April Krause-Bounded Embodiment

8/8/2019 April Krause-Bounded Embodiment

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The island of Spitsbergen forms part of the Svalbard archipelago situated around 78 degrees

north in the Arctic waters (see figure 1). I was first introduced to this remote place when I

was a child. My brother and I would gaze over the atlas dreaming of places to visit and live,

while trying to establish what it wouldfeellike to be in those environments. The printed

form of the page that represented the Svalbard archipelago stood out, for the area was aboutas far away as one might be in the opposite direction from our current home of Tasmania.

The remoteness, extreme landscape and the ability to live in a place like that was intriguing.

Figure 1: The location of the Svalbard archipelago and island of Spitsbergen

(Image: Google Maps)


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In the month of July 2009, that imagined environment of my childhood unravelled before me

as I took that long journey from Tasmania to Svalbard. The landscape of the place was more

powerful and amazing than I had imagined. The impact of the sublime surroundings made

me aware of my physical presence in the place. The landscape also had a deeper presence to

it, that of control and protection through forms of boundaries. I felt these bounded elements

influence the relationship between body and place and this experience raised the question:

how does the bounded environment of Svalbard affect the self?

This paper explores the notion of bounded embodiment through subjective experiences and

conversations. It attempts to provide a dialogue around and awareness of the boundedness

qualities of the Svalbard landscape and the manner in which one can be affected by these

elements. I feel this work is important in understanding how and why people live in extreme

environments, as well as in gauging the ways in which particular qualities of a landscape can

form and shape a sense of being.

This analysis of the bounded environment of Svalbard and of relationship of place to selfforms part of a larger Fine Art Masters course. The theoretical knowledge gained from this

investigation will be combined with previous architectural experience and studies in art to

create a basis to my thesis.

The structure of this investigation begins with brief background information on boundaries,

bodies and place, and continues with my own impressions of and feelings for the Svalbard

landscape. The question of how bounded embodiment can affect ones self is explored by

reference to topography, climate, the senses, the built environment and politics. Throughout

this investigation I will relate to the subjective experiences of a person called ChristianeRitter. Ritter lived in a hut on the remote north coast of Spitsbergen for a year in 1934 with

her husband and his colleague, both of whom were trapping fur (see figure 2). Ritter

documented her account of the stay in the book,A Women in the Polar Night, which reflects

on her relationship to the surrounds of this tempestuous island environment. Ritters

accounts are detailed and expressive and provide a personal account of how the landscape

of Svalbard affected her. Her account is subjective, as are others mentioned in the paper;

they help me sense how the relationship between boundedness and self in Svalbard is

formed.


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Figure 2: Christiane Ritter and her husband outside of the hut in Svalbard during autumn

(Image fromA Women in the Polar Night)

I begin my analysis on Svalbard and embodiment by first exploring select interpretations of

boundaries, bodies and place. To an extent, the idea and physical representation of

boundaries is a construct, derived from a need for explanation and categorisation. The

meaning and application of the word is arbitrary. The definition of the word boundary is

one that can describe varying meanings and situations, and is often used interchangeably

with the word border. For this investigation, I will keep to the term boundary to express

both meanings that which surrounds may limit or mark.

Applications of boundaries within the environment are varying. Eric Clark (2003, p. 290)

speculates on one idea that boundaries can be barriers and bridges, containing and freeing,

for people, fauna and flora; important in growth and exchange, and in creating diversity of

nature and culture. He sympathises with Volk on ideas of cultural and biological diversity:

Borders hold at bay all that would destroy the difference being and environment: theyprevent universal homogenisation (Clark 2003, p. 290). Clark also claims that boundaries

may be solid structures or porous and fluctuating. This idea of boundary is also touched

upon by Houtum, Kramsch and Zierhofer (2005, p. 3) who emphasise the idea of

transformation and fluidity as a key aspect to making and defining boundaries. Stenner too


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develops this thought further when he argues that boundaries of human experience, organic

life and activity are blurred (Bell 2008, p. 406).

So, boundaries can encourage both containment and growth and can be solid, as well as

fluctuating and transparent. Boundaries can also take the form of bodies: centres or nodes

of mobile regions or personal space (Houtum, Kramsch & Ziefhofer 2005, p. 34). Impact on

the body happens by psychological and physical experiences getting through the porous

edges of this boundary (Davidson, Bondi & Smith 2005, p. 7). This relationship between

external and internal bounded body can be seen as an integral catalyst in connection to

place. It can be argued that the movement of bodies in space encourages that connection

(Davidson & Milligan 2004, p. 523). Artist Hamish Fulton has a similar conceptual approach

with his pieces. They generally consist of him undertaking long walking trips in which he

response to the connection of his body to the environment through visual and text based

narratives. He describes his intent: What I build is experience (Fulton et al. 2002, p. 16).

Another visual artist, Olafur Eliasson also shares this ideology of reading place thus: the

physical body is the very ground on which experience, including our encounters with objectin the world, takes place (Speaks et al. 2002, p. 44). And Jeff Malpas (Light, Smith & Malpas

1998, p. 33) continues the sentiment by observing thatplace isintegral to the very structure

and possibility of experience, and by reference to Heideggers theories of being-in the world,

suggests that to distinguish the sense of being-in that is proper to human being from the

being-in that is associated with the sense of physical containment that is part of the modern

conception of space. Being-in is fully connecting to a place through the body, rather than

just existing upon it.

These thoughts bring me to the investigation of what are the boundaries that exist within

the Svalbard landscape and to the question of how they imprint on ones own bodily

boundary. I would first like to describe this landscape of Svalbard and my own first

impressions and bodily experience of it.

Fjords, rugged mountains, snow, ice, glaciers, and rocks make up the base layer the islands

in the Svalbard archipelago. The 3587km coast line of the islands is a variable entity. It

stretches and shrinks with growing, moving and dissipating layers of ice (CIA 2010, 9.20 at11th April ) that bridge areas or form barriers. Vegetation on the main island is sparse. Small

ground covering plants are woken in the summer months, rapidly storing nutrients from the

24-hour sunshine, which assures their survival during the winter. Trees however, do not

exist on the island. The timber used on the islands is from sourced logs that have travelled

from Siberia. They tumbled with the ocean currents for hundreds of years, before washing


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up on the edge of these land masses and have since been turned into new forms of

boundaries built structures, essential for protection and survival.

This intensely alive, harsh and sublime landscape relies on primitive notions and a

Maslowian1 sense of engagement for survival, participation and enjoyment. One can

immediately recognise these factors on arrival to Svalbard; a powerful sense of the scale of

the land forms in relation to the size of the built environment and the frame of the body. I

became aware of these factors through the window of a plane. The glimpse of land

formations below white, solid, high and commanding developed into a more solidly

spatial reality as the plane negotiated the landing on a narrow edge flanked by mountains.

We flowed out of the aircraft, immersing with the surrounds for the first time.

My ideas of Svalbard had formed a picture of a flat and plain-like topography around the

main settlement of Longyearbyen, with mountains in the distance blending into the horizon.

There would be a lining of snow covering the ground, both on the hills and the township and

only rocky ground with no slight of water. The settlement itself would be small, butlongstanding and have a number of different roads and areas, forming a wide footprint in the

snowy, flat terrain. Beyond Longyearbyen, the distance between other settlements and bases

(both physically and politically) was not fully understood. I had imagined the overall means

of travel and access to varying parts of the island would be a quick hop on a skiddoo,

disregarding the changeability of the landscape.

The juxtaposition between the imagination of a place and the physical experience can affect

ones sense of self through the spatial interaction with the surroundings. I felt my initial

impressions change greatly as the bus made the five minute journey from the airport toLongyearbyen, the main town and capital (see figure 3). Our place of accommodation was

the last stop at the end of one long road the main artery, with a few small roads projecting

off. Flanking this artery were two steep hills on either side, awashed with grainy rocks and

tipped with a line on snow (see figure 4). Behind the end of the main road and township is

the tail of a glacier (see figure 5) and in the opposite direction, intense blue water in a fjord

(see figure 6). There was no blanket of snow (due to the top summer temperatures of six

degrees Celsius), nor a flat landscape, nor even a larger and more permanent built

environment. Amongst the noticeable visual motifs of grey, blue and patches of white, a

sense of containment enabled by the form of the landscape forms and the positions of hills,

glacier and sea had impact on me immediately.

1 Psychologist Abraham Maslow developed a ranking scale known as the Maslow Hierarchy of Needs based on

ones deficiency and growth needs. The first and second categories on the pyramid shaped graph are the

psychological needs of providing for thirst, hunger and comforts. The second need is that of shelter and

protection (Huitt 2007, 14.30 at 5th June).


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Figure 3: Part of the main town of Longyearbyen

Figure 4: The steep hills on either side of Longyearbyen create a topographical boundary.


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Figure 5: The tail of a glacier behind the township of Longyearbyen

Figure 6: Flanking hills and fjord in Longyearbyen


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The topographical forms of the landscape made me aware not just of containment but of

isolation, and also a feeling of vulnerability - my scale was slight against the vast size of

surrounding landscape. These islands are made up of mountainous regions that are

consistent in geological structure. These immense rocky protrusions can be described as the

bones of the Earth, giving the form structure, stability and presence (Cosgrove & Della Dora

2009, p. 8). From a detailed Google map image of Svalbard one can appreciate that bone-like

structure and bounded forms of these dominating mountains (see Figure 7).

Figure 7: Google map image showing bone-like structure of the mountainous region of Svalbard.

The presence of this high landscape and corresponding topographical features can haveimpact on the body, both visually and physically. The solid and mountainous terrain is

connected to a constantly fluctuating edge of coastline. The stiffened surface of ice combines

with the liquid surface of the ocean and moves, dictating access. In her autobiography,

Christiane Ritter (1955, p. 133) notes her experience of this aspect of the landscape,


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The packed ice is locked in the bay. A strange new landscape takes shape around the

peninsula. Through the mighty jagged arches and towers of ice piled up in wild caprice

the storm rages, and the driving snow builds new and fantastic giants. When the

weather clears the sea has become a white rigid wilderness of ice-floes, as far as the eye

can reach.

These unreliable topographical forms reinforce a sense of vulnerability. The fragility of thehuman frame in Svalbard is echoed in the naming of areas in the region: Anxiety Bay,

Distress Hook, Misery Bay and Bay of Grief (Ritter 1955, p.30).

One is at the mercy of topographical boundaries on Svalbard. It is difficult, for example, to

travel across the rough terrain between settlements and camps. An example is that of the

two main towns on Spitsbergen, Longyearbyen and Barentsberg, which are accessible to

each other only via the use of a boat or, if the weather is favourable, a long overland trip on a

snowmobile. This bounding of movement is repeated by the barrier of the sea. Peron (2003,

p. 330) brings mention of this in her investigation of island culture, stating that in theclosest proximity to the sea and sky, the inhabitants are at the mercy of the natural elements

especially wind, storms and sea ... one is reminded all too often that it can be difficult to get

off, or to, the island. For her, dependency on the environment can create a sense of

loneliness and of being powerless in the face of the elements (Peron 2003, p. 330).

Isolation is a word that is linked to islands. The Anglicised Latin for insularity means

islandness, with island being defined as water-land (Clark 2003, p. 286). In relation to the

circumstances on Svalbard, the natural sea boundary is a physical element which does

create separation; it emphasises different and independent qualities of character (Peron

2003, p. 330), for example such as that in the novel, Independent People, by Halldor Laxness.

The protagonist, made up of stubbornness, pride and a sense of belonging to place (Iceland)

strives to hold his difference and independence using the surrounding landscape (Laxness

1997). The idea of isolated and bounded island also conjures other words such as: retreat,

refuge, prison, culturally backwards, community, underdeveloped, irrelevant (Hay 2006, p.

21).

Yet, the notion that islands are singular and separate places is perhaps one to be

reconsidered. Both Gagliargi and Stratford muse thatan island is not ever fully closed

(Stratford 2009, p. 799) with the bounding sea a road that can be crossed (Gagliardi 2009,p. 50). So it is that access to Svalbard has increased and become easier as a result of the

provision of regular and inexpensive flights to the island from various parts of Scandinavia.

On 2nd July 2009, Berit Jakobsen, Head Librarian of The University Centre in Svalbard (UNIS)

Library, shared with me her experiences and feelings of connection to the mainland of

Norway, comparing her time living in a remote northern region of Sweden to that of years of


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living in Svalbard and noting the changes she has seen in the archipelago during that time.

Jakobsen claims that she felt less isolated in Svalbard than she did during her time in

northern Sweden, due to lack of infrastructure and transportation there. Jakobsen (2009,

2nd July ) remembered that one had to book awhile in advance to fly in and out of the island,

which was expensive and difficult, and in times of emergency, even more so. There has also

been an improvement in communication technologies on the island. Internet speeds and

coverage are sound because NASA uses the island as a base and has installed high quality

equipment and satellite dishes for their work (Rsrud 2009, 3rd July ). These improvements

in technology and transportation have resulted in the residents no longer feeling such a

pronounced sense of isolation (Jakobsen 2009, 2nd July ).

Despite technological advancements and feelings of connectedness and growth, varying and

intense environmental conditions in the area can shake one, and determine ones mode of

being. In her accounts of living in a remote area of Svalbard, Ritter (1955, p. 35) refers to

climatic conditions and her feelings triggered by these forces: Again I am conscious of these

new dimensions of time and space, and begin slowly to grasp my powerlessness. And,Confronted by an Arctic storm, every human becomes primitive again, small and full of

foreboding (Ritter 1955, p. 82). This relationship between humans and the power of climate

shapes existence. Ingold (2005, p. 102) describes weather events as a mode of being, which

has properties of a medium rather than those of a surface, and that encompass experiences

of light, sound and feeling, instead of mere observation. In areas of extremities, the

experience of being forged by the weather may evoke feelings of being even more alive and

vulnerable. In Svalbard, in the northernmost area inhabited by people, this bond between a

person and the effects of the weather is a test of psychological strength, and also a vital

element to ensure existence. Laxness (1997, p. 44) exemplifies this balancing act inIndependent People: Doesnt it ever intend to clear up? asked Bjartur. The game was won if

it cleared, but if it hung mainly fair with the sea wind and sudden showers, there would be

the same uncertainty, the same war [with the elements].

The weather on the islands draws on its constituent parts namely light, air, cold and vast

landscapes to create ice-blink, mirages, mock suns, auroras, phantom displacements and

reflections (Cosgrove & Della Dora 2009, p. 54); sound, too, is vastly different through the

cold air 2 (Ritter 1955, p. 137). One is connected with and reliant on climatic conditions in

Svalbard, and Ritter is among those who has recounted her experience of the psychological

effects of those connections, that reliance. Her sighting of an iceberg under moonlight during

the winter months in Svalbard left a visual imprint in her mind and an intensified longing for

2 The transfer of sounds in an environment with cold air can create the molecules to become closer together

and denser which in turn means that the travel more slowly. The sound in these colder environments can

physically linger in the air for longer, allowing sounds to be heard from greater distance (ABC Science - Forum2010, 12.30 at 21st April).


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light. She chose to linger with this memory, constructing a self-imagined, glowing moonlight

world in which she could float and feel a sense of refuge to gain balance and contentment

(Ritter 1955, pp. 113-114). According to her husband, Ritter was suffering from rar, a

psychological strangeness that affects people who spend a winter in the Polar regions (Ritter

1955, p. 114). This condition is also given the term Ishavet Kaller the Arctic calls; Ritter

(1955, p. 114) claims this is what hunters on the island say when one of their comrades, for

unknown reasons, throws themself into the sea. For me, the being-in and bond to a place, as

refer to earlier in Malpas analysis, is here emphasised by reference to sensory

understandings of ones surroundings. The visual boundary that is created in the ratio of

sunlight hours to periods of dark is a notable test when residing in the area. From 11th

November to 30thJanuary the sun leaves Svalbard and the sky becomes the dark Polar

Night, when the sun is 6 degrees below the horizon (The Svalbard Pages Forums 2010,

13.10 at 18th April ). The first glimpse of the sun above the horizon is approximately on the

8th March (Governor of Svalbard - Climate and Light 2010, 13.00 at 18th April ) when there

are celebrations and a deep-set appreciation for the onset of the blue period, when the sky

is a constant intense, deep blue colour (Jakobsen 2009, 2nd July ). The mountainoustopography, access off the island, seasonal patterns and elements of light and dark bound

the island and bind the people to it.

The cognitive functioning of the mind is perturbed by the loss of regular daily light patterns.

Ritters experience ofrarcould be connected to (or even the same as) Seasonal Affective

Disorder which is a common psychological disturbance that usually happens on a yearly

cycle during the winter period (Mayo Clinic - Seasonal Affective Disorder 2010, 15.00 at 18th

April ). The lack of sunlight in Svalbard during winter time could heighten this affect. For

Ritter (1955, p. 95), it is precisely at this time that a decisive change takes place in thehuman mood, when the reality of the phenomenal world dissolves, when men slowly lose all

sense of fixed points, of impulses from the external world. The onset of darkness during the

winter months forms a black and heavy boundary limiting the line of sight. For some, this

relationship of dark and light as bringing the world to light is not a matter of seeing out but

ofbeing out (Ingold 2005, p. 99). The sense of connection to the outside is minimised by the

visual retraction of light. The feeling of a boundary which the dark brings can also enhance a

sense of isolation in areas that are already geographically remote. In the film, The Tale of

Ruby Rose (Scholes et al. 1987), the character Ruby lives with two other people in a candle-

lit hut in a remote highland region of Tasmania in the 1930s. She suffers from a

psychological fear about the dark and develops unusual habits in order to keep the

foreboding presence away. Ruby feels vulnerability in the dark for the limitations of sight

and interprets the black cloak as being the time of death. In the case of Svalbard, the visual

boundary can also heighten a sense of danger and need for security.


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Connections with the landscape through the sense of touch is also minimised in Svalbard

due to the body regularly being bounded by clothes. This boundary is necessary in extreme

conditions for survival, but can create a sense of dislocation between body and place. The

consequences of this displacement can be, as Ingold (2005, p. 100) describes, the loss of

experience of being, a feeling that leaves one open and alive to the world. Recall how

Malpas and Heidegger suggest the body is core to the understanding and creation of being

in the world (Davidson, Bondi & Smith 2005, p. 121).3 Is it possible that the amount of

clothing required in Svalbard hinders the ability to directly connect the body with the

surrounds for anything other than very short periods of time?

As with clothing, shelter in the Svalbard landscape is a must and many activities and most

hours are spent inside the built environment. School children play indoors at lunch time,

social gatherings occur in the town hall and church, and an indoor sport centre and climbing

wall provide space for exercise. The buildings constructed on the islands are light-weight in

both structure and cladding (most likely for ease of transporting materials). They have an

impermanent quality to them which seems to echo the vulnerability and transient nature ofthe human presence in this landscape.

These built environments are boundaries. They are objects of protection from the weather,

but also and importantly from fauna such as polar bears. In this way, the buildings

become a form of conceal-and-reveal landscapes [after Appleton] in which there is a

natural urge to hide behind objects in order to spy on what is around and determine ones

measure of safety. This tendency, Fox explains, has morphed into the curtained windows

and the viewing interaction that takes place (Cosgrove & Della Dora 2009, p. 27).

In Svalbard, the reliance on the buildings for protection and comfort can create what is

commonly referred to as cabin fever4. One writer experienced this reaction in his stay of

only three weeks on a small island in the Svalbard archipelago, in which a period of bad

weather kept him inside (Roberts 2003, p. 251). Ritter (1955, p. 121) also experienced cabin

fever in the winter period of her years stay, describing it as developing eccentricities and a

sense of mania. To compensate for these psychological responses, people living on the

island have used decoration to create connections to external landscapes, vegetation and

3

These senses and ideas are extensive one might even speculate global in their reach. Australian WilliamLines (2001, p. 14) notes: I grew into the physical world. My body linked me to the material. I ached fiercelywith attachment ... I walked barefoot through the swamp and felt the water and algae close on my legs and mud

ooze through my toes. And when describing his encounters with vegetation in Alaska after spending a month

on a glacier, David Roberts (2003, p. 287) observes, I had been moved to tears by the smell of the tundra, orhad plucked willow leaves and stuffed them in my mouth to reconnect my senses with the living world.4 This is a noted reaction to a long period of time in an internal environment in which psychological symptoms

of withdrawal, extreme irritability and restlessness can occur (Merriam Webster Dictionary - Cabin Fever 2010,

15.50 at 24th April).


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life. One example of this phenomenon is the flora sculpture (see figure 8), situated in the

Russian settlement of Barentsberg. The decoration is a sunflower, a symbolic reminder of

the sun below the horizon. There are also murals painted in Barentsberg and in the

abandoned Russian town of Pyramiden. The murals are of the landscape (see figure 9) and

forested environments (see figure 10). These visual expressions speak to an internalised and

bounded [constrained] feeling, depicting positive memories of place.

Figure 8: A decoration in Barentsberg of a sun flower perhaps a symbolic reminder of the sun in the part of

the year where it does not rise above the horizon


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Figure 9: Mural in Pyramiden depicting an external environment of a glacier in the daylight.

(Image: Ville Lenkkeri, Glacier, 2003, photograph, from the series, A Place with No Roads)

Figure 10: A mural in Barentsberg, showing painted memories of a birch forest


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The feeling of boundedness in cabin fever can also be applied to the polar bear boundary

which circumscribes Longyearbyen. This boundary exists by government regulation and

attempts to provide protection to people from polar bears. There is a radius of a few

kilometres surrounding the town through which people can pass only if they (or someone in

their group) have a fire arms licence and a fire arm. Marked by a sign (see figure 11), this

barrier keeps the people in, rather that the bears out and seems to increase a sense of

enclosure and entrapment.

Figure 11:The polar bear protected boundary surrounding Longyearbyen

The intensity of the environment of Svalbard is a controlling force that dictates and

dominates. Various forms of boundedness there affect the human frame and in summary can

perhaps be seen in two complimentary modes: protecting and guarding. Svalbard is a

landscape that tests existence and etches the vulnerability of the human condition. Manifold


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relationships between the body and environment also become a physical reminder of the

need to return to basic and primitive principles of survival by understanding and working

with the surrounds. Ritter (1955, p. 145) feels force of the landscape of Svalbard and

remarks on this after a long journey: Now I can understand the patience and the prudence

of the hunters, their obedience to nature, their unconditional submission to its laws. The

unrelenting intensity of the frozen and rocky environment compels one to be more in touch

with the surroundings.

Ideas regardingfeeling a place through the body to enlighten a true sense of being become

ever more present here. The harshness of the terrain, the climatic conditions, and the

confining borders of spatial and social life, draw out the necessity to have a deep

understanding of the relationship between place and the embodied experience of it.

For the first time I realise that in solitude of an all-too-powerful nature things have a

different meaning from that we attribute to them in our world of constant reciprocal

relations between man and man. It dawns on me that in many cases it may be moredifficult for a man to retain his ordinary humanity in the Arctic than to sustain his life

in battle with the elements

(Ritter 1955, p. 83).


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