/\/\o\/ing \/\/i†h /\/\ount/\ins. Scores and invitations, set 1. by stefan schäfer

This is a first set of scores and invitations for performers to train with, mountaineers and hikers to use during a mountain visit, students and teachers to start a wide range of discussions about ethical approaches when working with more-than-humans, climate change, commemorative rituals in relation to mountain or landscapes in a broader sense. They can be used in practice and at the same time operate as discussion starters. The scores have been developed in collaboration with the hoch\/ogel /\/\oun†/\in (AU/DE), starting from field work consisting of daily visits to the /\/\oun†/\in in July 2024. Afterwards I shared finding of the excursion with the Embodied Knowledge Research Group of the Lectorate of Theater and Dance at the Amsterdam University of the Arts and formulated this first set of scores and invitations. The set includes characteristics, environments and movements of /\/\oun†/\ins and rockslides in order to perform those at any location. For geological characteristics and movements I reached out to the Technical University of Munich Landslide Research Department who observes, and researches the hoch\/ogel /\/\oun†/\in and its movement and transformation. They provided me with articles and invited me to a course and an excursion. Altogether forms the base for the scores. The scores and invitations are a continuing part of my research with which I contribute to "Landscape Translation" (Pitches, 2020) within the field of performance as well as to artistic research methodology, design methodology and mountaineering. Landscape Translation is the conceptual meeting point between two perspectives of training regimes depending on /\/\oun†/\ins, "either conceptually (as places for training to occur), or formally (as inspiring shapes, figures and metaphors) (Ibid). My contribution focuses on acknowledging the temporality and constant transition of a /\/\oun†/\in and an intimate, reciprocal relationship with the /\/\oun†ain. This set is one of many shapes of how to share these kind of experiences, emotions, relations with other audiences. To outline an ethical and just position the scores and invitations incorporate amongst others the following features of ontologically-oriented-design (Escobar, 2018). They can be seen as hands-on invitations to act in either a /\/\oun†/\in site or any other space. With the development of the research, new features will be added and some of the existing ones might be be adjusted. Ontologically-oriented-design: - promotes convivial and communal instrumentations involving human/nonhumans collectives provoked into existence by ecological breakdowns or shared harm. It imagines designs that take seriously the active powers issuing from nonhumans, and it builds on the positive ontology of vibrant matter, realizing that design situations always involve encounters between human and nonhuman actants of all kinds. - always entails reconnection: with nonhumans, things in their thinghood (adding persons in their personhood), with the earth, with spirit, humans in their radical alterity (decolonially, considering the inclusion of multiple worlds, rather that exclusion). It contributes to dismantling dualisms and take seriously all forms of nondualist existence. Enables ontologies of compassion and care. - explicitly contributes to creating the languages that create the world(s) in which people operate in the creation of domains of conversations for actions, it necessarily moves from design to experience and back - is not a(bout) straightforward fabrication but modes of revealing; it considers retrieving forms of making that are not merely technological (going beyond techno-rationalism), while embracing new creations. It may do so by looking at the entire range of design traditions (within the West and beyond) non-eurocentrically and decolonially. References: Escobar, A., "Designs for the Pluriverse. Radical Interdependence, Autonomy, and the Making of Worlds", Duke University Press, 2018. Pitches, J., "Performing Mountains", Palgrave Macmillan, 2020. (2025-07-14)

The scores and invitations are a continuing part of my research with which I contribute to "Landscape Translation" (Pitches, 2020) within the field of performance as well as to artistic research methodology, design methodology and mountaineering. Landscape Translation is the conceptual meeting point between two perspectives of training regimes depending on /\/\oun†/\ins, "either conceptually (as places for training to occur), or formally (as inspiring shapes, figures and metaphors) (Ibid). My contribution focuses on acknowledging the temporality and constant transition of a /\/\oun†/\in and an intimate, reciprocal relationship with the /\/\oun†ain. This set is one of many shapes of how to share these kind of experiences, emotions, relations with other audiences.

To outline an ethical and just position the scores and invitations incorporate amongst others the following features of ontologically-oriented-design (Escobar, 2018). They can be seen as hands-on invitations to act in either a /\/\oun†/\in site or any other space. With the development of the research, new features will be added and some of the existing ones might be be adjusted. Ontologically-oriented-design: - promotes convivial and communal instrumentations involving human/nonhumans collectives provoked into existence by ecological breakdowns or shared harm. It imagines designs that take seriously the active powers issuing from nonhumans, and it builds on the positive ontology of vibrant matter, realizing that design situations always involve encounters between human and nonhuman actants of all kinds. - always entails reconnection: with nonhumans, things in their thinghood (adding persons in their personhood), with the earth, with spirit, humans in their radical alterity (decolonially, considering the inclusion of multiple worlds, rather that exclusion). It contributes to dismantling dualisms and take seriously all forms of nondualist existence. Enables ontologies of compassion and care. - explicitly contributes to creating the languages that create the world(s) in which people operate in the creation of domains of conversations for actions, it necessarily moves from design to experience and back - is not a(bout) straightforward fabrication but modes of revealing; it considers retrieving forms of making that are not merely technological (going beyond techno-rationalism), while embracing new creations. It may do so by looking at the entire range of design traditions (within the West and beyond) non-eurocentrically and decolonially (Ibid).

References: Escobar, A., "Designs for the Pluriverse. Radical Interdependence, Autonomy, and the Making of Worlds", Duke University Press, 2018. Pitches, J., "Performing Mountains", Palgrave Macmillan, 2020. (2025-07-14)

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