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<h1>RePulse</h1>
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<h2>A Seat for the Sea</h2>
<p>
A Seat for the Sea is an artistic-research project coordinated by
Greet Brauwers, in duo with Raf Custers.
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<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.
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<a href="mailto:info@aseatforthesea.com">info@aseatforthesea.com</a>
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<ul id="nav--buttons">
<li class="nav--button"><h2>Stations</h2></li>
<li class="nav--button"><h2>Voices</h2></li>
<li class="nav--button"><h2>Reflections</h2></li>
<li class="nav--button"><h2>Gallery</h2></li>
<li class="nav--button"><h2>Tags</h2></li>
<li class="nav--button"><h2>About</h2></li>
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<h2>Esther Kokmeijer</h2>
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<p>
<em>Esther Kokmeijer</em> (NL),born in Dokkum, is an artist,
explorer, designer and photographer, currently residing in
Rotterdam and working around the globe. In her work as an
artist, she mainly focuses on the [[global commons]]. A term
typically used to describe international, supranational, and
global resource domains. [[global commons]] include the earth’s
shared natural resources, such as the high oceans, the
atmosphere and outer space and the Antarctic in particular.
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Recurring motifs and questions in her work are; How do myths and
sagas express and shape mankind’s relationship with nature? How
do we relate to and work with the elements and our environment?
How do they exert influence on us? What are humanity’s effects
on geological and biological processes? What can we learn from
indigenous knowledge systems, can it deepen or induce a more
sustainable relationship to our natural environment, and will it
bring more solidarity with the landscape?
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<p>
Seasonally she works as an expedition photographer and polar
guide, in the Arctic and Antarctic. She is the founder of
<a href="https://www.antarktikos.com/">ANTARKTIKOS</a>, a
magazine that is solely dedicated to Antarctica, co founder of
Cosmic Water Foundation and part of the art collective If
Paradise Is Half As Nice.
</p>
<a href="http://www.estherkokmeijer.nl/">MORE</a>
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<h3>Tags</h3>
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<a href="">Global Commons</a>
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<h2>Contributions</h2>
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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.
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<a class="item--expansion" href="">...Read More</a>
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<h2>Stations</h2>
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Can we collectively represent what is still unthinkable, namely
“how does the sea raise its voice”?
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<a class="item--expansion" href="">...Read More</a>
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<h2>Shared Space</h2>
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