More-than-human mappings - Livingmaps Network Conference 24-26th April 2025

Stewart House, Senate House, Malet Street, London WC1E 7HU

Tickets available: HERE

Ideas about the ‘more-than-human’ have developed extensively over the past two decades, despite their longer histories, in various disciplines that have challenged the dissociation of humans from other species and things. This has attracted the attention of artists, activists, academics, policymakers and others. Many now agree that decentring the human is essential if we are to meet the pressing challenges of our world, in both local and global contexts.

Yet, only a small fraction of this work has used mapping practices to tell more-than-human stories, histories and practices, or used mapping to engage wider audiences with these issues. We believe that the time has come to gather together the threads of more-than-human mappings into a special event, to share our knowledge and ideas, to exchange good practice, and inspire each other. The conference will explore more-than-human ways of thinking about maps and of doing mapping; maps of the more-than-human; or embodied processes of mapping that attend to non-representational ideas of liveliness.

The programme includes talks, workshops/walks (including two offsite on Saturday 26th)*, and an exhibition/drinks reception on the evening of Thursday 24th**.

The conference takes place at Stewart House, Senate House, which is an accessible venue. Please contact us at tickets@livingmaps.org.uk if you have accessibility, or any other requirements.

Teas and coffees will be provided (but not lunch).

* Workshops and walks are subject to a maximum capacity. Sign-up sheets for workshops/walks 24th-25th will be made available before the conference. Please register now for workshops/walks on 26th on the Eventbrite tickets page (main conference registration is not required to register for Saturday events, but Edible City is by donation; suggested £10).

** If you would like to attend the Thursday evening exhibition and drinks reception please ensure you select this as an additional option at checkout (£5).

Please note that you do not need to purchase any tickets if you are presenting work or leading a workshop that has been accepted for the conference programme.

Day 1: 24th April

09:00-9:15 Welcome 

09:15-10:45 Keynote

Sasha Engelmann Mapping Planetary Weather

10:45-11:00 Break

11:00-12:40 Presentations

Kimbal Bumstead and Sana Murrani Countering Place Wounding Through More-Than-Human Mappings of Objects and Places of Trauma: The Ruptured Yazidi Atlas

Richard A Carter Lines / Waves / Volumes—Mapping Agency across Land, Sea, and Air

Katerina Stavridi ‘Dog walk-alongs’ as method: mapping multispecies sensory geographies

Dani Salvadori Ways of Mapping: site, non-site and off-site

Ferne Edwards Putting bees on the urban map: Exploring dimensions of more-than-human mappings

12:40-13:30 Lunch (not provided)

13:30-15:10 Workshops

Charline Lalanne Worlding our environment, a collective experience

Saleha Sapra and Anupriya Aggarwal (City Sabha) People's Place Inventory - A tool to map social change in communities

Lissie Carlile More-Than-Human Entanglement Mapping in the Anyone & Anywhere Field Zine for Guiding Rewilding

15:10-15:30 Break

15:30-17:10 Workshops

Rachel Kennedy Mapping bodies and circumnavigating toxicity

Bunga Siagian Polyphonic Assemblage

18:00-20:00 Exhibition Evening

Wilson Kiiza (Mpeehu za Bugungu) Mpeehu za Bugungu | Ben Drusinsky NolliGAN | Milena Metalkova-Markova, Kremena Dimitrova, Antonela Karapandzeva, Ana Stanojevic, Boris Rancev, Aleksander Mladenov, Musab Ak, Sam Brookes More-than-Human Dwelling as a Palimpsest of Co-existence | Lara Band In the midst of rich meadows / it was perfectly clear / I walked with company: mapping with at Middlesex Filter Beds Nature Reserve, Hackney, East London | Claire Reddleman Ginkgos Project | Forestscapes Listening Lab Forestscapes, Public Data Lab (KCL) | Charlotte Dorn Mapping the firebug through woodcut | Perdita Phillips Mapping extraction: woodlines and dust | Lisa Biletska Medea in the Garden of the Hesperides | Helen Cann Echolocation | Ana Lucia Camphora Tensions and fluidity in more-than-human encounters | Jin-Kyu Jung & Ted Hiebert What is it like to be a bat? on “bat-like” places and imaginary geographies

Day 2: 25th April

09:00-10:40 Presentations

Udi Mandel Hala: weaving cosmopolitical cartographies

Katharina Scheller Design Matters: Reimagining the Cartographic Visualisation of Biodiversity

Daniel Coombes Mapping-to-Nature

Tobias Etienne-Greenwood Wind and historicity in Mapuche communities in Mendoza, Argentina

09:00-10:40 workshop

Gabrielle Stoddard & Thea Lucia Listening at the Edge of the Staff Lines

10:40-11:00 Break

11:00-12:40 Presentations

Joanna Boehnert Mapping Ecologies of Mind: #1 Epistemological Error and #2 Extended Mind

Laure de Tymowski (she/her) Mapping the River Poddle in Dublin: From Mapping to 'Walking With'

Jennifer Atchison Mapping with Country; more-than-human methods for cultural landscape mapping

11:00-12:40 workshop

Heather Miles Let’s map Russell Square: Mapping as a distinctive sociomaterial process of learning

12:40-13:30 Lunch (not provided)

13:30-15:10 Presentations

Jin-Kyu Jung & Ted Hiebert More-than-human psychogeography on “bat-like” places and imaginary geographies

Serena Dambrosio and Nicolás Díaz To Map an Intricate Dance of Heat

13:30-15:10 workshop

Jina Lee Drawing the Unseen_Perspectives and Mapping

15:10-15:30 Break

15:30-17:10 Book Launch

Savyasachi Anju Prabir and Mike Duggan Book Panel: Charting New Terrains: Counter Mapping in India

15:30-17:10 workshop

(CWxWC) (Cecilia Wee and William Crosby): Our Muddy Inheritance: sounding from the ground-up

17:10-17:30 Closing Remarks

18:30 - 20:45 Offsite Workshop

Ekaterina Gladkova: RE:Pig Zine   

Centre empathy and kinship in food systems by playfully reimagining and reflecting on our relationship with animals in Re: Pig zine-making and mapping workshop.

Science Gallery, London Bridge:https://london.sciencegallery.com/sgl-events/beautiful-futures)

Day 3: 26th April

10:00-11:30 offsite workshop

Clare Qualmann Edible city: foraging, gleaning, growing | Hackney, East London

15:00-17:00 offsite workshop

Charmaine Brown Gentrification walking tour of Peckham | South London

Livingmaps Network is a volunteer-run organisation and was established in 2013 to develop a network of researchers, community activists, artists and others with a common interest in the use of countermapping for social change, public engagement, critical debate and creative forms of community campaigning.

100% of ticket sales go towards the costs of running Livingmaps e.g. events, journal and website.

Session Abstracts

Keynote

Sasha Engleman: Mapping Planetary Weather

Sasha is a London-based cultural geographer and creative practitioner. Her research centers on long-term collaboration with artist-activist communities; through these collaborations, she develops arts and humanities-led tools for environmental knowledge-making and advances the field of the geo humanities. Her past work has involved over a decade of creative collaboration with the international Aerocene Community and Studio Tomás Saraceno; participation in DIY and feminist amateur radio arts collectives including Shortwave Collective and Radio Amatrices; and co- development of Sensora, a community-led air quality sensing initiative in Argentina. She is co-founder (with Soph Dyer) of the feminist satellite imaging project Open Weather. Sasha is a Reader in GeoHumanities at Royal Holloway University of London where she teaches at the intersection of geography and the arts and humanities.

Presentations

Dani Salvadori: Ways of Mapping: site, non-site and off-site

Climate change is expected to cause increased storm frequency and intensity. Increased storminess is likely to accelerate erosion further at wave dominated coastal sites. The two bays and three headlands of Scarborough, North Yorkshire, UK are particularly prone to coastal erosion - often with dramatic consequences such as when the Holbeck Hall Hotel slid into the sea on live TV in 1993. Coastal erosion is difficult to predict and map and is made worse by sea level rise. In November 2022 I made a poetic, performance and photographic intervention to try to map its impact of an unfixable edge on Scarborough, not just physically but also emotionally. The project (Ways of Mapping) used the sea, beach and headlands as active partners.

My paper will present the six poems which made up Ways of Mapping along with the accompanying photographs and the performance instructions. I will discuss the underpinning of the project in the concepts of site and non-site developed by artist Robert Smithson in the 1970s which I extended into a new concept of off-site to incorporate contemporary digital mapping techniques. I will also look at the background of mapping Scarborough from a 19th century site for artists to express the sublime to a 21st century site for the development of new types of mapping cliff decay using isotopes.

Daniel Coombes: Mapping-to-Nature

The concept of ‘human’ is not a universal category. In bicultural Aotearoa (New Zealand), there are Indigenous Māori who are tāngata whenua (people of the land) and Pākehā (European New Zealanders) who are Tangata Tiriti (people of the Treaty). In this context, the need to decentre the human becomes focused on Pākehā. I will introduce two mapping projects that decentre my Pākehā positionality. Framed by western practices of scientific imaging-making called ‘truth-to-nature’, the projects explore how land was mapped and visualised in ways that omitted or instrumentalised more-than-human relations. The first mapping event relates to The Royal Society, which assigned Cook to map the 1769 transit of Venus. A second clandestine mission was to ‘discover’ and map land in the South Pacific. This context is explored through the project Kinship-to-Nature, which is included in You Are Here: The Journal of Creative Geography’s forthcoming issue titled Mapping All My Relations. The second project relates to the New Zealand Company’s arrival in Aotearoa in 1839. After acquiring land from Māori, the company surveyors mapped and drew up plans to settle Te Whanganui-a-Tara (Wellington). The project, Capital- to-Nature, is a participatory mapping installation that collectively enacts mapping operations through which land was allocated. This project foregrounds the financialisation of land through colonial mapping practices and the assimilation of existing human and nonhuman lives into capitalist systems. Both projects employ subversive re-enactments of mapping events during the colonisation of Aotearoa to modestly recover more just and ethical ways of seeing and relating to the more-than- human.

Ferne Edwards: Putting bees on the urban map: Exploring dimensions of more- than-human mappings

Cities have evolved into anthropocentric places where ecological connections that once bound humans to food, diverse species and the environment, have become hidden, displaced or marginalised. With cities growing across the world, increasing distances between people and nature omit environmental, economic and social co- benefits that could provide resilience against future shocks. This paper seeks to redraw the urban map as a more-than-human space. It applies maps to the concept of the counter-city (Ealham 2014; 2010) to explore how a more-than-human city can be conceptualised. The research focuses upon the honeybee: one of the world’s most effective pollinators whose actions enhance food production, connecting people, produce and place. Drawing on interview and ethnographic data collected with urban beekeepers in Australia and Norway, and student data from participatory nature walks conducted in Norway, a series of more-than-human maps are produced. Representing ‘deep’ maps (Roberts 2016), they trace the sites, resources and potential pollinator pathways, while documenting human fears for enhanced nonhuman (re)connection. More-than-human maps counter the current dominant trajectory of cities in multiple ways: socially – being predominantly anthropocentric, neoliberal and technological; spatially – as individualistic, partitioned and stable; and temporally – noting the timelines of ‘other’ nonhuman natures. By counter-mapping the more-than-human city, this paper makes visible the multispecies relationships that humans rely upon and live beside. I argue that maps can provide one pathway for countering the anthropocentric city towards a multispecies one, where the more- than-human rights, ethics, agency and values for all urban species can be acknowledged where we live.

Jennifer Atchison: Mapping with Country; more-than-human methods for cultural landscape mapping

At the intersections of rapid ecological and social transformation, Indigenous people in Northern Australia are articulating their aspirations for land management. However, while people are reconciling goals, knowledges and practices that assert the need to care for Country, the available toolkit that might facilitate planning and document activities has often limited or constrained ideas for the reason that technologies and systems have tended to be both inaccessible and incompatible with non-Western representations of place. In this presentation I report on a collaborative project involving participatory cultural mapping methodologies with the Marralam Gajerrong community of the Northern Territory, Australia. This project aims to assist the community in analysing, advocating for and communicating their ideas, knowledge and visions for working on Country. Key questions that emerged was how to record ephemeral, resistant and dynamic features, while also meeting the need to address cultural and Western knowledge transfer for young Gajerrong people. Prioritising culturally respectful ways of working in and with Country, we articulate mobile methods of cultural landscape mapping 'on the fly' using the epistemological and technological innovations of qualitative GIS. These methods dovetail or join up what may otherwise be conceived of as competing demands and interests, highlighting Indigenous expertise in navigating the complex terrain of natural resource management and knowledge sharing.

Jin-Kyu Jung & Ted Hiebert: More-than-human psychogeography on “bat-like” places and imaginary geographies

We propose to share an interdisciplinary collaboration and an artistic experiment between an urban geographer/planner (Jin-Kyu Jung) and a visual artist (Ted Hiebert) in which we use brainwave sensors and visualization as a way to map out affective, cognitive, and imaginative geography. The earlier project involved recruiting participants (mostly, but not exclusively, students) to imagine ‘what it is like to be a bat’ as a practice-based critique of Thomas Nagel’s 1974 rejection of the imagination as a useful tool for mapping consciousness. As a conceptual framework, we use a creative re-interpretation of psychogeography—less about the psychological dimensions of real space and more about the mind’s spatiality, for instance, by imagining how “bat-like” could be a place (a psychological location) that a mind can be taken to. If a human can never be a bat, a human can at least imagine what it is like to be a bat—or a human imagining what it is like to be a human imagining what it is like to be a bat. We explore the geography of a world that is imagined differently (e.g., imagining ourselves to be someone or something else), and how we might map the experience of imagining without ignoring its content or quality (subjective, emphatic, imaginary, or otherwise). We are interested in how a geographic understanding of the imagination might allow for conversations about different psychogeographic imagination and mapping.

Joanna Boehnert: Mapping Ecologies of Mind: #1 Epistemological Error and #2 Extended Mind

Anthropologist Gregory Bateson (1904-1980) laid a foundation for contemporary ecological thought by describing modes of thinking, being, and acting within, and as part of, participatory worlds. The “Mapping Ecologies of Mind” project explores some of Bateson’s key concepts across three ecologies: the personal, the social, and the environmental. I use multi-method mapping processes with auto-ethnography, actor- network mapping, and ARC-GIS StoryMapping to illustrate how key concepts manifest across scales and domains. For the More-than-human mappings - Livingmaps Network Conference 2025, I present the first two concepts: #1 Epistemological Error and #2 Extended Mind.

In Steps to an Ecology of Mind (1972) Gregory Bateson wrote: “We are most of us governed by epistemologies that we know to be wrong” (1972, 461). The concept of epistemological error describes ways of knowing that focus on objects in isolation at the exclusion of relationships and ecological context. Epistemological error describes not only the assumption that individuals are independent from social and ecological context, but misconceptions on the nature of all relations. Bateson goes on to describe how technologies and industries amplify these errors with widespread harms including ecological crises. In this presentation, I illustrate how epistemological error manifests on a personal level with autoethnographic vignettes, on social levels with system mapping of networks of actors, and on environmental levels with geographic information systems StoryMapping of the Lake Erie watershed in Ontario, Canada.

Extended mind refers to ecologies beyond the human physical brain that play a part in human cognition. Extended mind includes more-than-human beings and the communication between creatures all types. Bateson’s ecological theories encourage ways of knowing beyond human centred thinking. These are two of a number of concepts that will be released in 2025 as part of the AHRC-DFG funded “Enacting Gregory Bateson's Ecological Aesthetics in Architecture and Design” research project. This work was supported by the Arts and Humanities Research Council [grant number AH/X002535/1].

Katerina Stavridi: ‘Dog walk-alongs’ as method: mapping multispecies sensory geographies

This paper explores the potential of the 'dog walk-along' as a method for mapping multi-species urban sensing. The notion of sensing is used in two ways: as a practice of sensory perception involving both human and animal registers, and as a process of making sense of spaces through sensory encounters between dogs, humans, and the environment. As a mapping process, the ‘dog walk-along’ combines several data collection techniques. During the walk, the researcher engages in participant observation, while interviewing the human companion, collecting visual material, and documenting both the route of the walk and the sounds surrounding the dog walk. The intimate and routinised nature of human- dog interactions provides an entry point into the life histories of humans and dogs, their interactions with their environment, and their shared sensory geographies. Drawing on non-representational and phenomenological approaches, the 'dog walk-along' mapping method is attentive to the shared embodied spatial practices and mobilities of human and non-human animals. It is a mobile method that allows the researcher to follow, experience and map human-dog encounters as they happen, to observe the embodied and everyday practices of humans and dogs, and to pay attention to the performative, sensory and atmospheric aspects of more than human interactions. This paper explores the ways in which centring non-human subjects and sensory registers can inform the way we understand and do maps through a less human- centred lens, drawing on material collected using this method in two European cities - Athens, Greece and Rotterdam, the Netherlands.

Katharina Scheller: Design Matters: Reimagining the Cartographic Visualisation of Biodiversity

In the proposed conference talk, I will explore the critical role of cartographic design in shaping our understanding of the more-than-human and influencing our interactions with the natural world. While spatial approaches to conservation often use maps to present biodiversity data, the design of these maps is rarely questioned. More-than-human mapping challenges the human-centred perspective and advocates for “living maps” that include different forms of life, as proposed by Aït- Touati et al. (2022). This requires a deeper consideration of map design, recognising that cartographic language is not neutral but rooted in social conventions that reflect specific worldviews.

My PhD project explores the implications and agency of map design, focusing on urban tree mapping. It seeks to address questions such as how map design can better represent the complex ecological functions of trees and promote a more inclusive understanding of biodiversity. In the conference session, I will present and discuss the preliminary findings of this research, including initial theses and recommendations for more-than-human mapping. The talk aims to unfold the potential of map design to inform and engage audiences in encounters with the more-than-human world, promoting a more inclusive and holistic sharing of knowledge.

Laure de Tymowski (she/her): Mapping the River Poddle in Dublin: From Mappng to 'Walking With'

The proposed presentation draws from my PhD research assessing urban environmental justice in Dublin from the perspective of one of its rivers, the river Poddle. It is to focus on one of the methods used in the research to map the river, namely river walks. River walks have been determinant in mapping the partly open, partly culverted river as much as in identifying the many forces driving its management, from land speculation to flood concern. ‘Official’ mappings of the river are numerous and divergent and river walks have been a productive way to locate the ‘made-to-disappear’ watercourse. However, most importantly, river walks have generated a transformative shift in my interactions with the river Poddle: from being 'a researcher working on a river’, I, the researcher, went on to ‘follow the river’, ‘learn from the river’, ‘walk with the river’. In turn, the unexpected ontological/epistemological shift has opened the path to ongoing reflections, challenging the coloniality of my mapping technics as well as my positionality as a researcher vis-à-vis both human and more-than-human research participants.

Richard A Carter: Lines / Waves / Volumes—Mapping Agency across Land, Sea, and Air

For the past eight years my practice has centred on mapping practices that parse machinic captures of more-than-human agency into poetic text. In earlier projects such as Waveform, an orbiting drone was used to automatically read the detected outlines of incoming ocean waves into poetic text, whereas recently, in Algorithmic Light, the registers of observable change in UK designated “Areas of Outstanding Natural Beauty” were captured using machine vision and then labelled using text extracted from Jaquetta Hawkes A Land (1950). A current project, Lines of Flight, visualises my GPS tracked glider flights to generate an effective tracing of the atmospheric conditions governing the flight itself, using these in-turn to generate a volumetric visual poem along the flight path—a mode of ‘Aeolian AI’. All these projects generate maps not of static environments, but traces of the more-than- human agencies that characterise and give shape to them, from waves to wind, to clouds, to animals and plants. Moreover, rather than suggesting these are entities that can be objectively mapped in the abstract, the deliberately unusual apparatuses involved variously reveal how mapping is a performative act of knowing and intervening in the world, contributing directly to its ongoing unfolding, both in terms of the practices enacted and the markings made. By conducting the latter as much through poetic text as visual traces, all these projects attempt to denaturalise the quantitative, operationalised registers of accuracy and insight associated with machinic measurements especially, in favour of modes that highlight the uncertain, the incommensurate, and the aporetic in how we come to know and be in a more- than-human-world. This presentation will offer an overview of all three projects, with the aim of offering practical case studies of engaging, and, hopefully, inspirational practice,

Sana Murrani and Kimbal Bumstead: Countering Place Wounding Through More-Than-Human Mappings of Objects and Places of Trauma

The Ruptured Yazidi Atlas Countering Place Wounding unearths the lived experiences of the Yazidis, a persecuted ethno-religious minority from northwest Iraq, who were subjected to genocide by ISIS ten years ago and have remained displaced ever since. This research employs Amanda Kearney's concept of 'place wounding' and Selina Springett's practice of 'deep mapping,' focusing on the spatial manifestations of trauma and resilience within the Yazidi community through objects and places of memory and trauma. The project constructs a ruptured atlas of the Yazidis' turbulent journeys of home, displacement, migration, and their profound yearning to return to their ancestral lands in Sinjar. This conference presentation will invite the audience on a journey that explores how the Ruptured Yazidi Atlas project goes beyond traditional human-centred narratives by incorporating more-than-human elements—objects, places, and landscapes that are intertwined with the Yazidis' collective memory and trauma. Through a methodological and participatory practice of creative deep mapping and visual storytelling, the project charts both the scars left by violence and the pathways toward communal healing and reclamation. The methodology not only captures the material and spatial trauma geographies of the Yazidis' experiences but also engages with the non-human witnesses of their suffering and resilience through displaced objects and places. This approach allows for a comprehensive understanding of the cultural heritage, spatial storytelling, and collective identity of the Yazidis, rooting their narrative within Iraq's palimpsestic cultures. Ultimately, Countering Place Wounding through more-than-human mappings highlights the critical role of creative spatial practices in engaging with the complex and nonlinear performativity of geographies of memory and trauma. It underscores the power of mapping as a tool for transforming narratives of survival, resilience, and hope of indigenous communities, offering a unique perspective on trauma-informed, participatory recovery practices.

Savyasachi Anju Prabir and Mike Duggan: Book Panel: Charting New Terrains: Counter Mapping in India

In this panel, the editors of a forthcoming book, Charting New Terrains, will be joined by some of the contributing authors to discuss the origins of the book as well as the wider field of counter-mapping practices in India.

Serena Dambrosio and Nicolás Díaz: To Map an Intricate Dance of Heat

Every day, a water droplet navigates the cooling system of a data center, a labyrinth teeming with heat-emitting servers. Pumped through pipes, it absorbs the heat, safeguarding digital processors from overheating. This heat exchange is vital for our insatiable demand for data, occurring in the tangible "data cloud" infrastructure. We are often told that the data cloud transcends geographical limitations but the physical location and materiality of data matters. Our digital perspective tends to harbor a frictionless, distant, and limitless spatial bias when observing this non-human actor. During the last few years, Quilicura has become a privileged location for data center projects promoted by big tech multinationals. While their implementation brings back a renewed promise of development and socio-technical progress to Chile, it also implies an environmental impact on their wetland ecosystem that has not yet been mapped. Water in Quilicura is much more than an intricate dance of heat; it relates to the growth of Totora used in traditional weaving techniques, to the Coipo, the Poyoya, the Becanina, and many more species. The paper analyzes the cartography made during the project "Wetlands Enmeshment: Water, Cables, and Data in Quilicura," a set of activities during January 2024. It involved architecture, geography, sociology, anthropology, art academics and students, representatives of local communities, and public institutions to understand, rethink, and map together the relationship between wetlands and data centers: water and data.

Tobias Etienne-Greenwood: Wind and historicity in Mapuche communities in Mendoza, Argentina

During sensibility mapping sessions conducted in 2022, members of the Mapuche communities of Mendoza province chose to depict the wind. In the workshops, participants felt it necessary to represent the mewlen, a harmful wind. We propose to address this cartographic element and more-than-human entity in order to understand how the wind operates as a vector of plural meanings. What place does the mewlen represent in the epistemic, historic, and biographical arrangements of individuals and communities? How do the actors interpret its origin and effects? In the two cases we examine, the mewlen is used both to give meaning to the historical experience of the local Mapuche nation and to explain the wanderings of a specific community, tossed about at the whim of the mewlen's blast and associated with issues of property and land tenure. Thus, the wind appears as a scalable object: from the zeitgeist that expresses the drama of Latin American modernity and its colonial condition, to a factor that contributes to the formation of a 'meteorological self' tenuously attached to the phenomenological world, and through its effects on communities.

Udi Mandel: Hala: weaving cosmopolitical cartographies

This online session is designed to both present an ongoing collaborative work as well as engage participants in discussion on multi and a-disciplinary methodologies and practices of cartography including working with indigenous knowledge and practices and artists.

Hala (Pandanus tectorius) is a culturally important Hawaiian plant, used and loved by many Native Hawaiian cultural practitioners and weavers, while also serving an important ecologically role across coastal regions.

This project brings together diverse knowledge systems and practices to tackle questions central to the continuity of hala in the context of the physical and cultural ecosystems in which it exists and in relation to climate resilience, and cultural, economic and socio- ecological regeneration.

Ulana lauhala - the weaving of the hala leaves - is a key Hawaiian cultural practice that thrives across the Hawaiian islands. Key practitioners, communities and learning spaces keep this cultural practice alive and passed on to the next generation. Ulana lauhala involves not only the weaving of hala itself into multiple patterns and objects, but also the care of hala groves, the harvest and preparation of hala leaves and the making of tools involved in these processes.

This project engages an emergent, interdisciplinary and collaborative research methodology and cartography resulting in co-created research developed by scientists, researchers, natural and cultural resource managers, educators, students and artists (weavers, designers) who have a stake and interest in hala.

Like ulana lauhala itself, this project weaves together different knowledges and practices, bringing diverse disciplines (botany, environmental and climate science, ecology, socio-cultural anthropology, economics, arts and media) with Native Hawaiian knowledge processes and practices. By the nature of the indigenous ontologies and epistemologies they are sourced from, these knowledge systems and practices present a holistic world where ceremony, ethical responsibility, kin and ancestral relations to place and more-than-human persons are central and demand particular ethical and relational considerations

Workshops

Bunga Siagian: Polyphonic Assemblage

This interactive session The Polyphonic Assemblage is a performative meeting that explores how we can urgently consider multiple perspectives (human, more than human) as a collective articulation in the process of landscape-making and development. This session is based on what we have been doing in Jatiwangi. In the context of the industrial transformation in Jatiwangi, my collective BKP and Jatiwangi art Factory (JaF) is consciously experimenting with its artistic practices with the soil/land. The culmination of our artistic approach is the aspiration for land culture- based regional planning through the project of New Rural Agenda.

During the session, together we will discuss about collective and collectivity, through mapping the collective non-human stakeholder based on the context of each participant. This meeting is open to artists and cultural practitioners working at the intersections of activism, art, community, and public policymaking to discern beyond human as a way of thinking and making. Participants will actively contribute to thinking on collective and collectivity, by inviting another non-human stakeholder from their environment as also-participants in the meeting. Performative approaches will be used to present each other’s multiple perspectives, emphasizing the importance of learning, and thinking through the senses.tries to exercise collective

articulation that is consciously oriented as a way of negotiating positions (human/nonhuman) towards poetic action (world making).

Charline Lalanne: Worlding our environment, a collective experience

The Office for Planetary Relationships (OPR) is a creative and regenerative practice exploring the relational capacities of the built environment and its many entangled actors—human and more-than-human alike. We engage with the world not as separate parts but as layered living systems, often obscured by dominant Western worldviews that reduce complexity to simplicity.

Through the OPR Worlding Framework, we learn to sense and make sense of place—not only through its physical form, but through its biotic, abiotic, cultural, and ethical dimensions. This framework is inspired by the adaptive intelligence of mycelial networks: decentralized, resilient, and deeply relational. It offers a way to trace lines of connection and responsibility across time and space—to confront the systems that degrade life, and to uncover pathways for regeneration and reciprocity.

In this workshop, we’ll engage in a tactile, speculative mapping process. Each participant is invited to bring a small object—humble or complex—which we’ll use as a portal into wider ecological and cultural systems. Together, we’ll explore its material lineage, its embedded stories, and its latent possibilities.

This is not about extracting meaning, but about cultivating living narratives—creative, multiscalar, and time-rich portraits of planetary relationships. Through the Worlding Process, we aim to co-create a fourth-dimensional design practice—one that sees the climate crisis not only as an emergency, but as a radical opportunity to reimagine our design models. Not to "brief, design, extract, make"—but to listen, relate, compost, regenerate.

Let’s expand the playground together.

(CWxWC) (Cecilia Wee and William Crosby): Our Muddy Inheritance: sounding from the ground-up

If our earth is the original, analogue recording technology, how can the foot’s touch onto the ground reactivate these sonic, cultural, environmental, social, and political histories? What are the particles underfoot that form our inheritances, how do we understand this relationship from the ground up, starting with the foot?

We invite participants to bring materials they find on the ground on their journey to / from the conference, as a starting point for mapping and co-creating new understandings of the relationships between sound, economics, and mud. Mud is a vital yet often neglected material for sustaining life, often rendered as an unclean, disposable, or exploitable asset.

The workshop consists of an introduction to our practices of soundwalking and field recording; participants sharing and recording responses to co-created prompts on

community activism, economic and ecological inheritances and futures; and group explorations of materials through sound recording sessions. Recordings from the session will become part of the growing archive of Our Muddy Inheritance editions, for possible inclusion in a future sound work.

Gabrielle Stoddard & Thea Lucia: Listening at the Edge of the Staff Lines

Listening at the Edge of the Staff Lines is a collaboration between Gabrielle Stoddard, an artist, art educator and art therapist based in Auckland, New Zealand and Thea Martin, a musician and teaching artist based in Adelaide, Australia. In September 2024 we shared a meeting of our practices through a workshop called Listening at the Edge of the Staff Lines at Audio Foundation in Tāmaki Makaurau/Auckland, which encompassed listening practices drawing from Pauline Oliveros’ text score Native, and scoring/sounding to/with the soundscape of the city. Participants engaged in a soundwalk that subverted sensorial experience by inviting an imagining that the soles of their feet were microphones. Individual experiences of the soundwalk were then explored through collective cartography and translated and mistranslated into collective soundscapes through a guided improvisational framework. This approach to listening reckons with listening as through the ear/beyond the ear dialogic relationship and the inherently relational nature of listening, as we both listen to the soundscape whilst simultaneously contributing to it as vibrational beings. Our workshop took a multimodal collaborative approach, capturing the witnessing of sound, movement and details within a place, archiving the in-betweenness and more-than-human encounters through collectively found visual and sonic language, rather than through verbal recollection, forming an agential spillage of creative encounters. Through this workshop, we are interested in our capacity to expand other’s ideas of art education, mixing visual art and music worlds together. The iteration we shared, as it will be at a distance, will include a soundwalk guided by a printed zine, followed by a workshop led via zoom where an exploration of the sound maps is expanded on.

Heather Miles: Let’s map Russell Square: Mapping as a distinctive sociomaterial process of learning

In this workshop we consider the practice of mapping as itself more-than-human. A sketch mapping activity will demonstrate the value of mapping as sociomaterial process - through the of-the-moment movement of pencil across paper in continual response to what is seen. As such, mapping has value beyond representing things in a fixed ‘final’ map product. Furthermore, whilst making a map shares some of the same exploratory affordances as making a photo or diagram, map-making has distinctive benefits.

I will first contextualise this embodied, processual value of mapping with critical cartographic and science and technology studies concepts in a short talk, and then we will head out into Russell Square to each draw our own sketch maps. The approach is based on that of anthropologist Andrew Causey. By hand-drawing maps, our seeing, thinking and haptic sensing are processually co-constituted. Through the act of mapping, we see what might otherwise have remained unnoticed. We will then return to Stewart House to share our reflections on Russell Square and this form of mapping.

No mapping or drawing experience required.

Jina Lee: Drawing the Unseen Perspectives and Mapping

Participants are to explore and engage in mapping as a practice that moves beyond static representations, embracing relational and embodied, such as insect’s, a river’s, a gust of wind’s perspectives.

Rachel Kennedy: Mapping bodies and circumnavigating toxicity

The severance of human bodies and nature that’s been intrinsic to modern industrialism has transformed the way we navigate the world and interact with the more-than-human. But the body is a powerful tool for cartography, if we can learn to attune to a sensory, bodily knowledge that’s largely been marginalised in the West. Blackman (YEAR) summarises a hierarchy of ways of knowing dating back to the Enlightenment, that position the mind as the citadel of reason, while bodily senses were deemed inferior. As such, many have become desensitised to our environments.

And yet; learn to attune and together we might forge new pathways. Plants are potent with the possibility of circumnavigating the toxicity that seeps and providing what we might need to survive on a fragile planet.

This might not be mapping in a literal sense, but recognising bodies as enmeshed in nature, our health intrinsically connected, is essential to mapping alternative futures where flourishing is mutual.

This workshop focuses on bodily, sensorial ways of knowing plants through engagements with herbal teas. Participants will be invited to make and take infusions of local plants (commonly recognised as weeds), mindfully tracing its trajectory through their bodies. We will share stories of healing through plants, drawing on personal experiences, oral histories, Indigenous knowledge, folklore and more, demonstrating the myriad ways and values of co-becoming, and mapping possible futures in collaboration with plants. This workshop is inspired by my 2024 Social Anthropology MA dissertation, which explored these themes in the context of capitalist urban landscapes.

Saleha Sapra and Anupriya Aggarwal (City Sabha): People's Place Inventory - A tool to map social change in communities

While mapping provides a legible spatial blueprint, it tends to exclude many realities, identities and diversities, in the process. The People’s Place Inventory (PPI), developed over two years and tested in varied urban settings, addresses this gap. It engages marginalised communities in excluded geographies, typically not accounted for in our urban plans and decision-making. It enables the documentation of a community's priorities, identifies state actors responsible for pressing issues, and reframes planning priorities and policy guidelines to make our planning and governance narratives more inclusive and accountable.

The PPI is a flexible and evolving framework designed to address the needs of dynamic urban environments. In this workshop, we break down the framework into actionable steps, inviting fresh perspectives on reimagining, adapting and applying it across different contexts. For instance, in Okhla (a neighbourhood in Delhi), the PPI was used to map women's perceptions of safety in public spaces, uncovering safety concerns specific to mothers of children with disabilities, and going beyond the mainstream understanding of safe and unsafe spaces.

By identifying nuanced notions of safety and accessibility to different groups, the aim is to capture distinct baselines to improve the quality of urban spaces. Enabling cross-culture knowledge sharing, the workshop invites deliberate collaboration to co- build a place inventory that assesses the quality of places across geographies via participatory means.

Exhibition

Ana Lucia Camphora: Tensions and fluidity in more-than-human encounters

The interconnectedness of coexisting worlds is perceived through experiences that blend different ways of thinking about the world. My academic research in Environmental History and interspecies studies investigates human-nonhuman entanglements which took place over the first four centuries of colonial Brazilian society. Over the course of history, the condition and protagonism of non-human animals were excluded by the epistemological and institutional contours of anthropocentric thought. So, I asked myself a basic question: what do Brazilian historical records tell us about non-human animals? The fruits of this research are presented in my book ‘Animals and society in Brazil from the 16th to the 19th centuries’, published in Brazil (2017), and in England (2021). Ongoing debates on how non-human animals have contributed for a more nuanced colonial historiography by widening our sensitivities. As a listener, we are able to breaking the silence of the ‘others’, from the whinnying, neighing, chirping, barking, and singing out of their voices, and “vital choreographies”, ones that are not merely auditive. It is only through human mediation, mainly through writing, that we access the presence and meaning of other animals’ participation in the historical process, as a ‘multispecies co-authorship’.

My engagement in contemporary art evolved in the confluence between tangible and intangible realities surrounding humans and non-humans. In my creative process, developing video art projects, different angles of understanding have emerged. It is worth highlighting the experimental nature of this process in order to

construct unexpected bridges to get closer asymmetrical perspectives. I found in the contemporary art rather than an alternative, but a complementary pathway to explore a source of poetic narratives to overcome the binary oppositions of 'nature' and 'culture'. In this regard, going beyond conventional epistemological approaches became a conceptual attitude. In some ways, textual representations may limit the necessary open-mindset to amplify our understanding on the condition and protagonism of non-human animals over the course of history. Unfolding the diverse

intersubjectivities and its dynamic, I am poundering on the possible fluid meanings as an unusual form of stressing the very categories that demarcate conceptual frameworks as we have known.

Ben Drusinsk: NolliGAN

The Nolli map is a widely used tool in architecture and urban design. This complex figure-ground diagram introduced the representation of public and private space in surveying and mapping; a technique is used widely in architecture and urban planning since. Giambattista Nolli was commissioned by Pope Benedict XIV in 1736 to draw an accurate map of Rome. Nolli’s uniqueness both aesthetically and as a design and mapping tool is its representation of space: The map’s depiction of urban fabric consists of building mass and public space that includes courtyards and the interior of churches. Public space in the Nolli map is one continuous entity weaving together history, urban planing and society.

At the center of this generative video installation lies a generative model hallucinating 18th century Rome. This model was trained on a curated dataset built from a high resolution scan of the original 12 plates of the Nolli map. By manipulating inference and interpolation techniques the generative model hallucinates various maps of Rome’s urban fabric. These hallucinated outputs are analyzed using an object detection model retrained to detect elements of 18th-century urban fabric: the church, the street, the building, the piazza, and the tree. This object detection model, often used for facial recognition and surveillance is now used to decipher urban spatial hallucinations and interpret the generative 18th century Rome. This video installation investigates AI's understanding of spatial urban fabric by exploring the object detection model's ability to distinguish between public and private spaces in a constantly evolving, hallucinated version of Nolli's Rome.

Charlotte Dorn: Mapping the firebug through woodcut

The artwork to show during the exhibition is a series of 16 woodcut prints (9,5x17cm each) that emerged from an artistic study of firebug movements in July 2024 on a playground in Arenys de Mar in Spain. The focus lies on exploring ways firebugs navigate their environment and how their movement can be registered through an embodied artistic practice. Other notions are the subject-subject continuum between the researching human and the subject of interest the firebug; mimesis, when the hand copies the movements of the firebug and finding visuals that present an alternative to static depictions of firebugs, offering a dynamic, processual, perspective that highlights their aliveness.

The creative process begins with attuning to the firebug in their gathering spot. Then a specific vision frame that includes one or more firebugs is selected. With both hands holding pens and placed on a wooden plate, the insects' movements are followed for about five minutes. The gaze remains fixed on the insects while the hands transcribe their activities, translating their gestures into lines. Back in the studio, these drawings are carved out of the wooden plates and printed, to intensify the encounter and engrave it in the mind.

A further, similar work done at the same time and place is registering movements of a grasshopper, some ants and a spider within an environment and overlay these three wooden plates for a multilayered print to represent a multispecies environment.

Claire Reddleman: Ginkgos Project

#GinkgosoftheBritishIsles is a visual research project by Dr Claire Reddleman looking at the popular tree species ginkgo biloba. The project crowd-sourced photos of ginkgos in Britain from Instagram users, in order to bring them together with maps, to create a sort of co-produced view of how this particular introduced species is experienced as part of the visual life of the British Isles. Contributed photos were paired with map images of the species’ places of origin: Japan, where the tree was encountered by the German surgeon and traveller Engelbert Kaempfer in 1692; China, where the species is native; Leiden, where ginkgo arrived in Europe from Japan; and Mile End, London, where the first seedling in Britain was raised in 1750. Documentary photography was also carried out at the National Plant Collection of Ginkgo biloba and cultivars, held by Tony Davies in Worcestershire.

Helen Cann: Echolocation

Echolocation was originally commissioned by ONCA Gallery, Brighton in collaboration with Sussex Wildlife Trust. Using field survey data, this hand-lettered map charts the flightpath of a single Barbastelle bat (bat number 5 - ‘Starbeard 5’) from its roost on Ebernoe Common in Sussex. The map documents the topography, flora and fauna of the route, not only indicated by the human-collected observation points found in the data but also through a description of Starbeard 5’s experience of the place.

The map has a composition based on that used in traditional strip map forms charting the immediate territory to be travelled only and appearing as a long, narrow ribbon. It reflects the habitual flight path from the roost, down the river and then back, followed by successive generations of Barbastelle bats. Local human history can also be picked out on the map; I was interested in how bats use echolocation to position themselves and how we can detect echoes of ourselves too when we move around the landscape.

I hope to show how this area of Ebernoe Common has been shared by both bat and human over time and how mapping can give equal weight to their experience of the place.

Jonathan W. Y. Gray, Maud Borie, Andrés Saenz de Sicilia, Liliana Bounegru and Angela YT Chan: Forestscapes listening lab

How can generative soundscape composition enable different perspectives on forests and ecological futures in an era of planetary crisis? The forestscapes listening lab explores how sound can serve as a medium for collective inquiry into forests as living cultural landscapes. It will present sound works cocreated by researchers, artists, environmental groups, creative technologists to provide fresh perspectives on the lives of forests from critical feminist and multispecies justice approaches.

The project explores sound and other media recomposition through open source software and hardware, to attend to the many different ways that we narrate, and relate to forests, forest issues, and restoration efforts. https://publicdatalab.org/projects/forestscapes

Lara Band: In the midst of rich meadows / it was perfectly clear / I walked with company: mapping with at Middlesex Filter Beds Nature Reserve, Hackney, east London

It’s 9.30am: dopey from a night interrupted by barking foxes and the August heat, I’m cycling along the Greenway, a cycleway and nature corridor formalised in the 1990s. On colder days steam wraiths rise from vents along the way: the Greenway tops Balzalgette’s Northern Outfall Sewer, built in the 1860s to manage London’s wastewater following the cholera outbreak of 1853-4. As I cross the Channelsea River a rat rockets out of undergrowth towards me. I swerve, heart racing, more at the sudden movement than at the rat who seems just as unnerved. Tiny paws scrabbling frantically on the flagstones, it scuds 360 and hurtles back into the buddleia and brambles. Righting myself I reflect on the appropriateness of our encounter on day one of my fieldwork, and cycle thoughtfully onwards.

Drawing on ecological posthumanism and as a piece of creative practice as research In the midst of rich meadows [...], a 6 minute film, is the main output of two days fieldwork spent at Middlesex Filterbeds Nature Reserve, a site originally constructed in the mid-19th century to provide clean water to east London. Guided by a further more-than-human encounter, this time with snails and their feeding trails on information boards at the reserve, I spent the days following a snail generated route, then turned to time based media to coalesce this more-than-human mapping. In doing so my work aims to respond to calls for more ecological approaches to archaeology and heritage, ones that pay attention to vibrant human and fellow being entanglements to help create more equitable and sustainable futures for messy, interconnected and changing worlds.

Lisa Biletska: Medea in the Garden of the Hesperides

A map with two overlaid sets of open data: 1) the geolocations of fires recorded on the Kinburn Peninsula since the beginning of Russia's full-scale invasion of Ukraine and 2) the geolocations of observations of flora and fauna made by users of the iNaturalist app in the same area. Fire data was acquired through remote sensing and provided by the “Sviatoslav's Biloberezhzhia” National Park Research Department

A place of remembrance: a virtual garden that serves as a forever home for former Kinburn residents (as informed by the map) and as a meditation space for visitors.

Milena Metalkova-Markova, Kremena Dimitrova, Antonela Karapandzeva, Ana Stanojevic, Boris Rancev, Aleksander Mladenov, Musab Ak, Sam Brookes: More-than-Human Dwelling as a Palimpsest of Co-existence

Our research project explores vernacular housing compounds and related stories of housing spirits in villages within the Western Balkan region of Bulgaria. Besides the

conventional methods of architectural surveys of the houses our team is trying to understand the dwelling as a palimpsest of co-existences. Here humans and more- than-humans have been entangled for centuries in physical and spiritual space to make sense and ensure survival of the family and community.

Housing spirits fauna is very rich- for example - Talasam spirit who is protecting the house and can be an ancestor of the family or someone whose shadow is enshrined within the building during construction to ensure its longevity and its inhabitants well- being. An owl-like Bulina bird without wings comes to frighten children with a Boo- boo sound at night or a Chuhalo cursed by their mom twins spirits looking endlessly for each other at night time – the girl sings Kuku (I am here) and the boy answers Chu-chu- (I heard you).

Our team wants to present an exhibition panel(s) as an attempt to map more-than- human dwellings as an old manuscript of overlays- map of houses, churches and sacrificial stones used by families and community for pre-Christian rituals, later integrated into East Orthodox ceremonies. They were held in secret during five centuries of Ottoman empire domination.

Humans and inhumans are related to each other mixing religious beliefs and superstitious agricultural rites in the space of the house, village and beyond.

Our map will interpret the manuscript artistic representation style of medieval Bulgarian manuscripts on display at the British library in an attempt to create a deep map of the cultural identity of the Turlak region in Bulgaria which has dozen different words to describe spirits.

Perdita Phillips: Mapping extraction: woodlines and dust

In a landscape of thin skeletal soils, it is geology that determines ore bodies, scant topsoil and water runoff. Plants and animals follow, in semi-arid open woodlands. The Terrane Project sought to link three aspects: the traces of rocks, animals, and plants within a collection of historic photographs (the Dwyer and Mackay collection), mineral agency in a goldmining region, and a network of abandoned tramways (woodlines) that were built to harvest timber from the 1880s up until 1964. Settlers came and died for gold. But it is only the dominant Settler Culture that see this earth as an inert resource. Entanglements of extraction cut and strike across the complex richness of First Nations’ cultural lives on Country. Notwithstanding irreversible animal contractions and extinctions and vegetation degradation, more-than-humans have survived and regenerated in multiple ways. The geological narrative, landscape and archive are full of gaps, dust, ghosts and suppositions about what might have happened, and might still happen in the wake of polycrisis.

Wilson Kiiza: Mpeehu za Bugungu

The Bugungu People in Uganda learn about themselves and all living and non-living beings on their ancestral land by observing and paying respect to the shifting of the winds. Winds are said to originate from Sacred Natural Sites (SNS) and carry the messages that spirits leave for the living from one site to another. Every activity and ritual of the Bugungu, hunting, herding, fishing on Lake Mwitazinge renamed Lake Albert, sowing and harvesting, respects the message carried by the winds and

conveyed by the custodians of the Sacred Natural Sites. Likewise, by recognising through observation how animal and plant species respect the times of the winds and orient themselves with them, the Bagungu have promoted coexistence and human-wildlife cooperation.

Through a participatory process involving Bugungu community and spiritual leaders, in 2022 the Bugungu Heritage and Information Centre documented indigenous knowledge about the winds, producing the "Mpeehu za Bugungu", the Bugungu Wind Map, where in an unprecedented way it identified and named the winds that blow on Bugungu ancestral land. Winds are one of the navigation tools used by the Bagungu to tell direction, others being geographical. This map is on display in the Bugungu Community Museum in Buliisa, Uganda. This event is an opportunity for the Bagungu to showcase their Indigenous knowledge on mapping and navigation.

Walking Tours & Extras

Charmaine Brown: The Gentrification walking tour of Peckham

The Gentrification walking tour of Peckham prevents an overview of historical spaces which have been occupied by the Black community over a significant period between 1960-1990. The most recent walking tours (2023) supported the ‘Rights in Focus Conference’, National Youth Theatre play ‘Gone Too Far’, and UAL’s ‘Portraits of Peckham exhibition’.

Each space presents the human occupants as pioneers. The skills and knowledge which they brought to the UK as immigrants from the Windrush generation, leaves the community with an impactful heritage and legacy. The walking tours are shaped by Participatory Action Research. One of the most prominent methods for data collection is the Caribbean oral history tradition.

The pinnacle of the walking tour is identifying some of the educational, recreational, and cultural spaces which have shaped social and cultural capital over a defined period of Peckham’s history. These are spaces experienced by the researcher and informed by the Caribbean narratives exchanged during the research.

The walking tours bring to life a phase in Peckham’s history which has not been documented or credited despite the wealth of community historians, historical societies, and experts in the field of Peckham’s history since 1086. Publications and events omit this significant phase which contributes to Peckham’s colourful history whilst continuing the narrative post 1990 around the impact of newer communities in Peckham.

Clare Qualmann: Edible city: foraging, gleaning, growing | Hackney, East London

The fieldtrip will take participants on a short walk through Hackney, exploring the landscape from a perspective of edibility. We’ll start and end in the Garden of Earthly Delights, a community growing space, where we’ll sample jams, jellies and chutneys from the East End Jam urban foraging project.

Ekaterina Gladkova: Sow in the City

In this workshop, I invite you for a playful immersion into all things pig. Why pig, you might ask? Pigs are fascinating non-human animals – intelligent, lively, good- humoured. They also provide a unique insight into the workings of human worlds. Together, we will play around with zine-making, mapping, and creative prompts to reflect on our relationships to pigs, our consumption patterns and their broader implications, and see how pigs may be much closer to us than we may have imagined...

Zine

Lissie Carlile: More-Than-Human Entanglement Mapping in the Anyone &

Anywhere Field Zine for Guiding Rewilding

the Anyone & Anywhere Field Zine for Guiding Rewilding, directs the reader- participants through interactions with their local landscape to identify quotidian evidence of multispecies entanglements.

Inspired by field guides traditionally employed to identify non-human species (flowers, rocks, animals etc.) and typically travelled with into natural environments, the A&A Field Zine for Guiding Rewilding instead encourages individuals to nurture an ‘art of noticing’ (Tsing, 2015) through mapping local environments. As implied, the zine provides agency for anyone to engage with their ‘anywhere’ habitat. By drawing on ‘different knowledge practices – different modes of attentive immersion’ through the act of mapping, participants will be actively documenting ‘the specificity of lived natural-cultural entanglements’ (Van Dooren, et al., 2016, 13). An awareness of individuated positionality and potentiality allows for responses to produce ‘their own very particular histories and possibilities’ (13) within more-than-human engagements.

Through a series of prompts and detailed direction, the zine will lead participants to pay particular attention to areas that have been altered through anthropocentric actions. To counteract their findings, they are also invited to consider what might be changed through their own speculative acts of rewilding and conservational attempt. Through such invitations, participants’ creative activity, and reflection will be recorded to complete their zine. By the end of their walk, the A&A Field Zine for Guiding Rewilding will exist as a map documenting the individuals’ moments of attentiveness in speculative re-imaginings and real-world interactions with their more-than-human entanglements.