Matilde Meireles

Matilde Meireles is a sound artist and researcher who makes use of field recordings to compose site-oriented projects. Her work has a multi-sensorial and multi-perspective critical approach to site, where Matilde investigates the potential of listening across spectrums as ways to encounter and articulate a plural experience of the world — human and otherwise. These range from the inner architectures of reeds and complex water ecologies, to the local neighbourhood, resonances in everyday objects, and the architecture of radio signals. She often highlights collaboration and participation as catalysts for a shared understanding of place, developing project-based or long-term collaborations. Her work is presented regularly in the form of concerts, installations, releases, and community-based projects.

She holds a PhD in Sonic Arts from the Sonic Arts Research Centre, Queen’s University Belfast, and is currently a Postdoctoral Research Fellow at University of Oxford in the project Sonorous Cities: Towards a Sonic Urbanism (SONCITIES).


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Different angles that point to a similar understanding of

knowledge and creation. Four intersections with

the physical and operational territory of OSSO.

Fragments of texts, ideas, excerpts, citations, images,

images of excerpts, excerpts of images. Partial maps,

partial views, traces of thoughts, walks, paths and plants.

Joana Braga was challenged to dive into the territory

where OSSO is situated, and to create an essay

from that experience. Throughout 2021, Joana

experimented and developed relations with the collective,

the village, the surrounding land, its people and plants.

A situated process that truly took place and expanded

to a series of future projects and collaborations

with members of OSSO. Her text reinforces Michael’s idea

of the “detailed views” with Benjamin’s immersion into

the details of the world. Fragments that are excerpts

that are grafts (enxertos) that become new fragments.


Teresa Luzio was also able to be physically present

in our space for a five-day-long residency, in October 2020.

Her ongoing research project went through a transformation

prompted by the new frame she encountered:

a residency space in a rural setting, where a multidisciplinary

collective develops their activities, including the radio project,

where she was invited to present a sound-based work.

In this publication, Teresa revisits this same work,

as well as a set of fragments, detailed views that assemble

into a field of possible combinations, or exercises.

A dynamic territory made of incomplete patches distributed

irregularly in space, at varying distances.

Diogo Alvim

Diogo Alvim works between music and sound arts, exploring their interactions with architecture, specific contexts, and other arts. He is interested in expanding
the practice of sound composition as a research and transformation device.

He studied architecture and composition in Lisbon,
and in 2016 completed a PhD in composition and sound arts at the Sonic Arts Research Center at Queen's University Belfast. His research explored different relationships between music and architecture.

He teaches sound arts in the Degree and Master's program
of Sound and Image at Escola Superior de Artes e Design
das Caldas da Rainha (ESAD.CR-IPLeiria) 
and is an integrated researcher at CESEM, FCSH-NOVA.

He regularly collaborates with visual and sound artists, choreographers and directors, in productions as diverse
as installations, video, dance, performance, performative walks, and other hybrids.


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Sara Morais is part of the collective. She traversed Expansive Territories on different occasions, bringing her own detailed views and unique perspectives. For this publication, she proposed a set of transversal materialsderived from experimentations with filming a threshing-floor

while in preparation for an altogether different project happening alongside Joana’s residencies at OSSO. These short moving images

are intended to traverse, contaminate and convey new meanings

to the other essays. The threshing-floor Sara filmed, an interval

in the irregular surface of the ground, is itself irregular.

With cracks, patterns of moss, fungi and remains of plants blown

randomly by the wind. They compose an ambiguous landscape

that can be mistakenly perceived as an aerial view — a different

scale that reveals different territories when we change

our way of seeing.

The master students of Graphic Design (ESAD), led by lecturer

and designer António Gomes, were invited to react to the essays

and add yet another dimension to the publication. They were given

complex task, one that aimed at a design that would further expand

the reach of the essays. Their commitment and creativity

was remarkable and generated many creative responses beyond

our expectations. Although only one proposal could be selected,

all projects contributed to enrich our own different readings,

and to join our partial views. 


Traditionally, threshing was followed by winnowing, a process that consists of throwing the mix of grains into the air so that the wind would blow away and separate the chaff from the grain. Erratic and transformative, the wind as exhalation of territories.

Teresa Luzio

Artist books, analog videos and photographs are traces

of her performances, defined by no public attending,

or her presence is by chance. Her work arises from what

she observes, whether it is a place, an object, or a situation,

to disturb its configuration, to go through it as a way of perceiving

things. Teresa graduated between Portugal and Germany.

She has a Masters in public art and new artistic strategies

(Weimar) and a PhD in performance from Faculdade de Belas Artes da Universidade do Porto (FBA.UP).

She has been a lecturer at Escola Superior de Artes e Design das Caldas da Rainha (ESAD.CR-IPLeiria) since 2008.



Sara Morais

Mostly interested in sound and vision, she writes,
directs and edits several media.
Wandering through radio fields, she produces sound
pieces for RTP/Antena 1 and 2, namely Histórias de Rios.

Also researches for and directs the TV series Terra - histórias da cerâmica Jóias, para que vos quero? broadcasted by RTP2. 
Creates and edits video and podcast contents for Teatro
do Bairro Alto, in Lisbon, among other cultural entities.
As screenwriter collaborates in feature film Légua directed
by Filipa Reis and João Miller Guerra. Publishes the film/book
desvio/padrão, along with Joana Morais, about Maria Keil's
work on tile (azulejo). Studies Film and Communication
in Universidade Nova de Lisboa. Also in ESTC and Maumaus.
Currently living in Lisbon, after moving from Madrid, Oporto and The Netherlands.

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António Silveira Gomes

Born in South Africa where he studied Graphic Design (1991-92) at Johannesburg University (f. Witwatersrand Technikon). Finished studying  (1997) at the Faculdade de Belas Artes, Universidade de Lisboa (FBA-UL).
Co-founded studio barbara says… (c.1997). Ph.D. (2017)
in Contemporary Art (Design Studies) at Universidade
de Coimbra, is currently a guest lecturer at Escola Superior ESAD.CR - IPLeiria, and a researcher at Laboratório
de Investigação em Design e Artes - IPLeiria. Awarded with
a certificate of Typographic Excellence in 2010 and member of the Alliance Graphique Internationale (AGI).

In working closely with cultural national and international institutions, artists, publishers, and social development projects; António has extended his professional and academic practice, as curator and research author, focussing on areas such as art/design history, material culture, design pedagogy, editorial design and network cultures.


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Ciencia Vitae

The visual essay that I present appears in a phase
that is temporally distant from the residency period
(December 2021). It results as a need to attribute
visuality, therefore, to show the infinity
of the spatialization of this body and parts
of the books’ texts.

[/] In the final phase of the residency I developed
a sound piece, which materializes a possible
relationship between the books, determined
by the encounter between my body
and its different contents.[\]

[/] From the various arrangements of the books
on the orange floor and on the gray foam plinths,
my movement through space was determined
by the various possibilities of reading the books, and[\]

Rita Oliveira

Graduated in Graphic Design and Multimedia at

Escola Superior de Artes e Design das Caldas da Rainha
, and is currently finishing her Master's
degree in Graphic Design, at the same instituition

Her focus in the field of graphic design relies in the use of analogic techniques as a complement to the digital work, applying this same principle to the project of the dissertation about the representation of feminist and queer narratives.

When she's not in front of a computer, you can find her at flea markets looking for the next publication to add to her growing collection.


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[/] Upon my arrival at the place, I distributed
books in the space that[\]
[/] was granted to me, books brought
in a suitcase that were in my studio waiting
to be read,[\]
[/] From these brief walks, I brought inside natural
elements that I found, putting them in relation
to some pages of the books.[\]

The microphone, a fixed axis in space,
is the means by which it is possible to hear,
and thus compose a mental image
of the spatialization of this body and contents.
[/] the images in the books, from which
I recognized improvised relationships between
the contents, and from this process, mental
images emerged that I wrote down in parallel.[\]

The readings were paused by walks through the surrounding
natural territory, made possible by the sunshine in between
the periods of rain.
[/] For five days (October 2020) I took part in the artistic
research residency “Expansive Territories”, organized
by the association OSSO (São Gregório, Caldas da Rainha). [\]

[/] around subjects that I research
in my artistic and teaching practice
(ESAD.CR), such as: movement, image,
incorporation, Art, what it means
to teach “Art”, what it is supposed
to teach in “Art”, and the importance
of the curriculum of a subject.[\]
[/]  I recognize in this project the principle
of a method based on the relationship
between artistic practice as research
and teaching practice, aimed at finding
means of visual, sound or spatial
transcription, linked to the creative process. [\]

[/] But not only that.

The essay grafts/excerpts is composed of small sections (fragments or excerpts)

along which the reader can wander, eventually following several paths.
The starting and ending fragments are always the same.

In two of the fragments, I grafted excerpts from The Life of Plants: A Metaphysics
of Mixture
by Emanuelle Coccia. These excerpts were randomly selected from
a larger selection of parts of the book that had affinity with the issues addressed here.



When we find a place we cannot decode with our incorporated
references, we feel foreign. An invisible distance separates
us from its rhythms, texture, and architecture. OSSO became
a home as soon as I arrived, but I faced the village
of São Gregório as a foreigner.
                                                                                           I went out looking for a place
                                                                                                         where to drink a coffee.
I slammed shut the blue gate and followed in the direction
of a sign with the image of a coffee cup, branded with a Greek
delta, nailed to a post by the road — maybe an old bus stop.
Closer to the post, I saw no coffee shop, just a small private lawn.
I kept on going, up the street walking on the tarmac, since there
were no sidewalks. An open field interrupts the line of houses
and broadens my horizon. Several heavy machines lurk around,
as idle as the dog under a sunshade or the heap of firewood
lying under a makeshift structure.

                                    “Firewood for sale”, I can read on a sign.
In the background, fields unfold down the hills, a composition
of bare earth rectangles and a variety of polygons drawn
by the orderly lines of fruit trees.

                                                                     I keep on cli
The street, which is a road, is now compressed between
two stone and concrete walls, two continuous lines of houses.

There is no one else on the street, the coffee shop is closed.
Through the gaps between the house’s walls,
I can see the cultivated hills spreading in the distance.
                                                 I take a few steps down the sloping alley.

It is not just the sight that is astonishing, the soundscape changes very quickly, and the odours too.

[/] I slowed my pace as I approached the large stone
pine that overlooks the orchards and the cultivated
fields that stretch into the distant horizon. I sat under
its shadow, on a rock beside its trunk.

From this vantage point, I gaze at the landscape spread
out in front of me, surprised by its vegetal geometries,
a reticulated pattern of fields shaped by the topography.
Evenly spaced, the lines of apple trees curve along
the slopes interrupted by small, dense islands
of various shades or dark green masses, the residues
of the surviving forest and the eucalyptus that has come
to replace it. Sight places us before a world that unfolds
in front of us.
                     Again, I feel a distance growing between
me and the place. The aesthetic dimension of this
landscape is the result of a human labour directed
towards agricultural productivity. These apple trees
are objects of mass production, subject to strict control
of their growth to facilitate the harvesting of the fruit.
But here they are also the predominant sentient lives
that draw this magnificent landscape. Although,
at this distance, the place expresses the instrumental
relationship humans imposed on plants, other
intertwinings will emerge from other perspectives.
How is this place perceived by the apple trees?
Or by this lonely stone pine?
                                 I direct my attention at its trunk,
and at the stone where I sit. I look at their textures
and notice their details. Sight can also be haptic.
I use my body to acknowledge my environment.
To dive again.
                                                I tasted the pine scent
but could not find the right words to describe it.
How can a smell be translated into words? Smell
is the presence of another within us. A vivid presence
that impresses the senses and changes us with each
breath. Is smell a particular form of encounter?
                                      I stayed by the pine for a while,
trying to grasp its uniqueness. Lonely, imposing,
rooted in a patch of red soil by the side of the road.
Perhaps its roots, deep inside this red earth, come
across other beings. The tree, it might not be solitary
at all. A web of many branches of varied widths
and millions of needle-shaped leaves, its immense
canopy towers over the breadth of the road and the last
apple trees on the rows that go down the slope.
It embraces my body and offers me its shade.
There are some vertical indentations on the rough husk
of its expansive trunk, fissures woven of juxtaposed
textured blades, the marks of the duration of its life.
                                     I press my hand against the bark
                           and move it, scratching my own skin.

Has it felt it? How does the tree perceive my presence?






[/] The small path that starts at the workshop’s
back gate ends in a circular concrete terrace,
grown over by weeds, almost hidden. The seasonal
cycle seems to be inscribed on its dark surface
in the form of a composition of a variety of lighter
spots. The concrete’s discoloration is akin
to a cartography of the threshing floor’s life:
the bales of cereal that were gathered here,
the movements of the persons who threshed
and sieved them, the children’s games,
the rainwater pouring through the cracks, irrigating
the grass that now crumbles the concrete. An intense
aroma announces the presence of a line of eucalyptus
trees just ahead.






  (CRACK,                                                          CRACK).

The rhythm of my stride breeds its own rhythm
of thinking, echoing the rhythms of the landscape
I am walking through. The bushes sway in the wind.
Flying or perched on the trees, the birds sing.
The acorns click as they fall on the pine needles
carpeting the ground


I remember a quote by Rebecca Solnit,
from her book Wanderlust.
          “[…] the passage through a landscape
                   echoes or stimulates the passage
     through a series of thoughts.
            This creates an odd consonance
     between internal
                            and external passage,
                  one that suggests that
       the mind is also
                     a landscape of sorts
and that walking is one way
        to traverse it.”

The movement of the body — and the sensitive
details of the environment we move through
and are immersed in — sets thought in motion,
reflecting in myriad ways the facticity of the spaces,
beings and things that share the world with us.

Momentarily, the boundaries between
            and exterior are blurred,
and the sway of the grass clicks my
shoulder blade and its clack

(CRACK,                                                          CRACK).
is also in the bird’s song.

I am no longer a foreigner in the village, I blend in with the place and with the beings that live here.

I continue towards it and reach the road.
I walk with a long stride, shifting my weight
between one leg and the other, swaying each
arm in sync with its opposite leg.
I feel my toes pressing into the asphalt,
the muscles in my calves stretching;
the shoulder blades click softly as I swing my arms

[/] I move my body in a constant rhythm,
immersed in the place’s vegetal atmosphere,
paying attention to its modulations.
When walking, we perceive ourselves
and the space in which we are immersed
through the interactions we spin as we move.
After a while, the sounds I hear begin to blur:
the birds, the rustlings of leaves,
the agricultural machine working in the distance,
the large freezer in the background, my footsteps,
they all merge and become undistinguishable.
They mix in a composition of moving flows
in which I am immersed and involved.
Suddenly, they are joined by a deep, resonant sound,
that seems to approach me from behind. Curious,
                                     I turn my body around
and see a huge beetle approaching.
                    I jump out of its way and take
cover among the branches of the large
bushes on the side of the road.
Its sound and movement stun and startle me.
Only a few seconds later, as if waking from
a dream, do I realise that it is some kind
of motorised machine driving along the road.
Composing myself,
                       I waved my arm at the driver.
I later learned that it was a vehicle
that sprays the orchards with fungicides.

I wondered the reason for its beetlelike shape.


Grafting consists in growing the upper part of a plant, called
                                                          the scion,
on the lower part of another plant,
                                                          the rootstock.
The two plants can be from the same species or from a related
species and it is only successful when the vascular tissues

of both fuse and start to grow together. In grafted plants,
the radicular system grows from the rootstock and the aerial
part can grow only from the scion or be shared with the rootstock.
Grafting is also used as a form of plant asexual reproduction.


In Manual de Botânica, by Carlos Aguiar.



1a: the growth or an individual resulting from the union of scion
and stock: a grafted plant (as a rosebush)
<some excellent two-year-old grafts on dwarf rootstocks>
<an expert can turn out a surprising number of grafts in a day>

b: scion

c: the point of insertion of a scion upon a stock
<the graft should be high enough to prevent the formation of scion roots>
also: the area of joining of scion and stock in grafting
<a poor graft may break after several years satisfactory growth>

2a: the act of grafting or of joining one thing to another as if by grafting
<once the nerve is exposed, a careful graft of fascia must be performed — Timothy Deer>

b: something grafted in this way; specifically: a piece of living tissue
used in grafting


a passage (as from a book or musical composition) selected, performed, or copied : EXTRACT

excerpted; excerpting; excerpts
transitive verb

1 to select (a passage) for quoting: EXTRACT

2 to take or publish extracts from (something, such as a book)

In Merriam-Webster


Expansive Territories is the theme underlying

a program of artistic research activities

developed by OSSO - Associação Cultural,

and coordinated by Diogo Alvim and Matilde

Meireles since January 2020, and culminating

in this publication, hosted in an editorial

partnership by the Unesco Chair in Arts

Management and Culture,
Cities and 
of the Polytechnic
of Leiria
It is a small
editorial project that

seeks to establish
different perspectives and 
of operation in artistic research,

as well as between different institutions.


All my attention was focused on the apple
trees’ creased scars. Close to the line
where they emerge from the soil,
their thin trunks always bear the mark
of a disproportionate growth with irregular
curvilinear contours. It was as if swollen
tumours had emerged from all those
young plant bodies, some of them cracking
the tree’s skin and exposing their innards.
Astonished, I observed how the stems
kept rising above those growths with
intensity and as the trees blossomed
and bore fruit, immersed in the light.
The shapes that disturbed me were scars
of some violent event in the life of these
plants, a violence that did not interrupt
their development, but rather produced
these monstrous shapes in their multiform
bodies. Diving my attention and body into
the details of each of these beings, I noticed
fragments of a kind of rubber casing clinging
to the small monstrosities. I noticed that
some of the scars were more tenuous: small
bumps, from which, besides the dominant stem
passionately shooting towards the sky, a small
dormant branch grew. These trees, which had
apparently been less abused in the past,
produced plum-sized apples in unexpected
quantities. I thought that human bodies must
have had acted on these trees with some
purpose, leaving tuberous scars on their vegetal
bodies. The plants with smaller outgrowths
are the ones that bear the strange small fruits.
As if something had been skewed in its development.
I imagined that, on those particular plant beings,
human action had had some unexpected result.
Ignorant of the fundamentals of agricultural
techniques, I did not recognise them as the grafts
that are usually spliced into fruit trees.
However, my speculations were in tune with
the reality of their lives. Those tuberous forms
were the marks of the grafts imposed by humans
on the trees, scars from the process of joining
the vascular tissues of two beings, memories
of the rooted body’s open wound onto which
was grafted an excerpt of the fruiting plant.

OSSO is a cultural association and multidisciplinary
collective that includes artists and researchers

from areas such as music and sound art, visual arts,

photography, performance, architecture, and cinema.

Created in 2012, OSSO is funded by the Ministry

of Culture and other non-academic entities. Although

we develop partnerships with academic institutions,

our program does not respond to the constraints of

academic formalities that sometimes condition the

volatility of artistic practice; particularly in Portugal

where traditional academic settings still do not

recognize the practical or experimental dimension

of research present in artistic residencies.

The context we created in São Gregório, Caldas

da Rainha, allowed us to expand towards open

practices of research. Expansive Territories emerged

in this context. The project aimed to understand and

expand the processes of artistic practice as research

through residencies, roundtables, radio talks

and a workshop. The main goal of our residency

program was to allow artistic projects from different

disciplines and backgrounds to intersect, to dialogue

and affect each other. Expansive Territories extended this ethos

to artistic research. It was a subprogram of OSSO’s general

activities, focused on artistic projects formally or institutionally

framed as research. The push to acknowledge that any

creative process is a kind of research, was our way to join

many artists, institutions, universities or other more informal

groups like our own, and contribute to a wider discussion about

artistic research.

Artistic research has gained momentum and recognition in the last

decade. It continues to be fostered by an ever-expanding

community, a growing number of dedicated journals, international

conferences, and promoted by academic and non-academic

institutions like the Society for Artistic Research.

Together, they outlined a possible frame and have been

pushing it forward as epitomized in their policy document

Vienna Declaration on Artistic Research. Eschewing terms such

as practice-based or practice-led, arguments for Artistic

Research have been trying to challenge the “practice-theory

deadlock” emphasizing the “importance of self-determination

for artists in regard to which part of their research may be

considered ‘practice’ or ‘theory’” (Schwab 2019, 27).

One way of doing this is through the notion of Exposition

with which the Journal for Artistic Research has pioneered

creating the Research Catalogue, an online platform

for the publication of research output, in a variety of flexible

and creative formats. In fact, output is not quite an adequate term

for what may come out of artistic research, hence Exposition.

An exposition is a moment of presentation, though not an exhibition.

Although they share some elements “to the degree that [they]

may sometimes coincide” (ibid, 28), an exposition can be

understood in a wider frame as a non-predetermined articulation

of artistic research, where its epistemic implications are

recognized beyond “some form of sensory or experiential input”

(ibid, 32). Expositions do not exhaust themselves in a one-way communication, as the actual practice of exposing feeds back into

the development of the research, affecting the creative process.

They do not represent artistic practice, they are “events that problematise” and affect what is being exposed (ibid, 28 and 30).

In that sense, our perspective was to promote a context for

a specific practice where the knowledge generated in each

creative process could be articulated, exposed, and shared in unconventional ways.

In February 2020, we launched an open call for artists/ researchers. When the handful of proposals selected by OSSO (Diogo Alvim

and Matilde Meireles), Pedro Rebelo (Sonic Arts Research Centre,

Queen’s University Belfast) and Raquel Castro (Lisboa Soa;

Invisible Places; research fellow at CICANT - Lusófona),

was to be announced, the Covid-19 pandemic emerged putting

everything into a halt. As many others, we had to rethink and

replan all our activities. It is now difficult to retrace the sequence

of cancellations, postponements, restructurings that took place

during 2020. But this new inherent instability only reinforced

our need to continue fostering creative spaces of debate.

Our critical approach to the planned activities led to a renewed

and fertile experimentation program.

Each residency was planned to culminate in an open day,

an event promoted by OSSO, where the residency space

would be opened to the public (local community and wider

artistic community), and results of the residency or processes

were to be shared and archived. But because of the pandemic,

this format had to be rethought. The experience of accompanying

several artists/researchers in different residence formats, made us engage further with this notion of exposition, expanding it

in time to comprehend the residency itself. These were even

more so, spaces of continuous exchange of ideas, knowledge,

and experiences between the artists involved and the collective,

and at times, an audience. Artistic residencies, understood

as a kind of expanded expositions, create unique conditions for

the interweaving of different creative processes, the overlap

of different artistic territories.


Eira emerged in this context allowing us to remain connected.

Eira is a radio project that started as a possible ethereal space,

capable of hosting (replacing) the artistic residencies programmed

for that year but, more than that, it became a platform that

As an opposition to the direct course of intention
that leads a subject to a knowledge of the exterior
world that reduces living and non-living beings
to objects to be possessed, Walter Benjamin proposed
an entering and disappearing of the subject into truth,
which can only be met through a total immersion in the
details of the world. Freeing ourselves from the notion
of truth that does not seem to contribute to a full
apprehension of the world’s form, it seems fruitful
to practice new forms of approaching the details
of the environment that surrounds, envelops and transforms
us, the environment we move through and (also) transform.
To find dispositions that favour hearing to sight,
in which our gaze becomes tactile; to create compositions
that suggest an idea of the human as a body of elements
implicated in a field of events, and not as subjects
confronted with a world of things and objects.

To walk and to stop
are modulations of the daily movement
of human bodies that stimulate the centrality
of “body space”, in other words,
the haptic experience that opens
the body to the flows of varying
intensities that make up the
world. These have been the
ways I have found to
experience immersion
in the details of the
world of events
I am a part of.

encompassed and potentiated different moments of encounter,

dialogue, exposition, collaboration, experimentation,

and improvisation. Starting in June 2020, Eira embodied

an alternative operative space for the collective, while occupying

two different public spaces: that of FM radio, reaching

the local community by air; and the digital rhizome

of the Internet. The name Eira (meaning threshing-floor)

refers to an actual threshing-floor that exists in the property

where OSSO is settled. A threshing-floor was, in old days,

where grain was threshed, but also a place where people would

meet, work together, sing work songs. A shared experience

and a bounded communal space defined by a smooth,

levelled surface, a recess in the fields, that hosted and enabled community rituals, bonds, a territory.

All residencies were redesigned based on the new radio platform

and its affordances. We proposed the selected researchers,

not so much a remote residency, but one hosted in this

ethereal space. A sound work that could somehow expose

a part of the research questions and hesitations encountered

along the process, and the territories traversed.

The summer brought some hope and reassurance, and the

possibility of being physically together became somewhat tangible.

We started hosting a few national artists in person, and slowly

regained confidence amid facial masks and the smell of hand

sanitizer in the air. But this air was already impregnated by

the radio waves of Eira, a territory expanded.


The title Expansive Territories worked as a conceptual model
for all the activities developed within this program.
We hoped that its vague and ambivalent postulation would
provoke and stimulate a discussion across all projects
and artists involved. Each artist-researcher would bring their
own artistic practice, their creative processes, territories,
and expose, confront, overlap and deterritorialize their practice
through the confrontation and juxtaposition of their work with
that of the other residents and the collective.

                 Plants do not run,
             plants do not fly, plants stay
         where they are. For plants, the world
       is the land where they are rooted, the wind
     that blows on them, and the sky from where
   light and rain pour down. Plants perceive
  the world with their entire bodies. They develop
 a body that privileges surface over volume. Their
leaves are the fabric of cosmic interconnectedness
that produced our atmosphere through photosynthesis,
creating the conditions for their survival, but also
for the life of an infinite variety of beings,
bodies and histories.

Plants are an example of life-as-immersion.
Plant life is life as complete exposure. Plants are
radically exposed to their environment and their
actions have fundamentally changed our planet.
One cannot separate the plant — neither physically
nor metaphysically — from the world that accommodates it.
A state of immersion is not defined by being enveloped
by an environment that penetrates us, we also penetrate
the environment.


Paraphrasing Emanuele Coccia, by making the world
possible — the same world they are part of — plants
destroy the topological hierarchy that seems to inform
our worldview. Immersion is an action of reciprocal
penetration. If penetrating the environment overlaps
being penetrated by it, the boundaries between active
and passive become blurred. Humans are not plants,
they move in space and their world is potentially
infinite in extension. However, to walk is the
intentional act closest to the non-volitional rhythms
of the body, such as breathing and heartbeat.
Walking can be a passive activity. By walking,
we find a multiplicity of spaces and places and
— in this encounter — we reposition ourselves
in the world with the same action that creates it.
                 Walking can be a way of getting closer
                                   to life-as-immersion.


By existing, plants have created a world in a planetary
scope. They eroded the boundaries between being and doing.
Knowledge and contemplation presuppose the existence
of a fixed, stable world, composed of identifiable
objects, placed before a subject, generally immobile
(so that they can have a point of view). In the world
of immersion, everything exists in movement with
varying degrees of permeability and this movement
is done with and within the subject. There is no clear
distinction between us and the rest of the world. When

acting or thinking, feeling or creating, we are dependent
and conditioned by the entire world and the concrete
situation we are in. At the same time, we are producing
this world and this situation, even if in a very small way,
even if only in the field of imagination.

e are experiencing living-as-immersion.

Plants made the world we live in; their existence
is at the genesis of human existence. They are life-
forms capable of altering the forms and lives of the
planet. Grafting is the joining of two plant bodies. Even
though this joining is forced by humans, the idea of mixture
is intimate to plants. Through their processes, they made matter
into life when they infested the aerial layer above the Earth’s crust
with oxygen, producing the atmosphere we know. Plants are the breath of all living beings, the world as breath. The air we breathe is not a geological ether, but a product of the life of other beings. To breathe means to be plunged into a medium that penetrates us in the same way and with the same intensity as we penetrate it. By breathing, we depend on the lives of others. We can think of grafting as a collaboration of humans to this radical joining, the world.

Grafting, and the graft, can be understood as forms of this
planetary mixture. They participate in the making of the world’s
form. As long as there are gestures that bring together bodies,
fragments or excerpts that share some affinity, new bodies
will be created, new life, new work, and a mixture emerges
through these grafting processes. A new body with the attributes
of those that have been combined, bearing the marks of that joining.

                                      Right now, I am trying to graft excerpts
                                     into textual fragments, to create a being
                                     made of words and images.[\]

[/] Lewis Carroll in Sylvie and Bruno Concluded (1893)

and Jorge Luis Borges in On Exactitude in Science (1946)
fantasize about a map identical in size to the land
it represents. At a scale of 1:1, we might imagine
that such a map captures everything and that
every detail finds its representation on the map.
While of course a literary fiction at least for those
vast lands that such a map is said to cover, the
idea off which it plays does not seem so absurd:
that we might, indeed, one day create an archive
of knowledge – a map – able to capture
the details and complexities of the world,
if not the cosmos.

[/] Beyond what botany manuals explain,
grafting is a technique operated by humans
on the bodies of plants, which are often
seen as objects to be mass produced.
These lifeforms are reduced to what humans
call “resources”. As it is employed now,
in the context of industrial farming, grafting
becomes a technology that embodies
the relationship between humans and non-humans
within capitalism. Imagining the human species
since the advent of capitalism commits
us to the diffusion of alienation techniques that
have transformed human and non-human beings
and things into resources for capitalist exploitation.

As Anna Tsing stated, this confronts us with
the fact that modern philosophy’s notion of the human
— based on its supposedly exceptional character,
on the belief that solely the human has capacity
for self-reflexivity and self-determination,
and on the notion of its absolute independence
from its environment — remains operative, through
the assumption that attributes such as “intentionality
or “capacity for action” are unique to humans.
This conceptual framework imprisons all other beings,
conceived as dependent on humans, depriving
them of their world-making capacity. Thus,
the intertwining of life and vital spaces, the mixture
and immersion that characterize the world are hidden.

Grafting is the joining, decided and operated by humans,
of two compatible plant bodies. This joining seems
to provoke a convulsion in both beings, since
it always results in a monstrous scar. In grafting,
one acts on the bodies of others and imposes a mixture.
 In industrial farming, the combination of these beings
   is often done in a way that conditions the development
      of the plant that emerges from this mixture. Apple
        trees are grafted in such a way that they cannot grow
             into trees, their body limited to brush like growths
                  that yield more apples and are easier to harvest.

          We would have to               think carefully how
    we would draw such            a map of everything.
   That fact that the                ground that would have
        to be covered               is not flat is just the first
difficulty. Like when            we think of our own
planet, it is easy                 to forget that there are
  no perfect, flat               representations: the most
    familiar maps               use the Mercator projection, 

              Expressed in a map’s scale is the desired
   level of accuracy. No one expects that a map drawn
 to a scale of 1:25.000, for instance, will show a bump
 in the road, not even, perhaps, at  1:10 ou 1:2.
        But if we move to                  , or ‘to the things themselves’
(zu den Sachen selbst)                as Edmund Husserl formulates
the phenomenological maxim, we rightly expect every detail
  to be accounted for if it weren’t for the fact that under conditions
  of virtual infinity, the counting and accounting of all details may
                               be pointless.  

Joana Braga  

Architect, artist and researcher. Her work articulates spatial, discursive,
visual and performative practices to explore the aesthetic experience
of space, and also its cultural, political and social dimensions. She
focuses on walking as an experimental practice and as a means
to research and expand our relationships with inhabited space.
She has experimented with research formats that articulate
the embodied experience of the territory with the assembly and
reconfiguration of traces inscribed therein, to question social space,
and the discourses, objects and practices that unfold it. Her activity
has been multifaceted, comprising artistic practice, research, curating
and writting. Recently, she presented the performative and sound walks:
Os Passos em Volta – Alcântara (The Steps Around – Alcântara, Jun. 2023)
and Os Passos em Volta – Trafaria (The Steps Around – Trafaria, Jun. 2022),
with Diogo Alvim; A Cada Passo, uma Constelação (Each Step a Constellation,
Oct. 2019), Partituras para Ir (Scores to Walk, Jun. 2019); and the installation
passos em volta do enxerto (steps around grafting, Dec. 2022), with Sara Morais.
Joana has a grant from IFILNOVA, developing the thesis Thought and Expression
in the Work of Walter Benjamin. Postgraduate studies in Architecture of Contemporary Metropolitan Territories (ISCTE-IUL) and Bioclimatic Architecture (FA-UL).


If we include time, it would only ever be possible
to create the desired representation of a specific
moment in time and only if the counting of all details
                                                      itself happens in an instant. 

                                                Such are the difficulties
                              even before we add ‘time’, which to some
                                          acts like a fourth dimension.

       which stretches        what is close to the     poles to such         a degree that the maps
     of those regions           are rendered              unusable.  This           can be dealt with by using
 other projections,        but there are always           trade-offs and                             marginalized areas.
Better would            be a three-dimensional map – a globe – but even then,                we have to be concerned
    with           its shape, for is the world really               spherical (no, it isn’t) or                                  regular (no, it isn’t)? 

Expansive Territories became itself an extensive idea,

motif (motivation), or borrowing from Deleuze and

Guattari, a refrain (ritournelle) (1987).


Territory is a multifaceted and dynamic concept

that has been progressively embraced by different

disciplines as a conceptual tool that facilitates the

understanding of social processes and relations

in a spatial frame. It “has been part of the theoretical

corpus in the diverse currents of geographical thought”,

and has expanded beyond the borders of this

discipline, to become an important methodological

concept in many other of the social sciences

(Llanos-Hernández 2010, 207). With this expansion,

territory became an “inter-disciplinary concept

that allows the study of new realities in the

social world within the current context of globalization,

and which manages to give central relevance

to the spatial dimension of the social processes

it studies” (ibid, 213). Thus, while it may in a first

instance refer to areas of land, zones, or domains, the concept of territory constitutes a “versatile manifestation of the social space as

This touches on the problem that real lines and surfaces
are not smooth. Depending on magnification and, hence,
proportion, a surface may appear flat or rugged. In fact,
regardless whether we think of fractal geometry as an
adequate expression for such boundaries, as Benoit
Mandelbrot argues in 
                                             How Long Is the Coast of Britain?,
       «[…] geographical curves are so involved in their detail that their
                                lengths are often infinite ormore accurately, undefinable.’ 


     This is particularly  true if we venture from the macro
  to the micro level of reality and from there to the quantum                 level, where a measurement affects its result.

If we include time, it would only ever be possible to create the desired
        representation of a specific moment in time and only if the counting
        of all details itself happens in an instant. If I were to spend any amount
        of timeon the mapping of reality, however short it was, who is to say that the moment
        I am finished with it, what I started with would not already have changed?
        My map would then recorda temporal slippage where two points on the map show
        a visible spatial and an invisible temporal difference, the trace of the making process. 


reproducer of the actions of social actors” (ibid, 213).

Territory then comprehends and articulates notions

such as identity and community, dominion

and control, appropriation, exploitation, exchange

or solidarity; it performs as a ground, foundation,

a space to dwell and act, but also one that operates as a

specific catalyst, in which human and physical patterns

take shape, reproduce, gain consistency, merge -

- assemble in a new reality.

Territories are therefore social constructs, products of

both human and other-than-human agency that

encompass physical, virtual, social, political, experiential

and affective spaces. They form identities, produce

meanings, unique perspectives, values, and ways

of living. Constructed from the manifestations

of everyday rituals, events, repeating patterns

that generate, as Deleuze and Guattari argue,

“the emergence of matters of expression (qualities)”

(Deleuze and Guattari 1987, 315), a territory can also

be understood as a field of knowledge, an area

of activity or experience, a discipline, where its exercise

materializes a way of doing, consolidates practice,

                                              Indeed, if I need any time at all to make a map, the trajectory
                                                                 of making starts to matter leading to a virtually infinite
                                                 set of temporally displaced mappings of the same dynamic reality,
                                        which, don’t forget, will already be outdated the moment the representation                           is complete. 

and specialization. In this sense, a “territory

is neither a spatial concept nor a material concept”

(Buchanan 2021, 96). It is not so much attached

to a physical site, as to a virtual space, a more or less volatile sensation: “the space of the territory cannot

easily be mapped or correlated with the proverbial

‘facts on the ground’. In many cases, the territory

has no specific spatial dimension, it is all ‘in our heads’,

and it is better understood as a feeling, or better yet

a sense of purpose. Rather than regard them

as spaces, it would be more useful and accurate

to see territories as subjective states in a psychological

sense” (ibid). Therefore, territories do not necessarily

have physical borders but always mental frames.

“The frame is what establishes territory out of the chaos

that is the earth. The frame is thus the first construction,

the corners, of the plane of composition. With no frame

or boundary there can be no territory, and without territory there may be objects or things but not qualities that can become expressive, that can intensify and transform living bodies.” (Grosz 2008, 11) Framing is demarcating, establishing form, order, structure. It delimits a field, creates a disjunction, an inside and an outside.

In this reality in
which we live,
many ask whether
adding further patches  to    the map     will
ever lead to change. Some have investigated
new topologies, others look at the stiches, the thread
itself, even, that holds our lives together.
I have also seen people playing hopscotch on it,
                                                                                    inventing new rules for travel.

“The frame separates. It cuts into a milieu or space”

(Grosz 2008, 13). It is this provisional framing of chaos

that “produces extractable qualities, which become the

materials and formal structures of art” (ibid, 16). 

Nevertheless, the frame (the limit of a territory, a discipline,

a creative process) is not fixed or stable as it takes shape from

a complex arrangement of qualities that keep being created,

and rearranged. Each territory is always a process, an act

(Deleuze and Guattari 1987, 314), that affects and is affected,

transformed, mutated into something new.

“A territory is always en route to an at least potential

deterritorialization, even though the new assemblage may

operate a deterritorialization” (ibid, 326). It is crossed by a

transversal line that connects, extends outwards,

a “specialized vector of deterritorialization” (ibid, 336).

It is a field in motion, continuously regenerated from the dynamic

contact with its neighbouring territories, with what is foreign,

external, with chaos. 

As they intersect, territories feed from the transgression

of their borders. The frame is an interface between

mutating territories. The frame as a margin, is a territory itself,

the site of particular interferences where differences come

into contact, dialogue and exchange. They are in permanent transformation, generating new dimensions of convergence,

conversion, or conflict. Thus, the frame defines the territory but the territory transforms the frame, moving, pushing and disintegrating it. There is violence in the process, and Joana Braga’s text

acknowledges this in the scars left in plants by grafting.

A violence resulting from the merging of two beings

 The size of our ignorance cannot even be estimated,
     since those areas don’t even exist to be filled in.
        The patches only loosely connected to sets
                 floating in a sea of nothing.



Buchanan, I. (2021). Assemblage Theory and Method. United Kingdom: Bloomsbury Academic.

Grosz, E. (2008). Chaos, territory, art : Deleuze and the framing of the earth. United Kingdom: Columbia University Press.

Guattari, F., Deleuze, G. (1987). A Thousand Plateaus: Capitalism and Schizophrenia. United Kingdom: University of Minnesota Press.

Haraway, D. (1988). Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies 14 (3): 575–599.

Krauss, R. (1979). Sculpture in the Expanded Field. October, 8, 30–44.

Llanos-Hernandez, L. (2010). The concept of territory and research in social sciences. Agricultura, sociedad y desarrollo [online]. 2010, vol.7, n.3, pp.207-220.

Schwab, M. (2019) Expositionality. In de Assis, P. and d’Errico, L. (Eds.), Artistic Research: Charting a Field in Expansion (pp. 27-45). United Kingdom: Rowman & Littlefield Publishers.


Aguiar, Carlos. 2018. Manual de Botânica. I. Estrutura e Reprodução. Bragança:
IPB-Instituto Politécnico de Bragança e CIMO-Centro de Investigação de Montanha.

Benjamin, Walter. 2004 [1928]. Prólogo Epistemológico-Crítico a Origem do Drama Trágico Alemão, traduzido por João Barrento. Lisboa: Assírio & Alvim: pp. 13-45.

Coccia, Emanuele. 2019. A Vida das Plantas: Uma Metafísica da Mistura, traduzido por Jorge Leandro Rosa. Lisboa: Sistema Solar (chancela Documenta).

Solnit, Rebecca. 2000. Wonderlust, A History of Walking. Nova Iorque: Penguin Books

Tsing, Anna Lowenhaupt .2015. The Mushroom at the End of the World: On the Possibilitiy of Life in Capitalist Ruins. Princeton and Oxford: Princeton University Press.



Artaud, A. (2019). As Novas revelações do Ser & O Teatro de Séraphine. Lisboa:
Edição Sr Teste

Barthes, R. (2012). How to Live Together. Novelistic Simulations of Some Everyday Spaces. NY: Columbia University Press

Bataille, G. (2015). O Nascimento da Arte (1ª ed.). Lisboa: Sistema Solar

Beuys, J. (1972) We won’t do it without the rose, Because We Can No Longer Think 
Baudelaire, C. (2009). Pintor da Vida Moderna (5ª ed.). Lisboa: Vega, Passagens

Correia, N. (2017). Não Percas a Rosa / Ó Liberdade, Brancura do Relâmpago.
Lisboa: Ponto de Fuga

Dufourmantelle, A. (2018). Power of Gentleness. Meditations on the risk of living (1ªed.) USA: Fordham University Press

Fraleigh, S. (2010). Butoh: Metamorphic Dance and Global Alchemy. Urbana, Chicago and Springfield: University of Illinois Press

Heidegger, M. (2000). A Origem da Obra de Arte. Lisboa: Edições 70

Hillesum, E. (2009). Cartas 1941-1943. Lisboa: Assírio & Alvim

Laban, R. (1971). Domínio do Movimento (2ª ed.). São Paulo: Summus editorial

Mendonça, J. T. (1997). Cântico dos Cânticos. Lisboa: Cotovia

Mendonça, J. T. (2015). Que coisa são as nuvens (1ª ed.). Paço de Arcos: Expresso (Impresa Publishing)

Pelton, A. (2019). Desert Transcendentalist. Munich: Hirmer Verlag

Pessoa, F. (1998). Mensagem. Lisboa: Assírio & Alvim

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Still, in the map it can so happen that different times
become contemporaries. Depending how I proceeded
in drawing it, two regions could be seconds, years
or millennia apart. As my eyes move                                                                                             

                                                                                           from the one to the other region, I might move from the Middle Ages
                                                                                           to the twentieth century in a blink. And yet, the time of the map is                                                                                                           never my time, since in the map, the work of knowledge is always                                                                                                                                                                                                     
                                                                                                                                                                                           already done.

that nevertheless “did not interrupt their development”. 

Like a graft between two plants, territories affect

and are affected, leaving scars, matters of expression,

marks of a new, even if temporary, expanded territory.

Territorialization, deterritorialization, and reterritorialization.

This movement is constant, rhythmic, always en route to

a potential new territory. A cyclic process, an alternating rhythm,

where “the body becomes intimately connected to and informed

by the peristaltic movements, systole and diastole, contraction

and expansion, of the universe itself.” (Grosz 2008, 16).

It is not so much the territory itself that matters, but its vectors,

movements, breathing. Breathing is an inter-penetrative act.

It is not only the body that enters a territory, but the territory

penetrates the body, with its qualities, properties, and scent.

As we read in Joana’s text, “Smell is the presence of another

within us. A vivid presence that impresses the senses

and changes us with each breath. Is smell a particular form

of encounter?”

There is something intriguing in the idea of territory as air,

not earth, but wind, something breathable. A territory defined

by erratic movement, volatile borders; that is not so much

invaded as it invades, through air and its contagious efficacy.

A territory that is not possessed but immerses, blows over,

transforms and is transformed in an irregular rhythm.

Like the wind — inconstant, unpredictable.

Expansive Territories comprehends expansion as a process of

perpetual motion – physical, social, political, conceptual, artistic.

There are also areas unaccounted           for                 – as well as times, for that matter –
    that no    one has cared to investigate. 

Under this theme, we supported artistic research projects

that engaged with its physical or natural dimensions,

its cultural and metaphorical potentialities. We aimed

to position artistic research in a path that eschews

any conclusion of the creative process. This assumes

an understanding that knowledge is unstable, and that

it is impossible to fully map the territory. Deriving from

Krauss’s “expanded field” (1979) – a notion that has itself

expanded throughout most artistic disciplines

Expansive Territories seeks to sustain that expansion.

It proposes the volatility of the frame, where the process

keeps redefining its own rules and dynamics. Art has always

been in potential expansion, a “traversing territory in order

to retouch chaos” (Grosz 2008, 18). “[T]he history

of painting, and of art after painting, can be seen as

the action of leaving the frame, of moving beyond,

and pressing against the frame, the frame exploding

through the movement it can no longer contain” (ibid).

By contemplating a continuous expansion, we sought

to gain ground towards a sustained, active regenerative

artistic process, one that resists any formalization,

or attempt to seize and interrupt its continuous

transformations. Hence understanding expositions

dynamically (they problematise, not represent),

as knowledge, when represented, is already outdated.

The temporal displacement of the maps referred

in Michael Schwab’s essay, points to a dynamic reality

impossible to fully seize. Whatever our position,

we never see the whole reality.

     While Carroll       and Borges share the image
       of a                 scale map, their description
     of the                     map’s fate is      distinctively
   different. In Carroll’s text, that map
               ‘has never been spread out [since] the farmers
                     objected: they said it would cover the
                         whole country, and shut out the sunlight!’ 

          The only way to imagine knowledge today is to accept that        representation
   has       shattered into an ever-increasing amount of detailed but limited views.          This map does
    not cover a territory. It consists of sets of partially overlapping, differently sized patches
           that    mark points and times of interest. Areas of knowledge accumulate around
             fashionable phenomena, past or present.

We have been in contact with Michael since the beginning

of Expansive Territories. His ideas on Artistic Research,

the notion of “exposition” and the motivations behind the

Society for Artistic Research, the Journal for Artistic Research

and the Research Catalogue, informed how we designed

our set of activities. He also participated in our workshop

on artistic research which took place in November 2021.

Here, artistic-researchers from OSSO, from the Research

Laboratory in Design and Arts (LIDA) and masters students

from the school of Arts and Design of Caldas da Rainha (ESAD),

created a temporary community of artistic research,

and shared processes.

Michael’s contribution for this publication dwells on

the paradoxical representation of knowledge, through

the idea of an ever fragmented, impossible map.

“The only way to imagine knowledge today is to accept that

representation has shattered into an ever-increasing amount

of detailed but limited views.” They do not cover the totality

of the world, they are not even objective as they result

from a particular perspective, a situated point of view,

“a view from a body, always a complex, structuring, and

structured body, versus the view from above, from nowhere,

from simplicity” (Haraway 1988, 589). “[T]he joining of partial views”,

views from somewhere in particular “into a collective subject

position” is what allows us to find a larger vision (ibid, 590) amid

the fragments. 

How we might deal with this fragmentation is a concern

that is reflected across the four essays of this publication.



Expansive Territories



Diogo Alvim

Matilde Meireles


Published by

OSSO Research (coord. Diogo Alvim and Matilde Meireles 2020-22)

UNESCO Chair in Arts and Cultural Management, Cities and Creativity IPLeiria

(coord. Lígia Afonso)



Diogo Alvim

Joana Braga

Michael Schwab

Teresa Luzio

Sara Morais


Translation and Revision

José Roseira




Cláudio Nunes, Gonçalo Rocha and Rita Oliveira - Graphic Design Master Students

at Escola Superior de Artes e Design das Caldas da Rainha (ESAD.CR-IPLeiria)

Implementation and final design

Rita Oliveira


António Silveira Gomes


OSSO is funded by DGArtes, República Portuguesa.


© OSSO 2023


Thanks to

António Gomes, Rita Oliveira, Michael Schwab, Teresa Luzio, Sara Morais, Joana Braga, Ruth Bernatek and Pedro Tropa.



Alvim, Diogo, Meireles, Matilde (eds.), (2023). Expansive Territories / Territórios Expansivos. ed. bilingue pt/eng, online. Caldas da Rainha, Portugal: OSSO and UNESCO Chair in Arts and Cultural Management, Cities and Creativity IPLeiria (co-publishing).

ISBN 978-989-53715-8-7

       In some sense, this map never became real, touching
  the ground only as a monument to itself, the idea of its creators.
In Borges’s version, however, the map was rolled out, thus
interfering with life. Discovering the map’s uselessness only when
it was too late, it was         
                                                ‘delivered […] up to the Inclemencies 
                                                                                       of Sun and Winters’
            broken     apart by them. 

The ideas and opinions expressed in this publication are those of the authors; they are not necessarily those of UNESCO and do not commit the Organization.

The multiplication of the 




                     The difference here between Carroll’s
             and Borges’s accounts may be explained
                  by the former’s mathematical inclination
              and the latter’s work as a librarian or by the        different
                    historical periods in which those texts       were written:
             separated by fifty-odd years, they bridge       the two world wars
               and the dawning of the atomic age.          Whatever
                  the reason for the different image       of the map
                 in those texts is, in Carroll, the        map may
                                                                            be folded, 


‘In the Deserts of the West,’ Borges continues
                                            ‘still today, there     are Tattered Ruins of that
                                   Map, inhabited                     by Animals and Beggars;
                                  in all the Land            there is no other Relic
                     of the Disciplines      of              Geography.’
Some may even walk onto or     off these pieces
      without     even  realizing it.






as it approaches its perfect scale goes hand
in hand with its fragmentation.
Lacking an idea, purpose or perhaps merely
the capacity of holding knowledge together
in the way a single map can seems too difficult
on all accounts. 




Michael Schwab

is a London-based artist and artistic researcher

 who investigates postconceptual uses of technology

   in a variety of media including photography, drawing,

     printmaking, and installation art. He holds a M.A. in philosophy

         (Hamburg University) and a PhD in photography (Royal College of Art, London)

                   that focuses on post-conceptual post-photography and artistic research

                     methodology. He is the founding Editor-in-Chief of the Journal for Artistic

                    Research (JAR), co-editor of Intellectual Birdhouse. Artistic Practice

                     as Research. (2012), co-editor of The Exposition of Artistic Research:

                     Publishing Art in Academia (2013), editor of the book Experimental Systems.

                     Future Knowledge in Artistic Research (2015) as well as the editor

                       of Transpositions. Aesthetico-Epistemic Operators in Artistic Research. (2018).

                        His most recent book, Futures of the Contemporary. Contemporaneity,

                        Untimeliness, and Artistic Research, co-edited with Paulo de Assis,

                       was published in 2019. Through a focus on experimentation

                     and the exposition of practice as research, Schwab has developed

                   a conceptual approach that links artistic freedom with academic criticality

               in support of what has been called the 'practice turn in contemporary theory'.


         RC profile page

but it remains intact, while in Borges, the map has lost its integrity.

              Still, in Borges’s map, however disintegrated
      it may be, animals and people are still dwelling,
    seemingly incapable of leaving it behind.      


                                                                     Having dared to open the map, this is the future.