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Atskirtį keičia bendrastis (interbeing)

: the quality or state of being reciprocal : mutual dependence, action, or influence
: a mutual exchange of privileges
specifically : a recognition by one of two countries or institutions of the validity of licenses or privileges granted by the other

Reciprocity

The Symbiotic Relationship of Lichens
Life is made up of relationships and healthy relationships depend on reciprocity. We experienced generous hospitality throughout the week with everyone we came into contact with – our drivers, food servers, and our hosts at Hazelwood Lodge.
Yet, the natural world is our finest teacher of this process. Robin Wall Kimmerer shows example after example in her book, Braiding Sweetgrass.

“Lichens have no roots, no leaves, no flowers. They thrive in places where there is no soil and settle on granite. Lichens blur the definition of what it is to be an individual because they are not one being, but two: a fungus and an alga. Different as can be, yet they are joined in a symbiosis so close that their union becomes a whole new organism. It is like a marriage, where the whole is greater than the sum of the parts. The balance of giving and taking is dynamic, the roles of giver and taker shifting from moment to moment. Their shared lives benefit the whole ecosystem.
The algal partner is a collection of single cells, bearing the gift of photosynthesis (turning light and air to sugar). They are the cook of the family, the producer. The fungus partner can’t make its own food but is brilliant at dissolving and liberating minerals for its use. Symbiosis enables the alga and the fungus to engage in a reciprocal exchange of sugar and minerals. The marriage of alga and fungus is the child of earth, life nourished by stone.
Lichens remind us of the enduring power that arises from mutualism, from the sharing of gifts carried by each species. Balanced reciprocity has enabled them to flourish under the most stressful conditions. While lichens can sustain humans, people have not cared for lichens, for they are highly sensitive to air pollution. When you find lichens, you know you’re breathing the purest air. Pay attention when it departs.”
Robin Wall Kimmerer, Braiding Sweetgrass

K I N T A I 04.10-04.18

Lichens have always been used in food and in therapeutic use, particularly in the Nordic regions where there are many of them. It is very rich in vitamin D3 - it is in fact the only plant to produce it! - and it contains plenty of antibacterial active ingredients and a lot of medicinal properties.

Movement material

Pakalbėti (?)
Aistė ambrazevičiūtė, Kristupas Sabolius
Karolina Rybačiauskaitė
Emilija Rakutienė

Aizpute H O R O S 06.01-06.06

[...Dieną iš dienos tęsėsi didysis susipynimas. Grybiena vis labiau įsijaukino į dumblieną, o dumbliena - į grybieną. Įsijaukino taip jaukiai, kad jau nebegalėjai atskirti, kur viena prasideda, o kita baigiasi. Taip palengva iš jųdviejų susidarė viena didelė bendrija, kurią kažkas pavadino meilės gniužulu. Arba kitaip - kerpėmis.]

This book is a walk through the mind and imagination of lichens spread across the forest. The short stories tell of lichen love, their mathematics, values and other important things. These compound creatures are never alone and know great ways to make friends. Perhaps that's why, when looking at lichens, people understood what symbiosis is - knowing how to live together. Composed of allied fungus and algae, these creatures have special powers - for example, they can easily survive in space and melt rocks. And this one particularly special lichen, Graphis scripta, was even called the script of the forest.

NEGLECTED BIODIVERSITY

- Lichen is familiar to everyone, known to no one. [...But no one has lingered over it or is capable of saying anymore about it: language stops there.] In botanical gardens and parks, no sign ever point out lichens or explain them. [It is part of what, for decades, the scientific community has called "neglected biodiversity."]
- Faceless, mineral and inert in appearance, lichen poses a moral and political problem: it inspires no spontaneous empathy. Like other "lower" beings, it has a hard time accomodating anthropomorphism. [...Lichens, insects, planktons: so many organisms that offer nothing to hold our gaze, no spontaneous reflection; so many living beings that we can't "look in the face" to question ourselves."]
- This book thus has a dual subject. What does it say about us, about our relationship to nonhuman nature, this little organism flattened against walls? But also, how does lichen come to appear today as a catalyst for our images and fantasies, as a necessity for thinking about the twenty-first century and weaving new relationships?

THE REALM OF FUNGI

- For many centuries, lichen was assigned to the family of mosses, or even of algae. But it was not until the mid-nineteenth century that the use of increasingly sophisticated microscopes revolutionized the sciences - and the representation of lichens. They allowed for better identification of them and completely removed all ambiguity by showing their symbiotic nature. Lichens are a combination of two organisms, a fungus and an alga. The German botanist Anton de Bary was one of the first to make that discovery in the 1860s.
- In our time, it is molecular biology and computer technology that is revolutionizing lichenology, with the discovery of a third partner and the reclassification of lichen within the fungal kingdom: the realm of fungi, mushrooms that also have taken a long time to be defined and classified (half-animal, half-vegetable, they have had their own kingdom only since the 1960s).
- Sometimes another fungus (a basidiomycete yeast) is also present in the outer cortex, the superficial layer of the thallus. This third partner was discovered very recently in 2016.

(SYM-BIOSIS: "to live together")

- Each of two (or three) organisms provides for the other what it does not have, in a relationship of close coexistence: the fungus (mycobiont) provides the support(affixation and growth) plus water and minerals to the alga; the alga (photobiont) provides a share of sugars to the fungus thanks to photosynthesis.
- (sym-biosis: "to live together") appeared in the 1860s, and was first based on lichen.
- Eight percent of the earth's surface is covered with lichen.
- Lichen develops slowly on a great number of supports - wood, asphalt, gates and fencing, metal and plastic, bark, leaves,pine needles, thorns on brambles and ceiba trees, floors, rocks, soil,stones, glass, lava (cooled), and sheets of asbestos - in almost allahabitats (except aquatic and cavernicolous). It needs light, air, andhumidity.
- As a bioindicator for pollution, it is very sensitive. [...In cities, lichen seems to seek refuge only in sites reseryed for the church and the sacred, close to the sky.]

POETICS OF LICHENS

[But as for lichen itself,
lichen has all the time in the world.]

- They emphasize the ethics of slowness that lichen offers us.

[The still explosions on the rocks,
the lichens, grow
by spreading, gray, concentric shocks.
They have arranged
to meet the rings around the moon, although
within our memories they have not changed.]

Lichen Erotics / qualities / metaphors

- The Greek verb leikein - aeíkeiv - means "to lick."
- In Darwin's English language, "lichen" is comparable - only phonetically - to another word: "liken," meaning "to compare," "to assimilate." We no longer lick, but rather we compare, we move closer.
- In both cases, lichen points toward a dialectic of touch and relationship, of presence and absence, of resemblance and desire.
- Lichen thus rests on an image that describes a kind of relationship to the world. Its name conveys an exogenous movement, an exitand extension beyond the organism, which is a movement of desire: the desire for contact.
- In Chinese moreover, lichen is called [di yi ], "clothing of the earth."
- an airy touch, contact without contact.

Images

- It looks to all the world like a belly button.
- an airy touch, contact without contact.
- Lichen is a sensual - and sexual - organism.
- Tongue, erotic tension, bodily sign, lichen also possesses this other erotic potential: symbiotic in nature, its existence is based on the marriage of two (or more) organisms

distorted body parts, changing image of body

Lichens of Aizpute

Vaizdiniai / idėjos

- Įsivaizduoju tris šokėjus kuriančius tarpusavyje tam tikrą simbiozę, artumą, judesių mainymąsi, artimą kontaktą su atėjusiu stebėtoju, kuris taip pat virsta ekosistemos dalimi

- Kerpių vaizdinys man padeda kurti artumą, tarp pačių žmonių ir gamtos. Jos nurodo į tam tikras kokybes, kaip lėtumą, mainymąsi, švelnumą, intymumą, abipusiškumą ir bendrapusiškumą.

- Taip pat kerpių kokybės kalba tekstūriškumą, organinių medžiagų buvimą, medį, akmenį, drėgmę

- Domėjimasis kerpėmis man kuria ryšį, aš pradedu jas matyti, į jas įsijausti, taip kuriasi empatija. Aš pastebiu, kai jų nėra

Interconnection

A K E E 06.09-06.14

A challenge to classification, but also a challenge to representation. Frizzy, curly, frayed, leafy, or bearded; tuberous or warty, leprous or elephant-skinned, lace or cup; granular crust, almost invisible patch on bark or stone, creepers falling from branches, small projections or mini-escutcheons, coral, tentacles, antennae, tubes, ect.
It is in itself a landscape, an invitation for metaphor and verbal creativity, but also an invitation to touch.
The names (the Latin ones especially) and descriptions by botanists, often poetic and magnificent, are the mark and scar of this; they clearly demonstrate the challenge presented to language. To identify lichens, scientists have shown remarkable sensitivity and poetic inventiveness by approaching them through metaphors and, quite readily, through personification in terms of the human body (skin, hair). Thus there exists a "decayed molar" lichen (Pertusaria pertusa, whose apothecia resemble bad teeth or tiny skulls), and well or badly "combed" species Cladonia arbuscula or Cladonia portentosa). Scientific works are packed with particularly elaborate images.

Through its complex forms, lichen invites us to reflect on the imaginary, and on what constitutes image, what constitutes art. I It becomes part of the human attempt to see images and figures in nature, in the semi-abstract forms of the world: signs or works of art.

We are not at all biased a priori against everything that shines, but to a superficial and icy brilliance we have always preferred deep, slightly hazy reflections, be it in natural stones or artificial materials, that slightly altered shine that irresistibly evokes the effects of time. "Effects of time".

In Japan, lichen is part of the physical garden but also the poetic garden: the haiku.

Nothing is moving
except the summer sky
lichen on the pines

In the context of Japan and the trauma at the end of the Second World War, colorful lichens appear as flowers of consolation and hope, an expression of survival amid disaster, on the devastated earth of Hiroshima. Flower of evil, that grows in the ruins or that perseveres. Even burned, nature remains worthy of contemplation. Traditional Chinese and Japanese painting chose nature as subject long before the West did. This sensibility was tied to Taoism, which made nature the place of spirituality and something to venerate.

Lichen has much to teach us about our relationship to the environment and our place within the living world, within nature. At a key moment in our history, increasingly viewed as the "Anthropocene age" (henceforth humans have an irreversible and global effect on the planet, including its geology, which once seemed immutable and infinitely superior), this little organism with its incredible life force invites a new vision (on a new scale), a new ecology. It also expresses the evolution of ecological and ecopoetic discourse, in the West in particular.

Political

... And when the weather turns wet, the colors intensify and come to life, saturating the landscape.

Poetic

In botany, the plants called "ruderals" are those that grow spontaneously in spaces unintentionally altered by human presence and often left neglected: parking lots, lawns, sidewalks, traffic circles, roadsides and riverbanks, garbage dumps, residential and industrial ruins, compost and trash heaps, tunnels, urban wastelands, no-man's-lands, and so on.

Anthropocene

APLEISTA RŪŠIS
PRAŽYDO ŠALIA MŪSŲ
ARTUMU KVEPIA

Judėjimas iš bambos iš pilvo, kuria vidinį pojūtį

ŠVELNIAU PAMATYTI
KUR SISPYNĘ GYVENIMAI
GLAUDŽIASI

Kerpės kviečia mokytis,
pamatyti kitą, įsižiūrėti, pristoti,
skirti laiko,
pasvajoti,
būti kartu ir kurti bendrystę.
priartėti ir paliesti kitą organizmą.
panašų ir nepanašų į save,
švelniau pamatyti

Liežuvio judėjimas, judesio inicijavimas iš lėžuvio, kūno dalys kaip lėžuvis

Kojomis į žemę, įsižeminus, viršus kaip lapeliai, judančios kerpės

Proceso dalys

Talk with Rosa

Planai ?

Keletas rezidencijų, viena iš jų Danijoje Earthwise, pavasarį su Karolina Rybačiauskaitė.

Karolina Rybačiauskaitė (b. 1992) is a researcher currently living between Vilnius and Prague. She studies Ph.D. in Philosophy at Vilnius University, also graduated in History and Theory of Art at Vilnius Academy of Arts. Her research is motivated by the instability of knowledge-making and by searching for the ways to take care of the complex patterns it creates. This involves studying the speculative account of ‘ecology of practices’ proposed by Isabelle Stengers, but also adding to it through various practical engagements with artistic and curatorial reworkings of their matters.

Projekto "Saitais" rašymas, prodiusuoja "Be kompanijos"

Feedback workshop with Bush

Communal feeling,
Soothing effect, comfort feeling, calming
Working with others dancers should’nt be hierarchical, and they can bring new ideas and make some impact
Storytelling could help the work, it would expand it
Textures in the space, people can move around
The variety of dancers can help broaden the spectrum of audience
Place suggestion: Greenhouse, šiltnamis, science faculty in ciurliionis g, Vu botanikos sodas
Duration could be even two hours
People who I can contact: Justas Kazys (vu, greenhouse space)
For audio/sound part: Vaida Pilibaitytė (Audiobooks) - kerpių pasakojimas

Edukacija NDG "Kaip judesys gali padėti pažinti kitas gyvybės formas?"

Planai

Kas nuveikta:

Gauta stipendija meninės praktikos vystymui, sausis-birželis.
Aplankytos trys rezidencijos: Kintai, Horos (Latvija) ir Akee.
Surengta edukacija NDG, pasidalinta kerpių ir artumo tyrinėjimu.
Sukomunikuota su biologe Emilija, pasidalina medžiaga.
Pasidalinta medžiaga su Karolina.
Suburta darbo komanda: Liza, Giedrė, Vladas, Karolina, aš.
Parašytas projektas 2025-iems m. kartu su "Be Kompanijos"
Aplikuota į "Contempo" festivalį 2025 m.

Rašoma aplikacija rezidencijai Danijoje, (kovo 18 d. - gegužės 12 d.)

Tolimesnis planas:
Išsiųsti rezidencijos aplikaciją
Susisiekti su komanda dėl jų užimtumo, pradėti derinti galimus susitikimų/repetavimo laikus kitais metais

Sausis-vasaris ?
Kovas-gegužė - rezidencija?
Birželis, liepa, rugpjūtis - intensyvaus repetavimo laikas

Contempo rugojūčio 2-9 dienomis, jaunų menininkų pasirodymai bus pristatyti antroje festivalio pusėje
Kaune erdvė: Ąžuolyno biblioteka, muzikos ir meno skyrius, 3 aukštas, Vytauto g.

Sound experimentation