Sense-based Walks. In the first researchweeks in the Austrian Alps in 2014 and 2015 we explored the different senses of audio, visual and touch and dedicated to every sense a day of focus and exercises. Sensitive to the way we meet and engage with the landscape we did practices as observing the land from a micro perspective for a longer duration, so that the perception of the environment shifts and brings us reflections on how we perceive and what we perceive in our field of vision, and what it means to spend an exuberant amount of time on 1m² of meadow.

Gathering Imprints is a technique in which you perceive your body as material that inserts with the surface of a certain terrain. Without any value-seeking-process the body chooses a spot, the texture of the body and the landscape meet, and leaves an imprint of physical memory. This technique can be applied on a long trail, ever seeking for new places along the path.

Tracing Landscapes is a collective movement practice. A group of individuums, form a collective body, with which they inscribe a path in a landscape and mark a transient trace into the topography of the land. They insert their bodies into the collective body to literally engross the surface and augment the complexity, layerdness, fragmentation, and non-defining in the meeting with the terrain. In order to do so they decentralize their decisions to the intelligence of the collective body and find a more open and intuitive way to relate with. Working on the physical approach while tracing they apply the same qualities in the movement, as the movement of a mountain range, which is built over thousands of years. These qualities are folding, uplifting, layering, pushing and so on. The bodies become a depersonalized layer, pushed forward and driven by the ongoing force of the collective body.

Persistence  continuance. In this part of the practice the focus is on different time-scales (or modes of time) we are dealing with a concrete spot in different seasonal or daily timeframes and on tasks of long duration. A variety of possible relations between body and landscape evolves, we structured them in categorys according to Jeffrey Kastner definitions of different tendencies in Land and environmental art.

This terms are Integration, Interruption, Involvement, Implementation, Imagining.

Playing with these terms as parameters we work with the body as a compositional, corporeal architectural element, that is relating with its environment. In exploring the relsilient edges of resistance, we want to reassess long-forgotten states as contemplation, boredom, standing still, listening and collectiveness, as important strategies for discovering new spheres for our artistic actions.