Tag: Hearing

Regional Futures: Giving Voice to Human and More-Than-Human

Artist Kim V. Goldsmith shares her work with Regional Futures in NSW, Australia, exploring people’s feelings for rural territories. We need to listen better to each other, ourselves, and more-than-human worlds for more collaborative approaches to the future.

2,600 words: estimated reading time = approximately 10 minutes + option audio pieces

Few of us in the ClimateCultures network would dispute that rural and regional territories across the world are on the frontline of climate change. In the past six years, south-eastern Australia has experienced severe drought (2017- 2019), described by our national weather bureau as “a situation with no clear historical precedent” [1], followed by the unprecedented bushfires of 2019/20 that burnt 5.5 million hectares or seven percent of New South Wales (NSW) [2], and just last year, record rainfall events resulted in floods across south-east Queensland and NSW considered to be in our top three historical natural disasters. These are not records to take pride in.

Listening to regional futures in New South Wales

In early 2022, when I was given the opportunity to delve into how people in the regions of NSW feel about the future, it was knowing I’d be working in the heartland of politically conservative Australia [3], where farming and other primary industries are heavily reliant on fossil fuels. I have lived and worked in this part of Australia for most of my life. Despite the devastating impact of drought, fire and floods on these communities, the majority in rural Australia will unfailingly continue to vote for conservative parties. As happened in May 2022, when the Labor Party returned to power in Canberra but little changed in regional electorates. This pattern of voting behaviour continued to result in a similar outcome in the 2023 NSW State election — where the political battlefront was Western Sydney not Western NSW. The only real change has been more conservative Independent candidates in the race against the parties they were once part of.

In her book, How to Talk About Climate Change in a Way That Makes a Difference, Dr Rebecca Huntley writes: “There is clearly a disconnect between what people say they are worried about and want action on and who, when given the chance, they pick to lead their country.” Huntley references Per Espen Stoknes’ book, What We Think About When We Try Not To Think About Global Warming, where he writes: “For those of us who find ourselves stuck in the moral conundrum of the climate doom story, passive denial offers an easy way out.” One might argue that voting actions are perhaps more active denial, as we’ve seen in regional electorates.

However, Huntley also talks about the constant repetition of climate change facts and figures as a familiar script that can leave us cold or, even worse, bored, creating a collective stupor. What the science tends not to recognise is our messy social realities — the rising cost of living, housing shortages, poor health services, personal safety, and mental health issues. The day-to-day chore of living tends to take priority over environmental concerns.

Showing artist Kim V. Goldsmith listening to a solar inverter with an electromagnetic microphone.
Artist, Kim V. Goldsmith listening to a solar inverter with an electromagnetic microphone.

As an artist, my interest over the past decade has largely been creative interpretations of acoustic and social ecologies — the intersection of human and more-than-human species in often fragile and vulnerable rural and regional territories. When the opportunity to be part of a project called Regional Futures came up through the NSW Regional Arts Network — funded by the State Government — I was keen to develop a series of works that would give a voice to the voiceless in our regional environments, and provide a platform for under-represented individuals in the regions to share their fears, anxieties, hopes and dreams of the future — things we are not often asked about. My project is called Vaticinor (The Augur), a reference to predicting the future by observing natural signs.

Over several months, I spoke with 18 residents of the Central West and the Mid North Coast regions of NSW, in an inland/coastal conversation about how the transition to renewable energy sources might shape net-zero regional futures.

 

Aged 15 to 70, the storytellers in this montage all believe Regional NSW is a wonderful place to live but their stories and concerns are genuine and their messages urgent.

My home region of the Central West was the first Renewable Energy Zone (REZ) to be declared in Australia because of its potential (and proximity) to contribute energy to the national electricity market through large-scale solar and wind developments. It’s being billed as a power station of the future. The NSW Government is overseeing the development of the zone, including transmission projects, and expects up to A$5 billion in private investment to the region by 2030. The intended network capacity of this zone is three gigawatts, enough to power 1.4 million homes [4].

What this looks like on the ground is kilometre after kilometre of rolling hills or cleared flat, red soil country covered in black solar panels — shiny sun-seeking faces dominating the landscape; and giant, white wind turbines, blades gracefully arcing against blue skies, spread across thousands of hectares of farmland. Some of these developments sit on farming land while other parcels of land are dedicated to the cause.

Regional Futures: Showing wind turbines near Wellington NSW, part of the Bodangora Wind Farm. Photograph: Kim V. Goldsmith
Wind turbines near Wellington NSW, part of the Bodangora Wind Farm. Photograph: Kim V. Goldsmith

Communities within the REZ are torn about the good these massive clean energy developments offer, despite the negotiation and distribution of community fund sweeteners. Some see solar panels and wind turbines as an eyesore — impacting the visual amenity some regions have come to rely on for attracting new residents and tourism; others believe it is poor use of productive agricultural land needed to feed and clothe us into the future.

The regions, particularly those inland, are doing much of the heavy lifting when it comes to energy supply in the form of food and power production. Cities and more densely populated coastal areas are facing critical land and housing shortages, with limited capacity to produce food or power for their growing populations; they will lean more heavily on the regions in years to come [5].

Investments into renewables is an opportunity for some who have fought to remain viable through droughts, floods and seasons of low productivity; solar or wind hosting arrangements are providing the financial security they need to remain on the land they love.

Karin Stark lives on a farm near Narromine — a particularly conservative rural community in the Central West, where she has driven the conversation around renewable energy in agriculture. With her credentials in environmental science and farming, she’s keen to see rural and regional communities empowered in the transition to renewables, particularly in areas where there’s large-scale development.

“It’s important that agriculture does continue to develop and adapt to different technologies, different weather events, to secure our food supplies. But I think really with energy and food we need to have a more interconnected or integrated way of thinking, so that we can do both in this region.

“There needs to be more focus on the distribution level of allowing farmers and regional communities to produce the energy themselves rather than (rely on) these massive solar and wind farms.”

Some are quietly fearful of what the future holds for rural communities despite the work being done to adapt. Fourth-generation Narromine farmer, Bruce Maynard won the prestigious National Landcare Award in 2022 for his agroecology work and advocacy, believing that broadening the on-farm biodiversity base also means broadening the productive capacity. He firmly believes people are the reason behind doing any of this.

Regional Futures: Showing Bruce Maynard, 2022 National Landcare Award winner and fourth-generation farmer at Narromine in Central West NSW. Photo by Kim V. Goldsmith.
Bruce Maynard, 2022 National Landcare Award winner and fourth-generation farmer at Narromine in Central West NSW. Photograph: Kim V. Goldsmith

“I do feel somewhat challenged and pessimistic about rural communities in Australia in particular, in that they continue to shrink. I put people first, landscape, and then business third as serving those other two main factors … for any of our efforts out here to be worthwhile, I believe it needs a thriving community.”

Conversations with discomfort and hope

Transitions to new ways of being and thinking don’t come without discomfort and a strong sense of inequity. For those not privileged enough to buy into the renewables revolution or who are simply more concerned about their personal safety and putting food on the table, the conversation about climate change and what that means is still abstract.

Having recently moved to the Central West for a job following tertiary study, 25-year-old Bageshri still has close ties to India.

“There are people I have grown up with that have way more complex issues to deal with, just regarding their safety or the place that they live.

“I definitely think people who can make change are people in positions of power, people with money, people with influence. We just need to really look at who we’re voting for, and elect people who actually think about the future.”

Stephen Callaghan moved to Dubbo in Central West NSW about six years ago, to an area of the city he describes as a low socio-economic area. To offset rising power costs, his family used a small inheritance to invest in a solar battery system. It’s something they felt they couldn’t afford not to do.

“I honestly don’t know, looking at our electricity bill, how some of our neighbours are coping. 

“I can see a future where it’s not going to be survival of the fittest, but it’s definitely going to be the haves and have-nots, and it’s going to be related around power and energy.”

Net-zero targets by 2050 were described by 16-year-old high school student, Madelyn Leggett as being like a homework assignment. She has a very strong sense of her place in the world and is itching for the day she can exercise her vote.

“People procrastinate and procrastinate, and nothing gets done and then we reach December 2049, and we go ‘Oh! Nothing’s happened!’ We still haven’t changed enough, and there still hasn’t been enough policy or legislation passed to make an effective change or impact on the environment.

“I think the political push for a net zero world is there. And I think it does affect people’s outlook on how we see the future and I think it affects the way that people consider not just consumerism but voting and democracy, and how they consider their political actions.”

Regional Futures: showing High school student, Madelyn Leggett, from Wellington NSW. Photograph by Kim V. Goldsmith
High school student, Madelyn Leggett, from Wellington NSW. Photograph: Kim V. Goldsmith

As parents of young children and living off-the-grid in a coastal forest on the Mid North Coast, Aliya Aamot and her partner are passionate about guiding their children through a more ‘self-efficient’ way of life.

“These children that grow up in the bush, with parents who are teaching them life skills, this is what the planet needs for the future.

“It’s very important for us, especially kids in cities to know this process of where the food comes from, how it’s been grown… There’s just so much nature will teach the children just by letting the children be in nature.”

Collaborative, more-than-human regional futures

It’s very easy to put humans at the centre of this conversation — we do it all the time. However, there’s a growing awareness that our future hinges on a more collaborative approach, where more-than-human species gain more rights [6] and a greater voice. This is what has really underpinned my interest in the Regional Futures project and the works I developed through Vaticinor.

I’ve observed the discord at the intersection of the human and more-than-human species across rural and regional territories, yet to be resolved. The multi-track soundscape composition, Humi, I created for the Regional Futures exhibition brings the sounds of the more-than-human together with the built structures and technologies we’ve created for our convenience, including renewables, weaving together a story around this uncertain period of transition between our past and our future. The work is accompanied by a haptic experience, reducing the soundscape to vibrations through 3D-printed hands, reminding us we are one with the sonic world whether we hear it or not.

Showing Humi Haptic Hands co-designed by Kim V. Goldsmith and Brian McNamara, which reduce the Humi soundscape to four frequencies experienced as vibrations through 3D printed hands. Photo by Kim V. Goldsmith.
Humi Haptic Hands co-designed by Kim V. Goldsmith and Brian McNamara, reduce the Humi soundscape to four frequencies experienced as vibrations through 3D printed hands. Photograph: Kim V. Goldsmith

The signs of what potentially lies ahead have been there for some time now, but as Stoknes suggests, ignoring them may have been a way of dealing with the discomfort. The cocoons we’ve woven around our lives in rural and regional Australia and beyond are unravelling in the face of extreme weather events, or as James Bridle puts it in Ways of Being: Beyond Human Intelligence: “…tiny moments of turbulent activity through which we can barely grasp an unseen, unknowable totality.”

As we come to terms with that totality, the challenge will be creating equity for all in the transition to a fossil-fuel-free world at the same time as developing a more connected and entangled life with those other species we share the planet with — those who remain mostly voiceless. We need to listen better to each other, to ourselves, and to more-than-human worlds. In the meantime, we shall continue to sit with the discomfort of our choices.

 

The Humi soundscape composition is a story of the discordant interdependence of human and more-than-human species against a backdrop of pressing time. Weaving their way through the composition are sounds of species not often heard by the naked human ear or those given little thought to in our daily busyness — earthworms, bats, fish, individual birds in choruses of birdsong reverberating through remnant forests on the edges or urban development and cleared farmland. Meanwhile, manmade structures click and thrum, boom and hum — solar arrays, wind turbines, dam walls, motorboats, and fossil-fuelled vehicles — designed for our convenience and enjoyment, creating around-the-clock noise within worlds we do not hear or see.

References

[1] Australian Bureau of Meteorology: Previous Droughts.

[2] NSW Department of Planning and Environment: Understanding the effects of the 2019-20 fires.

[3] Australian Electoral Commission: Results from the 2022 Australian Government election at which the Australian Labor Party won (last in power in 2013).

[4] NSW Government: Central-West Orana Renewable Energy Zone.

[5] Greater Cities Commission: Past, present and future.

[6] The Brooks McCormick Jr. Animal Law & Policy Program at Harvard Law School: One Rights: Human and Animal Rights in the Anthropocene (3/1/23).

Find out more

Kim V. Goldsmith was commissioned by Dubbo Regional Council in partnership with Orana Arts to be part of the Regional Futures project. For more information about the Vaticinor project and resulting artwork, see Vaticinor.

The first Soundcloud audio piece in Kim’s post is a 39-minute montage of 18 storytellers sharing their thoughts about the future, presented for exhibition as part of the ‘Regional Futures’ series of exhibitions in NSW Australia, in a vintage suitcase, upholstered in custom-printed fabric, with postcards of links and invitations to audiences to share their story. 

The second Soundcloud audio piece is ‘Humi’ (in/on/to the ground), a 15-minute composition of field recordings, transitional tones and chords melding sounds of the Mid North Coast, Manning Valley and Central West of NSW into one story; a story of the discordant interdependence of human and more-than-human species against a backdrop of pressing time. 

The sound and text works of Vaticinor will be shown in Sydney from 24th June – 24th September 2023 in Regional Futures: Artists in a Volatile Landscape, at Casula Powerhouse Arts Centre, Western Sydney.

You can read Kim’s previous post for ClimateCultures, co-authored with Andrew Howe: Mosses and Marshes: Creative Engagement with Wetlands.

The books Kim quotes from are:

Kim V. Goldsmith

Kim V. Goldsmith

An artist exploring layers of nuance, complexity and hidden elements to present rural, regional and remote landscapes and communities in ways that make the familiar, unfamiliar.
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Seeing Nature’s Wonders in the Human Heart

Writer and filmmaker James Murray-White reviews fellow member Susan Holliday‘s creative guide, Hidden Wonders of the Human Heart, and finds ‘wise friends on the path’ of seeing deeply into connections, and a fellow traveller in the landscape of human nature.

1,600 words: estimate reading time = approximately 6.5 minutes

“It may be that some little root of the sacred tree still lives. Nourish it then, that it may leaf and bloom and fill with singing birds.”
— Sioux medicine man Black Elk, quoted in Hidden Wonders of the Human Heart.

Lockdown, for me and many, once I’d got through the initial shock of the newness, became an opportunity to really look, listen. To see and to hear.

To hear the birds — in my case the red kites circling the Oxford streets where I spent a large chunk of lockdown time, and to see those birds close up for the first time. And the deer, emboldened by lack of traffic, explored the concrete and the human-inhabited world. It was a time to both see and hear inquisitively at first, and then more deeply, to enjoy the artfulness and insight, and to start to peer further into the nature of the physical, and the metaphysical.

A guide into the human heart

Of course, this is the first part of the process, to see and to hear, followed then by to feel, and to know. Finding guides, wise ones, therapists, gurus, seers — in Buddhism the term is sangha, ‘wise friends on the path’ — is crucial, otherwise we mainline on experience alone.

Showing the cover of Hidden Wonders of the Human Heart
Hidden Wonders of the Human Heart cover: ‘For the Love of Spring’, original artwork © Dee Nickerson

Therapist, photographer, and seer Susan Holliday has produced a clear, close, and wise guide to the process of deeply looking — a ‘when and how to, and what we might encounter’ book that should be alongside us as we navigate pandemics, liminal times, and all our explorations of this, the human journey. Natural insight is key to Holliday’s vision: it is what we all have, and have probably buried or veneered over with the hurly-burly of life. If we unpeel, and find ways back to it — through deep looking, creative expression, and seeing through the grief and the reasons we paper over our own cracks — this heartful insight enables a visionary life full of magic and wonder, connected to and part of the natural ecosystem of all life:

“Disconnected from the vital intelligence of our hearts we look to things, mountains of things, to replenish the void in our being. We plunder the natural world around us to fill the bottomless pit within. Our myopia, it seems, is costing us the earth.”

Holliday shares six client stories from her psychotherapy practice, which go deeply into how she can hold a client’s grief seemingly in her own soul:

“When the decisive moment came, I was able to ‘capture it immediately’ because my spirit was already full of him, full of his grief and pregnant with the shape of the beautiful carefree boy who once tumbled down the hills of his moorland home,” she writes of one client, named here as Jake. Of another, Cassy, Holliday says: “She has wandered into the heart of her own wilderness.”

Her professional beholding of clients, and leading them to a place of change, which she articulates so clearly and incisively, is matched throughout with her understanding of her own striving for seeing, and sensing the world through her own arts practice — through the lens. Although none of her images are found within the book, you can see her work shared on Twitter, and the book is full of references to the writers, artists, and activists who inform her journey.

The art of seeing deeply

Showing the coast and the North Sea, by James Murray-White
Photograph: James Murray-White © 2022

I was delighted when first opening the book to see so many quotes and nods to photographer Bill Brandt, whose black and white explorations of human forms on a beach, and wartime documentary stills, inspired me so much in my early studies in image-making, that has in turn informed the last 20 years as a filmmaker.

Holliday describes herself midway through Hidden Wonders as a “traveller in the landscape of human nature”, and this powerfully resonates with me. Equipped with an MSc in Human Ecology some years ago, I too set out to navigate that path through the hills of both articulated and mediated expression. Time and again, I need to return to that centred space of heartful hearing and insight from the natural worlds within — my own microfauna of emotional fungi and mycelial vessels of coursing blood.

A visual metaphor for the human heart
Photograph: James Murray-White © 2022

“At its best I believe that therapy is akin to painting, to playing an instrument, to speaking a poem or performing a play. Like those it has the potential to lift us, both seer and seen, towards a quality of vision which is equivalent to art, in that it opens us up to the richness, vitality and truth of our existence. So to explore the nature of insight, this book asks what painters, photographers, poets, sculptors and performers have to teach us about seeing deeply.”

There is a flow of both process and experience articulated with these particular clients and their often deeply painful and acutely alive stories, and in this expansive referencing of artists’ understanding of their creative practices, coupled with current advances in neuroscience, perception, and some religious philosophies. However, Hidden Wonders is to my mind a book that someway fills that space where retreating religions in the West have allowed our own creative expansiveness to fill, if we so wish it. It is a strong challenge, not to succumb to the industrial ‘achievement’ mindset, or be lashed by depression in response to systemic failures and collapse and all its latent traps that bind us to its synthetic portals.

I’ve been rereading this book while on a break in England’s North East, staying in a small coastal town ravaged by its mining past. Elemental materials were not long ago hauled out from deep bowels beneath the town, and now, as the pandemic opens into another era here, it is currently awash with regeneration funding, promoting mining museum culture and walking breaks across moors and stunning coastline. Instead of cracking the earth and removing its core, this locality now seems to be all about promoting looking, stretching, walking, seeing, planting, and engaging with a remediated landscape.

I’ve been fixated on walking past all that, nodding and chatting to locals, admiring the many huts of the local pigeon fancying group (some 30,000 birds kept here for racing and message carrying), and getting in some serious beach time along the coast: looking, and seeing past the material, soaking up the elements and seeking to understand myself within this process of stones and sand. Ebb and flow. Time and tide. Human industry and human leisure.

I sense that we, the human-sphere, are in what writer and eco-philosopher Mick Collins calls the ‘transformocene’, not the ‘anthropocene’ as some say, where we as a species rise to transform our reliance upon industrialisation, economic dependence, and the mechanical thinking that has grown from these mindsets. As Fritjof Capra describes ‘the systems view of life’: to finally fully understand our place within the ecology of all things, perhaps returning to the biblical Garden of Eden, or in the holistic sense of animal nature within the Gaian theory, as proposed by James Lovelock et al.

Choosing another path

While this is not a book dealing with climate grief per se, it does point us toward tools of awareness, which is the key to healing from the overload of trauma, and how we respond to and hold news of this climate breakdown and ecological collapse. Holliday acutely picks up on our possible human response of calcifying, or cracking, as “Our human ecology is becoming overheated. A sign that environmental stresses are overwhelming the inherent limits of our nature.”

She wisely returns with another choice: “We could hold the reciprocal qualities of strength and sensitivity in equal regard. We could understand that resilience depends on their intimate correlation.”

Photograph: James Murray-White © 2022

Social movements, uprisings, rebellions, protests — all are about change and resistance to old ways, changing seemingly dominant narratives of doing and exploiting that ultimately damage the earth’s resources and exploit ourselves as a species. These are vital community-building events; whether or not the object of rebellion or resistance is changed, a community has been formed around a ‘thing’, and now the energy exists — and change will come. Transformation will occur, and we will overcome. Transformation of our own selves and our stuck patterns, of subtle griefs and trauma, will happen, and in this vital book, Susan Holliday gives paths and examples to return to our natural insight, and live within ‘the vital ecology of the human heart.’

“Seeing through the heart of our sorrow, we discover a realm of human nature full of hidden wonders. Reconnected to our own source of replenishment and renewal, we might begin to cherish, rather than to plunder, the natural world around us.”

Find out more

Hidden Wonders of the Human Heart: How to see through your sorrow – a creative guide to revelation and renewal by Susan Holliday (2021) is published by Troubador Publishing, where you can preview the book. You can find out more about Susan’s work as a psychotherapist and her writing and photography on Twitter @SusanHolliday0 and at susanholliday.co.uk.

James also mentions eco-philosopher Mick Collins and his proposal of the Transformocene in contrast to the concept of the Anthropocene. You can read more in Mark O’Connell’s 2018 Permaculture review of his book The Visionary Spirit. In April, Mick has a new book coming out, The Restorative Spirit, and James has recently been filming Mick for the launch.

James Murray-White
James Murray-White
A writer and filmmaker linking art forms to dialogue around climate issues, whose practice stretches back to theatre-making.
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Susan Holliday
Susan Holliday
A psychotherapist and writer committed to the rewilding of human nature, exploring the correlation between despoiling our natural world and the desolation of the human spirit
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Attending to Muse & Nature in Lockdown

Artist Hanien Conradie shares the impulse and process behind a Covid19-lockdown collaboration that brings together image and text; and how, in a period of human silence, her muse and the natural world seemed to work in similar ways.

2,170 words: estimated reading time = 8.5 minutes + gallery

What does it take for distracted creatives to surrender to the cries of their muse’s desires? For some it is simple, they hear, they listen and they translate through making. But some of us academically trained artists scold the muse for her infantile ideas, her need to play and her seemingly inconsistent barrage of desires. And then there are some of us who ignore her voice year after year…

In my practice I work in locally found natural pigments and burnt plant material as part of an expression of climate change and my concern with loss as we head toward a Sixth Mass Extinction. The global ecological anguish and my personal heartache inform the colour palette of my work: earthy ochres and monochromatic black paintings. Black, as a colour of grieving in the West, is also a colour that represents infinite creative potential and has become more and more prominent in my films, my ritual work and my paintings.

Human silence & other voices

As the severe restrictions of the Covid19 lockdown isolated South Africans in their homes, I considered what artworks I could make from a small desk in my bedroom. For quite a few years I have been an active environmental voice, calling for a change in the way we relate to the natural world. Suddenly, because of the virus, the Earth gained respite from our feverish pursuit of money; our disregard for the effect we have on the rest of the natural world. At the same time, everyone became quiet and introspective and the sounds of the natural world became more apparent than before; and people noticed. It seemed to me that the Covid19 lockdown provided the perfect opportunity for humanity to reconsider the way we live. For the moment it felt like my quest for change was interceded by an outer manifestation that was so severe that it forced us to adjust our habits naturally.

Seeking the muse: Showing image 25 from Hanien Conradie's 40 DAYS series
40 DAYS – image 15
Artist: Hanien Conradie © 2020

Within the human silence of the lockdown, the voice of my muse became more insistent than before. I realized that the workings of my muse and the natural world were similar somehow and that less noise and distraction increased the intensity of my creative compulsions. The very uncertain and unprecedented circumstances swept away my normal, considered academic approach to my practice. I felt like breaking free from all my self-imposed limitations, obligations and preconceptions about what my art should be. I imagined that this is how artists might feel during times of war: the focus shifts from making work for others to making work because this is what I do to keep myself sane. I thus found myself surrendering to whatever my muse wanted to make.

I had recently been gifted a set of Winsor & Newton Artists’ Watercolours with 24 colours in a beautiful transportable black box. The new paint had my muse salivating and my hunger to make small brightly coloured paintings seemed vast and insatiable. Before the lockdown, I had planned to make on-site landscape portraits with them. This idea was in keeping with my practice of visiting and relating to living natural landscapes, but traveling outside of my home was prohibited during lockdown.

In addition to the delicious paints, my partner inherited an equally delectable collection of National Geographic magazines from his father. Whenever I saw their bright yellow spines I remembered the remarkable pictures hidden inside and my childlike delight as I pored over the magnificent mysteries of our existence through their pages. Since my muse was completely uninterested in working with the only ‘living’ places I had access to — the interior of my home or my small garden — I decided to page through the magazines. I started to mark any images that thrilled me without pondering their meaning too much. I have used this technique in the past to access my subconscious feelings. It turned out that many of the images I paused on featured lone human figures in extreme natural surroundings; environments where the human body cannot survive naturally.

Surrendering to the muse: postcards from lockdown

My burning desire remained to make miniature paintings in my brand new luminous watercolours. I happened to have a few books of Fabriano Postcard watercolour paper available. There was something about the postcard format that appealed to me: the hint of possible travel and its capacity to carry messages beyond my forced incarceration. In the past, I have always used the actual place or my own photographs as references to paint from. Making use of magazine images was a departure from my usual way and alarmed me somewhat. Sailing this close to mere illustration had my academic fine-artist-self protesting: ‘I have a reputation to think of’ and ‘the Gallery will expect more consistency from you’… I ignored this voice and continued to surrender to what delighted and motivated my muse.

Thus, I commenced a ‘vigil’ dedicated to creating in isolation and produced one painting a day over many weeks. The human silence in the first three weeks of lockdown was heavenly: no traffic, no airplanes, and a communal energy of quiet withdrawal in the air. The comforting solitude punctuated by the occasional ringtone or electronic alert mingled with birdsong, a frog choir and the roaring river close by. This symphony of sound was the perfect context for delicate and detailed painting. I felt happy and at peace as my muse took me on an imaginative journey to some of the most extraordinary and far-off places on Earth.

Showing image 18 from Hanien Conradie's series 40DAYS
40DAYS – image 18
Artist: Hanien Conradie © 2020

These places, in relation to the inner places I discovered during this practice, made me consider what best-selling author and former monk, Thomas Moore, says in his book A Religion of One’s Own. Moore suggests that as human beings we know a considerable amount about our external world and that, in comparison, we know very little (maybe too little) about our internal worlds. The images from the National Geographic magazines were mostly about discovering and exploring our external world — not only the Earth and space but also the microcosm. In hindsight, I came to understand that the images I selected were not random at all. They resonated with and expressed the internal states I experienced during lockdown. I became conscious of the inherent wisdom of my muse and subconscious mind.

I have since come to an understanding that periods of isolation are essential for humans in order to cultivate inner stillness. It is important to make time to listen deeply to one’s inner reality and to know its terrain well. In my experience this practice also sensitizes us to be more receptive to the ‘voice’ of the natural world.

When lockdown was finally over, I walked down to the river and it was as if I saw an old and dear friend again after a long time of absence. This little ecosystem on my doorstep was so much more magnificent than ever before. And I delighted in noticing that so much had healed and grown since I had last visited: in the vegetation and birdlife but also within me. This enchanting encounter resulted in another postcard series of 21 portraits of the river, titled ‘My Sanctuary’ (2020), which I made for a South African friend living in the UK.

40 nights / 40 DAYS

Allowing my muse to direct my creative process opened up a more spacious attitude to the flow of life in general and, more concretely, helped me to manifest my desires; in this case 40 small bright coloured paintings. I am now able to ‘hear’ and act on subtle prompts from my creative spirit. One of these ‘nudges’ that came to me was a dissatisfaction with the blankness of the backs of the postcards; where greetings and messages should be. Without text the 40 postcards from lockdown did not seem complete.

I recalled fashion-predictor Li Edelkoort’s podcast about the future of fashion design after Covid19. It was a brilliant talk containing some strange capitalistic approaches to the crisis that I found intriguing. I sent this off to friends and one of them, John Higgins, responded with a voice poem.

Showing image 7 Hanien Conradie's series 40DAYS
40 DAYS – image 7
Artist: Hanien Conradie © 2020

As a writer and academic, John has long been interested in the question of montage — in film, visual media and in writing. As lockdown took hold, John says he found himself, “like many people in the first phase of Covid19 and the ensuing lockdown … overwhelmed by the tsunami of media coverage … [and] at the same time, reading it obsessively as some form of comfort or distraction.” As something of an active response to the increasingly eerie situation, he began to assemble a number of montage texts from the various books, podcasts, news bulletins and online media available within his lockdown environment.

From the talk by Edelkoort, John selected key sentences and put them together in a montage that revealed the underlying philosophical questions in a very humorous way. I sent him a picture of one of my postcard paintings in response. The combination of the text and the picture revealed a fascinating new meaning, which was a delight to both of us. And, unashamedly, I found my muse asking John to join the project.

Thus two parallel projects commenced, each serving as an antidote to calm our anxiety during uncertain times. John created 40 texts and I painted 40 images, independently from each other. Each project maintains a distinct identity when seen in isolation. In my process I selected images from National Geographic magazines, painted them, and — together as a montage — they revealed something about my inner world during this time. One could say that the 40 paintings are reliant on each other to create the meaning (or full picture) of my exploration. John in turn brought together, and set against each other, fragments of national and international news coverage and commentary with other varied readings from his day; also illuminating his questions and thoughts in relation to the pandemic. The 40 texts John crafted can be read separately but are more potent as one long text that leaves one with a sense of the strangeness of the lockdown experience.

Once we completed our separate projects we carefully paired the texts with the paintings. This process took some time, but eventually we settled on some intriguing combinations: some that were easy to understand, and others that created discomfort and ambiguity.

40DAYS-003 image © Hanien Conradie 2020
40DAYS-003 image © Hanien Conradie 2020
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Since the images were painted on blank postcards, we decided to incorporate the text as part of each piece. On the reverse of the cards (where address and message are normally written), I give thanks to my inspiration by referencing the National Geographic ‘address’ of the image: the article title, edition, page number and the photographer. In the ‘message’ section of the postcard I ‘performed’ John’s text by transcribing them by hand. The final artwork is thus double-sided and consists of 40 painted images each with its own message on the back.

Because of the double-sided nature of the final work, it was difficult to display the text and painting simultaneously. To solve this, John and I created a printed book titled 40 nights/40 DAYS: from the lockdown. Here we present the text and image together at a glance. This is when what we describe as a ‘third work’ emerges through the viewer, who makes associations and assumptions based on the information gathered from both sources. One could say that the viewer becomes the creator in this ‘third work’.

Our short film presented here, is another attempt to bring this third meaning to life.

40 nights/40 DAYS is a playful project about serious things. We hope it will both delight and provide some solace in these extraordinary times.

Find out more

You can see a different selection from Hanien’s postcard collaboration with John in her contribution to our Quarantine Connection series from April-June 2020. Hanien Conradie: 40 nights / 40 DAYS appeared on Day 36. All 40 images that Hanien used for the series are displayed at her website, and the original paintings are available from the Everard Read Gallery in Cape Town, South Africa. Contact ctgallery@everard.co.za for a portfolio.

Also available for purchase is the hardcover book, 40 nights/40 DAYS: from the lockdown. This can be ordered from Hanien at hanienconradie@gmail.com.

You can listen to the Business of Fashion podcast (27/3/20) featuring futurist Li Edelkoort, which triggered Hanien’s collaboration with John Higgins. The sources from which John took the textual fragments included media coverage from radio, television, and online sources such as Daily Maverick, The Guardian, the Washington Post and the New York Times; Li Edelkoort’s Business of Fashion podcast; and (dusted off and taken down from the bookshelves) Sir Edmund Burke’s Philosophical Inquiry into the Origins of our Ideas of the Sublime and the Beautiful (T. Noble: London 1845); Plato’s Protagoras and Meno (Penguin: Harmondsworth 1956); John Ruskin’s Modern Painters Volume 1 (Dent: London 1935); John Ruskin’s The Stones of Venice (George Allen: London 1906).

Hanien Conradie
Hanien Conradie
A fine artist concerned with place and belonging, informed by the cosmology of African animism within the complex human and other-than-human networks that encompass a landscape.
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Imagining Woodlands Under Lockdown

Artist Jo Dacombe shares an exercise she developed for students to respond creatively to the sensory nature of woods, and which she’s adapted for online engagement with nature during Covid19 lockdown as part of her Imagining Woodlands project.

1,760 words: estimated reading time = 7 minutes + exercise

Each year, in May, I run a workshop for literature students at the University of York, as part of the Imagining Woodlands module, set up as a result of a collaboration between Dr Freya Sierhuis (Senior Lecturer in Early Modern Literature) and me. My workshop would take place in a nearby woodland, at St Nick’s Nature Reserve, where we would tune in on the sensory nature of the woods and how we could respond creatively to this. This year, of course, the module fell under lockdown, and it was impossible to bring the students together, let alone take them for a walk in the woods.

My task, then, was to try to create something of the experience for students who were living far apart, many in other countries, and who were supposed to create something by working in groups, experiencing a woodland environment and a connection with nature. Quite a challenge.

Luckily, I had been working towards creating art installations related to woodland environments, so I already had quite a lot of material that I could use, including imagery made in various ways, video footage and audio recordings from woodland environments. I decided to create a series of online lectures, each followed by a creative task that would respond to some of my material which I could share online with the students.

Imagining woodlands - showing an ancient oak in Sherwood Forest
Imagining woodlands – ancient oak
Photograph: Jo Dacombe © 2019 jodacombe.blogspot.com

Entering nature one sense at a time

I am based in Leicester, which, at the time of writing, is still under an extended lockdown. I am sitting in my garden writing this, enjoying the peace of fewer cars and I can hear a bird chirping to the north. The sun warms my skin and a gentle breeze is moving a strand of hair across my cheek. I am distinctly aware of the importance of the senses when outdoors. I am also keenly aware of how much time we are spending indoors and, for us in Leicester, this continues longer than most. With the students, I knew that many of them would not be lucky enough to have a garden.

One of my lectures starts by considering Richard Long’s early work entitled A Line Made by Walking. A beautifully simple gesture he made in 1967, A Line Made by Walking is simply that — the desire line created by the act of walking up and down a meadow in Wiltshire in a straight line, the simple interaction between a human presence and the landscape. I talked with the students of the importance of recognising the mutual impacts of humans in an environment, how it affects us but also how we affect it. I was trying to use Long’s work to break us free from the idea of the natural environment as a place to visit, a pristine place kept for our entertainment and recreation, but rather as a place that we become a part of when we enter and which we respond to and it responds to us.

If you have ever sat in a woodland environment for a long period of time, on your own, without moving, eventually you become part of that environment. The fauna around you will, eventually, begin to resume the activity that it was taking part in before your arrival. I think we forget that what we see is not what is really there, because as soon as a human presence enters the woods, the woods respond and the fauna, and indeed the flora, react to our presence. Animals hide and birds begin their alarm calls. But, if you sit still for long enough, they get used to you and resume their everyday activity. I have often experienced this, as I will sit for long periods in one place in a woodland when I am trying to audio record.

A Line Made by Walking makes us aware of this. I prefer Richard Long’s earlier works, because they are light touch. He only uses what he finds in a landscape, and creates a statement using his own movements or actions, using no more than his own presence and bodily ability; there are no machinery or tools involved, just moving and rearranging. The works are temporary and, once the wind blows, begin to disappear.

We also looked at some of Long’s text pieces, such as One Hour: a sixty-minute circle walk on Dartmoor, 1984. Many of Long’s walks he describes by making lists of words, and arranging those words into shapes or writing them across a map. This method works well to really focus on the things around us that we notice when we take a walk; Long notes the sounds, effects of the wind, smells, textures and weather from his walks.

My group walks are like this, too. Often, I try to get us to focus on one sense at a time; I ask people to walk in silence, show them how to think through their feet or we sit blindfolded in the woods. For my online workshops, then, I tried to create a way of experiencing something of these senses one by one.

The following are instructions for one of the tasks that I set the students, to create a poetry work in response to my video. The task followed the talk on Long and his work One Hour, and we discussed how poetry could be presented visually on a page; how a circle of words has no beginning or end, and how other shapes across a page can change the order in which you read words, and how we could use words visually. Moving and rearranging. The students produced some beautiful works as a result of this workshop, and I reproduce the activity instructions here for you to try yourself. The first part is an individual activity and the second is intended for work in a group; if you can, do share this post with others you can meet up with (at a safe social distance) or work with remotely.

And if you are still unable to go out, like me, then I hope it brings you a little connection to a woodland environment.

Imagining woodlands — an exercise

Individually: Watch the video below, entitled Woodland Canopy, clicking on Full-Screen mode. This is a video taken by looking up at the tree canopy in a wood. It lasts about 5 minutes. There is no sound on this video.

Try to watch the video without introducing your own music or sounds. The idea is that we are isolating one of our senses, just using our eyes, and not influenced by other senses. Try to watch it in a quiet space or use sound-blocking headphones.

Don’t expect the camera to move or much to happen. You need to really watch and focus for five minutes. In fact, quite a lot happens, but it is subtle. Try to tune in and notice every nuance.

As you watch, make a list of words, a little like Richard Long might as he walks. Just write whatever comes into your head. The words might be about what you see, feel or think; they might have imagined connections or spark memories.

You can watch the video more than once, if you like.

In your group: Now arrange to work with your group, virtually. Choose the favourite words or phrases that you wrote from the video. Share them with your group. You could do this with a Google Doc, on Zoom, or on a VLE Whiteboard.

In your group, try to weave all your words together to form one poem or piece of prose. Give it a title.

Think about how you will present this work. How will it look on the page? Or will you record it as an audio reading?

Why not share your poem or prose response to Jo's Imagining Woodlands exercise -- whether working alone or as a group -- in a Comment on this blog? And do share your reflections on this activity or a creative exercise of your that you've found useful during Covid19 lockdown.

Find out more

Jo’s exercise is part of her collaboration with the University of York on their Imagining Woodlands undergraduate module. Jo mentioned that this university activity usually takes place at St Nick’s Nature Reserve in York. St Nicks Centre for Nature and Green Living is a local charity created in the 1990s to transform a former landfill site into a thriving Local Nature Reserve. “The name of the site and the secular charity comes from the middle ages when the area was owned and managed by St Nicholas hospital and church.”

You can see Richard Long’s A Line Made by Walking at the Tate website, and you can find out more about desire lines or paths in this piece by David Farrier for Emergence Magazine, which we featured on our Views from Elsewhere page in May 2020.

And you can see Richard Long’s One Hour: a sixty-minute circle walk on Dartmoor, 1984 at his website.

You might enjoy this video from Project Wild Thing, on the science of why engaging with nature is part of being human, and the benefits for our wellbeing. It’s part of the full film, which you can see at the Project Wild Thing website. And The Susurrations of Trees is a recent  BBC Radio 4 programme that features recordings of the sounds of leaves on different trees, the words we use to describe these and the poetic and artistic responses to this experience of nature. “To dwellers in a wood almost every species of tree has its voice as well as its feature. At the passing of the breeze the fir-trees sob and moan no less distinctly than they rock; the holly whistles as it battles with itself; the ash hisses amid its quiverings; the beech rustles while its flat boughs rise and fall…” (Thomas Hardy, Under the Greenwood Tree).

Jo Dacombe contributed Animal Tropes and Enchanted Woodlands — a piece that originally appeared on her blog in 2015 — for Day 29 of our Quarantine Connection series. Her book, Imagining Woodlands, will be available later this summer. You can keep up to date with that by following her blog — where you can also discover the first issue of Imminent, a new zine Jo has launched with contributions from fellow writers and artists.

Jo Dacombe
Jo Dacombe
A multimedia artist creating work, installations and interventions, interested in mapping, walking, public space, sense of place, layers of history and the power of objects.
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When Our Roar Was Birdsong

Writer Philip Webb Gregg went looking for ways to let nature get to him, and found them on a bushcraft and survival course, with Extinction Rebellion on the streets of London, and in his garden in the city.

 

2,610 words: estimated reading time 10.5 minutes 

“You have to get the fingers right in. Right between the clavicles. Don’t be shy, just dip them in. Feel the breastbone? Right, now tease it apart with your fingers. You need to make space for your thumbs. Got it? Good. Now just pop them in and pull. See? Peels like a tangerine.”

There is an almost inaudible gasp around the semi-circle as J pulls the torso off of another pigeon. Though most of us are disgusted, we’re also more than a little impressed. J has just shown us a beginner’s technique for preparing a pigeon carcass when you don’t have access to a knife. The theory is quite straightforward. J explains carefully and advises us to take notes. Then we are each handed a pigeon.

There are twelve of us on the wilderness course, and only one refuses to take part. The rest dig in, if not quite with gusto then certainly with willing. Considering it’s nine o’clock on a Friday evening and twelve hours ago most of us were sitting at a desk staring into a screen, I’d say this was pretty impressive.

J paces the semi-circle and gives help where needed. The basics for bare-hand pigeon preparation are as follows:

      • First, hold the pigeon by the legs and dangle — this constricts the bird’s breathing and induces a sleep-like state.
      • Then, make a V with your forefinger and middle finger. Take the back of the bird’s neck and delicately but confidently give a sharp tug. This kills the bird without unnecessary pain or agitation.
      • Separate wings by holding the wings in one hand and twisting the body with the other.
      • Pull head to detach.
      • Insert forefingers into the chest cavity and make room around the breastbone.
      • Fit both your thumbs into the hollow of the bird.
      • Hold with confidence and pull. You will be left with the spine and viscera in one hand (discard these) and the fleshy torso with in the other.
      • Finally, scrape the edible meat away from the breastbone.

J carefully puts the meat into a Tupperware and drops the carcase in a neatly prepared plastic bag, instructing us to do the same. When someone asks what happens to the contents of the plastic bag, he answers with a jovial grin: “Oh, don’t worry. That’ll go to the badgers tonight.”

Looking for the source

It is the 3rd of May, 2019. I am somewhere in the Peak District, about three hours into my first ever ‘Bushcraft and Survival’ course. So far it’s been an enlightening experience. We’ve covered wilderness health and safety, knife etiquette, how to make a pigeon stir-fry, and simple shelters. Now we’re sitting in the dark around a campfire at the edge of the woods. It should be romantic. It sounds romantic. What is less romantic is the dried blood I still have under my thumbnails. The smoke that insists on stalking me around the camp, filling my nostrils and making my eyes pour. Also, the cold. There is nothing at all romantic about the cold.

Bushcraft and survival in the woods
In the woods
Photograph: Philip Webb Gregg © 2019

I came out here looking for a way to let nature get to me, searching for the notion of nature-as-cure. Cure for our bodies, cure for our minds, maybe even our souls. Of course, nature is not a pill. It can’t be prescribed over the counter or sunk straight to the vein. The concept of nature as medication — as a commodity that can be handed over without thought or cause — is one that I deeply disagree with. It’s yet another facet of our human-centred perspective of the wider world.

Instead, I’m looking for the source. I’m hoping to be reminded of the ‘inter-connectivity’ of things. After a long winter living in the heart of London, I’ve become startlingly aware of the disconnect between the concerns of inner-city life and the real, actual worries of our changing world. This disconnect feels like a form of insanity, an illness, or an obsession with unclean things, which can only end in sickness. So, the theory goes: if this madness is man-made, perhaps I can re-learn sanity from wilderness.

Which brings me back to the pigeon blood under my nails, and the smoke of the campfire. J, our instructor, is telling us about his job. I am fascinated to learn that there has been a huge rise in the demand for bushcraft courses in the last few years.

“Yep,” he says. “Probably Brexit.” We laugh, but it’s not a joke. A recent article in The Times reported certain survivalist organisations getting “30 or 40 calls a week asking questions about Brexit.” It’s a sobering thought, and another sign of the changing world. To think there’s a national shift toward a more desperate state of mind.

Of course, it’s good for the bushcraft industry. But this is in itself is a juxtaposition, as practising bushcraft requires, well, bush: the preservation of which is rarely in the interest of a capitalist society. The figures for UK woodland are somewhat haphazard, but according to the 2018 Forest Research Woodland Statistics we currently stand at 13% — 10% in England, 15% in Wales, 19% in Scotland and 8% in Northern Ireland.

Now, whether these numbers are positive or negative it’s hard to tell. Some sources see the current percentage as a huge success, stating that they’re higher than they’ve been for almost a thousand years (in 1086 the Domesday Book recorded forest levels at 15%), and comparing them to a devastatingly low 5% at the start of the 20th century. However, other organisations claim that woodland ecology in the UK is under serious threat, and British wildlife in a state of chaos. It’s certainly worth noting that the European average is far higher, at 44%. No doubt there’s a Brexit analogy in there somewhere, if anyone has the energy to find it.

J kicks some ashes over the remaining flames and declares that it’s time for bed. Early start in the morning, apparently.

“Wrap up warm,” he grins. “It’s gonna be a cold one.”

The peace of the wild?

Five hours later I’m lying under a canopy of fallen branches and bracken. The shelter is roughly two meters long and a meter wide. A classic A-frame structure, known to anyone who spent any time in the Scouts or who watches a lot of Ray Mears. It’s a clever design: not only does it shield you from the wind, it also traps your body heat and feeds it back down to your legs. However, tonight is unseasonably cold. My sleeping bag was last used in the hot hills of southern Spain, and is woefully inadequate for middle England in early May.

I lie shivering for hours, cursing my poor planning. When using a sleeping bag it’s often said that you should strip naked because the moisture in your clothing will sap your body heat. After an hour or two in nothing but slim thermals, I decide this is a lie. I resolutely and somewhat awkwardly don all of my layers, from my socks to my gloves. I’m fully dressed inside the bag and still there’s a throbbing numbness in my fingers and toes. Eventually, at around 4am, I decide to give up on sleep, and go to find the campfire instead.

Bushcraft - the embers of the campfire
The embers
Photograph: Philip Webb Gregg © 2019

The embers are low, barely a tinge of orange or red. But the ashes are hot and bracken is everywhere. It’s enough. Soon the fire is roaring again, and the kettle is on the flame (I hear J’s voice as I do this: “flames to boil, embers to cook”). By the light of my head torch I settle down to my notebook. Hours pass. The night is deep and full of life. Badger, rustling close. Insects and small mammals living and dying in the understory. Above me an owl asks its endless question: Who? Who? Who? The breeze moves through the trees, making laughter.

Periodically I put more wood on the fire. Logs and branches. Hazel, beech, birch. Their green wood spits and my eyes burn with smoke. They will hurt for days, I know. So much for the peace of the wild. I am long lost in my thoughts when the birdsong starts. Not just owl or bat, real birdsong. Full and loud. The illustrious chorus of dawn. A spring chant of mating and renewal.

I put down my pen and click the head torch off. I sit on a log in the dark and listen to the birds while my eyes run with smoke.

The first day

It is two weeks earlier, 15th of April. I am standing in the centre of the city of London, right outside the Houses of Parliament. They are shrouded in scaffolding like the bandages of a leper. I think: now there’s a simile.

Next to me, someone is shouting. All around me, people are shouting and roaring. I am roaring. There are banners being waved by children and grandparents alike. The sky is full of them. They show the stark outline of bird carcasses and flowers. They are all embroidered with an hourglass held within a circle. XR.

Extinction Rebellion - humans on the XR March in London May 2019
Extinction Rebellion humans
Photograph: Philip Webb Gregg © 2019

Over the next eleven days, four prominent roads in central London will be blocked, and a total of 1,130 people will be arrested. During these days, there will be countless conversations had between strangers about the current state of the world. Talks and discussions and poetry readings and songs will abound. It will sometimes feel like a festival. Teenagers will do cartwheels down the road. People will flirt and laugh and maybe find love on the barricades. In the dead of night, on the bridges, surrounded by police officers in wraithlike hi-visibility jackets, it will feel like the end of the world.

But all that is days away. Right now, it is the first day, and there is genuine hope in the air. Hope and determination and positivity. I walk around the square a dozen or so times, joining a march here, a debate there. Most people seem just as keen to sit on the grass and have a picnic as they are to change the world. But it is England, and the sun is shining. Maybe that’s how real revolution works, not through violence or petitions, but flasks of tea and vegan sandwiches kept in Tupperware.

At one point there is a march of giant papier-mâché skeletons, accompanied by a sorrowful jazz band, a troupe of red-clad mourners, and a coffin. The skeletons are those of animal species, extinct and endangered. People in animal masks hold high the fleshless silhouettes of ape, rhinoceros, lion, tiger, whale, etc. etc. And also: humans, soon to be extinct. A giant magpie walks among the procession, waving a placard: ‘One for sorrow…’ it reads, in thick black Sharpie.

Magpie - 'one for sorrow' - on the XR March. London 2019
Magpie on the march
Photpgraph: Philip Webb Gregg © 2019

I buy a roll of toilet paper with Trump’s face on from a man with a supermarket trolley overflowing with them. “For the cause!” he waves a revolutionary fist.

Just as I’m thinking of leaving, I pass the central podium. On it is a man, standing staring into space. The audience, some thirty or forty people, is enthralled, looking up at him with their mouths open. He’s holding a device in his hand, either an MP3 player or a phone, and from it trails a wire. The wire leads into an amp, and a second wire links the amp to a set of speakers on either side of the podium. From the speakers — a pair of massive monoliths standing like two-thirds of a trilithon — comes the sound of birdsong.

It booms across Parliament Square with an eerie softness. Nightingale, chaffinch, common blackbird, magpie, green woodpecker, great spotted woodpecker, greenfinch, garden warbler, European robin, starling, lapwing, goldfinch, redshank. On and on, and on. There is utter silence in the crowd for at least 20 minutes, and then people start to laugh and cheer. They try to imitate the calls, falling into peels of laughter at the difficulty. Everybody is clapping furiously and chirruping at the top of their lungs. There is a beautiful madness to the moment that feels like sanity at last.

Bushcraft and birdsong

It is two weeks and three days later. Monday the 6th of May. I have just returned from the ‘Bushcraft and Survival’ weekend and I am in the garden of our tiny London flat, kneeling over the raised beds pulling up unwanted life. Weeding is a necessary death, I think. All around me is the furniture we’ve built from up-cycled pallets and discarded planks of wood. ‘Frankenstein furniture’, we affectionately call it.

Bushcraft - cultivating the garden in the city
In the garden
Photograph: Philip Webb Gregg

Today the UN released its biodiversity report, otherwise known as the Summary for Policymakers IPBES Global Assessment. It’s a dense document, replete with all manner of figures and statistics. The numbers are intimidating and complex, but they add up to a series of simple truths:

      • Due to human civilisation, 1,000,000 species are threatened with extinction.
      • Three-quarters of the land-based environment and about 66% of the marine environment have been significantly altered.
      • More than a third of the world’s land surface and nearly 75% of freshwater recourses are now devoted to crop or livestock production.
      • Urban areas have more than doubled since 1992.
      • Plastic pollution has increased tenfold since 1980.
      • The amount of plastic and pollutants in the ocean have created over 400 ‘dead zones’, the total area of which is larger than the United Kingdom.

The report, compiled by 145 experts over the course of three years concludes that ‘Transformative Changes’ are needed to restore and protect nature. The current global response is insufficient.

I sit in the sunshine and listen as the radio feeds me these facts, these prophecies and warnings, and I think of ancient Rome. I think of Pompeii, of the portents of disaster that were not heeded. I think of Cassandra running toward the Trojan Horse with a burning torch in one hand and an axe in the other, screaming: “Death is within!” But of course, no one listened.

I wonder if this will be any different, as I pluck baby weeds from my bed of courgettes. I think about the nature of human nature, and the difficulty of staying sane in an irrational world. I think about revolution and wilderness and the beautiful indifference of it all. Suddenly there’s a sound. I look up into the sky.

Birdsong.

Find out more

The ‘Bushcraft and Survival’ weekend course Philip took part in is run by Woodland Ways, a family-run bushcraft company employing a small close-knit and highly experienced team of individuals.

The Dark Mountain Project recently published Questions for the Woods by Caroline Ross — who enters the liminal territory of the forest and forges a wild camp by a fallen oak — as part of their new ‘Becoming Human’ section, which explores the physical, psychological and experiential aspects of our current predicament and how we might realign our bodies and minds with the living world. 

The 2018 Woodland Statistics report is available to download from Forest Research.

You can find all the news and actions from XR, and how to get involved, at Extinction Rebellion.

And if you’d like to consider birdsong and, among other things, the difficulty of human reproduction of it – in this case through music – you might take a look at my piece, Interstices of Things Ajar, from March 2017…

Philip Webb Gregg
Philip Webb Gregg
A writer of ephemeral things for beautiful places, exploring the disconnect between human nature and nature nature, and grappling with themes of faith, folklore and narratology.
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