In considering the conundrum of coastlines, caught, as they are, in the double-bind of simultaneously writing and erasing, I came to think about, read about, and undertake walking as an embodied spatialized way of writing coastlines.
Teri Rueb on Drift:
The ubiquity of GPS and other tracking technologies suggests that “being lost” may itself be an experience that is being lost. However, simply knowing one’s geographical location as expressed in longitude and latitude coordinates has little bearing on one’s personal sense of place or direction. “Drift” poses the age-old question “Where am I and where am I going?” in a contemporary moment in which spatial positioning and tracking technologies provide evermore precise, yet limited, answers to this question. […] The Watten Sea becomes a metaphor for hertzian space as visitors are invited to wander among layered currents of sand, sea and interactive sounds that drift with the tides, and with the shifting of satellites as rise and set, introducing another kind of drift.
(Teri Rueb, Drift)
Annie Gosfield on ‘Lost Signals and Drifting Satellites’:
The composition is scored for violin, accompanied by recordings of satellites, shortwaves and radio transmissions. The static, sputter and concealed melodies of these transmissions are echoed by the violin, which drifts between extended techniques and traditional writing for the instrument. Like a radio that is gradually losing and gaining reception, the music shifts between these two worlds, hovering between notes and noise, and ultimately drifts into faraway static.
(Annie Gosfield, excerpt from ‘Lost Signals and Drifting Satellites’)