THE WITNESS

 

CONTEXT

SONIC MATTER a new festival for contemporary and experimental music making will take over

the city of Zurich, starting 2021 (first edition from December 2-5, 2021). While championing the local music scene, the vision of curatorial team formed by Katharina Rosenberger, Lisa Nolte 

and Julie Beauvais spans across disciplines and continents and beyond a four-day festival only. 

SONIC MATTER is also a forum that continuously deals with time-critical topics and aims to create

a curious and committed audience through artistic as well as participatory processes. Each edition of SONIC MATTER festival is linked to the next by a year-long transterritorial and transdisciplinary laboratory, a platform for innovative convergences of sonic explorations, scientific researches and environmental studies: SONIC MATTER_openlab: THE WITNESS, led by Julie Beauvais. 

ABSTRACT

During its first three-year phase (2020-2023), THE WITNESS explores new perspectives

on international cooperation for sustainable development in a context of emerging challenges

and shifting paradigms in a more complex and multipolar world.

The approach tuned to 'multispecies becoming with' combines deep listening practices, sound art, 

vocalities, music, conscious movement and scientific researches. Biologies and arts tie together humans and more-than-human ecologies, evolution, development, history, spiritualities, affects, performances, technologies, and more. Researchers supported by local cultural and educational institutions, exchange observations with each other and with SONIC MATTER, conduct biocentric experiments and workshops and develop sound based studies. 

 

LOCAL & GLOBAL PROCESS-BASED WORK

Each year, THE WITNESS unites artists, scientists and local communities through common sound, anthropologic, environmental, sociologic, site-specific researches in several parts of the world:    

- THE WITNESS in 2021: South America + North America + Switzerland

- THE WITNESS in 2022: Africa + India + Switzerland

- THE WITNESS in 2023: Arabic region + Russia + China + Switzerland

In three parts of the world and throughout a year, groups of researchers coordinate their simultaneous studies, share their observations and facilitate the dialogue between the variety 

of sentient beings present in the field. Pauline Oliveros's 1989 composition The Witness which consists of three open strategies for listening, attuning and responding to the natural environment and to one another is the protocol guiding and organizing the researches.

SHARING THE LAB WITH A LARGER AUDIENCE

Work processes and observations are shared with a larger audience through SONIC MATTER

multimedia platform (talks, radio features, video conferences).

Closing every year long openlab, installations, sonic experiments, talks and the publication

of a catalogue are shared with the audiences of SONIC MATTER 4-day festival in Zürich. 

An annual guest festival, networked with THE WITNESS and SONIC MATTER, further promotes

the exchange. 

CAN ALL LIVING BEINGS CONTINUE TO INHABIT THE EARTH TOGETHER?

SONIC MATTER_openlab rooted in Zürich, reaching out worldwide, aims to what is maybe more needed in our troubled times: discover and listen to the world’s changing messages and pass

them along to others in order to facilitate the dialogue between the variety of sentient beings. 

What results in THE WITNESS is a new - and also ancient - kind of virtuosity, one grounded

in attention and an unsolipsistic relationship to another’s sonic and energetic reality.

Groups of musicians, sound artists and researchers move beyond an unquestioningly anthropocentric way of thinking. 

In each location where THE WITNESS occurs more-than-humans, artists, scientists and indigenous historians engage in a science art activist worlding committed to partial healing, modest rehabilitation, and still possible resurgence in the hard times of the imperial Anthropocene

and Capitalocene. 

*Read the announcement of a new festival by the city of Zurich

*SONIC MATTER_openlab is inspired and nourrished by the works of, amongst others: Pauline OliverosEduardo Kohn, Donna Haraway

Anna Tsing, Elaine GanEduardo Viveiros de Castro, Baptiste Morizot, Robin Wall Kimmerer

*Find more references and quotes Here + 

*Read the composition The Witness by Pauline Oliveros

*Read about the first test labs of THE WITNESS in Bangalore and Moscow in 2019/20 Here +

DEEP LISTENING IS LISTENING IN EVERY POSSIBLE WAY

TO EVERYTHING POSSIBLE TO HEAR NO MATTER WHAT

YOU ARE DOING. SUCH INTENSE LISTENING INCLUDES

THE SOUNDS OF DAILY LIFE, OF NATURE, OR ONE'S OWN THOUGHTS AS WELL AS MUSICAL SOUNDS.

DEEP LISTENING REPRESENTS A HEIGHTENED STATE

OF AWARENESS AND CONNECTS TO ALL THAT THERE IS.

AS A COMPOSER I MAKE MY MUSIC THROUGH DEEP LISTENING.

 
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THE WITNESS  

SONIC MATTER_openlab 2021-2022-2023

Research focus

Multispecies open laboratory, site-specific experiments with humans and more-than-humans combining deep listening practices, sound art, 

conscious movement and scientific researches in South America, North America, Africa, India, the Arabic region, Russia, China, Switzerland

Duration

01.01.2021 - 31.12.2023

Production 

SONIC MATTER festival, Zürich

Expected support and partners

Swiss Arts Council Pro HelvetiaSwissnexArtlinkMigros Kulturprozent m2act

Local partners / institutions

 

2021

Sapara Nation of Amazonian Ecuador

Labverde Manaus, Brasil

Sonandes, Bolivia

Harvard University/Department of Music, USA

Pnea Foundation, USA

Mount Tremper Arts, USA

The Ministry of Maat, USA

The Deep Listening Foundation community, USA

Renssaler Polytechnic Institute, USA

Black Mountain College - Museum and Arts center, USA

Portland State University - departments of music & theater, school of art & design, environmental science, forestry management, Institute for Tribal Government, USA

Mill City - Santiam Hearts to Arts & Santiam Canyon Community Chorus, USA

Confederated Tribes of Grand Ronde & Chachalu Museum & Cultural Center, USA

Oregon Historical Society, USA

Forest Service - Pacific Northwest branch/ Oregon Department of Forestry, USA

McGill University, Canada

Concordia University, Matralab, Canada

Institute for Computer Music and Sound Technology - ICST, ZHdK, Switzerland

+ Novas Frequências, Brasil (SONIC MATTER 2021 guest festival)

2022

TBD, South Africa

TBD, Central Africa

TBD, South India

TBD, North India

Institute for Computer Music and Sound Technology - ICST, ZHdK, Switzerland

+ Nyege Nyege Festivall (SONIC MATTER 2022 guest festival)

2023

TBD, Egypt

TBD, Lebanon

TBD, Russia

TBD, China

Institute for Computer Music and Sound Technology - ICST, ZHdK, Switzerland

+ Irtijal Festival (SONIC MATTER 2023 guest festival)

THE ANTHROPOCENE MARKS SEVERE DISCONTINUITIES;

WHAT COMES AFTER WILL NOT BE LIKE WHAT CAME BEFORE.

I THINK OUR JOB IS TO MAKE THE ANTHROPOCENE

AS SHORT/THIN AS POSSIBLE AND TO CULTIVATE WITH

EACH OTHER IN EVERY WAY IMAGINABLE EPOCHS TO COME THAT CAN REPLENISH REFUGE. 

 

 

INTENTIONS

  1. Open a space for a biocentric experiments and enter into dialogue with one’s environment through the use of listening strategies - thinking of the strategies less as musical methodologies as more as invitations to develop a kind of virtuosic musical attunement to one’s human and non-human environment, with no distinction between the two.

  2. Encourage collective intelligence and transdisciplinarity by creating transnational teams of artists, local inhabitants, researchers, scientists focusing simultaneously on studying the invisible structures, dynamics and interdependencies present in the field and making them perceptible. Balanced exchanges and mutual opportunities (learning from the knowledge / skills of others) are the core dynamics of THE WITNESS.

  3. Observe transformations, mutations, degradations, preservation, restoration due to or in reaction to the anthropocene. 

  4. Nourish the diplomacy of interdependencies, the subtle multi-species dialogue where humans and nonhumans are equally heard. Start a conscious exchange, where humans and all other species in presence are part of a system of cooperation. 

  5. Document conscious exchanges through texts, interviews, photos, video documents, drawings, recordings...

  6. Share discoveries and observations with a much larger crowd during and after the laboratories via a multimedia platform and via the publication of a catalogue, installations, sonic experiments, concerts or performances during SONIC MATTER 4-day festival.

  7. Become bridge builders between places and different knowledge bases and different communities, different people. With more bridges, we’ll be better able to surface the collective knowledge and wisdom to be able to all participate in creating the solutions that we’re going to need at local level. 

STEPS AND CALENDAR

COORDINATION

September to December 2020

- Consultation and coordination with the partners : SONIC MATTER curatorial team, Pro Helvetia's liaison offices, guest festival, institutions and partners

- Encounters with already existing teams of science-art-activism researchers in Switzerland, North America, South America together with Pro Helvetia's antennas and annual guest festival 

- Selection of the local documentation teams : video artists, photographers, illustrators, writers and translators

- Formation of the openlab teams

- Localisation of the site-specific researches

- Precision of the contact zones (common themes of researches) 

- Planning of the year-long research, the 3 weeks focus on each lab and the monthly online labs meetings open to anyone and everyone

- Organisation of the platform of communication between the labs and of the documentation and sharing of the process 

ELABORATION

January to March 2021

- Launch SONIC MATTER festival and multimedia online platform

- Launch THE WITNESS simultaneously with all participants and partner institutions in Switzerland, South America and North America

- Start THE WITNESS in three locations simultaneously

- Organise in each location the work plan of the groups made of artists, scientists, local communities and researchers

- Select and organize the methodology and listening strategies specific to each location

- Inventory the invisible structures and interdependencies present in the fields

- Document the process and share with the other research groups and a larger audience through monthly encounters / discussions / material sharing via SONIC MATTER multimedia online platform

SITE SPECIFIC RESEARCHES

April to September 2021 

- April : focus on laboratory 1 in Bolivia

- May : focus on laboratory 2 in Ecuador

- June : focus on laboratory 3 in USA

- July : focus on laboratory 4 in Canada

- August : focus on laboratory 5 in Switzerland and Brasil

- Experiment simultaneous and coordinated researches nourishing dialogues within the ecosystems, using: listening and improvisational practices, bioacoustics, acoustic ecology, soundscape studies, bodily perception of vibration, movement and time, history, anthropology... Pauline Oliveros's 1989 composition THE WITNESS which consists of three open strategies for listening, attuning and responding to the natural environment and to one another is the main guideline inspiring and organizing the researches.

- Generate texts, compositions and multimedia material making visible / audible / perceptible, the transformations, mutations, degradations, preservation, restoration dynamics

- Share experiments and observations monthly with all head researchers (on site if researchers can travel, online if travelling is impossible) and larger audience monthly via SONIC MATTER platform

- Document the process and share with the other research groups and a larger audience through monthly encounters / discussions / material sharing via SONIC MATTER multimedia online platform

TRANSPOSITION

October to November 2021

- Develop and transpose the experiments into open talks, compositions, sonic experiments, installations or performances that could be shared with the audiences of the next SONIC MATTER 4-day festival in Zürich

- Writing, translation, editing and sharing online (links to maps, sounds, images, videos, drawings, talks, best of monthly online discussions) THE WITNESS catalogue collecting all observations, discoveries and creations made by the 5 groups of researchers throughout the year

 

SHARING WITH SONIC MATTER AUDIENCES IN ZURICH 

December 2021

- Concluding every year long research, THE WITNESS catalogue is published and distributed to all partners and participants of THE WITNESS and to SONIC MATTER audiences

- Installations, sonic experiments, talks created by the openlab teams are shared with the audiences of SONIC MATTER 4-day festival in Zürich

- The annual guest festival, networked with THE WITNESS and SONIC MATTER, further promotes the exchange

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THE WITNESS

year-long laboratory

 
 

 

 

TRANSTERRITORIAL COOPERATION

openlab map 2.jpg

2021

2022

2023

GIVEN THE CHALLENGES POSED BY LEARNING TO LIVE WITH THE PROLIFERATING ARRAY OF OTHER KINDS OF LIFEFORMS THAT INCREASINGLY SURROUND US – BE THEY PETS, WEEDS, PESTS, COMMENSALS, NEW PATHOGENS, “WILD” ANIMALS

OR TECHNOSCIENTIFIC “MUTANTS” – DEVELOPING A PRECISE WAY TO ANALIZE HOW THE HUMAN IS BOTH DISTINCT FROM

AND CONTINUOUS WITH THAT WHICH LIES BEYOND IT

IS BOTH CRUCIAL AND TIMELY.

 

RESEARCH & DOCUMENTATION TEAMS + ANNUAL GUEST FESTIVAL

THE WITNESS

2021 / TURN

SITE SPECIFIC RESEARCHES 

Specific sites are selected by the local head researchers participating to the project. Each head researcher suggests a site of research

such as an art immersion program, an artistic

or scientist residency program that would be partnering up with THE WITNESS and welcoming a team of researchers for one month.

1. Sonandes, Bolivia in April

2. Sapara Nation of Amazonian Ecuador in May

3. Burned forests in west coast and Mount Tremper Arts, USA in June

4. MatralabCanada in July

5. Labverde, Brasil in August

RESEARCHERS

Head researchers and local artists / scientists / indigenous historian collaborate throughout the year long laboratory. Other head researchers visit during the site specific month of research

in focus. 

1. Guely Morató

Curator, cultural manager and researcher. She has a degree in Social Communication Sciences, specializing in Cultural Studies in Bolivia

+ Vicrot Mazón

+ Julio Weiss

+ Cecilia Campos

+ Colchani Mining Families

+ Yatiri - Amauta

2. Eduardo Kohn

Ecuadorian anthropoligist, professor of anthropology at Mc Gill University Montreal, 

best known for the book, How Forests Think and working with the Runa in the Upper Amazon, Ecuador

Manari Ushigua

Fabiano Kueva

Lisa Stevenson

Setrag Manoukian

Diana Allan

Samuele Collu

3. Claire Chase

American flutist, soloist, collaborative artist,

and cultural activist, founder of International Contemporary Ensemble New York, Professor

at Harvard University, USA

Lisa E. Harris

Miya Masaoka

Hawk Henries of the Nipmuk people

4. Caroline Miller

Composer, artist and professor at Portland State University, USA

Alarm Will Sound

Stefani Byrd

5. Sandeep Bhagwati 

Born in Bombay in 1963, composer, poet, multimedia artist, festival director, publicist, 

researcher and professor at Concordia University, Canada

Deborah Carruthers

Charles-Antoine Frechette

Terri Hron

Jen Reimer 

Matthias Fritsch

Ricardo dal Farra

6. Marcus Maeder 

Studied Fine Arts at the University of Applied Currently working on his PhD thesis in Environmental Systems Science at ETH Zurich, Switzerland

Yara Costa

Lilian Fraiji

David Montenegro Lapola

Beto Quesada

Anja Ramming

Ken Gubler

+ Chico Dub

 

GUIDES

Julie Beauvais

Swiss artist, co-curator and 

co-director of SONIC MATTER festival, coordinator of THE WITNESS

Claire Chase

American flutist, soloist, collaborative artist,

and cultural activist, founder of International Contemporary Ensemble New York, Professor

at Harvard University

DOCUMENTATION 

A local photographer / video artist / illustrator / 

writer joins each team of researchers to document the on site laboratory weeks.

They are chosen by the local head researcher. 

Photos, drawings, texts, recordings, videos, 

interviews (all translated in languages of researches and local inhabitants involved in the researches) are shared online via SONIC 

MATTER multimedia platform each month and are part of the catalogue published and shared online during SONIC MATTER festival in Zürich. 

 

TBD, Equador

TBD, USA

TBD, Brasil

TBD,, Bolivia

TBD, Canada

TBD, Switzerland

Alexa Gruber, Swiss translator (French, German, English, Spanish) based in Mexico

GUEST FESTIVAL AT SONIC MATTER FESTIVAL IN ZURICH, DEC. 2021

Festival Novas Frequências, Brasil

THE WITNESS

2022 / RISE

SITE SPECIFIC RESEARCHES 

Specific sites are selected by the local head researchers participating to the project. Each head researcher suggests a site of research

such as an art immersion program, an artistic

or scientist residency program that would be partnering up with THE WITNESS and welcoming a team of researchers for one month.

 

1. North India, TBD 

2. South India, TBD 

3. Central Africa, TBD

4. South Africa, TBD

5. Switzerland, TBD

RESEARCHERS

Head researchers and local artists / scientists / indigenous historian collaborate throughout the year long laboratory. Other head researchers visit during the site specific month of research in focus. 

1. Yashas Shetty

Indian contemporary artist, biohacker and musician, faculty member of the Srishti Institute of Art Design and Technology, works with (Art)ScienceBLR and the Indian Sonic Research Organization (ISRO) 

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2. Shabari Rao

Shabari Rao is an artist, educator and researcher. Her work is rooted in practice based research which focuses on the relationship between body, performance, and learning. She has taught and performed extensively over the last 20 years, and her work has been presented internationally through conferences, festivals, residencies and publications. 

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3. TBD

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4. TBD

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5. TBD

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6. TBD

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GUIDES

Julie Beauvais

Swiss artist, co-curator and 

co-director of SONIC MATTER festival, coordinator of THE WITNESS

Claire Chase

American flutist, soloist, collaborative artist,

and cultural activist, founder of International Contemporary Ensemble New York, Professor

at Harvard University

 

DOCUMENTATION 

A local photographer / video artist / illustrator / 

writer joins each team of researchers to document the on site laboratory weeks.

They are chosen by the local head researcher. 

Photos, drawings, texts, recordings, videos, 

interviews (all translated in languages of researches and local inhabitants involved in the researches) are shared online via SONIC 

MATTER multimedia platform each month and are part of the catalogue published and shared online during SONIC MATTER festival in Zürich.

 

TBD, North India

TBD, South India

TBDCentral Africa

TBDSouth Africa

TBDSwitzerland

TBDtranslator English, German, French

GUEST FESTIVAL AT SONIC MATTER FESTIVAL IN ZURICH, DEC. 2022

Festival Nyege Nyege, Uganda

THE WITNESS

2023 / LEAP

SITE SPECIFIC RESEARCHES 

Specific sites are selected by the local head researchers participating to the project. Each head researcher suggests a site of research

such as an art immersion program, an artistic

or scientist residency program that would be partnering up with THE WITNESS and welcoming a team of researchers for one month.

 

 

1. Russia, TBD

2. Egypt, TBD

3. Lebanon, TBD

4. China, TBD

5. Switzerland, TBD

RESEARCHERS

Head researchers and local artists / scientists / indigenous historian collaborate throughout the year long laboratory. Other head researchers visit during the site specific month of research in focus. 

1. TBD

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2. TBD

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4. TBD

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5. TBD

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6. TBD

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GUIDES

Julie Beauvais

Swiss artist, co-curator and 

co-director of SONIC MATTER festival, coordinator of THE WITNESS

Claire Chase

American flutist, soloist, collaborative artist,

and cultural activist, founder of International Contemporary Ensemble New York, Professor

at Harvard University

DOCUMENTATION 

A local photographer / video artist / illustrator / 

writer joins each team of researchers to document the on site laboratory weeks.

They are chosen by the local head researcher. 

Photos, drawings, texts, recordings, videos, 

interviews (all translated in languages of researches and local inhabitants involved in the researches) are shared online via SONIC 

MATTER multimedia platform each month and are part of the catalogue published and shared online during SONIC MATTER festival in Zürich.

 

TBDRussia

TBDEgypt

TBDLebanon

TBDChina

TBDSwitzerland

TBDtranslator English, Russian, Chinese, French, German

 

GUEST FESTIVAL AT SONIC MATTER FESTIVAL IN ZURICH, DEC. 2023

Festival Irtijal, Lebanon

HEAD RESEARCHERS

Guely Morató
Sound artist and cultural manager; founder and director of International Sound Art Biennale Sonandes
Claire Chase
Soloist, collaborative artist, curator
Harvard University
Eduardo Kohn
Anthropologist, Associate Professor
McGill University
Caroline Miller
Composer, artist,
Portland State University
Marcus Maeder
Sound artist, researcher and composer
ICST, ZHdK
Sandeep Bhagwati
Composer, multimedia artist, Professor
Concordia University
+ Novas Frêquencias (guest festival)
Chico Dub - Curator, artistic director Festival Novas Frequências (guest festival 2021)
Yashas Shetty
Contemporary artist, biohacker and musician
(Art)ScienceBLR and Sonic Research Organization (ISRO)
Shabari Rao
Dance-maker, educator and researcher
Srishti Institute of Art, Design and Technology
To be discussed with Pro Helvetia Johannesburg
To be discussed with Pro Helvetia Johannesburg
To be discussed with Pro Helvetia New Delhi
Swiss artist/scientist
Nyege Nyege, Jinja, Uganda
(guest festival 2022)
To be discussed with Pro Helvetia Moscow
To be discussed with Pro Helvetia Moscow
To be discussed with Pro Helvetia Shanghai
To be discussed with Pro Helvetia Shanghai
To be discussed with Pro Helvetia Cairo
Swiss artist/scientist
Irtijal
(guest festival 2023)
Show More
 

REFERENCES

Show More

"And it is this very disruption, the breakdown of old habits and the rebuilding of new ones, that constitutes our feeling of being alive and in the world. The world is revealed to us, not by the fact

that we come to have habits, but in the moments when, forced to abandon our old habits, we come to take up new ones."

"Comment donner la voix aux non-humains sans que celle-ci ne s’exprime à travers des humains ventriloques? " ...

"L'étude de l'usage inter-espèces des icônes et des indices offrirait ainsi un moyen d'inclure humains et non-humains à l'intérieur d'une sémites plus englobante et fournirait la pierre angulaire

d'une anthropologie 'au-delà de l'humain. "

"Etant donné les défis posés par la nécessité d'apprendre à vivre avec une variété toujours plus grande de formes de vie - qu'il s'agisse d'animaux de compagnie, de mauvaises herbes, d'animaux nuisibles, de commensaux, de nouveaux pathogènes, d'animaux 'sauvages', ou de 'mutants' technoscientifiques -, il est non seulement crucial mais aussi urgent de développer une manière précise d'analyser dans quelle mesure l'humain est tout à la fois distinct de, et en continuité avec, ce qui se trouve au-delà de lui."

_Eduardo Kohn, How Forests Think: Toward an Anthropology Beyond the Human

"Deep Listening is listening in every possible way to everything possible to hear no matter what you are  doing. Such intense listening includes the sounds of daily life, of nature, or one’s own thoughts

as well as musical sounds. Deep Listening represents a heightened state of awareness and connects to all that there is. As a composer I make my music through Deep Listening."

 

_Pauline Oliveros, Deep listening, a composer sound practice

"This book argues that, to survive, we need to relearn multiple forms of curiosity. Curiosity is an attunement to multispecies entanglement, complexity, and the shimmer all around us."

"Landscapes shimmer when they gather rhythms shared across varied forms of life. Shimmer describes the coming in and out of focus of multispecies knots, with their cascading effects.

Yolngu cosmologies inform us; juxtaposed with the stories made available from many arts and sciences, vernacular and academic, we learn the liveliness of landscapes.

Landscapes enact more-than-human rhythms. To follow these rhythms, we need new histories and descriptions, crossing the sciences and humanities."

"As artists, we conjure magical figures, weave speculative fictions, animate feral and partial connections. We necessarily stumble. And try again. With every mark, difference haunts and struggles

to appear anew. Postcolonial historian Dipesh Chakrabarty points out that consideration of humanity as a geological force troubles the distinction between natural and human history, forcing us into

a new kind of historicity. The deep time of geology, climate, and natural science is collapsing into the historical time of human technology. Anthropos has become an overwhelming force that can build

and destroy, birth and kill all others on the planet. In the new histories and politics that we must form—and as the contributions to Arts of Living on a Damaged Planet demonstrate—we must share space with the ghostly contours of a stone, the radioactivity of a fingerprint, the eggs of a horseshoe crab, a wild bat pollinator, an absent wildflower in a meadow, a lichen on a tombstone, a tomato growing in an abandoned car tire. It is these shared spaces, or what we call haunted landscapes, that relentlessly trouble the narratives of Progress, and urge us to radically imagine worlds that are possible because they are already here."

 

_Elaine Gan, Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene

"The Anthropocene marks severe discontinuities; what comes after will not be like what came before. I think our job is to make the Anthropocene as short/thin as possible and to cultivate

with each other in every way imaginable epochs to come that can replenish refuge."

"It matters what matters we use to think other matters with; it matters what stories we tell to tell other stories with; it matters what knots knot knots, what thoughts think thoughts,

what descriptions describe descriptions, what ties tie ties. It matters what stories make worlds, what worlds make stories."

"Our task is to make trouble, to stir up potent response to devastating events, as well as to settle troubled waters and rebuild quiet places."
 

_Donna J. Haraway, Staying with the Trouble: Making Kin in the Chthulucene

"Hard times are coming, when we'll be wanting the voices of writers who can see alternatives to how we live now, can see through our fear-stricken society and its obsessive technologies

to other ways of being, and even imagine real grounds for hope. We'll need writers who can remember freedom - poets, visionaries - realists of a larger reality.... We live in capitalism,

its power seems inescapable - but then so did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art."

 

_Ursula K. Le Guin, Excerpt from Ursula K Le Guin's speech at National Book Awards

"But I think we are called to go beyond cultures of gratitude, to once again become cultures of reciprocity.” 

"Science can be a way of forming intimacy and respect with other species that is rivaled only by the observations of traditional knowledge holders. It can be a path to kinship."

 

_Robin Wall Kimmerer, Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants

"Par "crise de la sensibilité", j'entends un appauvrissement de ce que nous pouvons sentir, percevoir, comprendre, et tisser comme relations à l'égard du vivant. Une réduction de de la gamme d'affects, de percepts, de concepts, de pratiques nous reliant à lui. Nous avons une multitude de mots, de types de relations, de types d'affects pour qualifier les relations entre humains, entre collectifs,

entre institutions, avec les objets techniques ou les œuvres d'art, mais bien moins pour nos relations au vivant. Cet appauvrissement de l'empan de sensibilité envers le vivant, c'est-à-dire des formes d'attention et des qualités de disponibilité à son égard, est conjointement un effet et une part des causes de la crise écologique qui est la nôtre."

_Baptiste Morizot, Manières d'être vivant

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