Art - Science & Diffraction.

Followly does not aim to produce a single, unified representation of tracking. Instead, the project returns again and again to the same subject through a multiplicity of perspectives.

This approach reflects a simple assumption: that knowledge is always situated, partial and embodied. Rather than reducing this multiplicity, Followly chooses to expose it as a diffracted landscape.

Followly adopts a hybrid approach at the intersection of artistic practice and field-based knowledge. We develop a series of collaborations bringing together:

• practitioners of tracking and ecological observation

• artists working with image, sound or narrative

• and you.

Each collaboration is conceived as a process of encounter. An artist, sometimes unfamiliar with tracking practices, engages with a field situation via a tracking practitioner. Through this process, they discover, interpret and translate what they experience using their own language.

These contributions are presented to the public in various forms : highly subjective interpretations, field recordings and observational material, experimental or impressionistic pieces, hybrid formats.

Each fragment acknowledges its own perspective. They are situated interpretations aiming at transmitting something of the tracking experience by resonance: allowing audiences who may never have encountered tracking directly
to access it indirectly, through perception, emotion and attention.

Finally, the ecosystem is completed by inviting our audience to engage with each fragment as an ethnographer would, through a simple set of guiding questions (How does this fragment blur or define the boundary between “nature” and “culture”?…What kind of society would grow from this?). Participants are invited to choose one question and write freely. In doing so, the audience is no longer outside the experience, but becomes part of the field.

These responses are collected anonymously and contribute to an evolving ecopoetic composition. Once a year, in spring, this composition is revealed: a temporary emergence, a moment to look at it together before it recedes again, returning to its latent state. Over time, these annual appearances form a living ecopoetic archive, tracing how perceptions evolve and how the boundary between “nature” and “culture” may be shifting.

Metamorphic navigation.

Followly does not operate through social media.

The project deliberately distances itself from logics of continuous publication, visibility and content flow. Instead, it is anchored in a dedicated online space — this website — conceived as an environment for exploration.

Navigation is not fixed, and no two visits are strictly identical. Visitors may enter from different points (see formats), or choose between a structured navigation (territories, characters) or the participatory drift mode.

Delegating our productions to artists not only allows us to decentre our perspective through a diffractive effect, but also multiplies the entry points through which a culturally diverse audience can engage.

This approach reflects the nature of the project itself: multiple, situated and diffracted. Like a changing landscape where fragments accumulate without closing. A place one can return to, each time encountering a different configuration of the same questions. Beyond the general public, Followly can be used by educators, artists, researchers, and institutionsto immerse themselves again in an evolving ecopoetic field of experiences, interpretations and perceptions.

Ecopoetic level.

Through this multiplicity of contributions, Followly creates a space where different ways of perceiving and interpreting the world can be observed, compared and experienced. Our approach reflects a broader intention: not to stabilise meaning, but to open it.

Each fragment expresses (implicitly or explicitly) a position towards the relationship between humans, animals and environments. Each contribution carries its own way of blurring, defining or negociating the boundary between what is often called “nature” and “culture”.