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  <body>
    <header>
      <div id="nav--titles">
        <h1 id="nav--titles-repulse">Re-Pulse</h1>
        <h1 id="nav--titles-asfts">A Seat for the Sea</h1>
      </div>
      <ul id="nav--buttons">
        <li class="selected">
          <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>
    </header>

    <aside>
      <ul>
        <li  class="selected"><a href="">Station #1</a></li>
        <li><a href="">Station #2</a></li>
        <li><a href="">Station #3</a></li>
        <li><a href="">Station #4</a></li>
        <li><a href="">Station #5</a></li>
        <li><a href="">Station #6</a></li>
        <li><a href="">Station #7</a></li>
      </ul>
    </aside>

    <div id="container">
      <div class="item item--page--title">
        <h1 id="page--title">Station #1</h1>
        <h2 id="page--date">10 Feb 2022</h2>
        <h3 id="page--subtitle">
          <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>
      </div>

        <div class="item item--pad">
          <div class="item--text">
            <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 class="item--text"> -->
            <p>
              For this first public moment of ASftS,
              <a class="internal--link--voice" href="">Greet Brauwers</a> and 
              <a class="internal--link--voice"  href="">Raf Custers</a> invite the following artists to share
              their practices and their views :
            </p>
            <ul>
              <li>
                <a class="internal--link--voice" href="">Marialena Marouda</a> works in the intersections
                between performance and sound art. She is the initiator of The
                Oceanographies Institute.
              </li>
              <li>
                <a class="internal--link--voice"  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 class="internal--link--voice" 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 class="internal--link--voice" 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 class="internal--link--voice" 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 class="item item--video">
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          <iframe
            src="https://player.vimeo.com/video/682254315?h=fc84ce004f&title=0&byline=0&portrait=0"
            style="
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        <div class="item voice">
          <div class="item--image--container voice-image">
            <div class="item--title">
                <p>Voice</p>
            </div>
            <img
              class="item--image"
              src="voices/AnnaLuyten.png"
              alt="AnnaLuyten"
            />
          </div>
          <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">
            <div class="item--title">
                <p>Voice</p>
            </div>
            <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">
            <div class="item--title">
                <p>Voice</p>
            </div>
            <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> -->
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        <div class="item voice">
          <div class="item--image--container voice-image">
            <div class="item--title">
                <p>Voice</p>
            </div>
            <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">
          <div class="item--image--container voice-image">
            <div class="item--title">
                <p>Voice</p>
            </div>
            <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>

        <div class="item contribution">
          <div class="item--image--container contribution-image">
            <div class="item--title">
                <p>Contribution</p>
            </div>
            <img
              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> -->
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        <div class="item contribution">
          <div class="item--image--container contribution-image">
            <div class="item--title">
                <p>Contribution</p>
            </div>
            <img
              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> -->
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        <div class="item contribution">
          <div class="item--image--container contribution-image">
            <div class="item--title">
                <p>Contribution</p>
            </div>
            <img
              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">
            <div class="item--title">
                <p>Contribution</p>
            </div>
            <img
              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> -->
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