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GMU:Re-enchanting the field/Marie Buschmann (view source)
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Marie Buschmann | Marie Buschmann | ||
= Idea Paper Proposals = | = Idea Paper Proposals = | ||
Marie Buschmann, Laura Günther | |||
We decided to draft more than one idea to have a | We decided to draft more than one idea to have a bigger table for discussions since so many ideas had to find a seat =) | ||
BIP 1: Let My Relative Speak: Listening to Water in the Oil Shale Zone | |||
=== Background === | === Background === | ||
“Water is life” (Mni Wiconi) is a declaration rooted in Indigenous ecofeminist movements, especially among North American water protectors. It frames water not just as a resource but as a living relative, deserving of respect and rights. In Estonia, water has been instrumentalized by the oil shale industry for over a century—used to dewater mines, cool processing plants, and transport toxic residues. In Ida-Virumaa, these hydrological interventions have reshaped entire ecosystems, drained wetlands, and created contaminated zones. Yet water also resists. At sites like Ratva’s “Two Witches’ Wells,” seasonal eruptions of groundwater—resulting from boreholes drilled to relieve mine pressure—have been absorbed into pseudomythologies. These eruptions transform infrastructure into spectacle, revealing water’s agency and cultural resonance. | “Water is life” (Mni Wiconi) is a declaration rooted in Indigenous ecofeminist movements, especially among North American water protectors. It frames water not just as a resource but as a living relative, deserving of respect and rights. In Estonia, water has been instrumentalized by the oil shale industry for over a century—used to dewater mines, cool processing plants, and transport toxic residues. In Ida-Virumaa, these hydrological interventions have reshaped entire ecosystems, drained wetlands, and created contaminated zones. Yet water also resists. At sites like Ratva’s “Two Witches’ Wells,” seasonal eruptions of groundwater—resulting from boreholes drilled to relieve mine pressure—have been absorbed into pseudomythologies. These eruptions transform infrastructure into spectacle, revealing water’s agency and cultural resonance. | ||
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=== References === | === References === | ||
· Murphy, Michelle. “Alterlife and Decolonial Chemical Relations.” (2017) | |||
· Printsmann, Anneli. “The Land of Oil Shale.” (2012) | |||
· Tsing, Anna et al. Feral Atlas. (2020) | |||
· Mildeberg, Saara. “A Post-Industrial Adventure Land?” (2024) | |||
· Jana Winderen: Field-based sound works (<nowiki>https://www.janawinderen.com</nowiki>) | |||
· FHP project reference: <nowiki>https://fhp.incom.org/project/28636</nowiki> | |||
BIP 2: Landscape, Memory, and Postcards from Other Places | |||
=== Background === | === Background === | ||
Estonia’s oil shale zone is a landscape cut through by centuries of imperialism, extractivism, and displacement. From the Russian Empire to the Soviet Union, northeastern Estonia (Ida-Virumaa) became a monofunctional industrial region. Towns were built around mines, populated by imported labor, and stripped of ecological and cultural continuity. Today, semi-coke hills, smoking spoil tips, and chemically altered wetlands are markers of slow violence. These are not empty ruins; they are active archives where environmental damage and historical amnesia collide. Concepts like Shifting Baseline Syndrome (SBS) reveal how generations forget previous ecological states, accepting degradation as normal. Memory fades, but the landscape still remembers. | Estonia’s oil shale zone is a landscape cut through by centuries of imperialism, extractivism, and displacement. From the Russian Empire to the Soviet Union, northeastern Estonia (Ida-Virumaa) became a monofunctional industrial region. Towns were built around mines, populated by imported labor, and stripped of ecological and cultural continuity. Today, semi-coke hills, smoking spoil tips, and chemically altered wetlands are markers of slow violence. These are not empty ruins; they are active archives where environmental damage and historical amnesia collide. Concepts like Shifting Baseline Syndrome (SBS) reveal how generations forget previous ecological states, accepting degradation as normal. Memory fades, but the landscape still remembers. | ||
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=== References === | === References === | ||
</ | * Kaljundi & Sooväli-Sepping, eds. Maastik ja mälu [Landscape and Memory] | ||
* Printsmann, Anneli. “The Land of Oil Shale.” (2012) | |||
* Mildeberg, Saara. “A Post-Industrial Adventure Land?” (2024) | |||
* Sooväli-Sepping & Palang. “Imaginary Landscapes” (2005) | |||
* <nowiki>https://www.reachtheworld.org/annas-journey-estonia/world-connections/bogs-and-mires-estonia?page=2</nowiki> | |||
BIP 3 Let the Swamp Speak: Memory, Death, and Carbon in the Hollow Earth | |||
=== Background === | |||
Swamps are more than wet wastelands. They are ecological time machines—dense with memory, carbon, and myth. Estonia’s northeastern oil shale region has radically altered its swamp systems: dewatering operations during underground mining near Narva and Kohtla-Järve drained wetlands, permanently lowering groundwater levels and leaving some swamp beds unstable or hollow. These altered swamps no longer store carbon—they release it. Yet even in their damaged state, they preserve the memory of past bodies, myths, and thresholds between life and decay. Folklore figures like Eksitaja, the misleader of bogs, linger in local imagination, reanimating the terrain as dangerous, sacred, or enchanted. From the perspective of environmental humanities, these post-extraction wetlands are more than ecosystems—they are sites of layered cultural and ecological significance. | |||
=== Focus, Question, Anticipated Outcomes === | |||
This proposal focuses on degraded and altered swamps in Ida-Virumaa as living archives of the oil shale era. I ask: How do drained or damaged bogs remember histories of extraction, and how can we access or translate that memory? These swamp systems—disrupted by underground voids, piping, ash run-off, and drainage infrastructure—have become feral landscapes of contaminated diversity. They host strange symbioses of industrial ruin, residual toxicity, and new biological colonizers. We want to document the tension between decomposition and resilience in these sites, tracing what persists, what returns, and what mutates. We also want to reinterpret the cultural perception of swamps—from threatening wasteland to sacred, mnemonic terrain. My anticipated outcome is an audiovisual “listening practice” that attends to the swamp not only as an ecological threshold but as a storyteller. Through speculative design and environmental sensing, we hope to reveal swamps as more-than-human agents in a post-natural world, where nature, industry, and memory converge. | |||
=== Technical Description (Methods & Tools) === | |||
Methods: | |||
Field photography and sketching to document swamp boundaries, collapsed zones, and residues of mining infrastructure. Observing signs of industrial sedimentation and biological succession—pipes overtaken by moss, ash hills seeping into wetlands, or invasive reeds overtaking native flora. Sampling water, soil, and plants for basic visual/textural analysis (using color, pH strips, layering jars). Recording ambient sounds—bubbling, insects, wind through reeds—as speculative swamp soundscapes. Mapping “zones of memory” where stories, material residues, and changing ecologies intersect. Collecting or reimagining local folklore through drawing, micro-poetry, or storytelling. | |||
=== References === | |||
* Anna Tsing et al., “Contaminated Diversity” and Feral Atlas (2020) | |||
* Linda Kaljundi & Helen Sooväli-Sepping, eds., Maastik ja mälu [Landscape and Memory] (2014) | |||
* Saara Mildeberg, "A Post-Industrial Adventure Land?" (2024) | |||
* Anneli Printsmann, "The Land of Oil Shale" (2012) | |||
* Estonian folklore archives (Eksitaja and swamp-based pseudomyths) | |||