Download raw (18.1 KB)
<!DOCTYPE html>
<html lang="en">
<head>
<meta charset="UTF-8" />
<meta http-equiv="X-UA-Compatible" content="IE=edge" />
<meta name="viewport" content="width=device-width, initial-scale=1.0" />
<title>Document</title>
<link rel="preconnect" href="https://fonts.googleapis.com" />
<link rel="preconnect" href="https://fonts.gstatic.com" crossorigin />
<link
href="https://fonts.googleapis.com/css2?family=Inter:wght@100;200;300;400;500;600;700;800;900&display=swap"
rel="stylesheet"
/>
<link rel="stylesheet" href="style.topNav.v4.css" />
<script src="script.js"></script>
</head>
<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">
<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"
style="
position: absolute;
top: 0;
left: 0;
width: 100%;
height: 100%;
"
frameborder="0"
allow="autoplay; fullscreen; picture-in-picture"
allowfullscreen
></iframe>
</div>
<script src="https://player.vimeo.com/api/player.js"></script>
</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/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> -->
</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/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> -->
</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/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> -->
</div>
<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> -->
</div>
<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> -->
</div>
</div>
<svg>
<filter id="titleNoise">
<feTurbulence
numOctaves="5"
baseFrequency="0.0050"
id="feTurbulence2360"
type="fractalNoise"
/>
<feDisplacementMap
yChannelSelector="A"
xChannelSelector="A"
scale="40"
in="SourceGraphic"
in2="feTurbulence2360"
id="feDisplacementMap2364"
numOctaves="5"
/>
</filter>
<animate
xlink:href="#feTurbulence2360"
attributeName="baseFrequency"
dur="30s"
keyTimes="0;0.5;1"
values="0.005 0.006;0.01 0.01;0.005 0.006"
repeatCount="indefinite"
/>
</svg>
</body>
</html>