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<h1 id="header--titles-repulse">Re-Pulse</h1>
<h1 id="header--titles-asfts">A Seat for the Sea</h1>
</div>
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<a class="selected" href="">Stations</a>
<a href="">Voices</a>
<a href="">Reflections</a>
<a href="">Gallery</a>
<a href="">Tags</a>
<a href="">About</a>
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<a href="">Station #1</a>
<a href="">Station #2</a>
<a href="">Station #3</a>
<a href="">Station #4</a>
<a href="">Station #5</a>
<a href="">Station #6</a>
<a href="">Station #7</a>
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</header>
<!-- <aside>
<h1>A Seat for the Sea</h1>
<p>
A Seat for the Sea is an artistic-research project coordinated by Greet
Brauwers, in duo with Raf Custers.
</p>
<p>
In 2022 we travel via 7 stations towards enhanced comprehension of the
sea, its existence and threats. Actors of all kinds but with particular
sea experience are invited to take part in this journey. ASftS arose
from previous work, new social developments and our concerns,
particularly in relation to deep-sea mining.
</p>
<a href="mailto:info@aseatforthesea.com">info@aseatforthesea.com</a>
</aside> -->
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<div class="item item--page--title">
<h1>Station #1</h1>
<h2>
Can we collectively represent what is still unthinkable, namely “how
does the sea raise its voice”?
</h2>
</div>
<div class="item item--pad">
<p>
Gesticulated Conference at <a href="">Framer Framed</a>, Amsterdam
</p>
<p>
The so-called Blue Economy serves as a background for this
meeting: it conceives industrial and investment projects which
are (to be) carried out in the sea. The next Big Thing is
deep-sea mining in which the Low Lands with its dredging
companies and shipbuilders play a significant role.
</p>
<p>
Yet, in the setting of Framer Framed's exhibition
<a href=""> Court for Intergenerational Climate Crimes</a>,
created by Radha D'Souza & Jonas Staal, it is more than
appropriate to hear how artists with a strong bond with the sea
relate to this new industrial niche. So, once again: How can we
strengthen the voice of the sea? And, dilemma, can we talk in
the name of the sea?
</p>
<p>
For this first public moment of ASftS,
<a href="" class="internal-link internal-link--voice">Greet Brauwers</a> and
<a href="" class="internal-link internal-link--voice">Raf Custers</a> invite the following artists to share
their practices and their views :
</p>
<ul>
<li>
<a href="" class="internal-link internal-link--voice">Marialena Marouda</a> works in the intersections
between performance and sound art. She is the initiator of The
Oceanographies Institute.
</li>
<li>
<a href="" class="internal-link internal-link--voice">Esther Kokmeijer</a> is artist, explorer, designer
and photographer. Since 2013 she also works as an expedition
photographer and polar guide, sailing to the Arctic during the
Arctic summer and to Antarctica during the Antarctic summer.
</li>
<li>
<a href="" class="internal-link internal-link--voice">Theun Karelse</a> studied fine arts in Amsterdam
before joining FoAM, a trans disciplinary laboratory at the
‘interstices’ of art, science, nature and everyday life. His
interests and experimental practice explore edges between art,
environment, technology and archaeology. The Embassy of the
Northsea invited him to be part of the fieldwork team for the
future of the Delta.
</li>
<li>
<a href="" class="internal-link internal-link--voice">Stijn Demeulenaere</a> is a sound artist from
Brussels. He makes installations, soundscapes and performances
and does sound design for dance and theatre. He also does I also
do a lot of field recording, which I then use in installations,
compositions and live sets.
</li>
<li>
<a href="" class="internal-link internal-link--voice">Anna Luyten</a> organises the exchanges as a
conversator. She's a philosopher, does artistic research at the
School of Arts, KASK Ghent and lectures in cultural criticism at
the drama academy in Maastricht.
</li>
</ul>
</div>
<div class="item item--meta">
10 Feb 2022<br />
17:30 - 19:30<br />
Oranje Vrijstaatkade 71,<br />Amsterdam-Oost<br />
Admission: free
</div>
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src="https://player.vimeo.com/video/682254315?h=fc84ce004f&title=0&byline=0&portrait=0"
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<div class="item item--voice item--reference">
<div class="item--image-wrapper">
<img
class="item--image"
src="voices/AnnaLuyten.png"
alt="AnnaLuyten"
/>
</div>
<p class="item--image-caption">Photo © Kaap</p>
<p class="item--description">
<em>Anna Luyten</em> (BE) teaches Cultural philosophy and
criticism at the Toneelacademie Maastricht. She is lecturer
‘Artist Writing’ at the School of Arts Ghent where she also
coaches master arts-students...
</p>
</div>
<div class="item item--voice item--reference">
<div class="item--image-wrapper">
<img
class="item--image"
src="voices/EstherKokmeijer.png"
alt="EstherKokmeijer"
/>
</div>
<p class="item--description">
<em>Esther Kokmeijer</em> (NL), born in Dokkum, is an artist,
explorer, designer and photographer, currently residing in
Rotterdam and working around the globe...
</p>
</div>
<div class="item item--voice item--reference">
<div class="item--image-wrapper">
<img
class="item--image"
src="voices/MarialenMarouda.png"
alt="MarialenaMarouda"
/>
</div>
<p class="item--description">
<em>Marialena Marouda</em> (GR/DE/B) works in the intersections
between performance, sound art and oral poetry. She studied
philosophy and visual arts at Columbia University in New York, USA
and continued her studies at the Institute for Applied Theatre
Studies at the University of Giessen, Germany...
</p>
</div>
<div class="item item--voice item--reference">
<div class="item--image-wrapper">
<img
class="item--image"
src="voices/StijnDemeulenaere.png"
alt="StijnDemeulenaere"
/>
</div>
<p class="item--description">
<em>Stijn Demeulenaere</em> (BE) is a sound artist, searching
musician, and field recordist. He holds degrees in sociology,
cultural studies and studied radio at the RITCS, Royal Institute
for...
</p>
</div>
<div class="item item--voice item--reference">
<div class="item--image-wrapper">
<img
class="item--image"
src="voices/TheunKarelse.png"
alt="TheunKarelse"
/>
</div>
<p class="item--description">
<em>Theun Karelse</em> (NL) studied fine-arts at the Sandberg
Institute in Amsterdam before joining FoAM, a transdisciplinary
laboratory at the interstices of art, science, nature and everyday
life...
</p>
</div>
<div class="item item--contribution item--reference">
<div class="item--image-wrapper">
<img
class="item--image"
src="contributions/EstherKokmeijer_01.png"
alt="EstherKokmeijer"
/>
</div>
<p class="item--description">
Esther Kokmeijer has put the text of the law of the sea of UNCLOS,
more specifically the section on deep sea mining that was added in
'94, on a porcelain sheet to indicate that you have to take good
care of it. Porcelain is strong but the sheet is so fine that it
is also easy to break, which reflects the fragility of the
agreements, if you break them, it is irreversible. Agreement with
Nature Pacific seafarers developed indigenous navigational
techniques to voyage between islands relying primarily on the sun,
stars and winds. One of the least and last understood navigation
traditions comes from the Marshall Islands of Micronesia, where
navigators remotely sense land by detecting how islands disrupt
swells. The ‘navigators’ use elaborate mental representations of
space, embodied knowledge of the ocean and voyaging strategies.
Basically they could ‘read’ the waves. This knowledge was recorded
in stick charts: schematic sea charts in which sticks indicate
patterns of swell, currents and waves around the islands. The
charts were used as a tool to transfer knowledge, and not
necessarily as an orientation tool at sea because wave navigators
rely on their senses for orientation.
</p>
</div>
<div class="item item--contribution item--reference">
<div class="item--image-wrapper">
<img
class="item--image"
src="contributions/StijnDemeulenaere_01.png"
alt="StijnDemeulenaere"
/>
</div>
<p class="item--description">
Stijn Demeulenaere described his search for underwater sound in
the North Sea and the confrontation with the increasing noise
pollution. He used audio samples and noise maps. Stijn
Demeulenaere made underwater sound recordings at the southern and
northern borders of the North Sea: first along the coast of
Belgium, from Grevelingen, over the Western Scheldt, Zeebrugge and
Ostend, right up to Dunkirk. Then Stijn travelled to Norway to
make more recordings in the waters around Bergen. In our North
Sea, under water, sight is limited, often just a few meters. At
most it is about 30 meters. Sound however travels much much
further under water. For this reason it is central to a lot of the
marine life, for communication, navigation, foraging and mating. A
true sonic world, a language that is mysterious to us, and often
beyond comprehension. However, The North Sea is one of the busiest
in the world, almost every inch of it knows some form of human
occupation. And therefore the North Sea is also one of the loudest
in the world, human sounds blanketing the whole sea floor. Noise
from the countless ships, but also drilling, oilrigs, the
construction of wind farms, fishing, and fish farms. At the moment
researchers are trying to figure out what a normal baseline for
background noise could be, and how it might affect wildlife. Some
of the research is done with the aim of trying to regulate, and
subdue, the human noise in our waters.
</p>
</div>
<div class="item item--contribution item--reference">
<div class="item--image-wrapper">
<img
class="item--image"
src="contributions/MarialenaMarouda_01.png"
alt="MarialenMarouda"
/>
</div>
<p class="item--description">
During her presentation for ASftS Marialena Marouda introduced the
work of the Oceanographies Institute, by talking about its
history, it‘s main practices, it‘s collaborators and modes of
working. After storytelling, she sang some of TOI‘s Ocean
Conversations and Demonstrations with the help of TOI‘s collection
of sounding objects. TOI collects and reenacts people’s personal
stories about their encounters with the ocean. Where scientific
researchers use microscopes and petri dishes, TOI uses microphones
and the sound of the voice, or the sound of objects –a pencil, as
it draws the sign of infinity, for example– as a means to study
human-ocean kinships.
</p>
</div>
<div class="item item--contribution item--reference">
<div class="item--image-wrapper">
<img
class="item--image"
src="contributions/TheunKarelse_01.png"
alt="TheunKarelse"
/>
</div>
<p class="item--description">
“Before the emergence of literacy, oral cultures were consolidated
without written text, but through avast array of cultural forms.
Song and ritual certainly, but to me the most interesting are ways
of ‘storing’ knowledge directly into the environment. We lived
like this for tens of thousands of years, which has been almost
entirely forgotten, and there are no terms to describe these
practices, but we may still be wired for it. By linking stories
and characters to features in the landscape, thinking becomes
spatial. I’m no longer just walking to the supermarket, but
through the evolutionary history of humanity, because that is what
I’ve stored throughout that street. Literacy has a big
disadvantage. When I walk past my bookshelf, nothing really
happens. The ideas are inactively stored on pages, but when
knowledge is surrounding you spatially it forms an active
structure. For example, when I walk past the café that represents
the 1950s in my ‘timeline’, the green sides of the billiard-table
signify the Delta plan. And it is there always! Every time I walk
there I see the Delta works and the 1953 floods that triggered it.
And I see them in the context of the 20 th century and beyond (the
rest of the street) back to the early natural historians of
Zeeland who reside centuries back along the street. Some of my
mental world is now structured externally. And active in a way my
bookshelf isn’t. After hardly a year of low-key practice my world
has gained an entire extra layer of liveliness and guidance.
Slowly I’m starting to get it. How the land (and the sea) can
speak. “
</p>
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