The In-between Castle

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Above, dull maiden clouds linger,

in-between, an offshore fortress stands,

below, veils a filthy exchange.

 

Below, conflicting in mother’s pain,

in-between, harsh technology demands,

above, fort operator of the harr.

 

Above, supply till it dries,

in-between, binds murk to certain land,

below, bleed the earth for gain.

 

“Nature becomes a gigantic gasoline station, an energy source for modern technology and industry”[1]

[1] Heidegger, M (1966). Discourse On Thinking. New York: Harper & Row. p50.

copyright © Olsen 2016

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A Place With No Lifetime Guarantee

My intimate explorations of edges persisted and my attention now shifts to the ties of in-between and excess.

“That the excess of space is correlative with the shrinking of the planet”[1]

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The property planet is a paradox of a progressive nation using technology, transport, and communication. I discover a new wasteland and its obvious excess, in pursuit of a new insight as a place of anonymity.

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Hunting for an unlimited ticket to the concrete, I awaken to the call of practical regulations… KEEP OUT! Yet by uncovering a broken privacy, I navigate the delights of familiarity, connecting a place to a ‘no lifetime guarantee’.

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I stand as a mannequin compelled by control and practice dark art of invisibility. Who will defend a places identity as it suffers from spatial anonymity?

copyright © Olsen 2016

[1] Augé, M (2008). Non-places: Introduction to an Anthropology of Supermodernity. 2nd ed. London: Verso. p25.

Disobeys Restriction

I imagine the city connects infinite layers of networks to defy.

Shaping the superficial modern metropolis by placing social fabric onto stitched architectural frames.

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“I operate as a man-machine interface.”[1]

The cyborg self within me emerges along the cities edges,

I hack the surface of space configurations.

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I am the seeking stranger of urban life who needs to disobey restriction;

feeling disconnected in a rebellious reunion of public and private outlines.

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I wander off the ordered path and find a more uncertain line of direction.

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copyright © Olsen 2016

[1] “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.

Dissolving Edges

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”[1]

My body drifts around the dissolving edges.

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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…

[1] LaBelle, B (2015). Background Noise, Perspective on Sound Art. 2nd ed. New York: Bloomsbury Academic. P xi.

 

The Miley

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’.[1] 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

[1] Scottish Wildlife Trust. (2016). The Miley. Available: http://scottishwildlifetrust.org.uk/reserve/the-miley/. Last accessed 23rd September 2016

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Before you begin the walk, you’re asked to read a bureaucratic language of ‘pragmatic conservationism’[1]. 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?

 

[1] Ackerman, J. (2005). A Politics of Place: Reading the Signs at Walden Pond. Reconstruction. 5.3 (1), p2.