Fine artist Mary Eighteen introduces her ongoing collection of works on a theme of the Sullied Atlantic and ocean acidification, exploring her deep concern for how humanity is destroying the future of our oceans and, in turn, ourselves.
990 words: estimated reading time 4 minutes
One day I was sitting on a train commuting home. Opposite me a man was reading a newspaper, the front page of which was facing me. On that page was a large muted image of a fleet of obsolete naval ships. They were the Mothball Fleet, soon to be known as the James River Ghost Ships because in America, under the Bush administration, these ships were left to rot and decay on the James River in Virginia. As their plight unfolded, it became national news and when thirteen of the ships were destined to be destroyed in Hartlepool Greenpeace got involved. The ships were so toxic it was feared, given their toxic state, they would break up at sea, causing an environmental disaster. Eventually four ships came to Hartlepool. Although I wanted to travel to photograph them, it was not allowed due to their toxic state. While at first I saw these ships as lost souls destined for a ships’ graveyard, I became seduced by their rusted surfaces and eventually the toxins that lead to their destruction.
The toxins within these ships made me realise only too clearly the demise of our oceans in relation to ocean toxicity and its threat to the future of our oceans and subsequently mankind.
Climate change and ocean toxicity are inextricably linked, and this scenario has become the cultural phenomenon of our time. Our oceans are sick. They are slowly suffocating under the plethora of carbon dioxide entering its surface and depth.
An Atlantic story
And so, the ships’ story, evoking the problems concerning ocean toxicity, has become my story, a story that has taken me to the mystical island of Skye, Pembrokeshire, Cornwall and hopefully soon, the West of Ireland, to document and research the Atlantic. The Sullied Atlantic series of paintings started as a response to a visit to Skye In the Hebrides. I wanted to see and experience the purity of the Atlantic in the Hebrides and then ‘Sully’ it on canvas, to show how humanity is destroying the future of our oceans and in turn ourselves. I work in a series of collections that are constantly being updated and developed. I work between them in accordance with that development and add new collections when inspired to do so.
My paintings are a metaphor for change. They allude to an opposition to ecological purity and human endeavour, by presenting an oceanic world devoid of tenacity and social concern. The paintings are the opposite of purity. They present a sullied ecology, sucked into an anoxic environment. They acknowledge an indulgence in nature’s richness while at the same time destroying that possibility through thoughtlessness and banality. That banality underpins the depth of the problem concerning the relationship between humanity and the ocean. Thoughtlessness has become a contemporary subterfuge that lends itself to misguided human activity, resulting in the pollution now affecting the ocean. Ocean ‘dead zones’ are becoming more common, acidification accelerating, with unprecedented speed, and it is only our human race that can halt this progress.
The paintings included in this blog respond directly to various facets of ocean pollution. While a collection box is not open yet, I am at this moment researching the plight of our Benthic Communities: the small organisms that live within the sediment of the ocean floor or the sediment in the shelf sea. Larger Benthic community members might be clams or crabs. The smaller organisms such as the Brittle Star that live in the shelf sea sediment are vulnerable to trawlers that scrape and dig into the sediment. The most vulnerable are the microscopic organisms that are so small they cannot be seen. These communities intrigue me, because they form a whole ecosystem that is vital to our survival. Apart from trawlers, these organisms – including crustaceans – are increasingly the victim of ocean acidification. The depletion of these communities would eventually affect human life. Sadly, because many people are not aware of these small organisms so vital to our survival, the problem is now serious. This means that people need to be made aware of that problem.
Acidification – invisible threat
Recently I was in a solo exhibition at ONCA Gallery in Brighton. It gave an opportunity to exhibit work in a gallery committed to the environment, but also a chance, through talks that were juxtaposed with the exhibition, to raise how serious this problem is. We can see the devastation caused by oil slicks, we can see the rubbish left by humans on the beach and in the sea, but we cannot see many of the microscopic organisms that are so under threat.
At the moment, I am hoping that my own research into Benthic Communities will help raise such awareness. The paintings once again will be a metaphor for change. They will be created and presented with this need for change in mind.
As I always work between varied collections of work, the acidification paintings I have been working on will also be in progress. In the acidification collection, the work is more monochrome in terms of limited colour. This is because acidification is about bleaching of the healthy colour of a crustacean or other sea life. Communities will be sucked away under the toxic suffocation of carbon dioxide as it enters the sea in unprecedented amounts. I have used varied shades of green white and creams to respond to this subject. I am enjoying the process and am pleased to be invited to be part of ClimateCultures.
ClimateCultures editor Mark Goldthorpe set Members a challenge: share your choice of three objects with personal significance for you and that say something of the past, present and future of the emerging Anthropocene. Here is his personal contribution.
2,190 words: approximate reading time 9 minutes
From the here and now …
I’d booked ahead for a B&B, so my only task here was to trawl leaflets and maps and get some local tips. Although it was the Easter holidays and as busy as I’d expected, two advisers were free, chatting behind the counter. Both turned to help me as I approached.
“I’d like to see the Scallop,” I said. “I know it’s on the beach; which direction from here?”
I’d not expected this to open up an argument in a Tourist Information Centre, even a good-humoured one. But, smiling, the woman immediately responded.
”Oh, don’t start your visit with that. It’s very unpopular around here!”
I’d hardly had time to wonder if this was an unusual tack from someone paid to promote the local sights when the man butted in, equally cheery.
“Don’t listen! Lots of people love it, and not just tourists. I think it’s wonderful.”
It was maybe unwise to reveal that Maggi Hambling’s famous sculpture was the main reason I was visiting the town, or that I’d heard it had helped “put Aldeburgh on the map”, but I think I said something along those lines. I’d already heard that this very public artwork had divided opinion quite starkly; that was part of its attraction for me, although from photographs I already knew which camp I was going to be in. As I discovered, however, the photographs don’t do Scallop justice. Its setting does (and is repaid in kind). Being in its presence was to experience very direct communication with both environment and history, and an unsettling encounter with the future.
Aldeburgh, like many Suffolk coastal settlements, has been disappearing from the map for centuries. On my way from Tourist Centre to Scallop that morning in 2007, I also had my first encounter with the town’s 16th century Moot Hall. Once both the geographical and political centre of the town, this is now right up against the beach. All the streets and buildings on its eastern side have long gone, the sea moving in by stages over the centuries. Where Maggi Hambling’s massive, 4 metre high stainless steel seashell stands might once have been fields; now it’s shingle.
Aldeburgh is famous as the home of composer Benjamin Britten and the annual music festival he founded there in 1948. Scallop, a tribute to him and his legacy, is also testimony to coastal changes that have sculpted Aldeburgh. Britten’s opera Peter Grimes tells the story of a fisherman, the deaths of his apprentices at sea and his own stormy fate. It’s based on a 19th century poem cycle, The Borough, by George Crabbe. Carved into the giant metal shell – actually cut right through it, so the sky writes the words through the absence within the solid matter – is one line from the opera: “I hear those voices that will not be drowned.”
Every time I see these words on my visits to Scallop or in my photographs of it, it has the same cold-heat effect on my scalp.
The coast-eroding waters have taken so many lives, but still we are here. Part of the flux, and subject to it, we’re drowned in a natural history that’s also, increasingly, made by our species. The fears and anxieties that coastal change brings can split communities from each other and from the institutions charged with planning for the impacts of future change: landowners, heritage bodies, councils, coastal agencies, government departments. The divided response to Scallop somehow exemplifies this ever-present potential for conflict over our local places, and (evoked in the words cut through solid matter) conflict over our national responses to refugees from climate impacts around the world.
‘For Maggi Hambling, the phrase has universal significance: “”We all have voices inside us all the time, whether we’re awake or asleep.” She wants those visiting Scallop to “contemplate the horizon and the movement of the waves, and have a conversation not only with the sea but also with themselves. To listen to their own voices.”‘ – Text on Scallop from website of the Britten-Pears Foundation
Scallop therefore continues to resonate, ten years on from my first encounter. We’re able to experience the lives of others in distant times or places – to ‘undrown’ and hear their voices – through our inner voices and empathies.
Through the Great Acceleration
When did the Anthropocene begin? The candidates for ‘trigger point’ cover such a broad expanse of our species’ time – from Neolithic Revolution 8,000 years ago to Industrial Revolution 250 years ago and its Great Acceleration in the 20th century, to the widespread nuclear weapons testing of the Cold War – that we have the luxury of choosing our own personal start-point. My choice goes back to the early 17th century: the onset of significant European expansion around the world and the scale of species changes this brought. The diversity of plants, animals and microbes introduced ‘over there’ or brought back ‘home’ — and the species lost – had direct and permanent impacts on humans and others across entire continents, as future archaeologists will know even if the historical accounts we have don’t survive.
But my chosen object for ‘Anthropocene Past’ doesn’t date from so long ago. The first technology for recording sound was the phonautograph, patented in 1857. Although its recordings could not be played back, an 1860 phonautogram of Au Clair de La Lune was finally heard for the first time in 2008. I’m intrigued that this first replay of the first recording leapfrogged the entire 20th century; the century that made mass recording and consumption of sounds possible and enabled cultural forms that have enriched billions of lives over that time. As with other technologies of capitalism’s Great Acceleration, this benefit comes at its own costs in materials, habitats, energy, waste and pollution. It possibly facilitates other impacts and makes it easier to ignore them: with so much recorded sound within instant reach, not only does it add to the incessant ‘anthrophony’ surrounding us; it masks the erosion of the remaining ‘biophony’, seemingly ‘compensating’ us (but not the other species) for that loss. For me, this complex mix of pluses and minuses hints at the wider Wicked Problem of the Anthropocene.
And my actual object? In 1945 British engineer Marie Killick patented Sapphox, the first truly reusable stylus for playing gramophone records. The innovation of a bevelled flat with sapphire tip made it possible to ride the groove without wearing away either the record surface or the stylus itself. Before this, the gramophone stylus was essentially a ‘one use’ technology that soon became unusable as it wore away. Now a disposable item became a lasting one, produced far superior sound quality and was safer to use with the discs. This must have been part of what made the mass production and enjoyment of records possible after the Second World War. Led Zeppelin wouldn’t have been possible without it! But modern audio technologies, including records, cassettes, CDs and mp3s, have played their part in spreading not only music and spoken word but also the learning of languages and enjoyment of natural soundscapes from around the world, and from the past. Sapphox represents this progress, but also some of the pitfalls of the age.
I’m unavoidably biased in my choice, however; Marie Killick was my grandmother. I never met her. Born in 1914, Marie died the year I was born, 1964. Her patent was infringed and, although she won a famous court case, the infringement and the battle for justice left her impoverished and in ill health. After many years of dodgy dealings by her industrial opponents, she was forced into bankruptcy before the damages from her court victory could be awarded. ‘My’ object for our ‘Anthropocene Past’ therefore has many nuanced associations with my own life as well with the stories of the unfolding Age of Human.
And into the dark
My choice of ‘Anthropocene Future’ object perhaps seems to bend a rule, because the thing itself is current, not something originating in the future. But I’m imagining it at some future time, an uncertain number of decades or centuries away, and at barely imaginable distances from where it started. Already, it’s so remote that for almost all of the tiny proportion of humanity that’s even aware of it, it’s practically an object only of our imaginations.
In 1977, NASA launched two Voyager spacecraft on journeys that would eventually take them out of the Solar System. 40 years on, Voyager 1 has passed that particular environmental boundary and is headed on into deep space and deep time. Voyager 2, not far behind, is yet to emerge from the outer edges of the heliosphere, where the solar wind is slowed by the pressure of interstellar gas.
Both Voyagers carry a specially commissioned gold-plated gramophone record and a stylus (descendant of sorts of Sapphox), in the hope that if any extraterrestrials ever encounter it they might decode the instructions and play the sounds and images of Earth, human and more-than-human.
“The spacecraft will be encountered and the record played only if there are advanced space-faring civilisations in interstellar space. But the launching of this ‘bottle’ into the cosmic ‘ocean’ says something very hopeful about life on this planet.” – Carl Sagan, Astrophysicist & member of the Voyager team
Or perhaps the aliens will just eat it. But in a sense it’s human thought that has gone with the lifeless spacecraft, and maybe there are other thoughts out there that can connect with it, thousands of years from now, light-years from here. Will we still be here, then? Will the other species captured on the discs?
The future I’m imagining for the Golden Records is not an alien discovery, or what birdsong and human voices might mean to them, but a future where those recorded sounds are the last to escape from Earth. Not because of a final holocaust or natural cataclysm that might wipe us out, but because at some point humanity might well switch off the technology that has indiscriminately been broadcasting our signals into the universe. Signals that were only ever intended for us – radio and TV shows and adverts from the Great Acceleration – have been radiating outwards for the past 70 years, ever since Earth went ‘radio bright’. For everything else out there (and down here), our radio signals are just another form of pollution. At some time, when inefficient technology is superseded, this expanding signal sphere will start to hollow out at its core and a second, more subdued sphere of more-or-less radio silence will grow outwards into the polluted zone. Our radio brightness will go dark again. No doubt by then we’ll have new, more interesting ways of making our presence known. But at the moment that the inner surface of the old radio sphere passes the two probes, the Voyager Golden Records will for the first time be surrounded by an unhuman quiet, and the discs will remain to be decoded.
“This is a present from a small, distant world, a token of our sounds, our science, our images, our music, our thoughts and our feelings. We are attempting to survive our time so we may live into yours.” – President Jimmy Carter’s printed message on the Voyager spacecraft.
An Anthropocene timeline
I didn’t expect to pick three objects linked by sound. But the technologies for capturing the sounds of different cultures and times, and mixing these into a new, global mesh of music and learning; a seashell – long used by human ears to imagine a distant sea, and now also the voices of those who will not be drowned; the real voices of people and species frozen in time and cast off into the ultimate deeps; the fading echoes of human technologies broadcasting to the universe; these pick up one small thread among an infinity of possible timelines from whenever the stories of the Anthropocene began to wherever they go.
Find out more:
A Sound Revolution – By Cynthia Killick: a personal history of Marie Killick, her life and invention of Sapphox, her struggle and legacy. There is much of the story of Marie Killick’s life, invention and struggle at Marie Louise Killick.
The Phonautograph – The history of the first known sound recording device. This article also has a sound file of the first phonautogram recording to be played back; although it maybe sounds more like a disgruntled bee than a human reading Au Clair de la Lune, it’s still remarkable to hear a voice from 1860.
Artist Jennifer Leach introduces Reading’s year-long Festival of the Dark, whose purpose is to gently lead people into the darkness — a place of stillness, mystery and contemplation, and a locus of the unknowing and the unknown.
790 words: estimated reading time 3 minutes
Some months ago, I had a very graphic dream involving barbed wire, entanglement and injury. In my dream, as I was trying to ameliorate the situation and minimise pain, the message came through loud and clear, ‘Cut the wire!’. What exactly this wire is, I have since been seeking to understand. It kept presenting itself to me as a subversive notion, an act of daring sabotage.
The question has proved seminal to the progress of Reading’s Festival of the Dark. The seed for the festival was sown at the TippingPoint Doing Nothing is Not an Option conference, and the endeavour initially moved with great flow. Its purpose is to gently lead people into the darkness — a place of stillness, mystery, contemplation, locus of the unknowing and the unknown. To face and embrace the ultimate fear that is fuelling our electrically-lit lemming stampede over the cliffs of ecological destruction. Since the launch, and once the Arts Council funding came through, there has been, at best, a general indifference towards the festival; at worst, there has been a clear closing of the official ranks towards it – business, church and media. Surely not because they sense something of a challenge in its message? Grin! A message that was possibly not so apparent when they first pledged their support. The churches – with their great venue potential in a town with few suitable spaces – have been particularly disappointing (see the notable exception below). The response from one church in Reading, whose hall we wished to use for a general meeting of arts organisations: ‘As an evangelical Christian church we believe passionately that Jesus came into this world to bring light into the darkness. As this belief is the foundation on which the Church is built it would be inappropriate for us to be involved in such an event [Festival of the Dark].’ Badgers, night-scented stocks, stars and moonlight? – that naughty co-creating Devil!
It has been a painful journey for myself and the small band seeking to realise the Festival’s vision. I have been bemused, wounded, short-tempered with my family, deep-soul exhausted. And yet…
From the moment of the Festival’s inception, there has been a supportive network holding the vision and the importance of the work. I marvel at it – quite literally spread across the whole of the UK. Actively rooting for us. Travelling down to create thoughtful, thrilling events for us. Bringing their fire, love and magic. To Reading! There are visionary businesses in Reading who are supporting us, Reading Buses being the most extraordinary. There are beautiful individuals making madcap ideas reality. With humour. There is one church so far – the Catholic church of St James, with Father John – who is open to working with us, most particularly in the light of Pope Francis’ encyclical on the environment, ‘Laudato Si’.
So much to sing about; what we need to do is change tack. A friend I have worked with and whom I greatly admire shared with me yesterday what she asks for with her work: Take me to the hungry. For me it was a conversation that has unlocked the mystery. I realized that the metaphysical cutting of the wire was not a subversive act of sabotage, but an empowering act of liberation. There is no point in trying to convert patriarchy to a more meaningful system, or to try and engender a new spirit in people who are sated, if not content. Working with those who, with us, are spiritually hungry, eager for new ways – this is the way forward. The wire that needed cutting belonged to the imprisoning fence holding us all within ‘the system’, the critical and the non-critical alike. And so I ‘cut’ the wire, crawled through the fence, and lay face down on the earth, studiously avoiding the cowpats, breathing in the fresh rich energy of the Earth and the Universe.
The Night Breathes Us In
The personal feeling of liberation is calmly satisfying, and the way forward for the Festival – although as unknown as ever – feels right. I suspect the Festival events will be small, and different to our initial conception. Yet embracing this is now effortless. Exciting. And who knows, hundreds of Reading-ites may yet surprise us and turn out in force for our next event, The Night Breathes Us In with the wonderful Dark Mountain Project, on 25th March. It would be lovely if you joined us.
Mark Goldthorpeexplores interstices — a “space that intervenes between things, especially between closely spaced things; a gap or break in something generally continuous” — and associations with birds that play off his fascination with two mythical ravens.
2,060 words: estimated reading time 8 minutes
The Miriam-Webster Dictionary defines an interstice as “a space that intervenes between things, especially between closely spaced things; a gap or break in something generally continuous; a short space of time between events”:
‘You don’t need to read between the lines to understand the history of interstice; its etymology is plain to see. Interstice derives from the Latin interstitium, which is itself formed from the prefix inter-, meaning “between,” and -stes, meaning “standing.” Interstices are the cracks and crevices of life, and the word is often used for both the literal and figurative gaps of the world. In modern uses, interstice can even refer to gaps in time or to special niches in the larger expanse of something else. Evolutionary biologist Stephen Jay Gould used it, for example, to comment, ‘Dinosaurs held sway for 100 million years while mammals, all the while, lived as small animals in the interstices of their world.’
I first discovered interstices in Robert Frost’s On a Bird Singing in its Sleep:
A bird half wakened in the lunar moon Sang halfway through its little inborn tune. … It could not have come down to us so far, Through the interstices of things ajar, On the long bead chain of repeated birth, To be a bird while we are men on earth, If singing out of sleep and dream that way Had made it much more easily a prey.
Philosopher Gaston Bachelard maybe saw the value of getting into the “space that intervenes between closely spaced things” when he wrote of “The minuscule, a narrow gate, opens up an entire world.”
In a review of Bachelard’s The Poetics of Space in The Independent, landscape writer Ken Worpole explains that “Bachelard was a phenomenologist, holding the view that there was a dynamic interplay between an active mind and its surroundings.” In a passage that seems to suggest something for our approaches to the Anthropocene, Worpole describes his conversations with architects designing hospices:
“Architects will tell you that designing intimate buildings is much more difficult than erecting monoliths. Those I have talked to in writing a book about the new hospice movement have employed Bachelard’s vocabulary of intimacy; they have described the need to create distinct psychological thresholds between open and closed, inside and outside, arrival and departure … places of contemplation and a gathering-in of memory and self-discovery.”
When metaphors take flight
When I reread Mike Hulme’s article Why We Disagree About Climate Change for Culturing Climate Change, his repeated use of ‘circulating’ became ‘circling’. Memory carrying me to buzzards circling over my local woods quickly triggered an image of a bird high above a group of desert exiles. Oblivious, the humans are trapped in arguments about where they are, how they got lost and which way to go. A second bird joins the first. More gather, their shadows crossing and recrossing below. The arguing wanderers don’t notice until their patch of land is completely shadowed. Circling, birds wait for humans to … what? Fight themselves into extinction? Give in to weakness and fatigue? Finally act together? Fanciful, but the birdish metaphor stuck with me, and slipped into the cracks where I was busy dividing up ‘culturing climate change’ into wickedness, uncertainty and navigation.
These associations play off my fascination with a reference to ravens in Anticipatory History – a creative glossary on landscape and wildlife change. In one entry, Birds, writer and radio producer Tim Dee evokes the nearly supernatural skills that the power of flight gives birds in many of our myths:
“Two ravens tumble from the sky cronking and surfing towards the shoulders of Odin, the man-god. One is called Hugin, the other Munin. One whispers into Odin’s ears what it has seen; the other, what is to come. They fly with the world’s past and its future held in their black eyes. Later, ravens were thought able to predict the outcome of a battle because of their uncanny habit – it seemed – of coming around armies waiting to fight. How did they know? We read them as able to foretell what was to come; in fact, they read us based on their knowledge of how things had been in the past.”
Appearing in the 13th century Norse Poetic Edda, Hugin translates as ‘thought’, Munin as ‘memory’: twin abilities (or afflictions), bringing both futures and pasts into mind. Such troubling powers, perhaps, that myth puts distance between them and mere humans, gifting them instead to gods and animals…
Over the next few days, birds kept cropping up. Browsing the BBC archives for late night listening, I found Radio 3’s Is Birdsong Music? What is the relationship between what the 4,000-or-so species of songbirds produce and what we think of as music? Are they ‘simply’ speaking, or actually singing? As presenter Tom Service says, “This is all territory that skirts boundaries of language, music and anthropomorphic wish fulfilment.” Many composers have tried to capture the sound of birdsong in musical notation; an attempted translation that’s doomed to fail, but fails beautifully. Birdsong is too fast, too high and uses notes that don’t exist on anyone’s piano, operating “in a different scale of time and meaning than any humanly produced system of sounds, whether we’re taking about music or language.” Meanwhile, in 1889, 8 year old Ludwig Koch recorded his pet Indian Shama onto a wax cylinder: 128 year-old birdsong.
The Great Animal Orchestra by sound recordist Bernie Krause has featured as Book of the Week on Radio 4. He chronicles how human sound (anthrophony) drowns out the biophony and geophony of the (rest of the) natural world. Maybe a small part of that deluge is recordings of long-dead birds… Krause also appears in Is Birdsong Music?, explaining how we should always hear the sounds of any species in the context of what else is going on in the local soundscape: “birds fill the niches left empty by other species in that particular habitat … where there’s no other acoustical territory being occupied by other creatures.” He suggests that humans learned the art of orchestration from the structure of sounds in the animal world, where each species has to find its niche in the overall ‘animal orchestra’: Nature as ‘proto-orchestra’.
He was there again, in The Listeners, a series about people whose professional lives revolve around listening. Krause’s work reveals a different facet to extinction than ‘simply’ eradicating the species: “Of the 4,500 hours of marine and terrestrial habitats that I have recorded, 50% are altogether silent or can no longer be heard in their original form.”
In Raven, presenter Brett Westwood and bird rearer Lloyd Buck go blackberrying with Brann the raven. Lloyd takes Brann for a flight every day and likens him to a ‘flying dog’. In the Mabinogion, Bran The Blessed — a Celtic king associated with ravens — was killed by invaders and his head buried on a hill, facing south to defend the land from further invaders. Clearly, he fell asleep on the job, as that hill became the site for the Norman invaders’ White Tower: the Tower of London. Bran’s association with ravens has led to the legend that if they ever disappear from the Tower, England will fall (a legend revisited in White Ravens, a Second World War re-interpretation of the Mabinogion tale from novelist and poet Owen Sheers).
Raven also told how when sound recordist Chris Watson saw a woodcut of Odin in Reykjavik’s Sagas Museum, there were Hugin and Munin on the Raven God’s shoulders, whispering in his ears. Remembering his own encounters with the call-and-response of roosting ravens, he says “I was struck by what I’d heard in that forest in North Wales, because I really felt as if I’d heard some of these conversations that Hugin and Munin must have had with Odin in the halls of Valhalla.” Watson later created a raven-based sound installation, Hrafn: Conversations with Odin, in Northumberland’s Kielder Forest: a twenty channel speaker system in the forest canopy. When he led his audience through the darkening forest to hear the sound of 2,000 ravens returning to roost, everyone was silent, the ravens’ conversations with their god the only sound.
Psychologist, and Scientist in Residence with the Rambert dance company, Nicky Clayton studies how ravens and other corvids “think in terms of movement rather than words.” She’s interested in the ‘mental time travel’ abilities of Hugin and Munin:
“the ability to remember the past and to think about the future. So you could see this as being memory and forethought. You might think that these are different skills but actually the two are interlinked. Specifically, our ability to remember the past, to project oneself in time to remember what happened where and when, that kind of memory really evolved for the future. So these are memories of the future, memories of tomorrow, and that’s why they’re linked to forethought. Ravens and corvids in general have absolutely stunning memories of past events, and they are one of the few animals other than us who are known to be capable of forethought, of being able to plan ahead.”
But ravens can’t remember everything. They cache many small food hoards across their territories, to return to when food is scarce. But some is never recovered, and seeds take root. In Corvids Could Save Forests From the Effects of Climate Change, journalist and fiction writer Annalee Newitz summarises recent research on how this rather haphazard behaviour might help forests survive climate change, given the inconvenient fact that trees can’t ‘up sticks’ and move themselves. “Over millennia of evolution, this arrangement has become mutually beneficial” and now conservationsts make use of this ‘ecological silviculture’; encouraging corvids to cache seeds in areas needing reforestation. Newitz says:
“Corvids have unwittingly become a key part of a virtuous cycle. By planting seeds, they lay the groundwork for entire ecosystems. Many plants thrive in the shade offered by trees like oaks and pines, and animals flock to the area as well. Finally, forest floors are excellent carbon sinks. Scatter-hoarding corvids are, in fact, guardians of the forest – or, as the researchers put it, geoengineers.”
When I started seeing birds circling in my mind, I was thinking back (and ahead) to Hugin and Munin and their ability to help Odin navigate past and future. Ever since I first read Anticipatory history, this has struck me as a hopeful metaphor for our potential to cast ourselves back and forth in time and geography, to imagine ourselves beyond the impossibilities of climate change. So it was a natural bridge between the Culturing Climate Change and what was going to be a second part, on navigating complexities. Somewhere in my nighttime podcasting, I’d heard someone mention that Vikings used ravens to guide their ships far from shore: birds as real navigational aid(e)s, not simply metaphorical ones. But, listening again while I made my notes, I’ve failed to find this reference. Maybe I saw it somewhere else, or dredged up some other association, or just missed it on the second hearing? Memory has let me down, appropriately enough. But Wikipedia did offer a brief reference; Flóki Vilgerðarson, the first Norseman to (deliberately) sail to Iceland, took three ravens with him. When the first flew back to the Faroes, Flóki knew he wasn’t yet halfway. The second bird circled and returned to the ship. When the third raven headed northwest and didn’t come back, Flóki followed it to Iceland.
WriterLaura Coleman explores the urgent need for spaces where we can engage the emotions of environmental change — to hold onto our spaces, and create new ones — and shares two spaces with deep meaning for her.
1,120 words: estimated reading time 4.5 minutes
There are two spaces in the world that I think about every day
The first is a small piece of the Bolivian jungle. I have watched it grow, flood, burn, and grow again. The creatures that live there – rescued, sheltered and cared for by Bolivian and international staff and volunteers – have, over the last ten years, threaded through me, to the point that I dream of them. There is one in particular, a puma. Her name is Wayra, and she is one of my closest friends.
The second space is a building, in Brighton, England. It has four floors, a basement and a cave (tunnel included). It has been a hairdresser’s, a Middle Eastern food store, a mod bar, an Internet café, and an empty shop. Five years ago, it became ONCA. ONCA is an arts and performance venue that I started after coming home from the jungle, having no clue what to do with the stories I found now sitting at the base of my stomach. I didn’t realise that ONCA would be radical, or important. I just wanted to find a way to tell stories like Wayra’s.
Spaces for looking into the change
After five years, ONCA has developed a life of its own. It has become a beautiful venue, providing more support, solace and community than I could ever have imagined. That makes me proud, not proud to have had the idea but proud to have had the opportunity to watch it become what it has. Proud to be part of the community that has shaped it. Because I believe that spaces like ONCA are important. There are a few arts venues that are trying to acknowledge the urgency of the times that we live in, and attempting to provide a framework for creatively engaging with those times, and ONCA is one of them. ONCA was set up to explore and raise awareness of environmental issues through art, but since environmental change and human culture are so inextricably linked, we find ourselves exploring immigration, human health, happiness and economics, just as much as plastic pollution, flooding and species extinction.
I have thought a lot about what arts venues need to, and can, be, since starting ONCA. So much so, I am now researching a PhD on the topic. Although they are worlds apart, quite literally, it is possible to find similarities between spaces like ONCA and spaces like the refuge I go to in Bolivia. One of things that ONCA does so crucially, I think, is embedded within our mission. We do nothing in the building, or outside it, that doesn’t touch on environmental and social urgencies. One of the major barriers to environmental communication is the ease with which we, as a society, look away from things like climate change. ONCA, by its very nature, looks – or at least we try to. We try to practice what Donna Haraway so eloquently calls ‘staying with the trouble’. “It is not possible,” she says, “to stay with the trouble among us without the practice of joy. That the practices of joyful, collective and individual pleasure are essential to the arts of living on a damaged planet.”
As is, simultaneously, grief. This is something that both she, and others like Joanna Macy for example, have argued for a long time. Staying with it then, through joy and grief both. This is what we try to do, at ONCA, through such arts as play, craft, enquiry, DIY ritual, dialogue and creative action.
What I found in the refuge in Bolivia, I believe, was similar. For whatever reason, I ended up spending a lot of my twenties all day, every day, in a very small piece of the Amazon rainforest, with a puma. Making sure that she, above all else, was as happy as she could be. And she wasn’t particularly happy most of the time, if I’m honest. She was scared and confused. Due to her history, she could never be released. She would always live in a cage, and she would always have to be dependant on people like me.
Despite that, she trusted me. She trusted me and even, at times I thought, was happy to have me around. Despite the fact that her life had been irrevocably damaged, when her mother was shot, when her trees were cut down, when her jungle burned, her capacity, I believe, to feel joy, and to bring joy to other lost ones like myself, was staggering. That, in turn, gave me a clue about how necessary it is to grieve for what she, and other creatures like her – humans included – have lost, and are losing every day.
Spaces for the joy and the grief
Spaces where the joy and the grief of this is made real, is made possible, is made communal, are so urgent. I don’t think it matters what kind of space – a little camp in the jungle for lost creatures, a bricks and mortar art gallery in central Brighton, an online blog, a community centre, a sports club, a church. As the earth seems to alter more rapidly each week, this is a cry to hold onto our spaces, and to create new ones, to step through the door, over the gate, across the river, into the screen, through the glitter curtain, and look our ruins honestly in the face.
I am about to go back to Bolivia for half a year. I am balancing the impact of the air miles with my need to see Wayra again. She was three when we met, she is thirteen now and getting older by the day. Before, I thought that being in Bolivia meant leaving ONCA behind. I don’t think this is the case anymore. ONCA and the jungle are two spaces, on opposite sides of the world. Somehow they have become entangled. I am not sure what this means yet, maybe I will never be sure. Maybe I’ll spend the next six months trying to find out.
For more than 20 years, Communidad Inti Wara Yassi in Bolivia has been working for the benefit of wildlife rescued from illegal trafficking, giving disadvantaged youth a sense of purpose through involvement with wildlife care, and educating the Bolivian public to respect wildlife. Find more about CIWY at www.intiwarayassi.org