion to displaced (or cargo) weight, the forces incident on the hull imposed an upper limit on the size of clinker-built vessels. The greater rigidity of carvel construction became necessary for larger offshore cargo vessels. Later carvel-built sailing vessels exceeded the maximum size of clinker-built ships several times over.

A further clinker limitation is that it does not readily support the point loads associated with lateen or sloop sailing rigs. At least some fore-and-aft sails are desirable for manoeuvrability. The same problem in providing for concentrated loads creates difficulties siting and supporting a centerboard or deep keel, which is much needed when sailing across or close to the wind. Timbers can be added as necessary compromise but always with some loss of the fundamental benefits of the construction method. Clinker construction remains a useful method of construction for small wooden vessels, especially for sea-going dinghies which need to be light enough to be readily moved and stored when out of the water.

Traditional carvel methods leave a small gap between each plank that is caulked with any suitable soft, flexible, fibrous material, sometimes combined with a thick binding substance, which would gradually wear out and the hull would leak. When the boat was beached for a length of time, the planks would dry and shrink, so when first refloated, the hull would leak badly unless re-caulked, a time-consuming and physically demanding job. The modern variation is to use much narrower planks that are edge-glued instead of being caulked. With modern power sanders a much smoother hull is produced, as all the small ridges between the planks can be removed. This method started to become more common in the 1960s with the more widespread availability of waterproof glues, such as resorcinol (red glue) and then epoxy resin. Modern waterproof glues, especially epoxy resin, have caused revolutionary changes in carvel and clinker construction. Traditionally, nails provided the fastening strength; now it is the glue. It has become quite common since the 1980s for carvel and clinker construction to rely almost completely on glue for fastening. Many small boats, especially light plywood skiffs, are built without any mechanical fasteners such as nails and lag screws at all, as the glue is far stronger.

# data[].attributes.attachment_link.description
Carvel built or carvel planking is a method of boat building in which hull planks are laid edge to edge and fastened to a robust frame, thereby forming a smooth surface. Traditionally the planks are neither attached to, nor slotted into, each other, having only a caulking sealant between the planks to keep water out.

# data[].attributes.attachment_link.description
Henry McNish (11 September 1874 – 24 September 1930), often referred to as Harry McNish or by the nickname Chippy, was the carpenter on Sir Ernest Shackleton’s Imperial Trans-Antarctic Expedition of 1914–1917. He was responsible for much of the work that ensured the crew’s survival after their ship, the Endurance, was destroyed when it became trapped in pack ice in the Weddell Sea. He modified the small boat, James Caird, that allowed Shackleton and five men (including McNish) to make a voyage of hundreds of miles to fetch help for the rest of the crew.

# data[].attributes.body
In October 1915, pack ice in the Weddell Sea had sunk the main expedition ship Endurance, leaving Shackleton and his 27 companions adrift on a floe. They drifted northward until April 1916, when the floe on which they were camped broke up; they made their way in the ship's boats to Elephant Island. Shackleton decided to sail one of the boats with a small crew to South Georgia to seek help. It was not the closest human settlement but the only one that did not require them to sail into the prevailing westerlie

# data[].attributes.body
https://hovercraft-museum.org/contact/

# data[].attributes.attachment_link.readable_text
We'd love to hear from you! Whether you have questions, need more information, or want to support the Hovercraft Museum, there are several ways to get in touch with us.

Email

For general questions, volunteering, donations, business enquiries, or information about the Hovercraft Museum, please contact us at:

Email: enquiries@hovercraft-museum.org

Telephone

We have a museum telephone line. Please be aware that this is only staffed at the weekend during opening hours. Any messages left will be checked and picked up but may take a week or two to return. We'd suggest using the email contact form unless you're trying to reach us on the day.

Social Media

Follow us on social media for the latest updates, events, and news:

By Mail

You can send us mail at the museum. Please use the following address, not the address we provide for navigation:

The Hovercraft Museum
Daedalus,
Broom Way,
Lee-on-the-Solent,
PO13 9YA

Please be aware that our mail delivery service is very unreliable and your item may not arrive in a timely fashion or at all. We are unable to accept anything bigger than an A4 letter - this includes parcels.

We strongly recommend reaching out to us via our email address to arrange sending important items using alternative arrangements to ensure what you're sending arrives safely.

# data[].attributes.attachment_link.description
We'd love to hear from you! Whether you have questions, need more information, or want to support the Hovercraft Museum, there are several ways to get in touch with us. Email For general questions, volunteering, donations, business enquiries, or information about the Hovercraft Museum, please contact us at: Telephone We have a museum telephone line.

# data[].attributes.body
Call Number

784.4

Copy

1

Item ID

PBC0739

# data[].attributes.headline
William Parry - arctic expedition violin 

# data[].attributes.subject
William Parry - arctic expedition violin 

# data[].attributes.attachment_link.title
Seeking recognition for Billy Waters, a pioneer of African-American music, more than 200 years after his death | Songlines

# data[].attributes.attachment_link.description
When African-American musician Billy Waters died in London in 1823, it was in poverty and with his reputation in tatters. Now, 200 years later, researchers and musicians are finally ensuring he gets the respect he deserves

# data[].attributes.body
Ex naval, busker/street performer. Died in workhouse 21 March 1823

# data[].attributes.attachment_link.title
‘An o-o-old song’: Billy Waters, the African American musician who captivated 1820s London

# data[].attributes.attachment_link.description
As a disabled war veteran, Waters’ busking drew crowds and was portrayed in books, plays and paintings. But he died in wretched poverty and only 200 years on is his legacy being recognised

# data[].attributes.body
Responsive evaluation

Field notes

spark journal - rupturing

Water

Sir Ken Robinson - flow states https://youtu.be/8A087Y4DmL0?feature=shared

improvisation within practices

Maria Fusco - master rock

https://www.artangel.org.uk/project/master-rock/

https://apracticeforeverydaylife.com/projects/maria-fusco-master-rock/

Water as pedagogy

Look up Ada article - disenfranchised grief/sound

Write about methodologies

Julia Wilcox - sound UAL

‘Caring as a way of knowing’

# data[].attributes.body
Vibrations:

Day 2 - brought in cameras and projector to explore with the garments - playing with macro camera and GoPro live feeds - revealing viewpoints the human eye can’t access - weave of garments, dust/hair/stains - potential for multiple simultaneous views of  the same garment/action. Gaps, the edges (Melanie Yergeau) are made visible

Scoring the museum collection across the body? (thinking about previously writing words of Edna Lumb directly onto my body during a performance - what did that do - embodying/articulations of queer histories?)

# data[].attributes.headline
This is very much note forms, which I wouldn't usually share 

# data[].attributes.subject
This is very much note forms, which I wouldn't usually share 

# data[].attributes.body
Non hierarchical knowledge exchanges...

# data[].attributes.body
What is the quote saying to me?

# data[].attributes.attachment_link.readable_text
Robin Wall Kimmerer can recall almost to the day when she first fell under the unlikely spell of moss. "It's kind of embarrassing," she says. "I've always been engaged with plants, because I grew up in the countryside. That was my world. But mosses I'd set aside in my mind as not worthy of attention. I was studying to be a forest ecologist. That little green scum on the rocks: how interesting could it really be? Only then there came a point when I'd taken every botany class our university had to offer, except one: the ecology of mosses. I thought I'd do it, just so I could say that I'd taken them all. It was love at first sight. I remember looking with a lens at these big glacial erratic boulders that were covered in moss, and thinking: there's a whole world here to be discovered." Ever since, she has rarely left her house for a walk without such a lens on a string around her neck.

Kimmerer, a professor of environmental biology and the director of the Centre for Native Peoples and the Environment at the State University of New York in Syracuse, is probably the most well-known bryologist at work in the world today. She may be, in fact, the only well-known bryologist at work today (bryology is the study of mosses and liverworts), at least among the general public. But her unlikely success - her fans include the writer Robert Macfarlane and the Pulitzer prize-winning novelist Richard Powers, who gives daily thanks for what he calls her "endless knowledge" - hardly arrived overnight. In 2013, Kimmerer, a member of the Citizen Potawatomi Nation of Oklahoma, quietly published a book called Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teaching of Plants - a (seemingly) niche read from a small US press.

For a long time, nothing happened. Last year, however, it suddenly appeared on the New York Times bestseller list. It has since sold more than 500,000 copies worldwide. Thanks to this, her first book, Gathering Moss: A Natural and Cultural History of Mosses, is now also to be reissued in the UK, no fewer than 18 years after its first publication.

The times we live in are creating a longing for a connection to land and nature: what I call a longing for belonging

Is Kimmerer surprised by these developments? Yes, and no. "There was no marketing push," she says. "The books were sold hand to hand. I think it's almost a case of critical mass. But I also think that the times we're living in are creating a longing for a connection to land and nature: what I call a longing for belonging. Both books provide a doorway to that kind of belonging, and maybe, too, we're finally coming to value those things that are not entirely tied up with commerce."

This, she believes, could be just the moment for the steadiness and intricacy of moss. "In the pandemic, people talk of lockdown," she says. "But I like the phrase 'sheltering in place', which suggests that we might have come to pay attention to the things that we have, rather than the things we don't have, spending time in our garden or in the woods, finding solace in landscape." Looking at mosses close up is, she insists, a comforting, mindful thing: "They're the most overlooked plants on the planet. But they're gifts, too. They provide us with another model of how we might live."

Read Kimmerer's book and you're unlikely ever again to waste precious gardening time scraping moss from paving stones. You may even find yourself trying to encourage its growth. As she reveals, beneath your feet, barely visible to the eye, is another world: a rainforest in miniature, though you'll need to fall to your knees to see it properly. (At the scale of a moss, walking over it is like flying over a continent at 32,000 feet.) The most primitive of plants, mosses lack flowers, fruits and seeds, have no roots, and no vascular system to conduct water internally, and yet there are 22,000 species, even if most are still so little known to the public that only a few have been given common names. The undisputed masters of their chosen environments, mosses succeed by inhabiting the places other plants cannot.

Red bogmoss on the shores of Loch Maree, Wester Ross, Scotland. Photograph: espy3008/Getty Images/iStockphoto

"We're busy looking for biological, ecological and cultural solutions to climate chaos," says Kimmerer. "But mosses, which have been with us ever since they arose, 400 million years ago, have endured every climate change that has ever happened." Quite apart from what she regards as their unique beauty, their mere existence should, she thinks, lead us to ask certain questions. Why are they so resilient? What can they teach us? What secrets might they hold?

Can mosses help us to read the state of the planet? "We don't know if they can in macro ways," Kimmerer tells me (she's speaking to me on Zoom from upstate New York). "But in small ways, yes. They are great indicators of air quality, and of heavy metals in the environment; because they have no epidermis, they're intimate with the world. They're storytellers. If I see a certain kind of moss, I'll think, Oh, I know you... you wouldn't be here unless there was limestone nearby. There are mosses that tell the story of land disturbance, and there are mosses that only come in after fires, and they're habitats, too, for tardigrades and rotifers [minute aquatic animals], for algae, and all sorts of other things. They are the coral reef of the forest, a microbiome in which the species of the bacteria that live in the angles of their leaves are different, say, to those on their rhizoids [the filaments found on their thallus, or plant body]."

Mosses can reproduce in more than one way - via spores or, in extremis, by means of cloning - and they tolerate stress like few other plants, going into suspended animation when conditions aren't right. A moss can lose up to 98% of its moisture and still survive to restore itself once the supply of water is restored. Even after 40 years of dehydration in a musty specimen cabinet, mosses have been fully revived after a quick dunk in a Petri dish.

"This is a primary adaptation to their role as the first colonisers of the land," she says. "There was no soil here then - nothing for roots to grab on to, and no way to conserve water - so this was an evolutionary imperative. It's quite remarkable, though not all mosses have it. Others have evolved to live in continuously wet places."

In Gathering Moss, Kimmerer attempts to trace the hidden history of these ancient plants (so little has been written down). Northern people, she discovers, traditionally lined their boots and mittens with soft mosses for insulation. Carolus Linnaeus, the so-called father of modern plant taxonomy, reports that he slept on a bedroll of portable Polytrichum moss as he travelled among the indigenous Sami of Lappland. Pillows made of Hypnum mosses were said to induce special dreams in the sleeper. Fishermen once used moss to clean freshly caught salmon. Most amazing of all, moss was often used for nappies and sanitary towels: as Kimmerer notes, Sphagnum moss can absorb 20 to 40 times its weight in water, a feat that easily rivals the performance of Pampers. Has all this given her any clues as to how moss might be used in the future? They are, alas, not good to eat (she has tried). But a lot of research is currently going on into their secondary chemistry, including their antimicrobial capacities. "This makes sense," she says. "Because they have long been a part of traditional medicine."

Tetraphis pellucida: 'Their architecture is so beautiful.' Photograph: Alamy

Does she have a favourite moss? Is it, perhaps, Schistostega pennata, otherwise known as goblin's gold, a moss she describes in her book as "a paragon of minimalism" for its ability to live in caves with little natural light? (It makes use, not of leaves, but of a fragile mat of filaments known as the protonema, and seems almost to shimmer in the gloom.) Kimmerer laughs. "That's a hard one," she says. "But I think it would be Tetraphis pellucida, a moss that hedges its bets reproductively [growing almost exclusively on rotten stumps and logs, it has uniquely specialised means of both sexual and asexual reproduction]. I love them. Their architecture is so beautiful."

In her book, she describes her efforts to inventory the individual shoots in Tetraphis colonies - a dense colony can have 300 shoots per square centimetre - marking each one with a bright pink plastic cocktail sword so she can find it again when she returns the following year (from this process she learns huge amounts about the moss's life cycle). She likes to imagine the baffled conversations of the hikers who might stumble on these mossy logs, bizarrely decorated with swizzle sticks.

There will be heartbreaking losses. But the evolutionary creativity of the plant world will renew itself

It is moss, she tells me, that keeps up her spirits when it comes to global heating. "It's going to be 100 degrees upstate today," she says. "That's wrong, though these extremes are no longer out of the ordinary. We expect them. Of course I worry that people are not going to do what needs to be done; that we're already too late. But I have faith in photosynthesis. The plants know what to do. They know how to sequester carbon. They know how to cool the air. They know how to build capacity for ecosystem services and biodiversity. Will the world be different? It will. Will there be tremendous losses? There will. Heartbreaking losses. But the evolutionary creativity of the plant world will renew itself. Plants will figure out how to come back to a homeostatic relationship with the planet."

Even as she notices the alarming fact that bloom times are arriving ever earlier, she is also increasingly aware of the natural movement of plants: "We've fragmented the planet in such a way that their natural migration routes are broken up. So it's our responsibility now to assist that migration, to essentially help forests to 'walk'. We have to help them get to where they need to go." Will we be here to witness a new world, the one that she believes will be regenerated for us by the plants? She hesitates. "I have less faith in that."

Goblin's gold (Schistostega pennata) is highly reflective, having tiny 'lenses' within the structure. Photograph: Nature Picture Library/Alamy

The engine of her next book will be "ecological compassion" for plants. She would like people to come to understand them as sovereign beings in their own right, if not people. "The research in plant intelligence that is being done is already revolutionising science," she says, "so my next project is designed to elicit in the reader a sense of compassion and justice for them. I would like people to recognise their culture. Take off your anthropocentric lenses, and you will see that they have very rich cultural lives."

Do plants have rights? Should they be given more protection under the law? She smiles. "My greatest hope for my book is that it will make perfect sense of their rights. Such rights are not for us to bestow. I believe that they have their own inherent rights."

Gathering Moss by Robin Wall Kimmerer is published by Penguin (£9.99). To support the Guardian and Observer order your copy at guardianbookshop.com. Delivery charges may apply

# data[].attributes.attachment_link.title
Robin Wall Kimmerer: 'Mosses are a model of how we might live'

# data[].attributes.attachment_link.description
The world's favourite moss scientist reveals the secrets of these primitive plants - and what they might teach us about surviving the climate crisis

# data[].attributes.headline
Paw print carpet in Edward James private rooms

# data[].attributes.subject
Paw print carpet in Edward James private rooms

# data[].attributes.body
Anna Clock

JMEG

E.M Parry

Keziah Hodgson

Me

# data[].attributes.attachment_link.description
Robert McRuer is a writer and speaker whose work is situated at the intersections of the interdisciplinary fields of disability studies and queer theory. His award-winning 2006 book Crip Theory: Cultural Signs of Queerness and Disability has been translated into three languages.
He is a Professor of English at George Washington University, where he teaches queer theory, disability studies, and critical theory more generally. He is available for talks and conversations about all these fields, in English and in Spanish.

# data[].attributes.body
Dec 2024 Rachmaninov

# data[].attributes.body
Make kitchen template for foreshore river work - use tent poles?

hairy mattress video

ruff as river

water/glasses film playing with river water

# data[].attributes.body
Observing A's facilitation:

ways of opening up student comments - generous, often opened ideas up further

use of humour

# data[].attributes.headline
improv - lewisham music students (teenagers) 

# data[].attributes.subject
improv - lewisham music students (teenagers) 

# data[].attributes.body
'I feel free'

'I like being able to go where I want'

'It suits me as I don't like rules'

Ways to structure within teaching sessions - note down elements used in sessions weekly

timings - rhythmic motifs

energies

articulations

tonalities

dynamics

speed of bow

# data[].attributes.body
foamings? characters? Sites?

# data[].attributes.body
...and the monster speaks

# data[].attributes.attachment_link.title
An Apartment on Uranus | Fitzcarraldo Editions

# data[].attributes.attachment_link.description
Uranus is the coldest planet in the solar system, a frozen giant named after a Greek deity. It is also the inspiration for Uranism, a concept coined by the writer Karl Heinrich Ulrichs in 1864 to define the ‘third sex’ and the rights of those who ‘love differently’. Following in Ulrichs’s footsteps, Paul B. Preciado […]

# data[].attributes.body
wastewater treatment centre

Edna Lumb quarry sites

Cleethorpes

Trip to Cern - Lumb archive ?

thames river and foreshore

Tyne river

co - walking along bodies of water with people elsewhere (Hitoki - Canada, Heather - US, Tejal - India?)

# data[].attributes.body
ancient woodland, parts are thought to have been wooded since the end of the last Ice Age 10,000 years ago.