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Place, Memory, Maintenance, Enchantment, Solidarity

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The online residency ended with a message to residents and a welcome by Filignano's Mayor Federica Cocozza to the protected area of exceptional significance and beauty. She described the actual conditions and challenges faced by Filignano's community at present, home to The Museum of Loss and Renewal.

The one-week on-site residency Place, People and Time: Wild Ways was held in the municipality, within Italy’s National Park of Abruzzo, Lazio and Molise in October 2022.

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Residents' working across global time zones

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The Creative Correspondent's (Tracy Mackenna) drawing, made while residents were undertaking synchronous, shared, remote walks across countries and continents.

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This 'publication' is a co-authored celebration of individual practice, research and new collaborations. It brings together much of the work that was generated during the Place, People and Time: Wild Ways online residency in 2021. 

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This 'publication' is a co-authored celebration of individual practice, research and new collaborations. It brings together much of the work that was generated during the Place, People and Time: Wild Ways online residency in 2021. 

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Walking, Socially-engaged art, Radical pedagogies, Affect, Research-creation

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Practice as research, Wrighting, Play, Praxis, Methodological interventions

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Practice as research, Wrighting, Play, Praxis, Methodological interventions

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Documentary, Archive, Moving-image, Translation, Language

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Dance and somatic practice, Place, Relationality, Intercultural/decolonial politics, Collaborative and participatory ethnographies

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Speculative futures, Mobilities, Site-responsive art, Storytelling, Collaboration

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Melancholy, Strangemaking (ostranenie), Defamiliarisation, Psychogeography

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Voice, Breath, Research-creation, Environmental loss, Performance, Disability, Place-based research, Memory, Care

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Site specific Art, Community Engagement, Liminal Spaces, Interdisciplinary Art, Digital Technologies

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Keywords, Camilla Brueton and Margaret Woodward

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Keywords, Camilla Brueton and Margaret Woodward

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Places, Edges, Emotions, Perspectives, Transcience /
Geo-sociality, Fictiōneering, Geology, Publishing as art practice

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Collaboration Stephanie Springgay (CA), Melody Ellis (AUS) and Peta Murray (AUS) 

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Collaboration Stephanie Springgay (CA), Melody Ellis (AUS) and Peta Murray (AUS) 

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Carrying each other's names in our pockets, we walked each other onto and through colonised lands of the Northern and Southern Hemispheres. Solo gestures delivered collective methods for counter-mapping.

A pocketwatcher’s manifesto is a text built on gerunds and double meanings, capturing the thinking and practice of our collaboration.

We have yet to confer on how we may continue to work together, other than to express gratitude and a wish to do something more. We will regroup after the holiday season to discuss mutual and overlapping interests in research-creation, activism and resistance.

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Collaboration Peta Murray (AUS), Melody Ellis (AUS) and Stephanie Springgay (CA) 

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Collaboration Peta Murray (AUS), Melody Ellis (AUS) and Stephanie Springgay (CA) 

# data[].attributes.body
Carrying each other's names in our pockets, we walked each other onto and through colonised lands of the Northern and Southern Hemispheres. Solo gestures delivered collective methods for counter-mapping.

A pocketwatcher’s manifesto is a text built on gerunds and double meanings, capturing the thinking and practice of our collaboration.

We have yet to confer on how we may continue to work together, other than to express gratitude and a wish to do something more. We will regroup after the holiday season to discuss mutual and overlapping interests in research-creation, activism and resistance.

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Collaboration Melody Ellis (AUS), Peta Murray (AUS) and Stephanie Springgay (CA)

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Collaboration Melody Ellis (AUS), Peta Murray (AUS) and Stephanie Springgay (CA)

# data[].attributes.body
Carrying each other's names in our pockets, we walked each other onto and through colonised lands of the Northern and Southern Hemispheres. Solo gestures delivered collective methods for counter-mapping.

A pocketwatcher’s manifesto is a text built on gerunds and double meanings, capturing the thinking and practice of our collaboration.

We have yet to confer on how we may continue to work together, other than to express gratitude and a wish to do something more. We will regroup after the holiday season to discuss mutual and overlapping interests in research-creation, activism and resistance.

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Collaboration Emily Orley (UK) and Clare McCracken (AUS)

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Collaboration Emily Orley (UK) and Clare McCracken (AUS)

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We walked at the same time (Australian evening/UK morning), Emily across the streets of West London and Clare across her apartment in inner-city Melbourne, while she was quarantined due to COVID. As we walked, we used WhatsApp to share photographs of the sights we saw and audio recordings of ambient sounds and readings from Ursula Le Guin and Virginia Woolf.

Our collaborative residency was so generative that we look forward to working together in the future, navigating the distance between Australia and the United Kingdom which has been exacerbated by the ongoing global pandemic.

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Collaboration Clare McCracken (AUS) and Emily Orley (UK)

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Collaboration Clare McCracken (AUS) and Emily Orley (UK)

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We walked at the same time (Australian evening/UK morning), Emily across the streets of West London and Clare across her apartment in inner-city Melbourne, while she was quarantined due to COVID. As we walked, we used WhatsApp to share photographs of the sights we saw and audio recordings of ambient sounds and readings from Ursula Le Guin and Virginia Woolf.

Our collaborative residency was so generative that we look forward to working together in the future, navigating the distance between Australia and the United Kingdom which has been exacerbated by the ongoing global pandemic.

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Collaboration Helen Horgan (IT/MLA) and Sofie Narbed (UK)

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Collaboration Helen Horgan (IT/MLA) and Sofie Narbed (UK)

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Our shared practice focused on short scores for improvisation. Taking a few moments from our initial solo walks, we translated them into a series of invitations for our synchronous walks in Palermo’s Old Town and London’s South Bank. For Helen, Sofie’s words took her into the physical sensory world of a performer’s body. For Sofie, Helen’s focus on visuality and synaesthesia opened up a surprising, layered experience of place.

At the moment, we find ourselves in different parts of the world and with our own busy schedules. But the experiments we shared during the residency continue to resonate and we look forward to carrying on the conversation together and with other residents at Collemachia in Autumn 2022.

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Collaboration Sofie Narbed (UK) and Helen Horgan (IT/MLA)

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Collaboration Sofie Narbed (UK) and Helen Horgan (IT/MLA)

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Our shared practice focused on short scores for improvisation. Taking a few moments from our initial solo walks, we translated them into a series of invitations for our synchronous walks in Palermo’s Old Town and London’s South Bank. For Sofie, Helen’s focus on visuality and synaesthesia opened up a surprising, layered experience of place. For Helen, Sofie’s words took her into the physical sensory world of a performer’s body.

At the moment, we find ourselves in different parts of the world and with our own busy schedules. But the experiments we shared during the residency continue to resonate and we look forward to carrying on the conversation together and with other residents at Collemachia in Autumn 2022.

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Collaboration Jacky Bowring (NZ) and Megan Johnson (CA)

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Collaboration Jacky Bowring (NZ) and Megan Johnson (CA)

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Overlaying maps of our respective cities and walking similar routes at exactly the same time created the conditions for ‘haunting’ the footsteps of the other as we walked. Pausing every ten minutes we exchanged words, voice clips, photos, prompting discussion around our collective themes of care, repair, displacement, memory.

Being paired together for the residency was a rich experience in the fruitfulness of collaboration and the synchronicity that can come from an intense focus on a shared project. Although we do not have formal plans for collaboration at this point, the residency has given us the tools for working together from our distant locations.

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Collaboration Megan Johnson (CA) and Jacky Bowring (NZ)

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Collaboration Megan Johnson (CA) and Jacky Bowring (NZ)

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Overlaying maps of our respective cities and walking similar routes at exactly the same time created the conditions for ‘haunting’ the footsteps of the other as we walked. Pausing every ten minutes we exchanged words, voice clips, photos, prompting discussion around our collective themes of care, repair, displacement, memory.

Being paired together for the residency was a rich experience in the fruitfulness of collaboration and the synchronicity that can come from an intense focus on a shared project.  Although we do not have formal plans for collaboration at this point, the residency has given us the tools for working together from our distant locations.

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Questions raised and challenges noted by residents and facilitators.

A facilitator challenge:
How to facilitate wider geographies? The majority of applicants were located in the Global North, and in centring these, we were unable to accommodate any applicants from the Global South (the global majority), because of the time differences.

A facilitator challenge:
What are the optimum conditions required to stimulate and support online / remote collaborative working?

A facilitator challenge:
In/accessibility of digital technology; participants' positions on uses of technologies.

A facilitator challenge:
Use of free, democratic design templates that do not support accessibility.

A facilitator challenge:
When does a Padlet become a publication?
What form of publishing is the Padlet?
Is it a publication, or rather a platform for sharing, co-learning and collaborating?

A resident's question:
How different is the collaborative potential of an online setting spread over a number of weeks in contrast to a physical residency within a much more compressed timeframe? Does stretching the virtual residency over four weeks – with limited windows for communication – have different generative potential?

A resident’s question:
There are also many questions about the media that the virtual setting demanded, and it makes me think about the possibilities for collaborative working in terms of a publication. … I do wonder if the Padlet is a publication, mainly because I’m not sure how engaging or accessible it would be for those who weren’t connected with the process. There are questions around how you publish a process, … questions that are not limited to a virtual residency.

A facilitator challenge:
Organising an extended residency online was a new experience for all of us as was delivery of The Walking Library within this context. Given that the residency would happen online, amidst everyday lives and stretched across a month as opposed to the more focused on site residency, it was hard to know how much of a commitment we could expect of participants. We didn’t want to include too much work outside of the sessions or coordination with others in different time zones. As a result, we didn’t create more place-based tasks beyond the initial two walks. From feedback received, we could have offered more of this for those who wanted to go further. This may have led to the generation of  more place-based knowledge and strategies. Instead, we focused our attentions on figuring out how to facilitate the online interactions and conversations and the sharing of work both through live presentations and the publication.

Digital tools:
Finding digital tools that were accessible, free and allowed synchronous collaboration, interaction and documentation of activity was a challenge, especially ones that could map location, but also convey the sensorial experience of working remotely and synchronously, of sharing time in different places. In the end, the chosen digital mapping option, Story Maps, was overly-complicated to facilitate, and didn’t allow residents the agency to upload content themselves. On its own, much of the felt experience seemed to get lost with the pre-determination, linearity and inflexibility of the format. However, within the wider Padlet publication, it provided layers within layers of content in relation to the other strategies created by the residents.

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Collaboration Melina Peña (SP) and Natalie Doonan (CA) 

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Collaboration Melina Peña (SP) and Natalie Doonan (CA) 

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In walking together, we established a psychic connection through starting, stopping, and documenting at staged intervals.

While we sought to avoid the intervention of electronic devices in our interactions with the immediate environment, we documented our experiences in photos and audio. These recordings provided the raw material for iterative experiments.

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Collaboration Camilla Brueton (UK) and Margaret Woodward (AUS)

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Collaboration Camilla Brueton (UK) and Margaret Woodward (AUS)

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We established a process of exchange - utilising the digital geocoding system app What3Words and the multimedia messaging app WhatsApp to share locations, words and images between Tasmania and Wales as we walked. A call and response, responding to each other and our environments. Material generated became a text image/map and a spoken word piece, combined to form an animation.

Since the residency we have been selected for the City of Hobart’s City Pilots temporary public art commission, which will be ‘published’ within the city’s Digital Twin that is a tool used by the city’s planners and engineers to harness together data about the city as well as a 3D rendering of the city.

Through our collaboration during the residency, we developed a creative methodology that will be further extended in the City Pilots commission in April 2022.

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Sensory studies, Emplacement, Inter-species communication, Wild food, Multi-media performance

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Collemacchia, municipality of Filignano, Molise, Italy

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Mayor Federica Cocozza outlined key areas of focus ...

… One of the goals that my administration has set itself since being elected is to make Filignano even more beautiful ... this is perhaps a very courageous and demanding goal, but it does not scare us.

The challenges that Filignano must face for a better future are many, but the first and most important challenge is certainly to create a municipality of well-being, an area that is Green (and this, fortunately, and thanks to its physical make-up, is already a reality), an inclusive country, a country linked to everything that is renewable in energy.

In short, a 'sustainable area'. This term is of course used extensively, yet gives a good idea of ​​developments that must be pursued: sustainability understood as a condition of a development model capable of ensuring the satisfaction of the needs of the present generation without compromising the possibility of future generations to make it its own.

Our municipality is rich in enchanting and so-called natural landscapes, paths lined with dry stone walls that cross our mountains ... a priceless heritage that absolutely must be valued, protected and guarded. All our villages (12 hamlets) have unique characteristics and are immersed in a landscape that has changed little over the last century.

The future of Filignano cannot be linked to industrialization (this is not what I imagine or what I want for it) but rather, as a green collection of villages equipped with all the necessities to enable it to contribute to the broader world and at the same time acknowledge and celebrate its significant links to its living traditions and its natural environment.

One key challenge, for example, is how to discover anew and regenerate the building stock that we already have, rather than allowing the consumption of land through new construction.

There is a lot to say about this aspect, maybe in our next meeting - in Filignano - we could activate a rich discussion.

The project that Tracy is developing is certainly a cutting-edge project, and it is one that is good for Filignano.

We are honoured to be able to host the on-site component of Wild Ways (in 2022), its partners and residents, and the Administration is completely available to the project for all and any support we can give.

I am sorry that I am unable to be with you in person today, but I hope there will soon be an opportunity to formalise this virtual meeting.

One thing that I do want to say now, to all of you who may be our future guests:

Filignano awaits you with open arms !!!

With my thanks,

Filignano, 10/28/2021

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Collaboration Natalie Doonan (CA) and Melina Peña (SP) 

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Collaboration Natalie Doonan (CA) and Melina Peña (SP) 

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In walking together, we established a psychic connection through starting, stopping, and documenting at staged intervals.

While we sought to avoid the intervention of electronic devices in our interactions with the immediate environment, we documented our experiences in photos and audio. These recordings provided the raw material for iterative experiments.

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Each of the four Wild Ways residency workshops started with an Acknowledgement of Country, in the understanding that this form of address is a way of acknowledging and paying respect to the past, present and future Traditional Custodians and Elders of the Australian nation and the continuation of cultural, spiritual and educational practices of Aboriginal and Torres Strait Islander peoples.

As the residency developed, questions arose about how to acknowledge and welcome countries and peoples represented by the residents and facilitators, and how to recognise important distinctions and differences. To start the third workshop, Misha Myers invited all participants to silently use the Zoom ‘chat’ facility to name their closest river and mountain. To frame the fourth workshop, resident Natalie Doonan spoke of ‘Land Acknowledgement’ from her place in Canada; Tiohtià:ke, a traditional place of meeting and exchange for the Kanien'kehá:ka Nation.

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The residents of the Place, People and Time: Wild Ways online residency are:

Camilla Brueton, Clare McCracken, Elien Hanselaer, Emily Orley, Helen Horgan, Jacky Bowring, Jamie Harper, Jen Clarke, Margaret Woodward, Megan Johnson, Melina Peña, Melody Ellis, Natalie Doonan, Peta Murray, Sofie Narbed and Stephanie Springgay.

The remarkable expertise, skills, creativity and investigative powers brought to the residency are active in residents' practice and research in:

Walking

Geography

Urban Theory

Architecture

Landscape Architecture

Visual Arts

Performing Arts

Participatory Performance

Disability Performance

Infrastructural Politics

Action Art

Writing

Writing-Performing

Publishing

Philosophy

Archiving

Researching

Action Research

Cultural Activism

Acting

Theatre-making

Dancing

Research-Creation

Curation

Singing

Arts Administration

Dramaturgy

Scholarship

History

Eating

Audience Engagement

Immersive Technologies

Embodied Practices

Anthropology

Feminism

Filmmaking

Parenthood

Material intimacy

Care

Theatre Directing

Live action role-play

Cultural Geography

Movement Practice

Contact Improvisation

Eco-somatics.

The facilitators are Tracy Mackenna (The Museum of Loss and Renewal) and Misha Myers and Dee Heddon (The Walking Library). These two long-standing artist duos and projects share site-specific, participatory and socially engaged art practices in common, yet hold diverse skills and expertise between them.

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The four Place, People and Time: Wild Ways residency workshops connected participants via Zoom across Australia, Belgium, Canada, England, Italy, Malta, New Zealand and Scotland on 07/08 October, 14/15 October, 21/22 October and 28/29 October 2022.

Workshop 01 / Making a wild place
Workshop 02 / How do we create with site?
Workshop 03 / Global and local: gathering and publishing, bringing it in and putting it out
Workshop 04 / Fragile Futures: from here to Collemacchia

Each residency was focused around ways of working that included LISTENING, SHOWING, SCENE-SETTING and WILD PLACE TASKING.

Prior to the first workshop, residents were offered an Audio Walk made by The Walking Library and The Museum of Loss and Renewal, to use as a guide to walk in a nearby place that is fragile, lost, renewed or re-wilded in some way.

The first workshop introduced the ‘Remote Walk’, a synchronous, shared walk that residents would undertake in newly-formed duos and trios, across countries.

Each workshop began with a carefully composed reading, ‘Acknowledgment of Country’.

‘Shared readings’ were given, by two residents who chose material that reflected their areas of interest.

'Field Notes' were generated by residents (maps, drawings, observations, images, recordings) and shared on a bespoke Padlet.

The focus of each workshop was presented and discussed in tailored sessions.

Zoom’s functions were used to bring participants together in a ‘Wild Place’ (break-out spaces) where duos and trios could converse, plan activities, share and reflect.

The Zoom chat facility became the 'chitchat' zone that supported quick silent working where responses to subjects could be expressed and shared.

’Story Map’, a web map that enables the making of a geo-located, context specific resource was regularly populated with residents' multi-media material.

Mini-sessions made time for residents to prepare, select and present material for this Padlet, PLACE, PEOPLE AND TIME: Wild Ways.

Feedback time at the end of each workshop brought questions, issues and reflections to the fore and shaped each subsequent workshop.

The final workshop ended by looking forward to the on-site residency that will take place at The Museum of Loss and Renewal’s base in Italy, framed by words of welcome from the municiplity’s Mayor.

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During the four residency workshops, residents worked in duos and trios, as well as continuing with their individual practice and research between sessions.

Working across global time zones, residents were teamed as follows:

- Camilla Brueton (UK) and Margaret Woodward (AUS)
- Clare McCracken (AUS) and Emily Orley (UK)
- Elien Hanselaer (BE) and Jamie Harper (UK), and Jen Clarke (UK)
- Helen Horgan (IT/MLA) and Sofie Narbed (UK)
- Jacky Bowring (NZ) and Megan Johnson (CA)
- Natalie Doonan (CA) and Melina Peña (SP)
- Peta Murray and Melody Ellis (AUS), and Stephanie Springgay (CA)

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To capture and reflect some of the main themes that run through the People, Place and Time: Wild Ways residency, Tracy Mackenna was active in her role as Creative Correspondent, on behalf of The Museum of Loss and Renewal.

Annotations were produced by rapidly drawing and writing while listening and looking intensely as residents presented work in progress and as the residency's activities unfolded.

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Notebook, Creative Correspondent (Tracy Mackenna); pages made during the residency

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Before the third Wild Ways workshop, residents were invited to consider this question:
What is publishing to me?

During the workshop, in a silent session using Zoom's 'chat' facility, residents wrote their thoughts in reponse to the prompt.

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Residents undertook walks around the world, remotely and synchronously, working in newly-formed, temporary collaborative duos and trios.

’Story Map’, a web map that enables the making of a geo-located, context specific, informative stand-alone resource shows the multi-media material generated during these walks.

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This audio walk was given to residents to use before the first of the Place, People and Time: Wild Ways residency workshops.

It contains shared readings, selected and spoken across a variety of locations in Australia, Scotland and Italy by Misha Myers and Dee Heddon (The Walking Library) with Tracy Mackenna (The Museum of Loss of Renewal).

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19:25:26 From  Stephanie Springgay  to  Everyone:
	The Latin word for publish, publicus translates to ‘make a public,’ or from middle English, to publish was to make something generally known. Public/ations insist on an encounter. They want to be used. But they also gesture beyond the text on a page, to a more-than; to publics to come. Public/ations are emergent, iterative, and in the making. Public/ations are implicated in different kinds of commons and relations between humans and non-humans, affects, ideas, and places. Some of these public/ations are linked to larger public(s) discourses, while others are activated as fugitive spaces or what might be considered an undercommons.

19:25:38 From  Natalie Doonan  to  Everyone:
	Publishing is making things public. It is an act of opening, making oneself vulnerable. Emerging from chrysalis into shared space.

19:26:33 From  helen horgan  to  Everyone:
	01_Gathering things together to make public

19:26:43 From  Melina Pena  to  Everyone:
	Publishing is an archive of a specific moment. A memory in time of a process, finish or unfinished project. A medium to share the ephemeral (in the case of performance art) by means of visual documentation.

19:26:44 From  helen horgan  to  Everyone:
	02_an organisational nightmare!

19:26:46 From  Megan Johnson  to  Everyone:
	For me, publishing has two components—solidification and dissemination. It is a moment to ossify your ideas into some kind of coherent form so that they can then be shared with others. This, of course, does not mean that publishing is a finished product, or that the ideas within a publication cannot continue to grow and evolve (or even change dramatically) into the future. Certainly, knowledge creation is an ongoing, regenerative, and often iterative process. But alongside this process, publishing becomes a way of capturing a moment in time and solidifying it long enough so that the knowledge/ideas captured can be disseminated.

19:26:48 From  Margaret Woodward  to  Everyone:
	Publishing to me is the act of making public, in print, online, through performance, spoken word or any combination of these. It is that threshold reached by shifting from an internal or private dialogue, to an external and public sharing – a vulnerable threshold that needs to be negotiated with tenderness and care.

19:27:14 From  melody ellis  to  Everyone:
	Publishing to me is an offering. A way of sharing what has been made, created…

19:27:33 From  Sofie Narbed  to  Everyone:
	Publishing for me is a process of sense-making; a platform of story-telling; a maker of lively connections. It is also my financial security; my anxiety; my time, so much time.

19:27:36 From  jen  to  Everyone:
	Publishing, for me: sharing, exchanging: the making public of a current thought/position/work/ collaboration: a current of thought, of work, the material manifestation of ongoing efforts to articulate and share experience.

19:27:36 From  Jacky Bowring  to  Everyone:
	From a personal perspective ... the act of dissemination and sharing.  From the university's and governmental requirements - must be 'quality assured' :)

19:27:57 From  Jamie Harper  to  Everyone:
	Public representations of aspects of the world as experienced by the authors or publishers.

19:28:01 From  Emily Orley  to  Everyone:
	I love what everyone is writing! Publishing for me is a making public, but in a carefully planned way that has often come from something more private.

19:28:13 From  jen  to  Everyone:
	edit: not just Experience. Also the speculative, and imaginative, possibilities are important!

19:28:14 From  Clare McCracken  to  Everyone:
	Publishing is making something public - it can take many forms but is designed to be easily accessed by an audience. It is also an act of sharing…being brave enough to release something out into the world.

19:28:27 From  Camilla Brueton  to  Everyone:
	Publishing: a platform to share from; a possibility to experiment with form; a validation; sometimes inaccessible - a bit out of reach; a bit of a mystery; something I have done; a playful thing; a ritual; permission; power.

19:28:44 From  Peta Murray (she/her)  to  Everyone:
	Publishing, to me, is casting traces of one’s processes into the world, it is “thinking little thoughts and sharing them widely” (Halberstam). Publications are the husks of process and thought, made visible, as accretions of one form or another.

19:28:49 From  melody ellis  to  Everyone:
	I am interested in who the public of the making public is here.

19:29:02 From  Megan Johnson  to  Everyone:
	Might also add a third impromptu thought that publishing is about being in dialogue with others—perhaps receiving feedback via peer review, or comments from an audience post-show, or…. etc.

19:29:07 From  Sofie Narbed  to  Everyone:
	yes melody!

19:29:10 From  Emily Orley  to  Everyone:
	Yes Melody!!

19:30:15 From  melody ellis  to  Everyone:
	Perhaps publishing is also a kind of record. Or archive. A trace.

19:30:50 From  melody ellis  to  Everyone:
	A network? (Now I am just riffing)

19:31:03 From  helen horgan  to  Everyone:
	yes because otherwise an exhibition would also be publishing

19:31:21 From  helen horgan  to  Everyone:
	theres something about permanence

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Image of a foot path carved through a patch of green grass, next to a tree devoid of leaves. The background depicts a cloudless blue and pink sky. 

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Desire lines are imaginative renderings of a future place. A place forged through collective repetition, trodden over again and again by--exuberant? weary? inattentive?--travellers.

These lines speak of a communal desire for something else, something different, something not yet here (and which perhaps never will be). They resist prescribed trajectories, rejecting the asphalt paths that have been burned into earth and instead insisting that new directions can be found.

But are these lines also a violence? A violence in how they are etched deeper and deeper into the land, feet pounding over the space repeatedly until the grass refuses to grow there? How long would it take for the lines to re-wild themselves if the pounding were to suddenly . . . stop?

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Excerpt from Matters of Care: Speculative Ethics in More Than Human Worlds by María Puig de la Bellacasa

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Matters of Care, disturbed by atmosphere

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Matters of Care, disturbed by atmosphere

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An inelegant reading, one that was shot through and disturbed by the elements of ferocious wind and bright sunshine around me. The atmosphere demanded to be a co-reader, inserting itself into the experience and reminding me of the impossibility of reading sans context.

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Image of a patch of grass next to a paved path, surrounded by buildings and a few trees. Overlaid on the image is a second photo of protestors and police.

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What existed a few weeks prior has been cleared away (violently absented) from this place.

How can we know what existed here before, however ephemerally?

In what ways do we remember?

In what ways do we feel the haunting sense of what was?

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A white sign with red lettering is nailed to a tree trunk amidst a green woods. The sign reads "Motor Driven Vehicles Prohibited, City of Halifax."

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I am a performance studies scholar, singer, dramaturg, and arts administrator currently based between K'jipuktuk (Halifax) and Tkaronto (Toronto) in Turtle Island (Canada).

My practice weaves across artistic and scholarly domains, both of which deeply inform each other. As a singer, I have performed solo and ensemble work across many forms and genres, including art song/opera, contemporary music, musical theatre, and choral music. Recent performances include touring with Xara Choral Theatre in 2018/2019, a performance at the Toronto Biennial of Art in 2019, and a composition for the sound-based symposium and performance experiment “When it rains I know where I am” with Common Boots Theatre in 2021. I am currently a PhD candidate in theatre & performance studies at York University in Toronto, where my research is focused on disability performance, infrastructural politics, and expanded dramaturgy.

For this residency, I was interested in questions around place, rootedness, memory, environmental destruction, and personal history/ancestry, and thinking about how those connect to the materiality of the body and the voice.

www.majhnsn.com

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Embodied Space: part-time, flexitime … NO TIME! 

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Embodied Space: part-time, flexitime … NO TIME! 

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Synchronised reading in two different parts of the world:  Montreal, Canada / Midi Pyrénées - Occitanie France.
In collaboration with Natalie Doonan.

Melina reading fragments of A CYBORG MANIFESTO by Donna Haraway.

Natalie reading fragments from “Perceiving and Believing: An Inactive Approach to Spectatorship” by Make Bleeker and Isis Germano

In Residence @ PLACE, PEOPLE and TIME: WILD WAYS Online Residence.

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Embodied Space: part-time, flexitime… NO TIME!

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Walk 1: Reading fragments of A CYBORG MANIFESTO by Donna Haraway.

Midi-Pyrénées, France

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Physically and mentally walking through memory land where language, body and mind merge to adapt to my surroundings. Present ... I´m temporarily in the region of Midi-Pyrénées, France where the first settlers were the Iberians, followed by the Romans with a long history that is shared with my Adopted Land Barcelona, Spain. Catalán and French interchange creating a nasal blur in my head: Bonjour, Bon dia, Merci, Au Revoir, Adeu. Sucking in the land to morph and exhale it in my own phonetic version.

I can't help but to compare these Mediterranean Regions with The Land that saw me grow up, the land that taught me to live on the verge of adrenaline and find the beautiful in the ugly. California is the land of the Tipai Kumeyaay, a place conquered by the Spanish and then divided and sold to the United States. I´m  a Border Hybrid:  My Roots in Tijuana, Mexico; a rough land full of contradictions: joy, pleasure, violence, camaraderie and the OTHER side so loved San Diego; the correct, constrained and empty. Two sides of the coin: Welcome … Bienvenido!

My platonic Land lies in Oaxaca, Mexico. My cherished retreat which has given me shelter for the last 28 years. The land of the mixtecos, nahuas, triquis, amuzgos, zapotecos, ixcatecos, cuicatecos, chocholtecos, mixes, mazatecos, chinantecos, chatinos, chontales, huaves and zoques. Its mountains, rivers, sea and ruins of prehispanic history grounds me, taking me back to my center, to my true being. The land of the mystical, shamanism and belief out of the rational allows to fly into this colorful world where the simple and basic reminds you of the true essence of life.

My body shifts from one side to another within these sensorial memories, the places that made me who I am. Between the conquers and the conquered ... The people that embraced me as I passed by and  picked me up when needed. Going back to move forward in this Future Lane.

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Imaginary lines penetrate my body as I walk through this land. Borders come to mind as I am on the other side of Spain divided by the Pyrenees and realising how different everything is. The terrain and culture is similar to Catalonia but for me, I´m just a visitor finding my way in this unknown but welcoming land. The peace and beauty of nature keep me away from my noisy Barcelona and memories of crossing the US/Mexico Border as part of my every day.  That border that makes news, myths and tales while in me it marked, formed and supported me. This is not a fictional line … it's a political and survival line!

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A beautiful land intervened by crops, residential areas and this GreenHouse. I walk every Thursday to this  place to buy local vegetables as I found myself with the most exquisite vegetables I´ve tried in Europe. Expensive but worth it! This place fractures the view of the landscape in a horrendous way. A place that gives life, it produces high quality produce and feeds the community; is also a visual torture to everyone that lives in the area. Complex contrasts in a modern rural area!

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I am an interdisciplinary/Action Artist based in Barcelona, Spain, born on the border México-USA.  My background has been an extensive research of my own body language training in Butoh, Experimental Dance, Body Landscape and Performance Art. I hold a Masters Degree in Independent Studies Program (PEI) by the Museum of Contemporary  Art, Barcelona (MACBA). Post-graduate Studies on Sensory Language and The Poetics of Play, directed by El Teatro de los Sentidos/University of Girona, Spain. Bachelor's Degree in World Arts and Cultures and a Bachelor's Degree in Linguistics and Spanish from the University of California, Los Angeles.

I seek the commitment to an ongoing relationship with the viewer, creating art through criticism and play, addressing social, political, cultural and economic issues of our modern life. My work is mainly motivated by the process, creating a space that provides opportunities and experiences to reflect and negotiate from a cultural, physical and emotional engagement.

Currently my interests have mutated in the experimentation with other artistic means looking to generate stimulation and new forms of body language: Sound Art, Body Cartography, Installation, Psychogeography and play through the Senses. I am greatly interested in creating interactive/ liminal spaces where you can generate body transformation (individual or collective) with an element of RISK towards empathy and affection.

www.melinapena.com

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1. Spotting how the history of mapping is entrenched in Imperial and Colonial powers who use and create maps to exploit natural resources, claim land, and to legitimize borders.

2. Inhabiting counter-mapping to resist geographies of power and re-map the landscape on other terms.

3. Amplifying counter-mapping as shoring and felting (unquantifiable, fugitive, and unknowable, resists the systems that seek to discipline and control; friction, agitational, feelings, affects, transcorporeal).

4. Listening by giving the ‘problem’ to the work.

5. Fleeting intangibles of walking-with.

6. Sounding the porosity of boundaries.

7. Felting the fragilities of land formations.

8. Pocketwatching the undulations, intangibles, unremarkables, the contours and the hauntings.

9. Re-ashoring futurities.

10. Akinning invitations to work a map.

From Peta, Melody and Stephanie

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Image Description: A folded book made of paper with black and white photo-images of shores from Ontario & Melbourne. The folded booklet is sitting on paving sto

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How do we listen to the lake?

Shore (n): land bordering a body of water.

Shore (v): to prop, support, brace.

Coastal paradox: Shore/coastline is impossible to quantify and measure. Shorelines resist conventional mapping. Ever-shifting and fractal, they have no well-defined perimeter and evade attempts at quantification. The coastal paradox implies the breakdown of scientific conventions in the face of nature’s complexities. Walking embraces the unquantifiable, fugitive, and unknowable, and like the shoreline, resists the systems that seek to discipline and control.

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Image Description: 3 rocks that are the size of an adult hand are perched on larger shoreline boulders. The 3 rocks are covered in red handfelted wool.

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3. Amplifying counter-mapping as shoring and felting (unquantifiable, fugitive, and unknowable, resists the systems that seek to discipline and control; friction, agitational, feelings, affects, transcorporeal).

7. Felting the fragilities of land formations.

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Image Description: A fresh water reservoir in Ontario. Front of image rocky shore looking across the body of water to a shore lined with rock faces and trees.

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Reading: Willard, Tania (2018). 6 strong breeze. In C. Shaw & E. Turpin (Eds.), The work of wind: Land (pp. 189-206). Verlag.

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“Territory acknowledgments are complex, as they carry different effects, meanings, and implications, depending on who makes them, what is said, and how they are said” (np).

Territorial acknowledgements for settlers are deep and important reminders for “listeners to recognize where they are, and to understand the privileges and benefits they receive from being situated on the land” (np).

Weibe, J. & Ho, K. (2014). An introduction to settler colonialism: Part 3. Retrieved December 2019 from https://thetalon.ca/an-introduction-to-settler-colonialism-at-ubc-part-three/

“a politics of recognition that is a continuation of settler colonial logics rather than a break from them” (p. 20).

“mere spectacle of acknowledgement as a public performance of contrition, we must take into account acknowledgement’s site and context specificity. … To read and repeat prescriptive acknowledgement without variance runs counter to the foundational values of acknowledgement.” (p. 20-21).

Robinson, D. (2019). Rethinking the practice and performance of Indigenous land acknowledgement. Canadian Theatre Review, 177, 20-30.

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Boundaries are regional
Borders are in flex
Open to feelings
More-than-Human Crossings
Embrace uncertainty
Ethics of Care
Make a Public
Slow Scholarship/Walking
Edgings and Contours Ahead
Agitate Boundaries
Seek Water
Re-define Caring Relations

From Peta, Melody and Stephanie

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I am Director of the School of the Arts and Associate Professor at McMaster University, Canada.

I am a leading scholar of research-creation with a focus on walking, affect, queer theory, and contemporary art as pedagogy. I direct the SSHRC-funded research-creation project 'The Pedagogical Impulse' which explores the intersections between contemporary art and pedagogy. I co-direct 'WalkingLab' – an international network of artists and scholars committed to critical approaches to walking methods.

Other curatorial projects include 'The Artist’s Soup Kitchen' – a 6 week performance project that explore food soveriegnty, queer feminist solidarity, and the communal act of cooking and eating together. I have published widely on contemporary art, curriculum studies, and qualitative research methodologies.

www.stephaniespringgay.com

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Transience, n.

1. The property whereby a thing affects something other than itself.

2. The quality or state of being transient, impermanent, or ephemeral.

3. The action of passing from one state, place, etc., to another; transition, transference.

The water’s game of conceal and reveal has always drawn me in to this territory of fast-turning tide. A walk-way exposed for a moment. Emerge. Submerge. Merge. I want to become part of this place. Dwelling between high and low, between liquid and concrete. Amongst rounded rubble and rainbow glass and a million zip ties that spike the air. Amongst shifting waters that "rhythmically scramble" divisions of ‘nature’ and ‘city’, past and present. Amongst the people that wander and ponder and search. A mixing at the margins. A system in perpetual process. A place where you can "slip through the veils between worlds".

Thames beach, Southbank, London, UK

Quotes from A Conversational Essay on Tides by Owain Jones and Linda Cracknell.

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Light on the South bank of the Thames. Photos: Sofie Narbed

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Looking up
Another frame

A change in light
Shining metal rising
into the celestial blue

A vertical stone parting

giving passage to the sun

Shadows dancing in the pavement’s pooled light

I know people by their shapes
before they arrive

Sitting on the wrong side of chipped turquoise railings

Tracing the lines between ground and sky

I look up

I look up

I look up

Geographer Tim Edensor talks about light as a vital energy in the landscape. An ever-changing intensity that shapes our sense of space; our experiences of material, surface, colour. Light plays at the river in darkened corners, in flowing waters, in the boundless sweeps of wide-open sky. Light that rushes through and stretches out. Light reflected, deflected, absorbed. Light that radiates, pervades, and permeates; light that soaks and saturates. What is it to walk with its luminosity and dazzle?

Tim Edensor (2017) Seeing with light and landscape: a walk around Stanton Moor, Landscape Research, 42(6): 616-633

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Stairs and bridges, Thames Southbank. Photos: Sofie Narbed

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The river is full of passing places. Ramshackle networks. Air borne routes. Sunken tunnels. Grounded, water-worn ways stained mossy green from their other liquid life. Places of transit and transition. From place to place; from state to state.

St Mary Overie’s Stairs, Thames-street Stairs, Mason’s Stairs, Love-lane Stairs, Marygold Stairs, Barge-House Stairs, Goat Stairs, Horse-shoe-alley Stairs.

Passing places remaining, disappeared, reabsorbed, forgotten.

Long-time portals for other kinds of crossings as people seek sustenance; escape; oblivion.

Enthusiasts trace and reclaim these ways

They map their absence and tour their routes.

I track back and forth, down and up and over, a river-city-weaving walk.

Sources: Robert Smithson’s ‘A tour of the monuments of Passaic, New Jersey’ (from Helen Horgan) and A London Inheritance blog.

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Traces of the past on the South bank of the Thames. Photos: Sofie Narbed

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The Thames burrows through the mud and clay where every London intersects, to get its nose beneath the grave, then flips the past up like a coin to send afloat its drowned possessions (extract from 'The Thames' by John Challis)

Tudor bricks, oyster shells, shards of Roman cooking pots. Tiny pipe bowls, bigger pipe bowls, and a million discarded stems. Pins for ruffs and shrouds and a dress’ heavy layers. Thimbles, buckles, combs and curlers. Modern rubble, Blitz rubble, Prehistoric flint. Tudor beer bottles, prayers in bottles, Hindu statues and Christian crosses. Victorian dolls’ arms, bits of ship, and a Roman shoe, its toe still creased, in the anaerobic mud.

Mudlarks - up with the larks - past scavengers of rope and coal; London’s modern day citizen archaeologists, river-dwellers that uncover, gather, preserve. Time jumbles in the water’s eclectic litter. Histories of violence and work and hope and pleasure. I read of future visions. A floating airport. A flooded St Paul’s entered by boat, its inner gallery a tranquil pool. And feel the river’s temporal rhythms flow through me as I walk.

Sources: The Thames by John Challis; Mudlarking: lost and found on the River Thames by Lara Maiklam.

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Sun hum: Sofie Narbed. In response to a score from Helen Horgan. 

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As I walk its beach and its passing places, drink in its light and pick over its pasts underfoot, the river moves in and out of me. Outside becomes inside becomes outside. My breath responds to this vast moving body and the bodies that walk its banks. Rhythms and vibrations that permeate and resonate. Tim Ingold talks about sound, like breath, as a movement of coming and going. Body-environment together in a process of ensounding. Helen’s voice invites me to hum in response to a surface reflecting the sky. I hum out loud to the warmth of a busy sun-glazed pavement. It gets me thinking about sounding and vibration, about affect and response. About all the rhythms that filtered through me on my walk. The rhythm of the tide. Rhythm of the light. Rhythm of the chatter in the air. Rhythm of my steps and the swish of my clothes and my steadily deepening breath.

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Fort St Elmo, Malta. Images: Helen Horgan 

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Helen emails. She is parked up at St Gregory’s Curtain, Fort St Elmo, Malta, absorbing the traces from my walk in this historical watery place. She listens to the sun hum and sends pictures of its resonance - carved sandstone and scattered pools, their rippling surface reflecting the Malta sky.

Fort St Elmo: Located on the seaward side of the Sciberras peninsula on the southeast coast of Malta, about 90km south of Sicily, in the centre of the Mediterranean sea. The site was first occupied by Military in 1417. It was the site of the Great Siege of Malta in 1551 and in 1940 it was the scene of the first aerial bombardment of Malta as part of WWII. In 2008 the fort was named one of the 100 most endangered sites in the world.

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I am a cultural geographer and movement practitioner, and currently hold a British Academy postdoctoral fellowship at Royal Holloway, University of London.

My work thinks with and through the body as a site of relationality, exploring the specific intimacies through which kinaesthetic experience allows us to build knowledge of place, negotiate its histories and socio-political conditions, and imagine alternative futures. Previously this has involved in-depth practice-based work with dancers and communities in Quito, Ecuador, exploring movement as a site of intercultural and decolonial relation.

More recently I have been part of interdisciplinary site-based collaborations with colleagues at University of the Arts London on the project 'Listening: field, voice, body'; with Jamie Lorimer, David Overend and others on 'Rewilding Knepp'; and with a London-based dance collective on the pandemic-responsive project 'Moving On', which makes audio scores for site-based somatic exploration.

I am curious about how practices of body-site relation push at geographies of publicness, belonging, individuality/collectivity, and non/human relation.

Following lockdown experiments in practice-at-a-distance, I am also keen to explore the possibilities of audio-/audio-visual work for creating shared experiences of ‘being with’ and for allowing a multivocality in renderings of site. My research is grounded in practices of Contact Improvisation and eco-somatics, and collaborations with practitioners in the UK, Cuba, and Ecuador.

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Still from video 'Man Painting a Wall' © Helen Horgan (2021) 

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https://vimeo.com/640046495  In stepping into the shoes of someone with a performance background; following Sofie Narbeds' 'prompts'; I find I become self conscious of the fact that I am performing in public space. Am I blending in ok as a 'normal' park user or might people wonder why I circle objects and 'loiter' as if awaiting some unfolding drama. My heightened expectations and awareness of everyday actions as little performances lead me to notice this man painting a wall within an archway. A lucky cluster of coincidences aid the perception that I am watching a piece of theatre including the fact that the man is situated in a proscenium or primitive stage and that he gazes down at an 'audience' (the passersby on the street) intermittently and that they gaze back up at him.* This closed feedback loop of gazes secures the impression that I am however viewing the scene unobserved from a singular point of view captured through the lens of the camera.

"Nothing could be more remarkable than seeing someone who thinks himself unobserved engaged in some quite simple everyday activity. Let's imagine a theatre, the curtain goes up and we see someone alone in his room walking up and down, lighting a cigarette, seating himself etc. so that suddenly we are observing a human being from outside in a way that ordinarily we can never observe ourselves; as if we were watching a chapter from a biography with our own eyes,-surely this would be at once uncanny and wonderful...We should be seeing life itself. - But then we do see this every day and it makes not the slightest impression on us! True enough, but we do not see it from that point of view." Ludwig Wittgenstein 'Culture and Value' (1984)

*In fact the man is looking down to the side walls of the arch that he is painting. Because of the illusion provided by the flat perspective of the camera lens he seems to gaze down at the ‘audience’ below.

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HELEN: I want to talk here about focalization and how Sofies' ‘prompts’ put me in a performative frame of mind, acting as a ‘focalizer’ of my surroundings as a theatrical space. Instead of the narrator as simple teller of the tale, Sofie’s prompts functioned as signals of the site’s narrative potential. In my imagination; in the performance space in my mind; I am placed in a position (focalised) so that I expect an encounter with another subject. Using the camera as an external 'focaliser' I ventriloquise my imagination into the figure of the streetlamp! Or is the streetlamp already functioning as a symbolic figure in a space with a visible history of public interaction; as giver of light albeit fragile and aged by the elements, its style and condition suggesting past grandeur; silent stories lying in wait. The site itself is set-up for public encounter functioning as a tiny piazza or garden; a public oasis amongst the urban sprawl. The busts in background, down graded to secondary characters by their placement in the composition ‘personify’ audience members in their scale, positioning and general mimicry of real figures in a public space.

“Focalisation describes the relationship between how the world appears and the subjective position from which it appears the way it does, or the relationship between a theatrical staging and the spectator positions implied by it. The concept of focalization is, in some ways, comparable to that of perspective. However, perspective tends to focus attention on what is seen, and to direct attention away from the position from which things are seen. In this way, the relationship between the thing seen and the determinism inherent in the position from which it is seen is obscured. Focalization describes the precise relationship between the subject viewing and the object viewed...[it is] given within the particular construction [of the visual, verbal, media based ‘text’]” Maaike Bleeker and Isis Germano 'Perceiving and Believing: An Enactive Approach to Spectatorship' in 'Theatre Journal' 66 (2014) © John Hopkins University Press,  p366.

For Lakoff and Johnson ‘personifications’ are “extensions of ontological metaphors and they allow us to make sense of phenomena in the world in human terms – forms that we can understand on the basis of our own motivations, goals, actions and characteristics.” George Lakoff and Mark Johnson ‘Metaphors we Live By’ © University of Chicago Press, p34.

SOFIE: This puts me in mind of work from dance scholars that think about body-site porosity (Victoria Hunter) and the mutual ‘choreographing’ relationship between bodies and city space, each shaping the other (SanSan Kwan’s book Kinaesthetic City). For SanSan Kwan, ‘a body and space mutually become one another’ in a practice of ‘autoethnographic choreography’ that becomes a way of studying space. …‘by moving through a particular space, I engage in a dialogic relationship whereby I ingest that space as it enfolds me - dancing becomes a way of knowing geography, even if we must acknowledge that that geography is immediately made subjective the moment we enter it’. (Kinaesthetic City, p7)

Susan Leigh Foster has also talked about kinaesthesia - an interoceptive awareness of one’s own movements - as something that allows access to understanding how another body might feel. An intimacy with the other that is sustained by an intimacy with the self (Foster in Noland 2009 Migrations of gesture). Foster talks about it in terms of intersubjective relations between bodies (between ‘performer’ and ‘spectator’), but I wonder how ideas of empathy - as imaginations/experiences of sensation, of intimacy - might extend to our encounters with the nonhuman elements in the space around us?

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A pair of Clippy EM272 high sensitivity omni-directional low noise microphone's are pinned to the tree bark becoming the ears of the tree. © Helen Horgan (2021)

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A section of audio was taken at this location in response to an experimental score provided by Sofie Narbed; "Take your attention to the surfaces that surround you, their spread and lines and textures. Mould your body to a surface… Try and stay connected with the surface for a few minutes if you can. What are things like from here?". Adopting the skin of a tree as my own, the recording was taken from a position with my back pressed against the bark and the microphones placed on the tree at ear height, as seen in the photo. Click the link below to be taken to the radio aporee website where you can listen to the audio mapped onto the location.

https://aporee.org/maps/?loc=54730&m=satellite

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I am an Irish visual artist working in sculpture and moving image with a background in Graphic Design and Philosophy. The subject of my moving image and sound work is the perception of foreign landscapes and cultures through a cinematic lens, focusing on the sensory qualities of the moving image, the edit point and audio track.

In 2009 myself and Danyel Ferrari established The LFTT (Legs Foundation for The Translation of Things) Library to find ways of creatively repurposing a 400 year old library that was under threat of disposal. The LFTT Library, as mobile archive and movable venue, explores the transformation of meaning that occurs through shifts in time and place. The project includes an expanding audio-visual archive of encounters in the landscape, documentary fragments of ‘everyday histories’ and natural ‘dramas’ seen from the road while travelling across Western and Southern Europe. Since March 2019 I have been travelling Europe in The LFTT Library van converted as a mobile live-work studio; as a way of continuing to practice on a low income and to maintain mobility in my creative thought process by continuous relocation of the studio context.

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Well on the unceded lands of the Boonwurrung people of the Kulin Nation, Half Moon Bay, Melbourne, Australia. Photo: Misha Myers

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Before we get started I’d like to take a moment to acknowledge the indigenous First Nation people and traditional custodians of all the lands where we are living and coming from today and pay respects to the elders past, present and emerging and any who may be with us today. For me I am living on the unceded lands of the Boonwurrung people along  the coastline of Naarm, the Kulin name for the country of Port Phillip Bay and Melbourne. If you’d like to share your own acknowledgement, please, feel free to do so  in the chitchat as we will call it here.

I’d also like to acknowledge that in calling our concern here for ‘wild ways’ we do so with an interest in the ways and methods people care for and manage the environment and adapt to change. Not to invoke the myth of wilderness as a notion of some untouched place absent of people, of indigenous people. For me I understand wild ways to mean those ways of managing human existence and adaptation that do not  leave a human footprint that destroys and annihilates ecosystems, species or different people’s beliefs, language, environment, heritage, unity or capacities. Here in Australia First Nation peoples refer to this as caring for Country. Aboriginal and Torres Strait Islanders people of Australia have not only occupied but continuously managed and cared for the lands, waterways and seas of this continent for tens of thousands of years. They have adapted and come to understand how the environment and climate here has changed over time. This knowledge of ancient adaptive traditions around the world is living knowledge maintained and shared over time. Understanding and sharing this knowledge is crucial to adaptation to climate change. So in this work we do together we invite you to join us in thinking critically about the complexity of language, beliefs and methods we use in different cultural contexts to share and understand how to care for the lands on which we live. And that includes thinking about and living with contradictions. This digital space and the technologies that enable us to gather globally are part of that. This fluffy cloud has military origins and has been constructed with material resources extracted from somewhere, most likely unceded lands of indigenous peoples. Holding and coming to terms with all of this is part of the work that Gundjitmara activist Professor Richard Franklin calls upon to ‘reseed the cultural wasteland’ left by the legacies of colonisation and empire.

| Misha Myers,  8 October 2021

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Winch, Tara June, 2019. The Yield, Australia: Hamish Hamilton.

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Again before we start I’d like to take a moment to acknowledge the First Nation people and traditional custodians of all the lands where we are living and coming  from today and pay respects to the elders past, present and emerging and any who may be with us today. For me I am living on the unceded lands of the Boonwurrung people of the Kulin nation in Naarm, Melbourne. In last week’s acknowledgement I invited you to join us in thinking critically about the complexity of language we use in our different cultural contexts to describe the land and how we care for it. So please, feel free to add any thoughts about that in the chitchat as well. But this week in thinking about this acknowledgement Jamie’s question of what is indigenous knowledge has been in my thoughts. And this prompted me to think about deep time and the ways people hold time from the way we hold it here sharing a moment in time but in different circadian rhythms to the way it feels like it is running out and yet is also looping around once more. So to close and open our time together, I’d like to read something about deep time from the words of Wiradjuri author Tara June Winch from her novel The Yield:

To begin—but there are too many beginnings for us Gondiwindi—that’s what we were bestowed and cursed with by the same shifty magic – an eternal Once upon a time. The story goes that the church brought time to us, and the church, if you let it, will take it away. I’m writing about the other time, though, deep time. This is a big, big story. The big stuff goes forever, time ropes and loops and is never straight, that’s the real story of time.’

Winch, Tara June, 2019. The Yield, p. 2, Australia: Hamish Hamilton.

| Misha Myers, 15 October 2021

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La La Falls, Mount Bride, Yarra State Forest, Australia. Photo: Misha Myers

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For today's Acknowledgement of Country, I'd like to invite everyone to share in the chitchat (Zoom chat) the name of your closest river and mountain.

19:12:54 From  Dee Heddon  she/her  to  Everyone:
	Ben Lomond. River Kelvin.

19:13:05 From  Stephanie Springgay  to  Everyone:
	Humber river. Blue Mountains

19:13:07 From  Natalie Doonan  to  Everyone:
	I'm near Mont Royal and the St. Lawrence River

19:13:53 From  Misha Myers  (she/her)  to  Everyone:
	Birrurung, Yarra River and the Yarra Ranges

19:14:02 From  Margaret Woodward  to  Everyone:
	kunyani/Mt Wellington. tintimilli minyana/River Derwent

19:14:12 From  jen  to  Everyone:
	I’m very close to the River Dee. (And the Don). Ben Macdui is I think the first / closest mountain, in the Cairngorms, an hour or so drive

19:14:18 From  Emily Orley  to  Everyone:
	The Thames in London and Richmond Hill

19:14:21 From  Clare McCracken  to  Everyone:
	Maribyrnong River, Yarra Rangers…but the mountain in my heart is Mt Buffalo

19:14:37 From  Peta Murray (she/her)  to  Everyone:
	Barwon River, You Yang Mountains

19:14:46 From  Tracy Mackenna (she/her)  to  Everyone:
	Rio Chiaro and Monte Pantano

19:14:47 From  Emily Orley  to  Everyone:
	But the mountains in my heart are the Jura on the French Swiss border where I grew up and my river is the Rhone

19:14:51 From  melody ellis  to  Everyone:
	I grew up close to the Murrumbidgee River and now close to the Birrarrung / Yarra

19:14:58 From  Dee Heddon  she/her  to  Everyone:
	The mountain in my heart is Ben Cruachan, which I used to see as a child from our kitchen window.

19:15:07 From  Megan Johnson  to  Everyone:
	I’m somewhat close to the Shubenacadie River, where many Indigenous water protectors are standing up against the many injustices of oil companies and extractive processes

19:15:11 From  Peta Murray (she/her)  to  Everyone:
	But the mountains in my heart are the Blue Mountains

19:15:12 From  Camilla Brueton  to  Everyone:
	Nant-y-wedal is the nearest river in Cardiff. The nearest high point is the ridge above Cefn One

19:15:13 From  Melina Pena  to  Everyone:
	I´m near the Augut River and Mont de Saïx in Midi-Pyrenees France

19:15:21 From  Jacky Bowring  to  Everyone:
	Naming the mountain and river of your belonging is included in the Maori form of introduction ... so ... Ko Tapuaenuku te maunga (Tapuaenuku is my mountain); Ko Waikawau te awa (Waikawau is my river) (mountain and river of my origins, rather than now ...)

19:15:24 From  Sofie Narbed  to  Everyone:
	The Thames, Herne Hill (not quite a mountain!). The mountain in my heart is Gwaelod y Garth or the Giant’s Bottom as it’s known

19:15:25 From  melody ellis  to  Everyone:
	You know, I don’t know which mountain I am close to (which is so interesting) having not always lived in Victoria and spent much time in the city

19:15:33 From  melody ellis  to  Everyone:
	I had to Google it

19:15:34 From  Camilla Brueton  to  Everyone:
	That should have been Cefn Onn

19:15:38 From  Megan Johnson  to  Everyone:
	No mountains here, but I used to live in the Rocky Mountains in Western Canada, and still feel their presence sometimes.

19:15:41 From  Peta Murray (she/her)  to  Everyone:
	And the river is the mighty Murray River

19:16:21 From  helen horgan  to  Everyone:
	The Corradino Hill is nearest to me here in Malta. I don't know anything about it or how to find out!

19:16:52 From  helen horgan  to  Everyone:
	I don't know if there is rivers in Malta, there's only one in Sicily

19:19:11 From  melody ellis  to  Everyone:
	I grew up close to lots of mountains. And spent a lot of time in the Brindabella Rages.

19:19:14 From  helen horgan  to  Everyone:
	"Malta has no permanent rivers or lakes, but temporary waterways can form" earthobservatory.nasa.gov

19:20:27 From  Sofie Narbed  to  Everyone:
	ah interesting helen

19:20:28 From  helen horgan  to  Everyone:
	The coradino Hill is only 44 metres tall so not technically a mountain!

19:23:02 From  Camilla Brueton  to  Everyone:
	@sofie I’m living in Cardiff now! But grew up in London and lived close to Herne Hill/ Brockwell park for over 15 years. That part of London has a big place in my heart. Back in Wales… I walked up the Garth this NYE - it was stunning…

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By resident Natalie Doonan

We are connected today through the skeletal system of the internet. The backbone that brings us together is composed of computer networks and core routers that provide data routes hosted by commercial, academic and private network centers that traverse countries, continents and oceans. Our traffic across this network is regulated by international agreements between governments and telecommunications organizations. This physical infrastructure traverses the territories of thousands of Indigenous nations and violates laws governing respectful relations the land, water, air and other species. In Canada, the Commissioners of the Truth and Reconciliation Report, which describes the history of this country’s residential school system and its ongoing impact on First Nations, report having heard repeatedly that “reconciliation will never occur unless we are reconciled with the earth”. They quote Elder Crowshoe, who says that: “Mi’kmaw and other Indigenous laws stress that humans must journey through life in conversation and negotiation with all creation” (Truth and Reconciliation Executive Summary Report, p. 18).

Today we meet in an online platform called Zoom Video Communications, Inc., an entity that offers: “a people-centric cloud service that transforms real-time collaboration experience in the Americas, the Asia Pacific, Europe, the Middle East, and Africa” (“Zoom’s Customer-Centric Culture,” June 2 2015, https://blog.zoom.us/zooms-customer-centric-culture/). The company is headquartered in San Jose, California, the largest city in Silicon Valley. Silicon Valley owes its name to the first ingredient used in manufacturing computer chips — sand. This is a reminder of the material foundations of the internet and of its natural composition. It is composed of land, sand, earth, minerals, blood.

The mission of Zoom is to develop “a people-centric cloud service that transforms the real-time collaboration experience and improves the quality and effectiveness of communications forever”. This cloud is a symbolic and utopian illusion that fails to acknowledge its trespass, in which we, as non-Indigenous peoples, participate.

I come to this meeting from Tiohtià:ke, a traditional place of meeting and exchange for the Kanien'kehá:ka Nation. The Kanien'kehá:ka Nation is a founding nation of the Haudenosaunee/People of the Longhouse (Iroquois) Confederacy which is also comprised of the Seneca, Tuscarora, Cayuga, Onondaga, and Oneida Nations. The Haudenosaunee and Anishinaabeg peoples have long ties to what is now the Island of Montreal.

I am grateful to be here as a guest.

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The violence of the earthquakes caused the land to drop in the east of the city. So much so that it was like 50 years of sea level rise overnight. Now the land feels like it is melting, moving from solid to liquid, the city dissolving into the sea.  Disintegration ... liquidation...

Christchurch ... Otautahi ... Aotearoa New Zealand

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(Reading on site from selected 'walking library' reading:  Rebecca Solnit (2013) The Faraway Nearby) The change in state, solid to liquid, becomes invitational. How can the city become a watery place? How might we navigate this  condition? How do we embrace the atmosphere of dampness? Getting wetter ...

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8,000 households had to leave, torn away from the certainty of a solid landscape, their houses then demolished. 10 years there are poignant signs of residents still visiting and tending their gardens, the water lapping at the edges. Erasure ... attachment ....

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5. Fleeting intangibles of walking-with.

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Text from the reading from Megan during our walk, María Puig de la Bellacasa (2017) Matters of Care Speculative Ethics in More Than Human Worlds

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Some say, leave it to ecological processes, let nature trump culture. Others want to hasten the cloaking of the landscape with wetlands and forests. But how can the fragile cultural landscape be curated, cared for? Affective ... attentive ...

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manifesto for counter mapping (illustratration)

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manifesto for counter mapping (illustratration)

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1. Spotting how the history of mapping is entrenched in Imperial and Colonial powers who use and create maps to exploit natural resources, claim land, and to legitimize borders.

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And the water continues to rise, inching up the land, refusing to retreat. Underfoot, it is spongy, unnerving. There is a feeling of watching geological time unfolding, the cataclysm, the rupture, the smallness of humanity futile in the face of change. Inundation ... submersion ...

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Excerpt from video by Melina Peña

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Eucalyptus tree, a silhouette against morning light through clouds

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3. Amplifying counter-mapping as shoring and felting (unquantifiable, fugitive and unknowable, resists the systems that seek to discipline and control; friction, agitational, feelings, affects, transcorporeal.)

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Memories of place are at the core of my practice. Through scholarship, critique, and creative work I seek to identify and amplify dimensions of place. I draw on my background as a geographer and landscape architect in engaging with landscape, researching, critiquing, unsettling, imagining. My practice includes psychogeography, in particular the Situationist tactic of exploring a place through using the map of another place.

I’m based in Otautahi Christchurch, Aotearoa New Zealand, where I am Professor of Landscape Architecture at Lincoln University. Books include 'A Field Guide to Melancholy' (2008) and 'Melancholy and the Landscape: Locating Sadness, Memory and Reflection in the Landscape' (2017), and recent articles/projects include 'An affective absence: Memorialising loss at Pike River Mine, New Zealand' (2021); 'In which Robert Smithson visits Christchurch: Ficto-criticism and the field trip' (in Writing Architectures: Ficto-critical approaches 2020); 'On the trail of the ‘dark and mysterious’: Researching the spirit of the land' in Kia whakanuia te whenua: People, place landscape (2020).

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I am a writer and researcher based in Melbourne / Naarm. My interdisciplinary writing practice explores an interest in subjectivity, the body, the politics of value, and ethics. I bring to my writing on these themes an engagement with critical and literary theory, art history, aesthetics and form.

I participated in this residency with Peta Murray and together we are interested in emergent methods for socially-engaged practice, and in the possibilities that interdisciplinary conversation and co-makings might allow for kinder, wilder, slower ways of being in the world.

Our contribution is anchored in our respective backgrounds in visual and performing arts and in the maverick moves we have been making as early career researchers working within and alongside academic sites and spaces.

https://www.melodyellis.com

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Bracken fern and manna gums on Kuarka Dorla (Photo: Peta Murray)

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6. Sounding the porosity of boundaries

(Melody, Peta & Stephanie)

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7. Felting the fragilities of land formations

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An Australiana-themed tea towel depicting grazing kangaroos, a pile of pebbles, each with a word written on it

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8. Pocketwatching the undulations, intangibles, unremarkables, the contours and the hauntings

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A grove of young eucalypts on Kuarka Dorla

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10. Akinning invitations to work a map

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Nelson, Maggie. 2021. On Freedom: Four Songs of Care and Constraint. London: Jonathan Cape. Extract from Chapter 4. Riding the Blinds

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Peta's Reading, not from Gaining Ground, Week 4.

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Peta's Reading, not from Gaining Ground, Week 4.

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From page 184: "The divide between those who want to drill, baby, drill, and those who want urgent action on the climate, often gets posed as a struggle between those who value freedom (imagined as the freedom to excavate whatever one wants, make whatever profit one wants, consume whatever one wants, do whatever one feels like doing in the moment) and those who value obligation (imagined as the duty to be good stewards of the earth, cohabit it responsibly with the millions of life-forms whose fate is linked to ours, take into account the well-being of future generations). The problem with this binary is that it risks reducing "obligation" to moral hectoring and "freedom" to a cheap, self-serving hedonism. Neither helps us seize the moment to shed some of freedom's more exhausted-and toxic-tropes and myths, or to experiment with its next iterations. We could imagine, for example, restraint as a choice, as in the restraint needed not to extract the 80 percent of the fossil fuel that remains underground, in order to maintain the conditions of possibility for ongoing human life. (Obviously a veneration of restraint means and applies differently, depending on the circumstances: for example, the poor cannot and should not be expected to "restrain" themselves from making in the sole ways available to them.) As the state of addiction makes clear, repetitive, compulsive sating of our immediate desires rarely leads to emancipation. And yet, before we mock those who find freedom in air-conditioning, solitary driving, disposable wrapping, plastic straws, hamburgers or frequent airline travel, we might note that many of us have similar feelings and attachments; the goal is to invent new norms that feel palatable-desirable, even-to people, not to shame them for their cathexis to comforts and ways of living in which we share."

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I could not attempt to sketch other residents. Especially at 5am (Australian Eastern Standard Time.) And so I made this instead.

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My artistic research focuses on the senses in multimedia performance works that seek to deepen connections with place. For many years, walking and eating have been foundational methods in my practice. I am currently working on a research-creation project called 'Constructing participatory performance: the ecologies and architectures of audience engagement' (with Lorna Heaton and Alexis Diamond, funded by a SSHRC Insight grant), exploring audience engagement and interaction in immersive theatre and performance events. As part of this project, I am working with a group of fifth grade students throughout the school year.

This process involves teaching youth to use a range of audiovisual recording equipment (waterproof GoPros and 360 microphones, for example) to document Montreal’s St. Lawrence riverfront ecology. Students will then work from their immersive recordings through a series of artistic workshops in which they will develop the theme of imagining the world from the perspectives of other species. This will lead to an exhibition/event next year.

In another ongoing project I am experimenting with strategies for developing environmental attunement by incorporating Virtual Reality during live events.

The goal of these projects is to develop ways of integrating immersive technologies within embodied practices like eating and walking, in order to heighten environmental perception in a given place.

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I am a late blooming paracademic and Lecturer in Creative Writing at RMIT University, in Naarm (Melbourne, Australia).

My research involves the application of arts-based practices as modes of inquiry and forms of cultural activism. As a writer-performer I am known for plays 'Wallflowering' and 'Salt', and more recently for meaningfully irreverent and queerelous approaches to performing the essay.

https://petamurray.com/

Recent projects include multi-modal works and installations ('vigil/wake', 2019), participatory performances ('Missa Pro Venerabilibus', 2017) and experiments in the essayesque ('Glossalalalararium Pandemiconium', 2020).

In this residency project I am partnering with my friend and colleague, Dr Melody Ellis, with whom I have collaborated recently on Walking Writing.

I publish a neologism a day  through COVID lockdowns at https://mmmmycorona.wordpress.com

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Research My work as an Early Career Researcher draws on my experience as a theatre-maker to apply arts-based methods as means of inquiry and activism across modalities including collaborative texts, sonic essays, live art, installations and creative-writing projects. ORCID Profile Google Scholar Profile Academia.edu ResearchGate.net Profile Key research expertise: Creative writing (including playwriting); practice-led research, performance and [...]

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In keeping with each Walking Library, for Place, People and Time: Wild Ways, The Walking Library invited residents to suggest a book to carry and share readings from during the residency that responded to one or more of the following questions:

•What books shift place?
•What books re-story?
•What books repair?
•What books open a portal?
•What books decentre you?
•What books blur your edges?
•What books are mycelial?
•What books carry history?
•What books build futures?
•What books migrate?
•What books connect?
•What books would nature write?•What book would you read to the forest?
•What book would the forest read to you?

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Willard, Tania, 2020. Strong Breeze in the Work of Wind, Land, Vertag.

Indigenous land art practices

| Suggested by Stephanie Springgay

Woolf, Virginia, 1928. Orlando: A Biography, NA.

It is a book I have read many times. When I was young, growing up in sexist, rural Australia it was feminist companion. More recently I have used it as a framework - a type of portal - to think through presence and absence in different physical locations.

| Suggested by Clare McCracken

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Shaw, Christine, 2018. The work of wind: Land, Verlag.

Specifically the chapter by Tania Willard on the BUSH gallery

| Suggested by Stephanie Springgay

Smithson, Robert, 1996. Robert Smithson Collected  Writings,  University of California Press.

I'm interested in how Robert Smithson finds meaning in mundane environments. The fact he views everything as charged with meaning reminds me of a 'cinematic' perspective that I observe in my own observational documentary footage and is something that I am trying to understand better.

| Suggested by Helen Horgan