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2018

Entangled in the Mesh

1572953867.DSC_3367_1-2
Ås, Norge

Sub-collection

Anthropocene

Sub-collection · 5 items

Norway

Collection · 11 items

Related

Sound walk

New Year’s Day walk

This post documents a walk through the forested center of Karmøy island in Skudeneshavn, Norway, on New Year’s Day 2021, featuring text, photos, drawings, and film. The content is part of the Walking the Land project, inspired by prompt words from Scottish artist and poet Thomas A Clark.

Janette Kerr
Walking piece

This whole world is wild at heart and weird on top (2 tracks)

This project comprises two self-performative sound-walks designed for shopping centers in Luxembourg, specifically Belle Étoile and Auchan, exploring the over-affirmative misuse of commercial spaces. Adaptable versions of these headphone-based pieces have also been created for shopping centers in Bergen, Brussels, Maastricht, and Kortrijk.

David Helbich
Sub-collection

Anthropocene

Sub-collection · 5 items

Norway

Collection · 11 items

Related

Sound walk

New Year’s Day walk

This post documents a walk through the forested center of Karmøy island in Skudeneshavn, Norway, on New Year’s Day 2021, featuring text, photos, drawings, and film. The content is part of the Walking the Land project, inspired by prompt words from Scottish artist and poet Thomas A Clark.

Janette Kerr
Walking piece

This whole world is wild at heart and weird on top (2 tracks)

This project comprises two self-performative sound-walks designed for shopping centers in Luxembourg, specifically Belle Étoile and Auchan, exploring the over-affirmative misuse of commercial spaces. Adaptable versions of these headphone-based pieces have also been created for shopping centers in Bergen, Brussels, Maastricht, and Kortrijk.

David Helbich
Sound walk
Entangled in the Mesh is a geolocative soundwalk at Campus Ås, Norway, featuring deadwood sculptures and multiple layered soundscapes accessible via the Locosonic app or loaned devices. The project explores interconnected ecological networks and non-human perspectives through sonic landscapes, durational sculptures, and multisensory experiences reflecting geological time scales and speculative futures.

Entangled in the Mesh is a geolocative soundwalk through Campus Ås, Norway and beyond. Accompanied by deadwood sculptures placed around the Campus Park of the University of Life Sciences at Ås.

How to experience the work:

Download Locosonic app for free
Put on GPS on your smartphone
Be present at Campus Ås
select all soundscapes
Search for Entangled in the Mesh
Download Walk
Put on your headphones
Start tour and go explore!
If you don´t have a smartphone you can borrow an Ipad at Vitenparken Campus Ås Cafe. You can also borrow headphones there.

“mesh; a word for ‘the interconnectedness of all living and non-living things’ can mean the holes in a network and threading between them. It suggests both hardness and delicacy. It has antecedents in mask and mass, suggesting both density and deception. Who or what is interconnected with what or with whom? The mesh is vast, perhaps immeasurably so. Nothing exists all by itself, and so nothing is fully “itself.”
Our encounter with other beings becomes profound. They are strange, even intrinsically strange. The ecological thought imagines a multitude of entangled strange strangers.”
Timothy Morton, the Ecological Thought

Lie´s master project is based upon a network of entangled habitats woven together in multiple sound walks through the campus of the University of Life Sciences (NMBU) at Ås. The work is presented in collaboration with Vitenparken Campus Ås.

Working with sonic landscapes and ecosystems that are not always easy to access, both physically and aurally, Lie reveals the complexity and strangeness of a world often unseen and unheard. Through listening and sensorial experiences, she intertwines phenomena from the beginning of life, the current geological era proposed as the Anthropocene (“the human scene”) and speculative futures, exploring different time scales (geological, primordial, seasons, day and night). Her walks aim to skew the human-centred perspective and focus on the non-human stories we share our spaces with.
Another durational project coexists with the sound-walk: an ecovention of deadwood placed around campus. These natural sculptures will rot and live on through other forms of life, on a timescale stretching far beyond the artist’s. They represent an invitation for dwelling of and with the other.

Lie is inspired by the mycelium network of the mushroom as a tentacular organism, able to make diverse and flourishing worlds. The mycelium is in everything we touch, see and breath, yet often goes unnoticed. This enigmatic and mysterious ancient being has made life on earth possible and still does, in a way that reaches far beyond our scopes. Perhaps we can find answers in the ancient Mycelium´s collaborations and metamorphosis to make liveable and newfangled futures for the dark and odd habitat we have created.

Entangled

CC-BY-NC: Babak Fakhamzadeh

Credits

Hosted by: Vitenparken Campus Ås

APA style reference

Brunborg Lie, A. (2018). Entangled in the Mesh. walk · listen · create. https://walklistencreate.org/walkingpiece/entangled-in-the-mesh/

pedestrian acts

By de Certeau: In “Walking in the City”, de Certeau conceives pedestrianism as a practice that is performed in the public space, whose architecture and behavioural habits substantially determine the way we walk. For de Certeau, the spatial order “organises an ensemble of possibilities (e.g. by a place in which one can move) and interdictions (e.g. by a wall that prevents one from going further)” and the walker “actualises some of these possibilities” by performing within its rules and limitations. “In that way,” says de Certeau, “he makes them exist as well as emerge.” Thus, pedestrians, as they walk conforming to the possibilities that are brought about by the spatial order of the city, constantly repeat and re-produce that spatial order, in a way ensuring its continuity. But, a pedestrian could also invent other possibilities. According to de Certeau, “the crossing, drifting away, or improvisation of walking privilege, transform or abandon spatial elements.” Hence, the pedestrians could, to a certain extent, elude the discipline of the spatial order of the city. Instead of repeating and re-producing the possibilities that are allowed, they can deviate, digress, drift away, depart, contravene, disrupt, subvert, or resist them. These acts, as he calls them, are pedestrian acts.

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