Anne-Marie Culhane: Earthwalking

September 28, 2015 by

Editor’s Intro:

Anne-Marie Culhane creates events, performances and long term projects that invite people into an active and inquiring relationship with each other and the earth. She works as artist, activist and collaborator across a range of disciplines.

Culhane conceived of Earthwalking through an Exeter Enquires residency co-ordinated by Arts & Culture at the University of Exeter funded by Arts Council England. The residency enable Culhane to develop a working relationship with Tim Lenton, Professor of Climate Change and Earth System Science, Dr. Luke Mander and Tom Powell, researchers in Earth System Science at University of Exeter. Earthwalking was a two day ‘choreographed journey’ with overnight camping along 10 miles of coastline in Devon, from Beer to Sidmouth, that aimed to honour different ways of knowing and experiencing the world, offering different perspectives on land, sea and change. Earthwalking involved 33 participants from a range of backgrounds (scientists. artists, curators, administrators, auditors, researchers, playwright, writers, bird watchers) with ages up to the eldest at 75 years old. Twenty-one of these responded to a public invitation to take part.


Earthwalking aimed to bring something of the feeling of the wilder edge of our land – and a wider sense of community – into our conscious reflection on how we live and act in these times.

Earthwalking. Photo: Steve Brown

Earthwalking. Photo: Steve Brown

The idea of a walk was seeded in an early conversation in the residency. A common thread in all our life stories was that playing, exploring or walking in the landscape was a key motivation for inspiring us with the passion for the work that we do. Looking around the Earth System office, on the 7th floor of an overheated concrete building in the city, I realized how far removed we all were from the places that nourish and inspire us. I located our continuing discussions out on campus, on the coast, or in the little shed at the Exeter Community Garden, observing the subtle shifts in how we communicated in different contexts. In particular, walking outdoors changed the rhythm of conversation, other elements (weather, terrain, observations) together with silence and pauses become an integral part of the exchange. There was more ground for possibility.
My impulse was to continue these inspiring conversations and to share the questions emerging with others in an outdoor, journey setting. The Jurassic Coast is close to Exeter. It offers a frontline, where stories of change are played out almost in double-time on the crumbling and lively island edge. The land is constantly slipping and eroding and yet the exposed rocks here draw us backwards into the story of the planet, into deep time over many millions of years. I wanted to demonstrate that you don’t need to travel to the ends of the earth to bear witness to the changing climate. Tim’s work is deeply influenced by his relationship with James Lovelock and the Gaia Theory, which offers a story of the world as a self-regulating, evolving complex system. There have been many people, past and present, inhabiting this coastline (including James Lovelock) and it felt important that some of these people and their stories be part of Earthwalking.

Earthwalking. Photo: Steve Brown

Earthwalking. Photo: Steve Brown

13 July, 11.30am

I invited Tim Lenton to create the first intervention on our walk. He asked us to sit or lie on the grass overlooking the ocean while he read an Invocation to Gaia, written for the event, where he took on the persona of a centurian grandmother earth and wrote in the first person:

“Take your pulse – feel your heart beat. Imagine that each of your heartbeats took a whole year, not a fleeting second – then your lifespan would begin to approach mine.”

He told us that in her 30s:

“Lines began to appear on my skin, marking out the great plates that make up my surface, and slowly they began to move, at the rate your fingernails grow.”
“….. only three minutes ago, on this little island you started the industrial revolution”

Our bodies, the earth, this place.

13 July, 12.30pm

I invited people to walk in silence down a steep path through the Hooken Undercliff, a 10-acre area of land that, one night in March 1790, slipped away from the high chalk cliffs towards the sea. Fishermen reported coming out and finding their crab pots above sea level, as the scale of the slump caused a reef to push up out at sea. There is something unique about walking through this new land – a green oasis with its birdsong, weave of plants and trees, sheltered by chalk pinnacles.

Earthwalking. Photo: Steve Brown

Earthwalking. Photo: Steve Brown

The whole project enhanced my sense of smell, sound and vision (participant)

13 July, 2.00pm

Dr Ceri Lewis, a marine biologist met us at the shoreline and enthused about her love for the small soft and shelled creatures of the sea that she had gathered from the rock pools. She explained the plight of their calcium shells in an acidifying ocean, and her work to protect these marine invertebrates from marine pollution and climate change. We do simple experiments, blowing down straws into coloured seawater to see our breaths change the ph.

Earthwalking. Photo: Steve Brown

Earthwalking. Photo: Steve Brown

At moments throughout the day, we hear from Dr Luke Mander who shared spontaneous geological observations, as we walked West back through time.

13 July, 3.30pm

Chris Woodruff, an East Devon Area of Outstanding Natural Beauty land manager relayed stories of complexity, change and human conflict catalysed by the contradiction at the heart of his work – conserving the natural beauty of a place made remarkable by its dynamic nature.

I felt a strong sense that we were somehow touching base with some quite fundamental things. For my part, the event will serve as a real and important reference point (Academic collaborator)

13 July, 7pm

Goonlas, a Cornish sea song started our evening session. This is an adaptation from the ongoing Storm Songs project by Natalia Eernstman, initiated earlier in the year with people from Porthleven in Cornwall, creating new verses and sea songs with communities, to mark our changing relationship to the sea. For Earthwalking a new English verse was created using words from local accounts of the Branscombe storm of 2014. Branscombe is one of the places where tensions over whether to rebuild or retreat from the incoming sea are playing out. The song was followed by a space where the walkers themselves brought their varied and insightful reflections, questions, ideas, song, dance and poetry to share with the group around the fire.

Earthwalking. Photo: Steve Brown

Earthwalking. Photo: Steve Brown

14 July, 9am

I opened the morning walk by leading a Field Sensing session. This involves slowing down our movements in order to sense inner and outer landscapes more acutely. I chose to locate the Field Sensing at Berry Fort, the site of a Neolithic coastal settlement and Iron Age Fort.

A moment to connect to the landscape in a non-intellectual way … I found it very relaxing, spiritual and energizing (Participant)

Earthwalking. Photo: Steve Brown

Earthwalking. Photo: Steve Brown

14 July, 11.30am

At Weston Plats, Tom Powell, a food systems specialist selected extracts from aural histories of coastal cliff farmers collected by the Branscombe Project, to illustrate the growing cycles of the ‘plat’ farmers, who farmed these sheltered, marginal edgelands over centuries until the 1960s. He scaled this up, to share reflections on today’s global challenges of food, population and our massive harvesting of biomass. Huddled in a renovated stone byre, small groups of walkers listen to artist and local smallholder Laura Williams recounting a moving personal story of resilience and adaptation. Her land, in a valley close to the coast, had slipped in 2012, covering the area earmarked for their house and causing the release of shoals of farmed carp away from their land down the valley and into the sea.

Earthwalking. Photo: Steve Brown

Earthwalking. Photo: Steve Brown

This mingling of the past and present pointed towards the future and again opened up discussions about the sustainability of our eco systems. At no time during Earthwalking was anyone told what to think and yet thoughts and discussions naturally and organically flowed into these areas because of the style and structure of the project. In this way the project proved itself to be in line with its own ethics and was in and of itself a sustainable and organic art piece. (Participant)

14 July, 4.00pm

After a further two hours walking including an unrelenting final ascent and a spontaneous dip in the sea, our journey ended at the Old Dissenters Meeting Hall in Sidmouth with its inspiring history of activism (in particular Annie Leigh Brown a suffragist from the age of 17). We were greeted warmly by members of the Vision Group for Sidmouth, a collection of local sustainability campaigners eager to exchange ideas with the walkers and to share the successes and challenges of working in their community and drawing us back into the wider sense of community and action.

The experience was transformational and gave me a totally altered sense of community, the landscape and the future of both. (Participant).

Productive, in that there seemed to be a lot of fruitful, intelligent and practical exchange. And enjoyable because cake and company couldn’t have been better! (Participant Vision Group for Sidmouth)

The final sentence from Tim’s forthcoming publication on Earth System Science states:

Earth system considerations call for some rethinking of economics and a wider social discussion about what kind of future we want, which will engage the arts and the humanities as well as the social sciences.

I’d like to acknowledge my gratitude to Jo Salter and Emily Williams (Kaleider) and to Fern Smith and Lucy Neal, who have advised on Earthwalking. This blog also includes extracts from an interview with Kaleider.

Anne-Marie Culhane:

Anne-Marie’s passion for bringing together different disciplines and perspectives on place started with a self-initiated residency on Arthur’s Seat, Edinburgh in 2001-2002 funded by Scottish Natural Heritage, Historic Scotland and the Millenium Commission.

Further Projects include Abundance (co-created with Stephen Watts), winner of Observer Ethical Award Grassroots Category, 2010 and Fruit Routes/Eat Your Campus working with the School of the Arts & the Sustainability Unit at Loughborough University, winner Guardian University Awards Sustainable Project 2014. She has worked with National Trust, Tamar Valley AONB, Exmoor National Park, ArtsAdmin and exhibited at Bluecoat, Liverpool; National Media Museum (with Ruth Levene); Newlyn Gallery, Penzance; Castlefield Gallery, Manchester and Plymouth Art Centre and co-founded of Out of the Blue, Edinburgh. She is an associate artist with Encounters Arts and Kaleider and recently completed a commission for CCANW (Soil Cultures Residency).

This Autumn she is starting a year long participatory project A Field of Wheat with artist Ruth Levene and farmer Peter Lundgren which explores collective ownership, industrial what farming and local & global food systems. There is still time to be part of this, follow this link for more information.

Sanctuary 2015

September 25, 2015 by
Enclosure.  Photo Mike Bolam

Enclosure. Photo Mike Bolam

Sanctuary 2015. Noon 26th- Noon 27th September. Murrays Monument, Galloway Forest Dark Skies Park, A712, Nr Newton Stewart. DG8 7BL. A 24 hour public art laboratory experimenting with new ways of using technology to explore darkness, light and place.

“In the future we imagine a need to designate places where we are free from being tracked, traced, and our data mined via our devices. Who will come to such places and what will happen there?” Sanctuary 2015

The Galloway Forest Dark Skies Park is a place within which darkness is protected. Within this remote Park, access to communication networks is limited and at Sanctuary we have extended the notion of darkness to include electronic or digital darkness and created an event that provokes responses to the all-pervading nature of communication technology and electric light. This remote place can be considered a Sanctuary from both light pollution and worldwide connectedness. A temporary escape into digital darkness where we can explore our relationship with all kinds of technology, take control and use it in experimental and creative ways, or disengage with it entirely and create new behaviours, liberated by the knowledge that no-one is looking.

Sanctuary has become a place for new ways of experiencing, exploring and connecting with landscape and place. How can we read the landscape viscerally, visually and conceptually? How do we experience the world through the lens of technological devices and how do they mediate our experiences? Sanctuary is not rejecting the digital age – there are artists creating digital artworks and networks on site – rather it aims to interrogate the meaning, uses and implications of technology and the ownership and agency of the devices and networks that now connect us. And in the realm of dark and light, in this, the International Year of Light, there are experimental artworks that both examine and play with light and its significance across the visible and also the non-visible spectrum.

Sanctuary creates a new public space – one that is created by its participants (both artists and visitors). It is place where new conversations can happen and experiments conducted. This is exemplified by The Dark Outside FM, an annual site specific radio broadcast of previously unheard sound, that has gradually gathered the Sanctuary public laboratory around it. It exists temporarily as a deep part of the environment, then disappears without a trace, deleting its content as it goes.

Other artworks include:

  • Entropy Lure (Graham Rooney and John Wallace) using thermo graphic cameras to capture every visitor’s unique heat signature (something they can never shed)
  • SUMA ( Zoe Irvine and Kuchke) A sound walk with radio transmission, singing and the sounds of the woodland, taking its inspiration from Balkan songs of trees and forests
  • Murmurate (Tim Shaw and Sebastien Piquemall) Incorporating synthesised sounds and field recordings from the immediate surroundings to be processed, organised and performed through a local network of the audiences mobile devices.
  • Nightlight-2 (Unicorn Diagram) a shadow catcher, capturing a multitude of brief moments in time.
  • Eternal Silence (Jamie Clements and Nick Millar) using morse code to beam final messages to the universe in a maximum of 140 characters.

These works and the many more at Sanctuary, involve the audience in investigations of both where we are and who we are. It is part of an ongoing creative exploration of place and environment, a space for new work and conversations, new concepts and synergies.

t: @sanctuarylab

Sanctuary Curators:
Jo Hodges:
Robbie Coleman
The Dark Outside FM Curator:
Stuart McLean:

Photo credit: Mike Bolam

Imagining the future food system: Center for Genomic Gastronomy at the Rowett Institute for Nutrition and Health

September 22, 2015 by

Source: Imagining the future food system: collaborating to advance transdisciplinary knowledge of biotechnology and biodiversity | The Leverhulme Trust

The Center for Genomic Gastronomy styles itself as an artists’ think-tank.  In taking on a residency with the Rowett Institute for Nutrition and Health the focus will be Food Futures, but the outputs won’t be the usual outputs from a think-tank (visualise reports from Demos) but rather artworks which provoke and question emergent realities of urbanism and food tech.

This piece from The Leverhulme Trust was originally published on their website in February.  We hope to carry a report in due course on the (select preferred think-tank speak) ‘impact’/’output’/’outcome’/’low hanging fruit’ of the residency.

Meantime read on here.

Environmental Art Festival Scotland 2015: what is art and ecology?

August 27, 2015 by
EAFS.  Photo Colin Tennant

EAFS. Photo Colin Tennant

The creative team at EAFS needed help this year and ecoartscotland provided some editorial support for the newspaper and an essay on art and ecology as voluntary contributions.  EAFS is an incredibly important development in Scotland (as was the UNFIX festival this year, also delivered by voluntary effort).  The essay below attempts to highlight some of the different ways of working that characterise ‘art and ecology’ practices.

Art and Ecology or “the context is half the work”

By Chris Fremantle with input from Ann T Rosenthal.

Landscape painting represents or idealizes ‘nature,’ usually by depicting wide vistas, such as seascapes, forests, and countrysides. Sometimes it also brings attention to the human impact on the land, such as wilderness vs. settlement. Given the environmental challenges we face today, however, environmental art goes beyond representation or even witnessing changes in the land to effect social change through raising awareness and/or actually restoring damaged landscapes. Some of the ways environmental art differs from more traditional art forms, like landscape painting, are discussed below.

Considering art made or in progress by artists who work with environments or ecosystems, there are a few key things to consider, such as whether the project is reflective, awareness-raising or interventionist. You’ll find various things called ecoartxxx but, unlike Young British Artists, such as Damien Hirst, this isn’t about individualism or celebrities.

So, what are some of the things that might characterise artists working with ecologies?

Context – this might be ‘place’ or ‘issue’, though in the interesting projects these are deeply bound together. The issue might be the deep experience of a place and its effect on a person. Personally I find Hamish Fulton’s piece NO TALKING: seven days walking in the Cairngorms (1988) to be a very personal provocation – could I not talk for seven days? The issue might be storm surges and their impact on coastlines. Eve Mosher was featured in The New Yorker because she had marked a high water line on parts of New York (2007). When Hurricane Sandy hit New York in 2012 the debris marked the same line. Everyone was amazed that an artist had predicted the impact of an extreme weather event. The context might be a remnant of the ancient Caledonian Forest. The Collins and Goto Studio have been working in the Blackwood of Rannoch (2012-ongoing) to imagine a future of eco-cultural well-being where the forest’s beauty and biodiversity become an icon for a different Scottish landscape.

Interdisciplinarity is often another central characteristic. Artists are using methods and processes that are selected based on the idea/issue/context rather than the skill they were taught at art school. Don’t get me wrong, if you ask the right questions you’ll find that what the artists learnt at art school is still fundamental to their practice. But whether in deep durational collaborations or in short interactions, artists working with environments and ecologies learn and use the knowledge and practices of natural and social sciences, read and seek to influence policy, work in teams and maintain relationships. The quality of interdisciplinarity is perhaps in the seemlessness of what results, such as with Cinema Sark in EAFS 2013 where Pete Smith, Professor of Soil and Plant Science, and John Wallace, film-maker, explored the ecosystem of the river Sark in a work that was at once excellent science and compelling film.

Education and volunteering is a common characteristic of those projects focused on awareness-raising and intervention. It is important to understand that this aspect of practice is not separate from the process of making the art, not ‘outreach’ once the art has been made – rather it must be understood to be intrinsic.

Novelty is less important than sharing. Iterating and the commons are recurrent themes. All of the characteristics noted above (context/issue, interdisciplinarity and education and volunteering) militate against that particular art world requirement for constant newness. In the art world too often the focus is on new things, whereas ecoart is more often about new understandings and revealing experiences of the world around us (and our place or impact within it). More specifically documentation of environmental and ecological projects often takes the form of action guides, sets of instructions, or toolkits. We can recognise the aesthetic of artists, but when groups in Miami (2013) and Bristol (2014) did versions of Eve Mosher’s High Water Line, it wasn’t a breach of copyright – in fact she celebrates it. They used the Action Guide produced by Mosher working with ecoartspace.

Leaving the world a better place than you found it might be an overarching concern. This is more radical that it might sound when you consider that the archetype of the ‘reckless, hedonistic and art for arts sake artist’ has been pervasive for the last century anyway. John Thackara suggested that we live between on the one hand the despair at the scale of the crisis and the complexity of the challenges, and on the other hand the hope in the multitude of examples of grassroots activism, but he also commented that ‘don’t be evil’ is not enough. We have to act in ways to leave things better than we find them as we move through the world.

Does anyone know Professor Paul Younger? Pt. 2

August 21, 2015 by

Professor Paul Younger invited me to meet him in his office at the University of Glasgow after he found the blog post. We had exchanged some emails resulting from the sequence of events triggered by’s ‘Do The Math’ and the wider divestment campaign.

We discussed the reasons for the letter to The Guardian (of which Prof Younger was a co-signatory) challenging the University of Glasgow’s recently announced commitment to divestment from investments in the fossil fuel industry. From what I understand this was at least in part driven by the University’s decision to make the commitment on the basis of the student petition without recourse to any advice from the Schools or Departments which have expertise in the subject.

Prof Younger’s response to the Do The Math poster was that he agreed with all of it, apart from where on the right hand side it says, “we have the tools that we need.”

Detail of Do The Math by Rachel Schragis

Detail of Do The Math by Rachel Schragis

Although we see a lot of wind farms and increasing numbers of domestic rooftop solar voltaic installations, electricity is only a relatively small part of the fossil fuel generated energy we use. Further these forms of renewables provide neither baseload nor dispatchable capacity to the grid as it is currently configured ie they create more grid management challenges. In addition renewables development is impacting on issues of heating more slowly and on the transportation of goods at an even slower rate.

Asked the question, “How long is now?” I.e. if we are now in this transition process, how long will it take to move to a low carbon economy, Prof. Younger suggested 30 years between areas still requiring innovation such as energy storage, as well as innovations moving through development and commercialisation phases. It would be interesting to understand from his perspective where the key obstacles are and what could speed the process. I can imagine another one of Rachel Schragis’ images visualising the developmental edge, the relationships, the obstacles and the opportunities.

Reflecting on the University’s reaction to the student petition led to an interesting discussion around decision-making in different disciplines. Prof Younger offered a comparison with medicine where policy decisions are not made exclusively in response to petitions. We discussed the relationship between medical research and medical ethics (and perhaps also medical humanities). This prompted the question as to whether such a thing as a Chair in Engineering Ethics should exist? This is distinct from the existing positions focused on ‘the public understanding of…’ just as it is probably distinct from positions focused on sustainability (sustainability is already an iteration of one mode of ethical analysis, utilitarianism, rather than a primary inquiry into the grounds of thinking).

We also discovered that we had a colleague, Lucy Milton, founder director of Helix Arts in Newcastle, in common. Prof Younger had invited Helix Arts to work with him on the Seen & Unseen (1997-99) project developing a bioremediation solution to acidic run-off from mine workings focused on the Quaking Houses settlement in County Durham.

Prof Younger kindly gave me a copy of his recent publication Energy which appears in the All That Matters series. It’s a primer on current issues in energy engineering. He starts with food. It is the form of energy we consume bodily, and our discovery of cooking has increased the energy value of food to us, that most likely being one of the key contributory factors in our social cultural evolution. He doesn’t shy away from the parallel between our overconsumption of food and our equally unconstrained use of other forms of energy. Nor is the book a marketing exercise for the energy industry. Where it might be limited is in its exclusive focus on the technology of energy. The book doesn’t address the financial dimension of energy or particularly on alternative modes of ownership, both ultimately key factors in any transition to a low carbon economy.

I was able to give him copies of two of the Land Art Generator Initiative publications (New York and Copenhagen).

Postcards from the Outer Hebrides

August 19, 2015 by


Alex Cochrane follows some cyclists through the Outer Hebrides

Originally posted on adcochrane:

In the spring of 2015 four intrepid dashing gentlemen cycled through the Western Isles (Outer Hebrides) battling storms, rain and mountains. I was not one of them. I took the sensible option and hitched a ride in the dry, warm support van.

View original 1,192 more words

GAIA Resonant Visions at SER 2015 Manchester

August 18, 2015 by

The Society for Ecological Restoration annual conference is in Manchester 23-27 August and James Brady has put together an outstanding Arts Programme.
“During the conference, two internationally renowned cultural venues in the city of Manchester will host GAIA – Resonant Visions: an exclusive cultural programme consisting of UK and world premiere artists’ film screenings, accompanied by public talks (with artists, ecologists, activists and scientists, etc.) associated with the conference theme of ecological restoration and resilience.
The events will be artistic co-ordinates and complimentary to the conference. Both responding and acting independently of the conference, they will expand and explore restoration and resilience from the neighbourhood to international scales, and from political, ecological and aesthetic perspectives.
How environmental activism, creative resistance and grassroots/indigenous movements can operate (both as a powerful metaphor and a real-world agency) for ‘resilience and restoration’ towards a post-fossil fuel world, are core themes which these events will also address.
Manchester is the birthplace of the Industrial Revolution: the unprecedented human technological shift which changed Planet Earth and crucially brought about the evolution of this Anthropocene age. It is therefore meaningful and poignant that a collection of moving image ‘visions’ of our changing planet are brought into the heart of what is one of the world’s first Post-Industrial cities.
The core cultural venues pledging their support for SER 2015 in the city are The Whitworth Art Gallery and HOME. A special suite of eco-artist films will also be hosted at Manchester Central during the conference itself, providing an integrated cross-disciplinary aesthetic engagement for delegates.”
Check it out here

Glasgow Community Support For Stalled Space Fund – NOW OPEN

August 17, 2015 by

We’re sharing this Call from Glasgow City Council

Forgotten Island 2011

Forgotten Island (2011) – one of the first projects done under the Stalled Spaces initiative

Do you wish to breathe life into a stalled site or an under-utilised open space within your neighbourhood?

Ever thought of using it temporarily for…

  • an arts project
  • pop up sculpture or exhibition space
  • a pop up park or a growing space
  • children’s play space
  • a green gym/ outdoor exercise
  • outdoor education
  • an event space
  • any other innovative idea?

We now invite applications for the second round of Community Support for Stalled Spaces for 2015-16

Funding is available from a minimum of £1,000 to a maximum of £2,500

Closing Date for applications: Monday, 7 September 2015 (5 pm)

For more information and application forms go to:

Or contact: Caroline Mulheron on 0141 287 8542


John Newling: The Map Room of the Last Islands

August 15, 2015 by

Originally posted on On The Edge Research:

Woodend Barn, Banchory, Aberdeenshire
22 August – 23 September 2015

This major exhibition of previously unseen work is a powerful, and visually beautiful, illustration of the ways in which artist John Newling explores the relationships between the natural world and systems of value within society.

Since 2009, Newling has been creating art works that are constructed, primarily, through the growing, observing and preserving of Moringa Oleifera trees.  Often referred to as the Miracle Tree or Famine Tree, gram for gram, the Moringa leaves contain: seven times the vitamin C in oranges, four times the calcium in milk, four times the vitamin A in carrots, two times the protein in milk and three times the potassium in bananas. It is for this and other extraordinary properties of this tree that it has been referred to as the world’s most generous tree.

The paintings are maps of a kind, into and…

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Evening Will Come

August 6, 2015 by

Today is the anniversary.
Eve Andree Laramee, Professor and Chair, Department of Art & Art History
Pace University, NYC provides an overview of 20 years of work on nuclear issues that started with reading a newspaper article on United Nuclear Corporation’s Church Rock Uranium Mill Tailings Pond Spill, on Navajo land in New Mexico. Sometimes we ask “Could an artist do this?” about a call for Expressions of Interest about some aspect of environmental work.  In this case ‘an artist has done this’. There is a more detailed version of this essay on the Women’s Environmental Art Directory as part of Issue 5 of their magazine, Atomic Legacy Art.
You can see more research material that Laramee has assembled at .


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