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    <nav>
      <div id="nav--titles">
        <h1 id="nav--titles-repulse">RePulse</h1>
        <h1 id="nav--titles-asfts">A Seat for the Sea</h1>
      </div>
      <ul id="nav--buttons">
        <li>
          <a href=""> Stations </a>
        </li>
        <li>
          <a href=""> Voices </a>
        </li>
        <li>
          <a href=""> Reflections </a>
        </li>
        <li>
          <a href=""> Gallery </a>
        </li>
        <li>
          <a href=""> Tags </a>
        </li>
        <li>
          <a href=""> About </a>
        </li>
      </ul>
    </nav>
    <aside>
      <ul>
        <li>Station #1</li>
        <li>Station #2</li>
        <li>Station #3</li>
        <li>Station #4</li>
        <li>Station #5</li>
        <li>Station #6</li>
        <li>Station #7</li>
      </ul>
    </aside>
    <div id="container">
      <div class="page--title">
        <h1 style="margin: 0">Station #1</h1>
        <h2 style="margin: 0">10 Feb 2022</h2>
        <h3 style="padding-left: 20px; width: 45ch; font-weight: 500">
          <em>
              Can we collectively represent what is still unthinkable, namely “how
              does the sea raise its voice”?
          </em>
          <br />
          Gesticulated Conference at <a href="">Framer Framed</a>, Amsterdam
        </h3>
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              <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>
                The event was also streamed :
                <a href="https://www.youtube.com/watch?v=A2V4dtkZcgs"
                  >https://www.youtube.com/watch?v=A2V4dtkZcgs</a
                >
              </p>
            </div>
          <!-- </div>

          <div class="item item--text"> -->
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            <p>
              For this first public moment of ASftS,
              <a href="">Greet Brauwers</a> and
              <a href=""> Raf Custers </a> invite the following artists to share
              their practices and their views :
            </p>
            <ul>
              <li>
                <a href="">Marialena Marouda</a> works in the intersections
                between performance and sound art. She is the initiator of The
                Oceanographies Institute.
              </li>
              <li>
                <a href="">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="">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="">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="">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>
        </div>
      </div>
      <div class="section">
        <div style="padding: 56.25% 0 0 0; position: relative">
          <iframe
            src="https://player.vimeo.com/video/682254315?h=fc84ce004f&title=0&byline=0&portrait=0"
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        <script src="https://player.vimeo.com/api/player.js"></script>
      </div>
      <div class="section voice">
        <div class="section--title">
          <h2>Voices</h2>
        </div>
        <div class="item-container">
          <div class="item voice">
            <div class="item--image--container voice-image">
              <img
                class="item--image"
                src="voices/AnnaLuyten.png"
                alt="AnnaLuyten"
              />
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            <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>
            <a class="item--expansion" href="">...Read More</a>
          </div>
          <div class="item voice">
            <div class="item--image--container voice-image">
              <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>
            <a class="item--expansion" href="">...Read More</a>
          </div>
          <div class="item voice">
            <div class="item--image--container voice-image">
              <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>
            <a class="item--expansion" href="">...Read More</a>
          </div>
          <div class="item voice">
            <div class="item--image--container voice-image">
              <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>
            <a class="item--expansion" href="">...Read More</a>
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          <div class="item voice">
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              <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>
            <a class="item--expansion" href="">...Read More</a>
          </div>
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      <div class="section contribution">
        <div class="section--title">
          <h2>Contributions</h2>
        </div>
        <div class="item-container">
          <div class="item contribution">
            <div class="item--image--container contribution-image">
              <img
                class="item--gallery"
                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>
            <a class="item--expansion" href="">...Read More</a>
          </div>
          <div class="item contribution">
            <div class="item--image--container contribution-image">
              <img
                class="item--gallery"
                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>
            <a class="item--expansion" href="">...Read More</a>
          </div>
          <div class="item contribution">
            <div class="item--image--container contribution-image">
              <img
                class="item--gallery"
                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>
            <a class="item--expansion" href="">...Read More</a>
          </div>
          <div class="item contribution">
            <div class="item--image--container contribution-image">
              <img
                class="item--gallery"
                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>
            <a class="item--expansion" href="">...Read More</a>
          </div>
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