Place Mapping in Snowdonia, N Wales. April 2010
Plans for Website development:
an archive of our practice/ outline illustrated research profile
[11:51:00] rachelmark1: some transnational terrain features... albany perrenial rainfall / fresh water / tides and shifting properties /links with snowdonia / barmouth. marine life pushed inland / migrating species
[11:51:45] rachelmark1: there are black swans in teignmouth/also a port town for granite export
Coming back to mapping processes as correlation of place names. mapping at a sociological perspective. red rock/kalbarrie= red sandstone in SW devon
Barmouth Social Club, Wales
ON IMMEDIACY....
[12:06:53] Marnie Orr: our work is facilitated through immediate response
[12:07:04] rachelmark1: surrealist writing movement has developed through psychogeography / with writing as an aim - this is also to do with non audience places
[12:07:37] Marnie Orr: Marco Marcon talked about IASKA as SLOW ART
[12:07:41] rachelmark1: our process is embedded in immediacy and transaction - NOT for communication towards audience but within a subversive ACT
[12:09:20] Marnie Orr: We need to develop a TEXTURAL NARRATIVE to explain what we are doing.
[12:10:34] Marnie Orr: Performance Art: still working from that 1970's radical & surrealist actions, to do with self - / gift economy / reworking materials from the environment
Live Arts has evolved its own definitive relations with audience - part of a different economy
[12:16:30] Marnie Orr: IASKA - we have live research practices that correlate, but that have 2 different groundings. THis is the umbrella term for our work... Land Art Body Research Institute
Adaptation exampleOn PROTOCOL....
[12:57:51] rachelmark1: OK: then our process so far can be viewed in critical stages:
1. mapping the field (ethnography) / distillation of japanese training principles
2. mapping the field (phenomenology) / arts place relations through the senses / psychogeography / socially engaged practices
Immediacy and Sustainability / ephemerality as a trope for non consumable materials / ethics of engagement....... this leads us back to protocol within wilderness
[13:02:27] Marnie Orr: changed forum of art... the non-finished, non-galleried, local/global ,,,, into singularity/universality as a truth serum/measuring stick that makes the IMPROVISATION not improvised but based on listening/reading land and place
[13:02:32] rachelmark1: event / non event - mark making and moving THROUGH terrain as opposed to charting (to do with future planning) or trace making (to do with the past) - ACTIVATON methods
[13:04:40] rachelmark1: languages of mapping reside in geographical mapping and layering of information / historic land use. This is strategic and representational / to do with a demonstration of force/power/defences
[13:05:09] rachelmark1: in contrast: our intervention or aim...to open up the process of mapping to re-engage a real functionality of the navigation tools
[13:05:30] rachelmark1: ..those two mechanisms are essentially to do with moving and writing
[13:07:02] rachelmark1: professional application is to do with land-use. the implication of that in terms of physical statement / (going back to web design) the image needs to harness the action of the measuring stick/ than of navigation tool
[13:07:54] Marnie Orr: PROTOCOL vs ENTITLEMENT
[13:08:39 | Edited 13:08:56] Marnie Orr: The two maps not being able to speak to each other - an irreconcilable difference in knowledge or is it LANGUAGE
[13:10:37] Marnie Orr: Implied meaning in 'protocol' around not being a part of something - or being an outsider / levels of perceived knowledge / and in-access, no access
[13:10:55] Marnie Orr: less availability - eg less entitlemet
[13:11:55 | Edited 13:12:06] Marnie Orr: questioning the forum of fly-in, fly-out as artists: how to address this?
[13:12:00] rachelmark1: what is our community in a post-communal environment? nomadic as a means of survival / adaptation