I imagine the city connects infinite layers of networks to defy.
Shaping the superficial modern metropolis by placing social fabric onto stitched architectural frames.
“I operate as a man-machine interface.”
The cyborg self within me emerges along the cities edges,
I hack the surface of space configurations.
I am the seeking stranger of urban life who needs to disobey restriction;
feeling disconnected in a rebellious reunion of public and private outlines.
I wander off the ordered path and find a more uncertain line of direction.
copyright © Olsen 2016
 “I operate as a man-machine interface – that is, as a technological form of natural life – because I must necessarily navigate through technological forms of social life. As technological nature, I must navigate through technological culture. And technological culture is constitutively culture at a distance. Forms of life become forms of life at-a-distance. Because my forms of social life are so normally and chronically at-a-distance, I cannot navigate these distances, I cannot achieve sociality apart from my machine interface” Lash, S (2002). Critique of Information. London: Sage Publications. P15.
I wander my way, into a physical encounter of dynamic relationships between sounds, steps, space and I listen.
”It emanates, propagates, communicates, vibrates, and agitates…binds and unhinges, harmonizes and traumatizes”
My body drifts around the dissolving edges.
The hidden path I follow offers a relaxing stroll, a line etched upon an industrial sprawl. Listen! I hear the distant radios reverberate against the background birdsong beat. A chorus line recites the clanging devices, versus children voices.In the distance, melodies of sweet sirens occasionally disrupted by a rare rustle of the wild.
I am here…
 LaBelle, B (2015). Background Noise, Perspective on Sound Art. 2nd ed. New York: Bloomsbury Academic. P xi.
The journey starts off by walking in the direction of a small stretch of land, created by a long forgotten Dundee to Newtyle railway called ‘The Miley’. For years it was unused and ignored by ‘Dundonians’ who used it as a mile-long rubbish tip. Now however, the Miley is an urban wildlife sanctuary of grasslands, plants and trees and a haven for wildlife cared for by the Scottish wildlife trust
 Scottish Wildlife Trust. (2016). The Miley. Available: http://scottishwildlifetrust.org.uk/reserve/the-miley/. Last accessed 23rd September 2016
Before you begin the walk, you’re asked to read a bureaucratic language of ‘pragmatic conservationism’. It is the official linguistics of practical ecology.
Needed to approve the semantics of everyday ecosystem. You see it’s the accepted symbol of our normal environment. A believed signs in this common location…
Or possibly it’s just a thoughtful notice in a shared place?
 Ackerman, J. (2005). A Politics of Place: Reading the Signs at Walden Pond. Reconstruction. 5.3 (1), p2.