Medien Wiki - User contributions [en]

GMU:Re-enchanting the field/Juliane Müller

2025-05-07T13:11:01Z

Jilian Smillar: /* Readings / impressions / new knowledges */

==== Cycles of Elements ====
raw materials - product - burned to energy - residues - rotten lands - compost

poisoned floors - ross and oxidation - poisoned bodies (ash - lungss) - poisoned crops

chemincal aspects in relation to the people

; Rost {m} [Befall durch Rostpilze]
: leaf rust <kbd>[caused by pathogenic fungi of the order Pucciniales (previously known as Uredinales)]</kbd>

=== Project Proposal ===

==== Step 1. Reading the Territory ====
'''how to read a territory?'''

* what is a territory

* who lives in the territory? liminal state --- who is in -- who is in between --- who lives --- who produces --- what do they produce --- cycles of lives

'''possible object of investigation'''

* how can how can toxic residues be detected? how do they look like? what can grow and thrive on them?

Plants/Beings as indicators:

* lychen ---------------- each lychen is indicating certain soil condition / light condition

* mushrooms -------- leaf rust (rostpilz) ----------indicator for...?

[[File:Bog moss latvia.jpg|alt=jpeg bog moss|thumb|Bog moss]]

- moss? - relational condition

- condition of soil ("healthy" / draught / lively) and water in the area ("water is the designer of the territory")

'''Liminal State - Conditions of lifes'''

what lives here? what does it mean to live? ------- set in relationship with spectre of live to cyborg / ki / where does life start? (ref becky chambers 2) -------- or ghost / zombie allegory ?

what does it mean to live here? conversation with humans - -- -social / economical conditions / political fears / emotions in this place

story of uprising and decay of industrialisation - human nature relationship - soviet regime? (sublayer)

==== approaches and methods ====
field recordings - sound explorations - to here invisble forms of life ----> get contact microphone?

create visuals ~ video / fotos / bildbearbeitung verfremdung glitch / illustration / touchdesigner

interviews

relational mapping

==== potential outcomes / desires ====
room / space concept - video sound installation exploring liminal space / - hörstück: soundexploration of invisble life in territory through field recordings and interviews /- relational mapping with 4 characters in relation -------- suitable for potential exhibition and aimed website

collect footage of water scenes for other water visual project

==== projects on the way ====
chromatypie - time laps video

cyanotypie - experiments with gradients of dye - various objects - metal [spiral] - plastic - chlor - and obviously plants ---- verfremdung --- zombie --- cyborg moments in the visuality

--- > experimentation with old documents (maybe from the ghost village / archive footage) and changing colour through (towards) rust

==== Readings / related concepts / new knowledges ====

===== vibrant matter / vitalität by jane bennett =====
„'''By ,vitality‘ I mean the capacity of things'''—edibles, commodities, storms, metals—not only to impede or block the will and designs of humans but also to act as quasi agents or forces with trajectories, propensities, or tendencies of their own. My aspiration is to articulate a vibrant materiality that runs alongside and inside humans to see how analyses of political events might change if we gave the force of things more due.“23

Sie betrachtet '''Vitalität''' also als eine der Materie intrinsische Eigenschaft. Materie kann in einem solchen Sinn als fundamentale Substanz verstanden werden, aus der alle Phänomene und Bewusstseinszustände entstehen. Dies relativiert die zentrale Stellung des menschlichen Subjekts, stellt den '''biologischen Begriff des ,Lebens‘24''' in Frage und steht im Einklang mit '''posthumanistischen Ansätzen''', die den starren Dualismus von Subjekt/Objekt, Mensch/Nicht-Mensch, Natur/Kultur, Geist/Materie aufzulösen suchen und diese Gefüge stattdessen als '''dynamische, miteinander verflochtene Relationen betrachten'''.

Diese Sichtweise umfasst die Auffassung, dass Materie ''alle'' Aspekte der Realität umfasst – '''neben den physischen auch die anzestralen und affektiven Dimensionen'''. Auf diese weiterführenden Dimensionen zielen wir bei der Umkreisung des Konzepts der ''troubled matter'' (beunruhigende Materie) ab.

,(Be-)unruhige(nde)‘ Materie hebt die Dynamik und Eigenbewegung von Materie hervor und verweist auf die Fähigkeit der Materie, sowohl innerlich aktiv und unruhig zu sein als auch durch äußere Einflüsse in Unruhe versetzt zu werden: ,Unruhige‘ Materie betont ihre innere Lebendigkeit und ihr Potenzial, unabhängig von äußeren (menschlichen) Einflüssen aktiv zu sein. ,'''Beunruhigende‘ Materie beschreibt vor allem die Zustände, die durch soziale, politische oder kulturelle Eingriffe entstehen und Materie in aufgewühlte Zustände versetzen können.'''

Das Konzept der ''troubled matter'' thematisiert die Auswirkungen dieser Verflechtungen und '''reflektiert die Beziehungen zwischen Mensch und Materie neu.'''

===== Hyperobjekte =====
Bezugnehmend auf den '''Philosophen Timothy Morton''', betont der Schriftsteller '''Amitav Gosh''' die seit Mitte der 2000er-Jahre in den Geisteswissenschaften erneut aufkeimende Bedeutung von nicht-menschlichen Agencies, die mitunter die Kapazitäten eines Willens, Denkens und Bewusstseins aufweisen.27 Gosh bringt diese neu gewonnene Aufmerksamkeit für mehr-als-menschliche Entitäten (wie beispielsweise Wälder oder Moore), andere Seinsarten und ungesehene Präsenzen mit der unheimlichen Dimension des Klimawandels in Verbindung.28

Menschen weisen '''affektive Reaktionen auf Veränderungen''' in ihrer Umwelt auf. Eine der Herausforderung besteht darin, dass wir aufgrund der überwältigenden '''Konkretion der Symptome des Klimawandels bei dessen gleichzeitiger Abstraktheit''' – wie zum Beispiel der globalen Erwärmung – jeden Tag von Timothy Mortons sogenannten '''Hyperobjekten verfolgt werden'''.29 Diese lassen sich nicht immer direkt visuell erfassen, '''wiederholen sich permanent''' in Grund und Effekt, sind aber stets in einer '''liminalen und beunruhigenden Form''' präsent.

===== '''Places and non-places, Marc Auge, S. 77 - 79''' =====
The '''presence of the past in a present that supersedes it but still lays claim to it:''' it is in this reconciliation that Jean Starobinski sees the essence of modernity. In a recent article he points out in this connection that certain authors, indubitably representative of modernity in art, outlined

the possibility of a polyphony in which the virtually infinite interlacing of destinies, actions, thoughts and reminiscences would rest on a bass line that chimed the hours of the terrestrial day, and marked the position that used to be (and could still be) occupied there by ancient ritual.

These '''''<nowiki/>'premodern figures of continuous temporality,''''' which the modern writer tries to show he has not forgotten even as he is becoming free of them' are also specific spatial figures from a world which since the Middle Ages, as Jacques Le Goff has shown, had built itself around its church and bell tower by reconciling

'''''a recentred space with a reordered time.'''''

Vincent Descombes writes of Proust's Franrroise that she defines a 'rhetorical' territory shared with everyone who is capable of following her reasoning, those whose aphorisms, vocabulary and modes of thought form a 'cosmology ' : what the narrator of Things Past calls the 'Combray philosophy'

'''If a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non-place.'''

The hypothesis advanced here is that '''''supermodernity produces non-places.''''' meaning spaces which are not themselves anthropological places and which. Unlike Baudelairean modernity, '''do not integrate the earlier places:''' instead these are listed, classified, promoted to the status of '''<nowiki/>'places of memory',''' and assigned to a circumscribed and specific position.

We should add that the same things apply to the non-place as to the place. It never exists in pure form; places reconstitute themselves in it; relations are restored and resumed in it; the 'millennial ruses' of 'the '''invention of the everyday' and 'the arts of doing'''' , so subtly analysed by Michel de Certeau , can clear a path there and deploy their strategies.

Place and non-place are rather like opposed polarities: the first is never completely erased, the second never totally completed; they are like palimpsests on which the scrambled game of identity and relations is ceaselessly rewritten .

But non-places are the real measure of our time; one that could be quantified - with the aid of a few conversions between area, volume and distance – by totalling all the air, rail and motorway routes , the mobile cabins called 'means of transport' (aircraft, trains and road vehicles) , the airports and railway stations, hotel chains, leisure parks, large retail outlets, and finally the complex skein of cable and wireless networks that mobilize extraterrestrial space for the purposes of a communication so peculiar that it often puts the individual in contact only with another image of himself

GMU:Re-enchanting the field/Juliane Müller

2025-05-07T13:09:47Z

Jilian Smillar: /* places / non-places */

==== Cycles of Elements ====
raw materials - product - burned to energy - residues - rotten lands - compost

poisoned floors - ross and oxidation - poisoned bodies (ash - lungss) - poisoned crops

chemincal aspects in relation to the people

; Rost {m} [Befall durch Rostpilze]
: leaf rust <kbd>[caused by pathogenic fungi of the order Pucciniales (previously known as Uredinales)]</kbd>

=== Project Proposal ===

==== Step 1. Reading the Territory ====
'''how to read a territory?'''

* what is a territory

* who lives in the territory? liminal state --- who is in -- who is in between --- who lives --- who produces --- what do they produce --- cycles of lives

'''possible object of investigation'''

* how can how can toxic residues be detected? how do they look like? what can grow and thrive on them?

Plants/Beings as indicators:

* lychen ---------------- each lychen is indicating certain soil condition / light condition

* mushrooms -------- leaf rust (rostpilz) ----------indicator for...?

[[File:Bog moss latvia.jpg|alt=jpeg bog moss|thumb|Bog moss]]

- moss? - relational condition

- condition of soil ("healthy" / draught / lively) and water in the area ("water is the designer of the territory")

'''Liminal State - Conditions of lifes'''

what lives here? what does it mean to live? ------- set in relationship with spectre of live to cyborg / ki / where does life start? (ref becky chambers 2) -------- or ghost / zombie allegory ?

what does it mean to live here? conversation with humans - -- -social / economical conditions / political fears / emotions in this place

story of uprising and decay of industrialisation - human nature relationship - soviet regime? (sublayer)

==== approaches and methods ====
field recordings - sound explorations - to here invisble forms of life ----> get contact microphone?

create visuals ~ video / fotos / bildbearbeitung verfremdung glitch / illustration / touchdesigner

interviews

relational mapping

==== potential outcomes / desires ====
room / space concept - video sound installation exploring liminal space / - hörstück: soundexploration of invisble life in territory through field recordings and interviews /- relational mapping with 4 characters in relation -------- suitable for potential exhibition and aimed website

collect footage of water scenes for other water visual project

==== projects on the way ====
chromatypie - time laps video

cyanotypie - experiments with gradients of dye - various objects - metal [spiral] - plastic - chlor - and obviously plants ---- verfremdung --- zombie --- cyborg moments in the visuality

--- > experimentation with old documents (maybe from the ghost village / archive footage) and changing colour through (towards) rust

==== Readings / impressions / new knowledges ====

===== vibrant matter / vitalität by jane bennett =====
„'''By ,vitality‘ I mean the capacity of things'''—edibles, commodities, storms, metals—not only to impede or block the will and designs of humans but also to act as quasi agents or forces with trajectories, propensities, or tendencies of their own. My aspiration is to articulate a vibrant materiality that runs alongside and inside humans to see how analyses of political events might change if we gave the force of things more due.“23

Sie betrachtet '''Vitalität''' also als eine der Materie intrinsische Eigenschaft. Materie kann in einem solchen Sinn als fundamentale Substanz verstanden werden, aus der alle Phänomene und Bewusstseinszustände entstehen. Dies relativiert die zentrale Stellung des menschlichen Subjekts, stellt den '''biologischen Begriff des ,Lebens‘24''' in Frage und steht im Einklang mit '''posthumanistischen Ansätzen''', die den starren Dualismus von Subjekt/Objekt, Mensch/Nicht-Mensch, Natur/Kultur, Geist/Materie aufzulösen suchen und diese Gefüge stattdessen als '''dynamische, miteinander verflochtene Relationen betrachten'''.

Diese Sichtweise umfasst die Auffassung, dass Materie ''alle'' Aspekte der Realität umfasst – '''neben den physischen auch die anzestralen und affektiven Dimensionen'''. Auf diese weiterführenden Dimensionen zielen wir bei der Umkreisung des Konzepts der ''troubled matter'' (beunruhigende Materie) ab.

,(Be-)unruhige(nde)‘ Materie hebt die Dynamik und Eigenbewegung von Materie hervor und verweist auf die Fähigkeit der Materie, sowohl innerlich aktiv und unruhig zu sein als auch durch äußere Einflüsse in Unruhe versetzt zu werden: ,Unruhige‘ Materie betont ihre innere Lebendigkeit und ihr Potenzial, unabhängig von äußeren (menschlichen) Einflüssen aktiv zu sein. ,'''Beunruhigende‘ Materie beschreibt vor allem die Zustände, die durch soziale, politische oder kulturelle Eingriffe entstehen und Materie in aufgewühlte Zustände versetzen können.'''

Das Konzept der ''troubled matter'' thematisiert die Auswirkungen dieser Verflechtungen und '''reflektiert die Beziehungen zwischen Mensch und Materie neu.'''

===== Hyperobjekte =====
Bezugnehmend auf den '''Philosophen Timothy Morton''', betont der Schriftsteller '''Amitav Gosh''' die seit Mitte der 2000er-Jahre in den Geisteswissenschaften erneut aufkeimende Bedeutung von nicht-menschlichen Agencies, die mitunter die Kapazitäten eines Willens, Denkens und Bewusstseins aufweisen.27 Gosh bringt diese neu gewonnene Aufmerksamkeit für mehr-als-menschliche Entitäten (wie beispielsweise Wälder oder Moore), andere Seinsarten und ungesehene Präsenzen mit der unheimlichen Dimension des Klimawandels in Verbindung.28

Menschen weisen '''affektive Reaktionen auf Veränderungen''' in ihrer Umwelt auf. Eine der Herausforderung besteht darin, dass wir aufgrund der überwältigenden '''Konkretion der Symptome des Klimawandels bei dessen gleichzeitiger Abstraktheit''' – wie zum Beispiel der globalen Erwärmung – jeden Tag von Timothy Mortons sogenannten '''Hyperobjekten verfolgt werden'''.29 Diese lassen sich nicht immer direkt visuell erfassen, '''wiederholen sich permanent''' in Grund und Effekt, sind aber stets in einer '''liminalen und beunruhigenden Form''' präsent.

===== '''Places and non-places, Marc Auge, S. 77 - 79''' =====
The '''presence of the past in a present that supersedes it but still lays claim to it:''' it is in this reconciliation that Jean Starobinski sees the essence of modernity. In a recent article he points out in this connection that certain authors, indubitably representative of modernity in art, outlined

the possibility of a polyphony in which the virtually infinite interlacing of destinies, actions, thoughts and reminiscences would rest on a bass line that chimed the hours of the terrestrial day, and marked the position that used to be (and could still be) occupied there by ancient ritual.

These '''''<nowiki/>'premodern figures of continuous temporality,''''' which the modern writer tries to show he has not forgotten even as he is becoming free of them' are also specific spatial figures from a world which since the Middle Ages, as Jacques Le Goff has shown, had built itself around its church and bell tower by reconciling

'''''a recentred space with a reordered time.'''''

Vincent Descombes writes of Proust's Franrroise that she defines a 'rhetorical' territory shared with everyone who is capable of following her reasoning, those whose aphorisms, vocabulary and modes of thought form a 'cosmology ' : what the narrator of Things Past calls the 'Combray philosophy'

'''If a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non-place.'''

The hypothesis advanced here is that '''''supermodernity produces non-places.''''' meaning spaces which are not themselves anthropological places and which. Unlike Baudelairean modernity, '''do not integrate the earlier places:''' instead these are listed, classified, promoted to the status of '''<nowiki/>'places of memory',''' and assigned to a circumscribed and specific position.

We should add that the same things apply to the non-place as to the place. It never exists in pure form; places reconstitute themselves in it; relations are restored and resumed in it; the 'millennial ruses' of 'the '''invention of the everyday' and 'the arts of doing'''' , so subtly analysed by Michel de Certeau , can clear a path there and deploy their strategies.

Place and non-place are rather like opposed polarities: the first is never completely erased, the second never totally completed; they are like palimpsests on which the scrambled game of identity and relations is ceaselessly rewritten .

But non-places are the real measure of our time; one that could be quantified - with the aid of a few conversions between area, volume and distance – by totalling all the air, rail and motorway routes , the mobile cabins called 'means of transport' (aircraft, trains and road vehicles) , the airports and railway stations, hotel chains, leisure parks, large retail outlets, and finally the complex skein of cable and wireless networks that mobilize extraterrestrial space for the purposes of a communication so peculiar that it often puts the individual in contact only with another image of himself

GMU:Re-enchanting the field/Juliane Müller

2025-05-05T15:05:28Z

Jilian Smillar: English trans

GMU:Re-enchanting the field/Juliane Müller

2025-04-29T20:03:34Z

Jilian Smillar: /* Readings / impressions / new knowledges */

GMU:Re-enchanting the field/Juliane Müller

2025-04-29T19:52:00Z

Jilian Smillar: /* potential outcomes */ projects on the way

GMU:Re-enchanting the field/Juliane Müller

2025-04-29T19:45:18Z

Jilian Smillar: /* Reading the Territory */

GMU:Re-enchanting the field/Juliane Müller

2025-04-29T19:44:18Z

Jilian Smillar:

File:Bog moss latvia.jpg

2025-04-29T19:41:15Z

Jilian Smillar:

bog moss latvia red

GMU:Re-enchanting the field/Juliane Müller

2025-04-29T19:38:53Z

Jilian Smillar: concept idea

GMU:Re-enchanting the field/Juliane Müller

2025-04-11T10:41:36Z

Jilian Smillar: /* Cycles of Elements */

GMU:Re-enchanting the field

2025-04-11T10:32:06Z

Jilian Smillar: /* Participants */

Preparatory Sessions (Online): April 4th, 11th 25th and May 9th 2025
 Field visit, Narva, Estonia (including travel days): 18.5. – 25.5.2025
 Follow up & Project Review (online): June 20th and July 5th 2025

Prof. Ursula Damm, Prof. Kerstin Ergenzinger, Mindaugas Gapševičius (Bauhaus University Weimar)
 Prof. Monika Halkort (University of Applied Arts Vienna)
 Prof. Myriel Milicevic (Potsdam University of Applied Sciences)
 Prof. Kärt Ojavee (Estonian Academy of Arts)

NUMBER OF ECTS AWARDED: 6 (4 SWS)

Topics addressed: energy transitions, extractivism, industrial waste as material witness and driver of (geo)political transformations and change.

The Chairs of Acoustic Ecologies and Media Environments invite students from Media Art and Design program to apply for a week-long field experiment in Narva, Estonia, near the Russian border. In collaboration with colleagues from the University of Applied Arts Vienna (School for Transformation), the Estonian Academy of Arts (Master of Craft Studies), and Potsdam University of Applied Sciences (Department of Design) we investigate the material legacy of oil shale extraction in the Baltic region, focusing in particular on the historical entanglement of energy, substances, landscapes, and bodies, and their unintended proliferations and designs.

Our main aim is to engage with the emergent properties of bio/geo-chemical waste in their broader geopolitical context and to unpack how they hold landscapes and bodies in colonial relations, long after the mining activities have been shut down.

Oil shales are marine fossils stored in rocks containing kerogen that can be converted into crude oil and gas. The northeast of Estonia is extremely rich in oil shale reserves that have attracted the interest of imperial powers and totalitarian regimes throughout the 19th and 20th centuries. The unfettered violence of colonial and capitalist extraction has left behind vast mountains of industrial ash, and polluting materials, that are waiting to be remediated and disposed. The enduring legacy of toxic waste in open dumps next to forests, rivers, and unused agricultural lands has created its own queer ecologies that collectively remake environments in which received boundaries between waste, residue and resource, or regenerative materials are continuously renegotiated, reconfigured and redrawn.

During this 5 day workshop, we want to explore the recurrent cycles of decomposition, death and renewal that are shaping the ambivalent landscapes of extractivism in Estonia, making their queer connections and affinities visible and apparent for critical inquiry and future research. “Queer” in this context does not necessarily describe something that already exists. Rather, queer inaugurates a certain kind of future of intelligibility for beings and collectives who are not yet available for explication. Hence, we consider the shale oil waste dumps as post-natural worlds, traversed by imperial and capitalist relations, whose historically specific modes of (chemo/techno)sociality and untapped potentials we seek to understand.

===METHODOLOGY & TASKS===

Toxicity is a specific genre of harm that describes the (re)ordering of living systems across timeframes and scales. Following Tironi and Liberoin, (p. 336;) it creates shared conditions for what thrives and what is altered, what ‘persist[s] and redistributes[s] ‘ and ‘what is destroyed, injured, and constrained’ both as a premise for other things to thrive (Murphy, 2017: 141–142).

During the one-week residency in Estonia, we trace this reordering of life across the entire life cycle of oil shales - from their site of extraction along the Estonian coastline, to fossil fuel processing plants, all the way to the open waste dumps and riverbeds, where the toxic sludge and the industrial ash are deposited and dumped.

Together with local residents and field guides, we will visit ash mountains, ghost villages and abandoned manufacturing plants, built under Soviet Occupation (1941 – 1991), when oil shale production was at its historical height. Additional insights will be provided by scientific inputs from researchers in biology, geology, and environmental history in preparatory sessions online.

Our main task will be to create a living index of liminal relations that sustain the shale oil ecosystem, mapping how they animate, de/recompose and transform social and natural landscapes, organisms and bodies at different speeds, durations and levels of intensity. Drawing on acoustic sensing, environmental mappings, and elemental ethnography / bio-geochemical analysis, we hope to reveal the less noticeable tensions, collaborations, and attunements that emerge from ‘non-consensual inhabitations’ (Masco) and forced transfers and unpack how they facilitate and/or disrupt land-body relations against a backdrop of shifting geopolitical borders and energy regimes.

===Participants===
Bauhaus Universität Weimar
* [[/Cosmo Schüppel]]
* [[/Jan Munske]]
* [[/Karlotta Sperling]]
* [[/Kitman Yeung]]
* [[/Nina Bendix Igleses]]
* [[/Öykü Türkan]]
* [[/Rieke Hettinger]]
* [[/Sabah Khaled]]

Potsdam University of Applied Sciences
* [[/Marie Buschmann]]
* [[/Laura Günther]]
* [[/Helena Haak]]
* [[/Hannah Charlotte Krause]]
* [[/Ina Kwon]]
* [[/Juliane Müller|/J uli ane Müll er]]
* [[/Jennifer Schnurr]]
* [[/Ragnar Wilczek]]
* [[/Tilmann Finner]]

University of Applied Arts Vienna
* [[/Virginia Nicole Bonareri]]
* [[/Hans-Lionel Cayaban]]
* [[/Helin Ozdemir]]
* [[/Raphaela Leitner]]
* [[/Sara Karimi]]
* [[/Sofia Pechenaia]]
* [[/Yuri Turovskiy|/Yury Turovskiy]]
* [[/Jiun-You Ou]]

Estonian Academy of Arts
* [[/Chun Chow]]
* [[/Marite Helena Kuus]]
* [[/Mariam Mestvirishvili]]
* [[/Hannah Caroline Segerkrantz]]

===OUTCOMES===

The outcome of our material probes and observations will be documented in a shared workbook (digital/online publication) based on group projects conducted in the field.

Participants in this workshop will develop an understanding of bio-chemical processes and relations as critical infrastructures of geopolitical transformations and recognize how socio-ecological change is as much about (re)configuring life and responsibility beyond the individual body (Murphy, 2017, p. 479) as it is premised upon structures of violence and extraction that require land and bodies as sacrifice zones.

===BUDGET===

Participants receive stipends from the Erasmus programme to cover travel expenses.

===ACCOMMODATION===

We will be staying at Narva Art Residency (NART)
*https://www.nart.ee/en/residency/
*https://g.co/kgs/uLm4yKZ
'''Info Sheet Accomodation & Arrtival'''

https://drive.google.com/drive/folders/1DB6yc_PfR_PKR0QnDerWHTY-JDR-xenj?usp=drive_link
===EXPECTATIONS===

Participation in the trip to Estonia 18. -25. May 2025
 Interest in discourse, reading, research as well as hands-on material experiments around anthropocene & feral landscapes, relationality, more-than-human design, interdisciplinary, experimental and poetic approaches, team work
 Documentation and experimental storytelling (transferring findings and relations into visual, sonic, experimental narratives). These narratives will be published on a dedicated course website.

===MATERIALS===
'''Course Materials (all)'''

https://drive.google.com/drive/folders/1HV75lDkZEHdtrAgx0-7SFfqAEqqGSGdL

'''Social and Cultural History of Oil Shale Production in Estonia (Text)'''

https://drive.google.com/drive/folders/1rlz26-7diSfn2Mp-YVLSBt_TdLZdldKl?usp=drive_link

'''Environmental Studies (Text)'''

https://drive.google.com/drive/folders/1yM6MCDSTPJWmKqPqw7r_KL6FQKmc9tjP?usp=drive_link

'''Ecology (Text)'''

*"Ocean earth: 1980 bis heute: 1980 bis heute. Ausstellung Neue Galerie am Landesmuseum Joanneum im Künstlerhaus Graz, Febr./März 1993"; Peter Weibel, Peter Fend, Thomas Donga Heike Rekampe ISBN 978-3927789722
* "Microhabitable"; Fernando Garcia Dory and Lucia Pietroiusti ISBN 978-3753303864
* "[https://www.diaphanes.net/titel/technologies-of-care-7046 Technologies of Care" by Yvonne Volkart]

'''Methodology'''

* Feral Atlas feralatlas.org

GMU:Re-enchanting the field/Juliane Müller

2025-04-11T10:31:05Z

Jilian Smillar: Created page with "==== Cycles of Elements ==== ==== Readings / impressions / new knowledges ===="

==== Cycles of Elements ====

==== Readings / impressions / new knowledges ====