https://www.antarktikos.com Antarktikos Tue, 03 May 2022 19:57:55 +0000 https://www.antarktikos.com en https://www.antarktikos.com/Splash-Page Tue, 27 Oct 2020 19:15:01 +0000 Antarktikos https://www.antarktikos.com/Splash-Page # 1&nbsp;(2021 —&nbsp;2022)Mapping Nature #2&nbsp;(2024 — 2025)Light and Shadow #3 (2026 — 2027)Rock, Paper, Ice#4 (2028 — 2029)Futurism &amp; Fantastika, Mystery &amp; Myths#5 (2030 — 2031) (Not yet confirmed)#6 (2032 — 2033) Fifth International Polar Year “The aim of art is to represent not the outward appearance of things, but their inward significance.” Aristoteles (384–322 BC) https://www.antarktikos.com/Header-copy Fri, 30 Oct 2020 19:10:40 +0000 Antarktikos https://www.antarktikos.com/Header-copy ANTARKTIKOS https://www.antarktikos.com/About-Antarktikos-2 Wed, 28 Oct 2020 20:18:19 +0000 Antarktikos https://www.antarktikos.com/About-Antarktikos-2 Antarktikos About— Antarktikos is a printed journal, published once every two years. This journal combines artistic and scientific exploration within the awe-inspiring and thought-provoking context of Antarctica. *The vast continent of Antarctica is an isolated location whose harsh conditions and heavenly natural serenity have long appealed to the imagination. However, the remaining opportunities for this practically untouched no man’s land are not without responsibility. Since the signing of the 1959 Antarctic Treaty, Antarctica has been a scientific reserve for peaceful purposes, scientific investigation and environmental protection. The continent covers 14 million square km (5.4 million square miles). It has no native human population or weapons and remains under no right of ownership. Despite this, Antarctica plays a significant role at many levels on the world stage. Antarctica could be seen as the main protagonist in the issues and challenges facing the contemporary world. *Antarktikos1 will use an open call to solicit contributions by scientists2 and artists3 working with Antarctica. The content will be collected through networks concerning science, art and Antarctica. *Antarktikos is the first and only independent and international magazine entirely dedicated to Antarctica. The first printed issue is published in 2021. *Antarktikos is founded by Esther Kokmeijer in 2021 .&nbsp; In her work as an artist, explorer and designer, she mainly focus on the ‘Global Commons’. A term typically used to describe international and global resource domains. Global commons include the earth’s shared natural resources, such as the high oceans, the atmosphere and outer space and the Antarctic in particular.“I founded Antarktikos because I believe in the power of combining art and science. Both science and art are human attempts to understand and describe the world. Art is mostly associated with emotions and starts with the question ‘why?’, while science is rooted in the question ‘how?’. Where scientists are often bound by methods and frameworks, artists excel at limitlessness. In many respects, scientists and artists share immaterial and mental ownership of Antarctica. They are not interested in conquering or controlling. Instead, they temporarily engage with the continent to bring knowledge, ideas, inspiration, confusion, beauty, and acutely urgent questions to the world. I love to create a platform for a broad range of artistic and scientific perspectives that can reinforce one another, with the intention to reach the mind through the heart.”&nbsp;Esther Kokmeijer <img width="1920" height="1281" width_o="1920" height_o="1281" data-src="https://freight.cargo.site/t/original/i/a177c9d3fc056326d6a672fb3b2e67c789e10565a666f8d5bfc0d2d4dc76aa33/Esther-Kokmeijer-Antarctica.jpg" data-mid="246872083" border="0" src="https://freight.cargo.site/w/1000/i/a177c9d3fc056326d6a672fb3b2e67c789e10565a666f8d5bfc0d2d4dc76aa33/Esther-Kokmeijer-Antarctica.jpg" /> www.estherkokmeijer.nl ~ 1. Over 2000 years ago, Greek philosophers imagined the existence of a continent at the South Pole. The ancient Greeks wrote about a large landmass at the globe’s southern tip, assuming it existed despite having never seen it. Aristotle theorized that this southern land allowed the spherical Earth to maintain a geophysical balance with the northern lands, so he called it Antarktikos. Arktikos is ancient Greek for ”near the bear”, referring to the Great Bear constellation in the northern celestial hemisphere. Thus Antarktikos means across from the Bear or opposite the north. 2.Antarktikos magazine intends “science” as all forms of scientific research: natural sciences, social sciences, formal sciences and applied sciences. 3. Antarktikos magazine intends “art” as all visual arts, performing arts and applied arts, such as photography, painting, sculpture, music, literature, design, film, and architecture. Next&nbsp;︎ https://www.antarktikos.com/Mission-Statement-1 Wed, 28 Oct 2020 19:55:09 +0000 Antarktikos https://www.antarktikos.com/Mission-Statement-1 Antarktikos Mission Statement— Antarktikos is aimed at professionals in the field, scientists studying Antarctica and artists and scientists whose research is related to the kinds of environmental questions and wonder that Antarctica proposes. The journal intends to inspire international science-based collaboration.&nbsp; Specifically, it aims to encourage collaborations between art and science. Antarktikos believes the mutual reinforcement of art and science can help in the search for ‘relevant’ questions and answers to contemporary environmental and political issues. * Antarktikos magazine puts its readers in contact with the continent of Antarctica. Therefore, it is intended for a worldwide readership of people interested in Antarctica. * Very few people have the opportunity of visiting Antarctica – a limitation necessary for Antarctica’s preservation. This magazine’s goal is to allow those for whom Antarctica remains inaccessible to experience its richness and magic. But also for the roughly 120,000 people a year that travel to Antarctica, the Antarktikos journal will provide substantive background information that will support visitors to become ambassadors for the protection of Antarctica and our worldwide environment.* We are thankful that Antarktikos has been sent to over 60 countries world wide.&nbsp; / Next&nbsp;︎ https://www.antarktikos.com/Open-Call-1 Wed, 28 Oct 2020 20:27:01 +0000 Antarktikos https://www.antarktikos.com/Open-Call-1 Open Call #4 Futurism, Fantastika, Mystery &amp; Myths — More info will follow... *APPLY HERE FOR OPEN CALLLINK TO&nbsp;SUBMISSION PROCESS WITH CRITERIA AND GUIDELINES. Open call for Antarktikos #4 will open from 21 December 2026 until 21 December 2027.&nbsp; * Next&nbsp;︎ https://www.antarktikos.com/Agenda Tue, 03 May 2022 19:57:55 +0000 Antarktikos https://www.antarktikos.com/Agenda Launge event Antarktikos #1 -&nbsp;Mapping Nature 19 May 2022 18:00 - 20:00 hr.&nbsp;Omniversum, The Hague— To Celebrate the birth of the Antarktikos magazine, short films from ANTARKTIKOS contributors of the first issue, Mapping Nature, followed by the BBC film Antarctica, will be&nbsp;screened in the giant dome of the 180 degrees cinema with a 840m2 screen.&nbsp;www.omniversum.nl/en/filmcalendar/antarctica This event is a collaboration between NWO, APECS-NL and Dutch Arctic Circle. It&nbsp;is the closing event of the Dutch Polar Symposium that takes place next door at the Museon. www.nwo.nl/en/meetings/polar-symposium You are very welcome to attend. This is a free event for Antarktikos friends and visitors of the Polar Symposium. If you wish to attend otherwide, then we would like to ask you to order the Antarktikos magazine online or at the Omniversum during the event. OmniversumPresident Kennedylaan 52517 JK The Hague The Netherlands / Next&nbsp;︎ https://www.antarktikos.com/Archive Mon, 20 Dec 2021 18:43:57 +0000 Antarktikos https://www.antarktikos.com/Archive You can order Antarktikos #1 - Mapping Nature and Antarktikos #2 - Light and Shadow, here. Also you can pre order already&nbsp;Antarktikos #3 Rock, Paper, Ice,&nbsp;which at the end of this year will be published.&nbsp; Soon a Kickstarter Campaign will be launched for pre ordering Antarktikos #3 -&nbsp;Rock, Paper, Ice. Antarktikos #2&nbsp;—&nbsp;Light and Shadow 2024 — 2025 Contributors Adele Jackson, Angela Posada-Swafford, Barend (Barry) Becker, Caitlin Scarano, Daniella McCahey, David Ruth, David Trubridge, Diana Scarborough, Dick van der Kroef, Donald Fortescue, Elizabeth Leane, Elizabeth Lewis Williams, Elmar C. Fuchs, Esther Kokmeijer, Evan Townsend, Filip Wierzbicki-Nowak, Gerrit Oudakker, Craig Stevens, Greg Neri, Hanne Nielsen, Helena Gamos, Jean de Pomereu, Jennifer Freer, Jessica Houston, Joanna Sulich, John French, John kelly, Kim Cunio, Kirsten Carlson, Klaske Kokmeijer, Layla Benitez-James, Lennart Lahuis, Margriet van Weenen, Marten van Dijl, Michiel Pijpe, Nicolás Ordonez, Nigel Meredith, Olivier Remaud, Peter Bijl, Peter Wasilewski, Richard Long, Robert van Keppel, Salto Ulbeek, Stephen Eastaugh, Salto-Ulbeek, Selkie Hope, Stephen Warren, Steven Anderson, Susana Mulas Lastra, Suzette Bousema, Sybren Renema and Wendy Pyper Contents Antarktikos #2 Light and Shadow PAG. 002 — 009 / Introduction Chapter I. — Into the Cosmos PAG. 011 — 019 / Awesome Aurora, Australian Antarctic Division PAG. 020 — 023 / Sounds of Space, Nigel Meredith,&nbsp; Diana Scarborough, and Kim Cunio PAG. 024 — 025 / St Swithin’s Day Storm, Steven Anderson (Letters From Mouse) and Nigel Meredith PAG. 026 — 033 / Wings Over an Antarctic Light Show, Ángela Posada-Swafford, Nicolas Ordonez and Elizabeth Lewis-Williams PAG. 034 — 037 / Tracing the Sun at the South Pole, Donald Fortescue PAG. 038 — 041 / Antarctic Sun Lines — Tracing Connections Between the Sun and Life on Earth, Adele Jackson PAG. 042 — 047 / NASA EDGE — The Antarctic Eclipse Show, NASA (transcribed podcast) PAG. 048 — 049 / Abstract: 2021 Antarctic Total Eclipse PAG. 050 — 055 / Chemical Wedding, Elmar Fuchs, Gerrit Oudakker and Esther Kokmeijer PAG. 056 — 057 / Abstract: Solar Eclipses and the Surface Properties of Water, PAG. 058 — 059 / A History in 100 Objects, Meteorite, Jean de Pomereu and Daniella McCahey PAG. 060 — 061 / Meteorites from Vesta, NASA PAG. 062 — 065 / Frizions, Peter Wasilewski PAG. 066 — 067 / Abstract: Unexplored Antarctic Meteorite Collection Sites PAG. 000 — 068 / Discovery, Sybren Renema PAG. 069 — 071 / Astromelancholia, Lennart Lahuis Chapter II. — On the Continen PAG. 072 — 073 / Ice is Blue but Snow is White,&nbsp;Stephen Warren PAG. 074 — 075 / Abstract: Optical Properties of Ice PAG. 076 — 077 / Abstract: Green Icebergs Revisited PAG. 078 — 079 / To Measure the Colour of Glacier Ice,&nbsp; Esther Kokmeijer PAG. 080 — 081 / Iceberg, Margriet van Weenen PAG. 082 — 083 / Thinking Like an Iceberg, Olivier Remaud PAG. 084 — 085 / The Modeling — Verticality Shifts, Michiel Pijpe PAG. 086 — 093 / Blinded by Light — leven Days in Antarctica, David Trubridge PAG. 094 — 095 / Blue, Celeste, Turquoise — She has Something Sensual, Esther Kokmeijer PAG. 096 — 097 / Poles Apart No Longer, Jessica Houston PAG. 098 — 103 / Phenomenology of a Glacier, Robert van Keppel PAG. 000 — 104 / Assimilation, Filip Wierzbicki-Nowak PAG. 000 — 105 / No Footprints, Richard Long PAG. 000 — 106 / Chill Project, David Ruth PAG. 000 — 107 / The Silent Sea — A Study of Light Refraction, John Kelly PAG. 108 — 109 / A Good Day Tonight, Stephen Eastaugh PAG. 110 — 111 / Taro to Jiro, Caitlin Scarano PAG. 112 — 115 / Antarctica — Further South, Salto Ulbeek publishers PAG. 116 — 117 / A History in 100 Objects, Eye Protection, Jean de Pomereu and Daniella McCahey PAG. 118 — 121 / Antarctic Lost and Found, Hanne Nielsen PAG. 122 — 123 / A History in 100 Objects, T-Shirt, Jean de Pomereu and Daniella McCahey PAG. 124 — 125 / Across Time — a Colony of Growth and&nbsp;Decay, Joanna Sulich PAG. 000 — 000 / Darkness and Light at the Bottom of the World, Greg Neri Chapter III. — Into the Depths PAG. 128 — 129 / An Estuary Beneath an Antarctic Ice Shelf, Craig Stevens PAG. 130 — 137 / Life Beyond Light, Susana Mulas Lastra PAG. 131 — 132 / A Tale of Light and Fear, Jennifer Freer PAG. 135 — 136 / Are You as Treacherous and Gloomy as the Weddell Sea? Helena Gamos PAG. 138 — 139 / Undersea Illuminations, Kirsten Carlson PAG. 140 — 143 / Dinoflagellates, Suzette Bousema PAG. 144 — 145 / Abstract: Dinoflagellate PAG. 146 — 156 / Contributors PAG. 157 — 159 / Acknowledgements and Colofon PAG. 000 — 000 / Open Call #3 Rock, Paper, Ice The Sun Is Never Gone, Just Somewhere Else Amid shadow, there is light This boreal summer, I spent five weeks in the Norwegian Arctic. As I was there, constantly surrounded by the polar Sun, my thoughts turned to the darkness in Antarctica. A black canvas covers the Antarctic sky for months in the austral winter. Although the 1,000 or so winter residents of Antarctica can’t see the Sun, they have another magical source of light amid the darkness — the aurora australis. Colourful, fluorescent curtains of light dance in the sky. For modern winteroverers — just like the early explorers before them — it must be overwhelming to witness these dynamic patterns while stranded in the polar wilderness. The aurora is named after the Greek goddess of the dawn. Aurora is the sister of Helios, the Sun god, and Selene, the goddess of the Moon. According to myth, Aurora travels each dawn in her multi-coloured chariot from the east to the west sky, announcing the arrival of the Sun and signalling a new day. Many other cultures throughout time have viewed the auroras as signals of the divine. Like the Greeks, Romans believed the aurora embodied the goddess of dawn. The ancient Chinese thought they were a celestial battle between good and evil dragons who breathed fire across the sky. In the tales of some Australian Aboriginal cultures, auroras represent the blood shed by warriors fighting in the heavens. Some Vikings considered the aurora to be the Bifrost Bridge — a glowing arch that guides fallen warriors to their final resting place in Valhalla. The aurora continues to hold a near-mythical status in our collective imagination, even though it also has a scientific explanation —&nbsp; a disturbance in the magnetosphere caused by solar winds. Other, invisible markers of space also reach Antarctica. Scientists have identified and recorded sounds from space, and found and collected meteorites from the cosmos on the surface of the blue ice sheet. As a symbolic act, while the Sun was with me in the Arctic, I created cyanotype ‘Sun paintings’ during and around the summer solstice. I painted cotton papers in an iron-salt solution that, when exposed to sunlight, became a deep Prussian blue. Nearby rocks and boulders blocked the Sun from reacting with the iron-salt solution, leaving those parts white. The gradients that formed beneath pieces of Earth are records of their shadow and traces of the polar night that would eventually return. Amid light, there is shadow For those overwintering in Antarctica, the first rays of light after months of darkness is an epic happening, usually accompanied by celebrations. The crew at Amundsen-Scott South Pole Station sees the sunrise only once a year, at the equinox. They spend the next six months in total daylight until the sunset at the next equinox — a single sunrise and a single sunset each year. One exception breaks this solar pattern and the long polar day — a solar eclipse, a natural phenomenon that occurs only once in many years. In Antarctica, the Moon challenged the Sun’s dominance by crossing in front of it and creating a precious few minutes of darkness during the day. But grand and celestial shadows such as these are rare and fleeting. The last time an Antarctic solar eclipse took place was on Dec. 4, 2021. The next time it will happen will be an annular solar eclipse on Feb. 17, 2026. A total solar eclipse won’t darken parts of Antarctica again until Dec. 15, 2039. Blue is the colour where light and shadow meet On the following page, Sun graphs chart the presence of light for the Antarctic locations featured in this issue of Antarktikos. They also show the different kinds of twilight. Many people are familiar with the golden hour, a name often given to civil twilight because of the hue it casts. But just before (at dawn) or after (at dusk) the golden hour, there is another magical hour — the blue hour. The blue hour coincides with nautical twilight. In the Netherlands, where I live, it lasts between 45-75 minutes. In Antarctica, however, where the Sun circles low beneath the horizon, the blue ‘hour’ lasts for weeks. Antarctica is not just a land of enduring day and night. It is a land of lingering twilight. It is on the boundary between light and shadow, a great and merciless wilderness swathed in blue. Blue is a mysterious colour that rarely occurs in the natural world except as translucency. The ocean looks blue because the water absorbs red, orange, and yellow light more than blue, which has a shorter wavelength. The sky and glacier ice are blue for the same reason. I can not think of another place on earth where land meets sky meets water in such a symbiosis, in such a blueness, as in Antarctica. Antarctica can be seen as the last great wilderness on Earth. It is owned by no one, yet belongs to us all. However, the remaining opportunities for this frozen expanse are not without responsibility. Antarctica is also at the core of some of the most pressing human-caused challenges facing our contemporary world. In many respects, scientists and artists share spiritual and mental ownership of Antarctica. They are not interested in conquering or controlling. Instead, they temporarily engage with the continent to bring knowledge, ideas, inspiration, confusion, beauty, and acutely urgent questions to the world. Art and science draw from the same source, but where scientists follow methods and frameworks, artists flourish on limitlessness. No single way of thinking will allow us to truly understand Antarctica, but together our understandings can reinforce one another, reaching the mind through the heart and the heart through the mind. As British nature writer Robert Macfarlane wrote 'We will not save what we do not love, and we rarely love what we cannot name.' Esther Kokmeijer Founder and editor-in-chief of Antarktikos /// Antarktikos #1 — Mapping Nature2021 —&nbsp;2022 Contributors Adele Jackson, Adwin de Kluyver, Alexander Stevenson, Andrea Bordoli, Angelo De Grande, Anja de Jong, Ann-Kristin Källström, Ashwin Patel, Brett Houser, Carla Feijen, Carlo Barbante, Daan den Houter, Donald Fortescue, Elizabeth Leane, Esther Kokmeijer, Ethan Reid, Evan Townsend, Filip Wierzbicki-Nowak, Franziska Agrawal, Giulia Foscari Widmann Rezzonico, Graeme Walker, Ian van Coller, Jacinda Russell, John Kelly, Jolande Venema, Justine Corrijn, Kaori Tsukikaze, Karin Hellqvist, Klaske Kokmeijer, Lita Albuquerque, Lucy and Jorge Orta, Maarten J.J.E. Loonen, Michaela Grill, Oliver Thie, Peter Fretwell, Robert Roelink, Saar Snoek, Sasja Hagens, Scenocosme (Grégory Lasserre and Anaïs met den Ancxt), Shauna Lee Lange, Suzette Bousema, Thomas Rackow, Tim O’Riley, Todd Anderson, UNLESS, Valerie van Leersum, Verena Strenke&nbsp; and Andrea Pagnes (VestAndPage). Contents Antarktikos #1 Mappaing Antarctica PAG. 002 — 005 / An Introduction, Esther Kokmeijer Chapter I. Mapping Antarctica PAG. 007 — 011 / Mapping Antarctica, LIMA PAG. 012 / Antarctica in Twelve Layers,&nbsp;Klaske Kokmeijer PAG. 013 — 015 / The Mapping of Antarctica, The Map House PAG. 016 — 021 / Nihil, Nothing — 71°10’ S, 106°54’ W, Adwin de Kluyver PAG. 022 — 025 / Two Encounters, John Kelly PAG. 026 / Maps from the Peaceful Order of Antarcticans, Graeme Walker PAG. 027 / Metaphorical Antipodes — The Arctic Circle and Antarctica, Jacinda Russell PAG. 028 — 029 / Antarctic Village No Borders, Lucy + Jorge Orta PAG. 030 — 033 / Finding True South, Evan Townsend PAG. 034 — 035 / In Conversation with the Colours of the North Sea, Blending into the Colours of Antarctica, Valerie van &nbsp;LeersumPAG. 036 / Observing Penguins in a Different&nbsp;Light, Maarten J.J.E. Loonen PAG. 037 / Arctic vs. Antarctic Melting Stripes, Thomas Rackow PAG. 038 / Stillness I and II, Esther Kokmeijer PAG. 039 / Antarctic Traces, Michaela Grill PAG. 040 — 041 / Freshwater Reservoir Movement, Ashwin Patel PAG. 042 — 045 / Terra Nullius — Ownership and Pioneering on Ice, Esther Kokmeijer PAG. 046 — 049 / Borderland Antarctica [Revisited],&nbsp;Anja de Jong PAG. 049 — 051 / Endlessness, Tim O’Riley PAG. 052 — 054 / Solastalgia — Mourning through theTranslation of Ice, Karin Hellqvist PAG. 055 — 057 / Travel the Earth and Draw with Fusho,&nbsp;Kaori Tsukikaze PAG. 058 — 061 / Mapping the Invisible — An Artist’s.&nbsp;Engagement with Subatomic Particles at the South Pole, Donald Fortescue PAG. 062 / Ephemeral Art — Snow Sculptures &amp; Land Art Installations Made of Snow, Franziska Agrawal PAG. 063 — 065 / Folded Space, Carla Feijen PAG. 066 — 069 / Antarctic Dream — Excerpts from the&nbsp;Logbook, Andrea Pagnes (VestAndPage) PAG. 070 / A Table for 7.8 Billion, Please,&nbsp;Justine Corrijn PAG. 071 — 073 / Stellar Axis — Antarctica, Lita Albuquerque Chapter II. Imagining Antarctica PAG. 075 — 076 / Constructing a Place through Literature — The Image of Antarctica,&nbsp;Elizabeth Leane PAG. 077 — 079 / Interference, SNOEK//HAGENS PAG. 080 — 081 / Reality Check, Ann-Kristin Källström PAG. 082 — 083 / Whitemelt, Oliver Thie PAG. 084 / Antarctic Thought Experiment, Alexander Stevenson PAG. 085 / Terra Australis Incognita,&nbsp;Andrea Bordoli PAG. 085 — 087 / Icy Tiles GAN, Ethan Reid PAG. 088 / Hole in My Heart, Shauna Lee Lange PAG. 089 / Gaia, Filip Wierzbicki-Nowak PAG. 090 / Kryophone, Grégory Lasserre &amp; Anaïs met den Ancxt (Scenocosme) PAG. 091 / The Final Glacier, Robert Roelink PAG. 092 — 093 / Ice Paintings, Daan den Houter PAG. 094 / Surreal Composition, Angelo De Grande Chapter III. Archiving Antarctica PAG. 096 — 104 / Antarctic Resolution — Ice Memory and Antarctica as an Environmental Archive, Carlo Barbante and Jacopo Gabriell PAG. 105 / The Antarctic Time Machine, Peter Fretwell PAG. 106 — 111 / Climate Archive, Suzette Bousema PAG. 112 — 119 / The Oldest Ice on Earth (That We Know&nbsp;Of), Ian van Coller &amp; Todd Anderson PAG. 120 — 129 / Abstracts Research Articles PAG. 130 — 143 / Ways of Understanding Antarctica — Relationships between Art and Science,&nbsp;Adele Jackson PAG. 144 — 154 / Contributors PAG. 156 — 159 / Acknowledgements PAG. 160 / Open Call #2 Cosmos * An Introduction to Antarktikos Two millennia ago, the ancient Greeks wrote about a vast land mass at the southern reaches of the globe. Despite having never seen it, Aristotle theorized this southern land allowed the spherical Earth to maintain a geophysical balance with its northern lands. Hence, he called it Antarktikos, ‘opposite of Arktikos’. Arktikos in ancient Greek means ‘near the bear’, referring to the northern celestial hemisphere’s Ursa Major constellation, also known as the ‘Great Bear’. For centuries, a hypothetical southern continent appeared on maps as Terra Australis Incognita (Unknown Land of the South) or Nondum Cognita (Not Yet Known). Cartographers such as Jodocus Hondius, Abraham Ortelius, and Petrus Plancius perpetuated this belief of a southern landmass by depicting it prominently, though entirely from conjecture. In 1772, Captain James Cook embarked on a three-year mission in search of this as-yet-undiscovered continent. Although he circumnavigated Antarctica, he never reached land. The first confirmed landing on Antarctica was in 1821, only 200 years ago. As a child, I saw Antarctica like the early philosophers and cartographers did&nbsp; — as a place I had never experienced, but one that was etched into my imagination. I was born in Frisia, a province in the far north of the Netherlands. In my youth, the lakes and rivers were often covered with a thick layer of ice in wintertime. My dearest childhood memories are on this ice — ice-skating through an enchanting, often white and wide, landscape. I remember the sky being deep blue, the air crispy, and the ice sparkling from the sun. Or there were days when my surroundings were swallowed by a white mist, making my world very small and comprehensible. My childhood fascination with winter inspired a life-long curiosity about other frozen places, so in 2013 I went to Antarctica as an expedition photographer. With the first sight of icebergs, I fell instantly in love with the majestic landscape. The environment was filled with elusive and indescribable beauty, as if fairytales from my childhood had come to life but many times more impressive. Within the beautiful world of Antarctica, the floating icebergs are the most fascinating to me. Blue chunks of ice the size of buildings, and sometimes entire countries, are constantly in motion, visibly and invisibly looking for balance. These icebergs are ground, polished, and shaped by water, weather, and wind. They come from glaciers that are formed excruciatingly slowly from millions of years of compressed snow, an archive that is stored layer by layer and caries millions of years worth of valuable information. Glaciers now calve faster and faster, crumbling into large icebergs, then slowly transforming into water. 90% of an iceberg floats under the surface of the water. Concealed, relentless, and unpredictable. It is a nice metaphor for the underlying invisible interests that play a role in the global climate crisis. Antarctica is a place where you can feel powerful and at the same time incredibly defenceless. Without question, it is nature who is in charge; humans there are at their most vulnerable. But not only on Antarctica are we vulnerable. The melting of the Antarctic ice sheet is affecting humans worldwide. Antarctica can be seen as the protagonist in many of the major issues and challenges facing the contemporary world. Since the signing of the 1959 Antarctic Treaty, Antarctica has been a reserve for peaceful purposes, scientific investigation, and environmental protection. It is arguably one of the best protected places on earth. We should continue to protect Antarctica — not just for the continent’s sake, but for the world’s. Like Antarctica’s influence reaches far beyond the continent itself, our actions as human beings too can reach Antarctica, no matter where we are. Over the past ten years as an expedition photographer and guide, I have worked in close collaboration with scientists. With the intention to find enrichment for both parties, I also joined together with scientists in my artistic work. For me, those collaborations were, and still are, extremely valuable. Both science and art are human attempts to understand and describe the world. Art is mostly associated with emotions and starts with the question ‘why?’, while science is rooted in the question ‘how?’. Where scientists are often bound by methods and frameworks, artists excel at limitlessness. I founded Antarktikos because I believe in the power of combining art and science. In many respects, scientists and artists share immaterial and mental ownership of Antarctica. They are not interested in conquering or controlling. Instead, they temporarily engage with the continent to bring knowledge, ideas, inspiration, confusion, beauty, and acutely urgent questions to the world. I wanted to create a platform for a broad range of artistic and scientific perspectives that can reinforce one another, with the intention to reach the mind through the heart. This magazine is a collective undertaking to research ways we can strengthen the artistic outcome of science, and vice versa. With that said, I also want to make it clear that I do not think artists and scientists should always collaborate, and not all contributions in this magazine are related to both science and art. Most of the content of this issue was compiled through an open call. This inaugural issue of Antarktikos carries the theme Mapping Nature. The magazine is organized into three chapters — Mapping Antarctica, Archiving Antarctica, and Imagining Antarctica. Together, all of the contributions tell a full story, each one important in its own way while strengthening the meaning of the rest. Please feel free to share your thoughts, wishes, and curiosities with us. And please invite more people into this journey so we can continue to strengthen our network and bring the wonder of this incredible continent to even greater audiences. I see this publication as a journey, a voyage through time. It is an expedition that we are embarking on together, and I hope it is one you will continue to take part in. Esther Kokmeijer Founder and editor-in-chief of Antarktikos Next&nbsp;︎<img width="1116" height="1488" width_o="1116" height_o="1488" data-src="https://freight.cargo.site/t/original/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" data-mid="250204800" border="0" src="https://freight.cargo.site/w/1000/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" /><img width="1116" height="1488" width_o="1116" height_o="1488" data-src="https://freight.cargo.site/t/original/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" data-mid="250204800" border="0" src="https://freight.cargo.site/w/1000/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" /><img width="1116" height="1488" width_o="1116" height_o="1488" data-src="https://freight.cargo.site/t/original/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" data-mid="250204800" border="0" src="https://freight.cargo.site/w/1000/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" /><img width="1116" height="1488" width_o="1116" height_o="1488" data-src="https://freight.cargo.site/t/original/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" data-mid="250204800" border="0" src="https://freight.cargo.site/w/1000/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" /><img width="1116" height="1488" width_o="1116" height_o="1488" data-src="https://freight.cargo.site/t/original/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" data-mid="250204800" border="0" src="https://freight.cargo.site/w/1000/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" /><img width="1116" height="1488" width_o="1116" height_o="1488" data-src="https://freight.cargo.site/t/original/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" data-mid="250204800" border="0" src="https://freight.cargo.site/w/1000/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" /><img width="1116" height="1488" width_o="1116" height_o="1488" data-src="https://freight.cargo.site/t/original/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" data-mid="250204800" border="0" src="https://freight.cargo.site/w/1000/i/a664b5e7d6a3fa4a4f915482be58f28fa993223e6eedaa9163aad4027a35c21c/Launch-Mapping-Nature-Antarktikos-2022-1.jpg" /> https://www.antarktikos.com/Submission-Process Tue, 24 Nov 2020 13:57:35 +0000 Antarktikos https://www.antarktikos.com/Submission-Process Submission Process Criteria and Guidelines— * All content for Antarktikos #4 - Futurism, Fantastika, Mystery &amp; Myths,&nbsp;must be submitted by 21 December 2027. * Contributions can only be submitted by completely filling out the “Antarktikos Application Form here”. * The open call for submissions is an invitation for responses related to the topic of ‘Rock, Paper, Ice’ and must relate to Antarctica. * Prospective contributors, including scientists, artists, designers, architects, academics, activists, cities, universities, public institutions, companies, and social organizations are welcome to submit their definite proposal. * Prospective contributions may include all forms of scientific research (such as natural sciences, social sciences, formal sciences, and applied sciences) and all forms of art (such as photography, painting, sculpture, music, literature, design, film, and architecture.) * The Antarktikos open call seeks research papers, research articles, artwork, portfolios, articles, poems, music, exhibitions, photos, designs, drawings, maps, interviews, screenplays, books, prose, and so on. * Applicants can submit various proposals but must complete and submit the Antarktikos application form and all attachments for each proposal separately. * An essential part of Antarktikos is the appendix of scientific papers, some of which have already been published. * In order to correctly credit each individual, if your submission is collaborative then each collaborator has to complete a form. * All submissions must be completed drafts. Please do not submit unfinished concepts or rough ideas. * All images must be submitted as individual files (JPEG, TIFF) 300 dpi and minimum A4. Please submit the title and photo credits in the filename. Captions can be submitted in a PDF text file. * Contributions should be copy-edited prior to submission. For quality assurance, members of the Antarktikos team will also copy edit the submission. * Antarktikos only accepts English submissions. * To submit print publications, email mail@antarktikos.com for the postal address. *&nbsp;If you like to add an event to the calendar/agenda, please send it to mail@antarktikos.com. * In order for the material to be included in the print and digital Antarktikos magazines as well as on the Antarktikos website and the websites of collaborating media, all submissions must be free of any copyright or other rights held by the participant or third parties. * Participants guarantee they are the legitimate owners of the work submitted and ensure they will not upload any content that is unlawful or that infringes the rights of others, including copyright and generally accepted codes of research ethics. By uploading content, you grant Antarktikos a royalty-free license to use the content in the printed Antarktikos magazines, the digital copy of the Antarktikos magazine, virtual galleries on the Antarktikos website, and on websites of collaborating media.&nbsp; * Antarktikos will notify persons or institutions submitting works no later than 21 May 2024 as to whether their contribution has been selected for publication. We are unable to give detailed feedback to rejected submissions. * Next&nbsp;︎ https://www.antarktikos.com/Colophon-2 Wed, 28 Oct 2020 11:48:59 +0000 Antarktikos https://www.antarktikos.com/Colophon-2 <img width="886" height="886" width_o="886" height_o="886" data-src="https://freight.cargo.site/t/original/i/b9c341ebb5c022666ebb356a718dac8ff1b6b0640698e64263aa5e3127431313/Antarktikos-logo-2020.gif" data-mid="86936414" border="0" data-scale="150" src="https://freight.cargo.site/w/886/i/b9c341ebb5c022666ebb356a718dac8ff1b6b0640698e64263aa5e3127431313/Antarktikos-logo-2020.gif" /> You can order the magazine here. * Subscribe to the newsletter for quarterly updates. Name Email For information, Ideas and requests please e-mail&nbsp; mail@antarktikos.com * (All images © Esther Kokmeijer) &nbsp; ︎ ︎ https://www.antarktikos.com/Shop Mon, 29 Nov 2021 20:00:22 +0000 Antarktikos https://www.antarktikos.com/Shop You can order Antarktikos #1, Mapping Nature and Antarktikos #2 Light and Shadow here. You can pre order Antarktikos #3 Rock, Paper, Ice here (Dutch). And soon a Kickstarter Campaign will be add also here to pre order Antarktikos #3