Hello world!

1 (78)This blog will chart the journeys of participants to the Environmental Art Festival Scotland, Morton Castle, 29th and 30th of August 2015.

It is interactive and a documentation experiment aiming to engage, encourage and inspire the individual to chart their expectations, experiences, and thoughts – the hidden narratives – on the journey to the Festival.

You are invited to share your thoughts on 3 Questions. The first one is at the end of this post. The second will be posed during the Festival and the third after the event.

Map your journey in a journey diary. This can be in any media you like, hard copy, electronically, photography, drawing, collecting, sticking, pasting, singing, writing, dancing…

What you want to capture in your journey diary is up to you: coordinates, routes, pictures of street signs, the weather, encounters, surprises, people, challenges, conversations, environments, conditions, temperature, what ever you feel is worth while recording in words, writing, shape, form, sound, smell (?), taste or image.

You can share your diary here or keep it all to yourself.

Bare with me in curating this, it is a first and ambitious project. But in the context of our contemporary World, the pilgrimage to Nature and Art is also an expression of the search of values other than materialistic or financial in recognition of our humanity and the challenges we face.

I want to capture the dynamics, conditions, and environment of this event and encourage participants to contribute to the future narratives of how, what and why we value Art outside the Art market, museum collections and gallery spaces.

This documentation itself is a journey into the unknown, I do not know what it may reveal, or where it’ll lead to.

My only expectations of this endeavor are a lot of inspiration and busy occasionally frentic documentation, recording and thinking.

And here is the first Question:

1. What are your expectations of your destination?

4 thoughts on “Hello world!

  1. …and James’ thought:
    ” I have a strange habit of visualising or conceptualising what everything will look like and how events will unfold in advance which is ridiculous because the reality is usually the exact opposite of my expectations. I also get confused between expectations and what’s desirable. However I would expect that I will be able to achieve at least 50% of my objectives which will involve encouraging (or coercing!) people to participate in various sonic investigations in the environment around Morton castle. I would expect that there will be much fruitful discussion during and after the investigations and that new collaborations and connections might emerge from these. I would expect as well to do a lot of learning myself from the approaches of the other artists and the visitors. Finally I would expect that it will rain.”


  2. Here is another thought from Morag:
    “Rolling fields, water, landscape, walkings, explorings, restings, gatherings, experiences, learning, sharing, shifting consciousness, awakenings, awareness, meditations, wisdoms, food, fire.”


  3. I hope my destination at EAFS will be something that will completely surprise me…..everything on the EAFS journey has surprised me so far. If we are serious about moving away from the way we do things currently in the world – then I figure we need to let in the possibility of things we have never thought before.


  4. Hi Stephanie,

    Thank you for your thought provoking question, and also your interest. I love your attention to process.

    Our project Flux Chamber is about processes in landscape that can otherwise be overlooked.

    This is just a first response – my ideas are growing with the project. David Borthwick and Susan Waldron have their own starting points and destinations of course. We are working together to take Flux Chamber to EAFS. The project title includes the idea of considering change, collaboratively.

    EAFS is a step on a path, not a destination exactly. It will be a great weekend and that is an end in itself of course.

    This is a chance to work with the idea of carbon landscapes – the movement of carbon from one reservoir to another, about exchange and changed state.

    Morton Castle as a site is a familiar kind of landscape to me (it is similar to where I live in the Borders) but I want to understand it differently. So my destination, if you like, is learning to see carbon landscapes by exchange, through company, and to think what changes these insights brings in how I relate to the landscape.

    It is hard to cope with understanding of what changes in CO2 in the atmosphere means, to life. It’s tempting to ignore it. It is in the same category as ideas like mass extinction, or ocean plastic pollution – these are all too big for an individual to grasp and work with, in the here and now. I want to try to come to terms with the information reliable science is producing, and to find company to think how to respond.

    One of the things Susan points out is that while the carbon cycle constantly occurs, we do not have a cultural awareness of where carbon gain, loss or recycling is occurring. So an aim is foregrounding the part rivers play in releasing carbon to the air – and making this awareness become part of the experience of walking through land.

    Of course, the interesting thing is not so much the numbers generated about how much CO2 is released by the scientific instrument (a Flux Chamber) – but what this means, what it helps show about localities, and how this links to what is happening in other places.

    I dislike versions of a future where humans appear lonely – outwith the tangle of other life which has shaped our cultures, languages, even the evolution of our own bodies. I don’t want to reach towards such a future. Developing a biocentric approach means changing viewpoints, and that means pushing ways of finding how art contributes to wider culture. That sounds a bit of a grandiose statement, I’m just trying to say what I want to be part of, and why EAFS is attractive to me.

    As an environmental artist, I am trained to think up new patterns of working and new contexts to respond to – but still I am inclined to cling too much to a plan, once I have made it. Working alongside someone who is skilled in dance improvisation practice, Claire Pençak, helps keep flexible and be less concerned about the destination.

    Working across art-forms, talking to people with different expertise and specialist knowledge about environment – this is all worth travelling far for!


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