Laker began as a series of conversations between two friends, David Caon and Henry Wilson. With different approaches to the business of design, Caon and Wilson found common ground in the objects they are drawn to and the design philosophies they share.

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Continental Shelf
18-23 April 2023
"Becoming attentive, for instance, to human-plant histories opens the view to shared histories of flourishing and suffering."

Emmy Laura is a cultural geographer and writer working with environmental storytelling and ecological thinking. She holds a Ph.D. and has been a postdoctoral researcher and lecturer for the last three years. Also, she has created, written, and curated the Danish weekly letter Jordbo (‘earthling’ in English) in collaboration with the media Føljeton. Jordbo’s editorial universe is centered around the landscapes we inhabit, shape, live off, and die in.

How did it all start?
In the light of apocalyptic scenarios, it is clear that many of our traditional worldviews must be revisited. Because the way we describe the world around us—and our relations with it—has an impact on how we are able to act. A place to explore and cultivate a new language might be with our sensitivity and literacy of more-than-human beings and histories. I seek to query how to tell the world with this more-than-human attention; what histories have been silent, what worlds might emerge; and how we might relate with such world-making.
Could we get to know a landscape through its plants?
It might be the best starting point! One flower or plant at a time. Along my bike route, flowers and plants have escaped the garden fences and are mixing up with roadside beings such as chamomile, yarrow, stichting nettles, sea thrift, cornflower, chicory, meadowsweet, creeping thistle, and tansy… A myriad of wildflower life.
Landscapes are full of complex entanglements of dependencies, tensions, and migrations. Studying a flower can give a glimpse of this complex landscape weaving. And I find generosity in noticing plant life along these paths and sites; one might learn to notice when a certain plant thrives, when someone takes up too much place, or when someone needs care. Getting to know a landscape is about getting to know its inhabitants and rhythms, questioning who inhabits this place and why.

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How did it all start?
In the light of apocalyptic scenarios, it is clear that many of our traditional worldviews must be revisited. Because the way we describe the world around us—and our relations with it—has an impact on how we are able to act. A place to explore and cultivate a new language might be with our sensitivity and literacy of more-than-human beings and histories. I seek to query how to tell the world with this more-than-human attention; what histories have been silent, what worlds might emerge; and how we might relate with such world-making.