ABSTRACT
In this chapter the author talks about the five site-related, immersive installations installations in Shanghai and that the exhibits reminded him of Morton's reference to the boiling mud-pots of N+ímaskar , Iceland. Grasping the earth through relating to blurting mud pots is no more possible than grasping the meaning of eternity or infinity through a moment's epiphany. The chapter says that the heaped stones along with the surrounding mud pots and fumaroles have become a popular tourist spot to get an immediate haptic sense of the geo-forcefulness of the Earth. Standing at the hissing fumaroles and strolling along the bubbling mud pots of Hverar+¦nd at the N+ímafjall site, one can hear knocks and underground belching as the simmering mud is being cooked and transported to the surface. The author relates this experience as a pathway for 'flows of differing speeds and durations' that allows the stones, Earth, mud, animals to communicate with humans.
