A Tertre is a Number of Dirt

The word tertre comes from Scottish Gaelic and means “heap of stones. ” They are a popular approach to draw trails and they are often a common sight in highland areas throughout the world. Whether intentionally-designed or haphazardly built up, these stacked piles of rocks have always been a part of human history.

Cairns can be a great way to produce a relaxing lawn space, and also to add some visual interest to your yard. Producing a tertre is easy, even if it can take several forethought and patience to get correct.

Build a Cairn With Significant Stones

The easiest method to build a tertre is to use significant, flat rocks as the camp of the tertre. Then, stack these stones together in a pleasing style, placing them near each other and so they freeze together.

Utilizing a Variety of Rocks

If you want to produce your cairn stand out, employ different coloured and/or strangely enough shaped stones. For example , when you have a lot of green boulders, it may be smart to use some brown or crimson stones to contrast with the natural http://cairnspotter.com/generated-post-3/ color of surrounding landscape designs.

Tapering The Cairn

To make a cairn that will defy gravity, taper the base and height gradually. This will help avoid the cairn coming from shifting and causing instability.

Creating cairns that are too tall could be hazardous to sensitive environments and to wildlife. This can result in bird and snake an environment loss, this means you will also trigger invasive types of plants to grow in the cairn. This is certainly a serious concern and one that need to be addressed, somewhat than ignored.

Work Group

Objective Enactive
This online lecture-demonstration unfolds the term ´Poetic Materiality´ within the context of designing and choreographing with Somatic Costumes. Through critiquing and applying the somatic practice of Skinner Releasing Technique, the poetics of philosopher Gaston Bachelard and the materiality of anthropologist Tim Ingold, this talk begins to map poetic and material agencies between bodies-costumes within the design-performance encounter.

Artist Talk

Objective Enactive

This talk will focus on the first outcome of Glitsch(ening) Ci(rculari)ty, a tripartite site-specific, where I am pursuing a speculative exploration of the ecology of the city, between the urban and the biological, unfolding its layers and materiality of time. The talk will end in a conversation between fellow researchers and artists in the collaborative project Urban Ecologies, where Glitsch(ening) Ci(rculari)ty, is generated from.


Polyvocal Tongue The presentation will focus on relational ethics and polyvocality in performative text. It will also explore the use of plural languages in a play, looking at how a polylingual praxis can open up new aesthetic potential in playwrighting and in artistic research in general.


TRANSPOSITIONS— JAR, Mette Edvardsen and modular diaries At the start, the idea for an artistic research conversation with Mette Edvardsen did not spring out of the topics shortlisted for the conference—hospitality, vulnerability and care—but a book that she had co-edited, and dropped in my shelf.

Panel Discussion

The Ethics of Vulnerability and Artistic Research

Any ethical framework must take account of the vulnerability of the human condition. This is significant in all creative endeavours – especially in artistic practice and the teaching of it – since the very act of creating something and putting it out into the world is an expression of vulnerability.