Walking Less Trodden Paths—Practicing Sensual Worlds is an invitation. The narratives, interventions, prompts, and exercises collected here are explorations to practice multifold ways of relating to our environment, fellow living beings, and our own bodyminds, to change perspective, listen closely, and move intentionally.

The website is mobile-only to allow movement and attention for our surrounding. To visit the website, please use your mobile device and start exploring.
This is an invitation. The narratives, interventions, prompts, and exercises collected here are explorations to practice multifold ways of relating to our environment, fellow living beings, and our own bodyminds, to change perspective, listen closely, and move intentionally.

Centering curiosity and exploring sensuality, they are meant to deepen our attention and create space for a togetherness that counters logics of productivity, consumption, and functionalism.

The propositions are published here as open source formats to be discussed, practiced as individuals and groups, and adapted for other contexts.
Partly departing from graduation projects, these texts have been developed within the workshop “Walking Less Trodden Paths—Practicing Sensual Worlds” and shown first within the Open House at the Basel Academy of Art and Design, Switzerland, in January 2024.

Workshop participants: Erik Aardema, Ela Blättler, Luisa Durrer, Michele Giannini, Seraina Kober, Antonie Riek, Shimon Selig, Julie Jihee Seo, Noa Steiner, Sara Katarina Trailović, and Manuel Bücheli.
Workshop facilitator: Mio Kojima.
Acknowledging the Role
of a Visitor
By Ela Blättler
it could be that
you’re here for the first time
maybe you want to find the project of someone you know
you’re coming here because you got invited
because you’re curious
maybe you’re entering this space together with others
or you came alone

entering this space
you’re here with what you’ve experienced in the past
it interweaves with how you are here now
and where you’re going

how are you here today?
maybe with excitement
a little nervous
lack of sleep
a lot of social energy
or the wish not to talk too much
perhaps intimidated

dependent on how you are here today
we invite you
to go on less trodden paths
playing with how you’re interacting with the surroundings
in a range that feels suitable for you
maybe useful
hopefully pleasurable
For an Introduction to Play
Some suggestions for engaging with the prompts.

By Ela Blättler
you can choose
if you want to engage with the prompts at all
or just read them and let it be
if you want to give it a try
and on what scale you want to do that
maybe you want to do it
in secret so that nobody notes
openly so that it’s visible
and perhaps triggers responses from people around

if you want to do it in a way that feels comfortable for you
if you dare to do a little more
no need to push it
no need to perform
invite ease
and remember
this is your decision
Ways of Healing
Relating through somatics, plant awareness, and poetry.

By Sara Katarina Trailović
1. Think of a place where you feel well. 2. Describe your place on a post-it, starting wih ‘I am...’ 3. Place the note somewhere so otehrs can see it.
This proposition departed from the diploma project “To create and to crumble is to remember the earth” by Sara Katarina Trailović.
A Conversation with Zarina Tadjibaeva
By Antonie Riek
Wenn ich Schmerzen hatte, habe ich geschrieben.
Und gezeichnet
Wärme ist wichtig. Vielleicht ein Schluck Tee?
Die gewaltvolle Sprache des Systems.
Embodiment. Was bedeutet das? Wie wirkt das auf meinen Körper?
Etwas, was mich bewegt. Verbiegt.
Die Impulse von außen, die mich bewegen, mich bewegen lassen. Die Sprache bewegt mich.
Das heißt, Bewegung ist ja meistens körperlich auch, das heißt was bewegt mich?
Ich spreche immer von der Architektur des Systems.
Es heißt ja erst prägen wir den Raum, dann prägt der Raum uns. Und ich habe mich gefragt, warum das so ist.
Und es ist sicher kein Zufall, dass diese Räume, in denen ein Schicksal entschieden wird, so gradlinig sind.

Mach es doch farbig. Nimm diesen Raum und mache ihn farbig.

–Ausschnitte aus einem Gespräch mit Zarina Tadjibaeva, am 10.01.24
When I was in pain, I wrote.
And drew.
Warmth is important. A sip of tea perhaps?
The system’s violent language.
Embodiment. What does that mean? How does it affect my body?
Something that moves me. Bends me.
External impulses that move me, make me move.
Language moves me.
Movement is mostly physical, so what moves me?
I always talk about the system’s architecture.
It means, first, we shape the space, then the space shapes us. And I wondered why that is.
And it’s certainly no coincidence that spaces where a fate is decided are so linear.

Make it colorful. Take this space and make it colorful.

—Excerpts from a conversation with Zarina Tadjibaeva, on 10.01.24.
Where Creatures Meet
Bringing the “wilderness” to your soul and being a creature.

By Julie Jihee Seo & Manuel Bücheli
Lebewesen sein
kein Mensch
Verschwinde aber bleib sichtbar für Neugierige
Bewege dich wie auf Eis, das jeden Moment einbrechen könnte
Beobachte vorsichtig die Bewegungen und Laufrichtungen anderer Lebewesen
Finde “Where Creatures Meet” und hinterlasse Spuren wenn du magst

being creatures
no humans
Disappear but remain visible to the curious ones
Move as if you were on ice that could collapse at any moment
Carefully observe the movements and walking directions of other creatures
Find “Where Creatures Meet” and leave traces there if you like

무언가 하나
남기고 싶어진다.
바람이 지나고
물결이 스쳐
모든 흔적이 사라져도
(발자국, 박두순, 1950-)

I want to leave something behind.
Even if the wind blows
The waves flow over
so all traces disappear.
(Footprints, Park Doo-soon, 1950-)
Exercises in Togetherness, Orientation, and Positionality (In any particular order) – Part I
By Erik Aardema
Move so fast that nothing gets registered anymore.
Have utopic thoughts about the world from an airplane.
Orientate yourself to the periphery.
Move dirty.
Say it out loud: I need to zoom in.
Claim your space and then leave it to others.
Surround yourself with air.
Get sucked in.
Get your hands dirty.
Hear something for the first time, then hear it another time somewhere else.
Recognize a pattern in anything, grey-blue-white-concrete-grey-dark grey- light-blue.
By Noa Steiner
Notice your breath.
Take a moment to read the following text before you start.

Content Note: Sexual content.
This work centers on sextoys, physical pleasure, and masturbation.
Therefore, I ask you to pause for a moment and, with a tender attitude, check in with yourself through the following questions.
• How am I feeling? Do I feel safe?
• Do I have the capacity to interact with sensitive and sexual content?
• Can I treat myself within this interaction with kindness and care?
• Can I treat the presented topics with care and respect?

If you feel ready, I invite you to continue.
Notice your breath.
If you like
get yourself a pile of pillows
to put them on the floor
or a bed.
Wherever you are.
Look at the pillows
touch them
sit or lie down.
You can start the audio now.

Put your mobile device inside one of your pillowcases.
Bend your upper body over this pillow so you can rest your head comfortably on it.
Notice your breath.
“Pillow Talk” is part of Noa Steiner’s diploma project about pleasure objects and sextoys. As a first step, it focuses on opening up the understanding of what a sextoy is and can be.
striving 4 connection
By seraina kober
an invitation to de-mask
poetry as a creative, transformative tool-
‘why do I write … most when I’m depressed?’-
a chronic of a recovery that is not linear- is anything linear?
- an individual perspective on recurring phases of depression and neurodivergence -
(the writer is doing fine, out of depression but still feeling weird in this world)


I feel like
a psychedelic experience
living feels surreal
I walk through
3 dimensional
and feel like
I’m wading through
different densities
of space and matter
time is a construct
I don’t understand-
like so many things
in this weird world



realizing, shattering-
lately i feel like standing in front of a huge pile of masks-
a collection, some almost always up, even fooling and misleading myself-
some only for special occasions, anxious and stressed
but one for every occasion

masks that covered me, that i fled into-
i let them cover me-
layers of masks that i wore to hide-

my insecure being

my love-closeness-meaning-belonging-connection-seeking me

my hurt-raging-sad me

my confused-not understanding me

my self-destructive-stressed out-anxious-overthinking me

my veryvery, so very vulnerable me

me in my rawest, truest form


und meine Augen
sind so oft müde
aber schlafen kann ich trotzdem
erst spät

weil wenn ich sie
im bett liegend schliesse
läuft ein neuer film

ich fühl mich wie
ein alien
in dieser welt
ich versteh nicht
wie das alles gehen soll
in diesem system
funktioniere ich nicht

es fühlt sich an
als ob ich auf einer rieseigen kreuzung
alles passiert so schnell
und oft viel zu schnell

aber manchmal und
auch nicht wenig
fühl ich mich so wohl
in mir
und kann nur beobachten
und passieren lassen//


wenn mein kopf ziemlich frei ist,
ich menschen ansehe, frage ich mich, wo sie am abend ins bett liegen, wie ihr zuhause aussieht? haben sie eins, welches sie zuhause nennen?
wie war ihr tag und wie wird der nächste aussehen?
was denken sie?
ich brauch es gar nicht so genau zu wissen-
aber es flasht mich immer wieder,
diese beobachtungs-perspektive,
kurz aus meinem ich-und mein umfeld-zentrierten gedanken- und gefühlsstrudel rauszoomen-
merken, dass ich ein mensch von milliarden bin, welche alle genauso eine lebensgeschichte schreiben wie ich.
ich denke dann auch, dass wir alle einzigartig sind und
das recht haben unsere geschichten zu schreiben,
wir aber alle so vergänglich sind-
This is part of a now since 2 years ongoing diploma project called “striving 4 connection.”
Ways of Healing
Relating through somatics, plant awareness, and poetry.

By Sara Katarina Trailović
Recall a special encounter with a tree.
Tell another person about it.

Find a river and follow it for a while.

Rub your palms together until there is warmth.
Lay one palm on your body.

Notice an impulse. Decide.

Stay at a place for a moment and observe
how other beings move around you.

Find a hideout.

Move at the speed of your trust.

Move a bit slower. Release more weight to the ground.
Observe how you can trust in the earth as a carrier.
This proposition departed from the diploma project “To create and to crumble is to remember the earth” by Sara Katarina Trailović.
Exercises in Togetherness, Orientation, and Positionality (In any particular order) – Part II
By Erik Aardema
Watch out, you might get sucked in. Emergent sunbathing, walking slower than air. Wind noise as I stood still, water still dropping slowly. Rausch. Trees sprouting (emerging) through gravel, not alone.
Play With Relating To [ ]
By Ela Blättler
go to a space where you feel comfortable
may be somewhere inside
or somewhere outside
maybe you’re leaving the idea to see something particular
so that you can follow the thread of where you feel comfortable
take a breath
if you like
say thanks
for that you are sensing what feels good for you
stay with it for a while
let it go
choose what to do next
do it

go somewhere you aim to go
before you reach the point
choose any other direction
surprise yourself with where you’re going
not knowing
open for what you’ll come across
choose at any time to leave the aimed direction
or to follow it

stay at a place for a long time
longer than you thought you would in the first place
imagine you’re a calm spot in the midst of a bustle
moving in your own time
notice changes in the environment
and what stays the same
decide for a moment to adapt to a tempo in your surroundings
choose in which tempo you want to move on

move with the awareness for the possibility of different speeds
keep going
seemingly clam
it’s your secret that you could change your speed anytime

By Luisa Durrer
Dear Octavia E. Butler,
Dear Lauren Olamina,
Dear Layla G.,
Dear Jeanne van Heeswijk,
Dear Kae Tempest,
Dear Lina Bravo Mora,
Dear Izidora LETHE,
Dear adrienne maree brown,
Dear Theres I.,
Dear Vivianne A.,
Dear Friend,
Dear Silvia Federici,
Dear Ismatu Gwendolyn,
Dear Sara Ahmed,
Dear Gabi S.,
Dear Ziska Bachwas,
Dear Simone K.,
Dear Lucy R. Lippard,

du hast mich auf meinem Weg begleitet, mich gestützt, wenn ich nicht mehr gehen wollte,
du hast meinen Weg gekreuzt und wir sind uns nie wieder begegnet,
du hast mich und ich dich nie kennengelernt, aber wir sind verbunden,
du hast mir so viel beigebracht, hast mich glauben lassen, hast mich träumen lassen,
du bist hier, hörst zu, du kümmerst dich,
du verbindest die Vergangenheit mit der Gegenwart und leuchtest in die Zukunft
wir sind Teil desselben grossen Myzels aus dem unaufhaltsam immer wieder neue Pilze an die Oberfläche wachsen, gewachsen sind und wachsen werden.

Luisa D.
The Empty Space
By michele giannini
Imagine there is a certain area
that limits what is to be designed.
How does that make you feel?
Does the definition of the area restrict you,
or can you open yourself up to it?

Imagine that it’s not just the area that is defined,
but also the materials to be used for the design.
What does it change?
Can you give free rein to your creativity?
or do you feel restricted?
What about your imagination?
Does it match what is already there?
or why do you have an idea at all?
Is it about realizing yourself in the design?
To immortalize yourself materially with your imagination,
or to work with what is already there?

Imagine you are not alone.
We work in a group.
There is the surface and the material.
We don't talk to each other.
We are all invited to design the space with the material.
How do you decide where to put what and why?
What happens if someone else puts something on it?
How do you interact with the group?
Do you possibly have to deviate from your ideas?
or did you not have any at all?
What happened to the communication?
What has replaced the language?
Have more subtle ways of communicating emerged,
or has the material developed a language?

You decide whether existing structures restrict you
or inspire your creativity.
Collective Storytelling and Open Archives
Questions about collective storytelling and open archives.

By Shimon Selig
Where are memories recorded for you?
What is your personal approach to archives?
What was the most impressive experience you had with an archive?
Can you name an example of collective storytelling that you have come across?
Under which conditions can you imagine participating in an archive?
Which forms of design and expression would you share in an archive?
How can (marginalised) stories be recorded, preserved, viewed and communicated in different ways? Can you name an example?
Are there any questions that you find important in this context?
What comes up?
What comes to your mind?
In his diploma process, Shimon works with collective storytelling and open archives. On one hand, in order to show marginalised voices, on the other as an instrument critical of domination. Shimon is accompanied by questions such as which design processes and forms of expression make collective storytelling possible. How hegemonic historiographies are deconstructed and how open archives can help to overcome them.