Conserve? Restore? Rewild? Ecopoetics and Environmental Challenge

Filmmaker James Murray-White returns to ClimateCultures with his review of a recent event on ecopoetics and our responses to environmental crisis. The one-day meeting was held at GroundWork Gallery in Kings Lynn on 1st September. 

 

approximate Reading Time: 5 minutes   


Groundwork Gallery, run by powerhouse director Veronica Sekules, backs up its exhibitions of work focusing on the environment with events that deepen the discussion. This combination brings us in as participants, helping us to sharpen our understanding and to critically engage with the issues.

Conserve? Restore? Rewild? Arts and Ecopoetics Rise to the Challenge was one such bringing-together — the last of the 2018 season — with poets, academics, and ecological thinkers-and-doers gathering in a wonderful 14th-century building by the edge of the lapping River Ouse. This special event — organised with the British Ecological Society — gave us a day to dive deep, listen and engage with ideas of ecopoetics at the crossroads of conservation, restoration, and re-wilding. An opportunity to question all these options and find the best fit.

Ecopoetics and provocations

Judith Tucker and Harriet Tarlo talking about their work at a previous GroundWork Gallery event
Source: www.groundworkgallery.com

Curated by poet Harriet Tarlo and artist Judith Tucker, whose collaborative project on the disused Louth Canal is on display at Groundwork, the day divided into discussions on rewilding and on art or eco-poetic contexts. Andrew Watkinson, Professor of Environmental Sciences at UEA, offered a provocation in his ‘reflections upon a changing environment’, reminding us of the ‘environment as natural capital’ approach that is so favoured by politicians and business leaders. He referred to the schism of thinking on this, as exemplified by leading green writers George Monbiot and Tony Juniper; it reminded me of a debate between the two men that I filmed at the New Networks for Nature conference in 2015.

What was refreshing about this presentation was Professor Watkinson’s deep engagement with poetry as a source of inspiration and knowledge, which he wove through his scientific explanations of the processes of change and the interactions within an ecological framework.

By bringing into his talk Cambridgeshire-poet John Clare, Edmund Spenser’s The Faerie Queen and Russian poet Yevgeny Yevtushenko, Andrew gave a range and breadth to the provocation. And this came after renowned ecocritic and writer Richard Kerridge delivered a polemic on the world of ‘new’ nature writing: “Why is it difficult to write about environmental crisis?” he asked us; and “Where is climate change? Everywhere and tangibly no-where”.

Andrew Watkinson
Photograph: Pippa Lacey © 2018

Richard ranged from unpicking ideas of ‘adaptations of scale’ through to exploring the stories of ‘new materialism’, which (to quote Hannes Bergthaller, writing on Limits of Agency) “dissolves the singular figure … into the dense web of material relations.” Skilfully, he both beguiled and shocked his audience in this exploration of a new and uncharted territory and discipline, leaving us with the remark that ‘new nature writing’ “offers a refuge from modernity and the narrow social space.”

Wild conversations

Jonathan Skinner, an American poet, ecocritic and academic at Warwick University, sought to find a middle way in his ‘poetics of the third landscape’: a gentle meander into and out of the edgelands. To those of us that walk them, these liminal spaces suggest exciting possibilities and subtleties. His description of the “intelligence of the weedy, where lifeforms, rhizomes or rooting plants exist for co-created futures” resonated with me. And his introduction of the phrase ‘entropology’ brought to mind a recent exploration of the Blackwater estuary in Essex where, alongside the decommissioned nuclear power plant, I discovered the old electricity generating station, now completely overcome with wild nature, trees and scrub of all description topping out above the metal and phantasmagoric shapes.

Richard Kerridge
Photograph: Pippa Lacey © 2018

These three presentations in the morning set the scene for the day. Following on, artist Iain Biggs explored ecopoetics and art as ‘wild conversation’ through his work in deep mapping, and in explorations of the artist as “first and foremost, a deep listener”. This melted beautifully into writer Elizabeth-Jane Burnett’s sharing of some of her projects, taking us into deep elemental knowledge, in Swims (2017) — poetry inspired by and written during wild swimming — and The Grassling (2019), a deep mapping memoir of three Devon fields that she and her family are connected with.

Her work — and then the subsequent session with readings from the featured writers — came as a refreshing tide of words that uplifted and delighted the audience. Down with the seals in the depths of the estuary flow, amongst the eco-poetics embodied in this day in Kings Lynn, in the deep county of Norfolk. 


Find out more

James Murray-White is a writer and filmmaker whose recent work has been in the areas of art and neuroscience, applied anthropology and the lives of poets. You can discover more about his work via his ClimateCultures profile pageYou can watch James’ film about John Clare at his Vimeo page. The George Monbiot and Tony Juniper debate he mentions took place at the New Networks for Nature conference at Stamford Arts Centre in 2015; his three-part film of the debate is available at Cambridge TV. James is GroundWork Gallery’s filmmaker in residence and you can see some of his films of artists at the gallery on their People page.

GroundWork Gallery in King’s Lynn shows the work of contemporary artists who care about how we see the world. The gallery’s exhibitions and creative programmes explore how art can enable us to respond to the changing environment and imagine how we can shape its future. The information on their Conserve? Restore? Rewild? event includes links for each of the day’s speakers.

Jonathan Skinner — one of the speakers at the event — has a short piece on What is Ecopoetry? at eco-poetry.org 

The event was organised with the British Ecological Society. The Society and Norfolk Wildlife Trust also sponsored Regarding Nature, GroundWork Gallery’s photographic exhibition (23rd June – 16th September 2018). “Regarding Nature is an exhibition which tells some big stories about landscape. Through the eyes of French photographer Chrystel Lebas and her scientist predecessors in the early 20th century, it focusses on the plants and landscapes of the North Norfolk coast.”

Naturalist

Clare Crossman's recent Members' post for ClimateCultures featured the first six of her sequence of poems illustrated by Victor Ibanez. Here, we welcome Clare back to share the final half dozen poems from the sequence, including Naturalist. 

approximate Reading Time: 10 minutes


Gold Finches

Gold Finches
Text: Clare Crossman © 2016; Illustration: Victor Ibanez © 2016
www.clarecrossman.net

Naturalist

Naturalist
Text: Clare Crossman © 2016; Illustration: Victor Ibanez © 2016
www.clarecrossman.net

Cabbage White Butterfly

Cabbage White Butterfly
Text: Clare Crossman © 2016; Illustration: Victor Ibanez © 2016
www.clarecrossman.net

June at Docwra’s Manor

June at Docwra’s Manor
Text: Clare Crossman © 2016; Illustration: Victor Ibanez © 2016
www.clarecrossman.net

Solstice

Solstice Text: Clare Crossman © 2016; Illustration: Victor Ibanez © 2016 www.clarecrossman.net

Burlton’s Farm

Burlton’s Farm
Text: Clare Crossman © 2016; Illustration: Victor Ibanez © 2016
www.clarecrossman.net

 

Find out more

Clare’s first post for ClimateCultures, In the Blackthorn Time, featured the first six of her sequence poems: The Window, The Pear Tree, The Violets, A Triolet, Marmora Road in Summer, and In the Blackthorn Time. Gold Finches, Naturalist, Cabbage White Butterfly, June at Docwra’s Manor, Solstice and Burlton’s Farm complete the sequence, and all twelve collages are for sale. The collection is framed and available for exhibition display on request. You can contact Clare via her website.

Clare Crossman’s pamphlet Landscapes won the Redbeck competition in 1997 and since then she has published three collections of poetry, Going Back (Firewater Press, Cambridge), The Shape of Us and Vanishing Point (Shoestring Press, Nottingham). A third collection Common Ground is due in autumn 2018. Her poems have appeared in many anthologies. She performed and wrote Fen song: A Ballad on the Fen in 2006 with the singer-songwriter Penny Mclaren Walker.

Victor Ibanez trained in Fine Art at Art School in Kent. He has worked in graphic design, advertising and television. He is currently a member of Cambridge Art Salon and has facilitated many arts events during The Romsey Festival, in the Mill Road and Romsey areas of Cambridge, in collaboration with Ruthie Collins at Art Salon and Nick Hall at Vinopolis. Victor runs a regular life drawing class. You can see more of his work at his Facebook page.

A Triolet was included in a short film by Jonnie Howard about the first Pivotal Festival in Empty Common, CambridgeGoldfinches was commended in The Barn Owl Competition, Devon. The Window was recorded for Fen Song A Ballad of the FenAnd Clare reads a number of these poems and others in The Pear Tree, a film by Victor Ibanez, which you can find at his YouTube channel. 

In the Blackthorn Time

It's a real treat for ClimateCultures to be able to offer original creative works from our Members, and the latest such offering is something special. Poet Clare Crossman created a sequence of poems on nature and climate change, each one illustrated by Victor Ibanez, for an appearance at Pivotal Festival in 2016. Here, she offers a short introduction with the first half dozen of these works, including In the Blackthorn Time; the remaining six feature in her second post, Naturalist

approximate Reading Time: 10 minutes  


In the Blackthorn Time and other poems is collaboration with multi-media artist Victor Ibanez. The poems are concerned with the state of the land and the natural world in the South Cambridgeshire countryside close to where I live. Recently, through volunteering with Melwood Conservation Group, I became very interested in climate change through contact with Bruce Huett, a member of the Climate Histories Group at Cambridge University. These poems were first performed at a small Pivotal Festival concerned with climate change, run by James Murray-White over a weekend on the site of the Cambridge Museum of Technology. The poem A Triolet was recorded also at The Empty Common Community Garden Party run by Michelle Golder with Transition Cambridge, as part of the climate change movement in Cambridge.

The Window

The Window
Text: Clare Crossman © 2016; Illustration: Victor Ibanez © 2016
www.clarecrossman.net

The Pear Tree

The Window
Text: Clare Crossman © 2016; Illustration: Victor Ibanez © 2016
www.clarecrossman.net

The Violets

The Violets
Text: Clare Crossman © 2016; Illustration: Victor Ibanez © 2016
www.clarecrossman.net

A Triolet

A Triolet
Text: Clare Crossman © 2016; Illustration: Victor Ibanez © 2016
www.clarecrossman.net

Marmora Road in Summer

Marmora Road in Summer
Text: Clare Crossman © 2016; Illustration: Victor Ibanez © 2016
www.clarecrossman.net

In the Blackthorn Time

In the Blackthorn Time
Text: Clare Crossman © 2016; Illustration: Victor Ibanez © 2016
www.clarecrossman.net

Find out more

I first ‘met’ Clare through her post reflecting on William Blake’s poem, London, which she contributed to the Finding Blake site I set up with James Murray-White and Linda Richardson. Since then, I have developed Clare’s new website for her poetry and I’m working on a new site for Waterlight, a creative environmental project she’s launched with James Murray-White, Bruce Huett and others, exploring her local river, the Mel, in Cambridgeshire. (Site coming soon, but you can read about the project at Clare’s blog on her site).

Clare Crossman’s pamphlet Landscapes won the Redbeck competition in 1997 and since then she has published three collections of poetry, Going Back (Firewater Press, Cambridge), The Shape of Us and Vanishing Point (Shoestring Press, Nottingham). A third collection Common Ground is due in autumn 2018. Her poems have appeared in many anthologies. She performed and wrote Fen song: A Ballad on the Fen in 2006 with the singer-songwriter Penny Mclaren Walker.

Victor Ibanez trained in Fine Art at Art School in Kent. He has worked in graphic design, advertising and television. He is currently a member of Cambridge Art Salon and has facilitated many arts events during The Romsey Festival, in the Mill Road and Romsey areas of Cambridge, in collaboration with Ruthie Collins at Art Salon and Nick Hall at Vinopolis. Victor runs a regular life drawing class. You can see more of his work at his Facebook page.

The Window, The Pear Tree, The Violets, A Triolet, Marmora Road in Summer, and In the Blackthorn Time are the first six in Clare’s sequence of collages with Victor. The sequence is completed with Gold Finches, Naturalist, Cabbage White Butterfly, June at Docwra’s Manor, Solstice and Burlton’s Farm (contained in Clare’s next post, Naturalist), and all twelve collages are for sale. The collection is framed and available for exhibition display on request. You can contact Clare via her website. 

A Triolet was included in a short film by Jonnie Howard about the first Pivotal Festival in Empty Common, CambridgeGoldfinches was commended in The Barn Owl Competition, Devon. The Window was recorded for Fen Song A Ballad of the FenAnd Clare reads a number of these poems and others in The Pear Tree, a film by Victor Ibanez, which you can find at his YouTube channel. 

Rock Pools in the Desert

We welcome back artist Robynne Limoges, whose series of photographs and short essay Black Haiku: Poems for Dark Times featured on ClimateCultures in March 2018. Here, with Rock Pools in the Desert, Robynne returns with a series of evocative abstract images that reflect her feelings on the critical issue of water scarcity.

approximate Reading Time: 3 minutes


The scientists, researchers and scholars who are part of ClimateCultures will be able to provide more up-to-date statistics than I am able to on the subject of the paucity of water around the world and the state of the world’s deserts.

But I will introduce my photographic series, called Rock Pools in the Desert, by sharing a few (most likely already out-of-date) statistics from Lifewater, for World Water Day 2018, elucidating a few of their 10 Facts About the Water Crisis:

  • 844 million people live without access to clean water. This corresponds to approximately one in ten people on Earth, or approximately twice the population of the United States.
  • More people die from unsafe water than from all forms of violence, including war.
  • One in three people — 2.4 billion — lack access to a toilet.
  • Water-borne diseases kill more children under the age of five than malaria, measles and HIV/AIDS combined.
  • In developing countries, as much as 80% of illnesses are directly linked to poor water and sanitary conditions.
  • Women and girls spend up to six hours every day walking to get water for their families, water that can often make them sick (in Africa and Asia, the average walk to collect water is 3.7 miles, every day).
  • 443 million school days are lost each year due to water-related diseases.
  • Time spent gathering water around the world translates to $24 billion in lost economic benefits, furthering the cycle of poverty.
  • The ever-increasing demand for water makes it a frontline issue for survival.

There are many more statistics available. The deterioration of our water supplies and the increasing deserts that will follow are also addressed by the University of Maryland. In their April 2018 report, they show that the Sahara Desert has become 10 per cent larger (10 per cent!) in the past century.

I sincerely hope that my deep concerns for the state of the physical world — and for the lack of productive leadership shown around the world to save our planet, its people, its wildlife and marine life — are shared by increasing numbers of organisations and individuals who possess the ability and funding to save our future. Thus far, I have only proof of the opposite.

And so, as I did in Black Haiku: Poems for Dark Times, in this submission Rock Pools in the Desert, I am interpreting my own feelings through a series of metaphorical images. The series came about in a somewhat interesting way, to me at least. I found myself standing in front of a scratched, hammered stainless steel sink. To the right of me was a window onto the sea. As I looked at the dried droplets while I was washing my hands, I thought, ‘yes, this is it. This is the last bowl of water I will have at my disposal, the last source of water’.  I stared at it so hard that I began to focus on the change in light from the out-of-doors and how it affected the surface, the water and the scratches. I returned to that sink many times, at different times of day and photographed it at different angles over time. I actually became a bit obsessed by its changing nature. 

I offer you just six of the 70-plus images I took of one single object that became for me the entire subject of water.

Rock Pools in the Desert

NB: Click on the image to enter slideshow and view full size.

Rock Pools in the Desert I, Robynne Limoges
« 1 of 6 »

(All images are © Robynne Limoges 2018 and are not to be reproduced or used without her written permission. Please contact her via her website at www.RobynneLimoges.com )


Find out more

You can explore more of Robynne’s work via her ClimateCultures Directory profile, and her earlier post: Black Haiku: Poems for Dark Times

Lifewater is a Christian clean water organisation that, for more than 40 years, has been bringing clean water, improved health, and hope to vulnerable women and children living in extreme poverty. Their Water Crisis factsheet – which includes 10 Facts About the Water Crisis and the sources of the statistics, can be downloaded here.

World Water Day – 22nd March every year – is about focusing attention on the importance of water. The theme for World Water Day 2018 was ‘Nature for Water’ – exploring nature-based solutions to the water challenges we face in the 21st century.

The University of Maryland research on the expansion of the Sahara desert was reported in Science Daily (29/3/18): “The researchers concluded that … natural climate cycles accounted for about two-thirds of the total observed expansion of the Sahara. The remaining one-third can be attributed to climate change, but the authors note that longer climate records that extend across several climate cycles are needed to reach more definitive conclusions.”

Placing the Sea

It's a great pleasure to welcome new Member Wallace Heim with her first post for ClimateCultures. Wallace - a researcher and writer on performance and ecology - recently completed 'the sea cannot be depleted', her online project exploring the military exploitation of the Solway Firth. Here, she shares her reflections on the inspiration behind this powerful project and her creative process.

approximate Reading Time: 6 minutes

Outrage is compelling. It moves you. It flares around an event, lining up adversaries as it draws temporary certainties from the flux of life.

The UK Ministry of Defence (MOD) fired at least 30 tonnes of artillery shells containing Depleted Uranium into the Solway Estuary to test those munitions on behalf of an unnamed ‘customer’. The firings began in the 1980s, from the Scottish side, with the last firings in 2011 or 2013. The MOD justified this illegal dumping of radioactive waste into the sea as being ‘placements’. Attempts to retrieve the shells have failed. Their locations are unknown.

DUFERC Meeting 36, 17 June 2004
Photograph: Wallace Heim © 2018 theseacannotbedepleted.net

Responses to this news slide easily into anger for the injustice of these firings and shock at their stupidity, alongside a desire for accountability or reparations by the military, which will not and cannot be met. But what happens when the clarity of outrage, and its certainties, get mixed up with everyday life? When they somehow bind with a place, when they merge and dissolve into it, like the radiating materials drifting in the Irish seas?

“No brink of the end of humanity was gazed over. It barely made the news … Thousands of years pissing in the sea with everything we can’t digest, all the rancid debris that we could throw in there, all of it, and now this … The military got it the wrong way around. They didn’t place the uranium. No. They placed this estuary. They made it into their place. They made it into their military nuclear sea," the Man says.

Sensing the insensible

‘the sea cannot be depleted’ is an online project, composed of three parts: a spoken word and sound piece for three voices, accompanied by essays and by documentation about the firings and the effects of Depleted Uranium. The sound piece is fictive, based on interviews and research. In it, a Man speaks from the Scottish side of the estuary, the firth, an area of cliffs, bays, granite and farms. A Woman speaks from the English side, flat lands of ancient peat, grasses and farms, around the headland from the civil-military nuclear industries of West Cumbria. And a Diver speaks as she enters the night sea:

“On the edge here, soft sand, bird tracks and worm casts and the plish of water on my bed-bare feet. More salt than fresh. Read the surface for danger. Go in, between heartbeats, mine and the sea’s … Tentacles brush my legs. Wrapping me in the softness of their sucking, jelly skins. They are curious about me. Me. Am I food? … Drifts of something cloud my eyes. Plankton wandering in from far seas. I swim in sex and food and sea talk.”

The form of the piece was shaped by my need to ‘hear’ the radiation, to have it enter somehow directly into the human ear. And by the negotiations of outrage and conflict that were needed in order to understand and express something of the turbulence of unknowable consequences and the transfiguration of uranium let loose in the continual, mixing tidal forces of an estuary. 

Radiation cannot be heard, smelled or touched, but is known through the rattled clicks of the technologies that measure it and make it perceptible to humans. Those sounds are too familiar. I wanted to hear it and to represent it through the human voice, through its vibrations and resonances as well as through the articulations about the effects of knowing what has been buried. The music by Pippa Murphy, too, does not use conventional ‘nuclear’ sounds, but creates a melodic line, that holds, falls apart, dissolves, and reforms.

Nuclear issues are stark and divisive. My certainties are reasoned, ethical and emotive: I find these military actions unjustifiable, expressive of hubris and embedded in a global economy of harm. I had to relate those certainties to the government position which supports the use of Depleted Uranium, and to the scientific reports available, both by independent researchers and the military. The latest find that ‘uncertainty’ characterises what is possible to definitively measure; no one ‘knows’.

From a public road on the Kirkcudbright Training Area
Photograph: Wallace Heim © 2018 theseacannotbedepleted.net

Against the against

I did not want to set out adversarial arguments between conflicting sides, as if that was a kind of balance or a reliable process towards truth. Nor did I want to hone the subject matter into something more solidly activist. Rather, for the Man and the Woman who reflect on their relation to the sea and the firings, I wanted to keep to the outrage, but as it is compromised and embedded in everyday life.

The action in theatre, by historical conventions, moves with the forces of adversarial human conflict; two sides, with variations. But theatre and performance have, for the past decades, developed other dramaturgical strategies, broadly categorised as the postdramatic, for creating flow, mood, character and vibrancy. The ‘two-sides’ device has seeped away from some performance practices as it doesn’t adequately allow for a genuine expression of a situation or condition. At the same time, in ecological thinking, the entwining of human conflicts with environments, waters, lands, other living beings, or perceptions of nature – are complicating the order offered by adversarial conflict and requiring other ways to comprehend and address what is a condition of life, one that is pervasive, intractable, characterised by uncertainty and a lack of lasting solutions.

The firings were a rehearsal for war and were hostile fire on a home sea. How can one understand the slow corrosion that endures? What does it mean for a place, a people, to cohere with the unseen objects of war? How do you make a life with, or disavow, the symptoms of the civil-military nuclear complex? How does the knowable coalesce with the not-knowable?

“How do you keep safe? 

The Military devised tests to prove these firings were safe for humans. They measured seaweed and crabs and grit and urine. What they forgot was the sea. They forgot the turbulence, the planetary forces of gravity pulling oceans across a chiselled bed. They forgot the curiosity of the tender animal, too small for any net. They forgot that some humans are pregnant women. 

It’s probably all right. It has to be. We have to live as if it was. 

The swells of silences, they hold us tight … What adds up, what counts on this coast is what keeps the working public paying taxes. That’s what keeps things quiet … The sea will loosen and unravel all that we can’t talk about," the Woman says. 

Crossing the threshold

The Diver is a different kind of force, ambivalent between the imaginal and the real. She speaks of her sensed perceptions as she repeatedly dives below the sea surface. She sets out with promise and high delight but stays too long. She passes that threshold when coming back would be possible, making a loose association with the nuclear dream and the impossible scramble to return to a world without its waste.

“My body curls and tumbles. It joins the pock-marked hard things that roll along the bed. We’re a pulse of moving things. Another brush of something like dust. My skin starts to bleach with it. I’m burning, down here with no light, no air … I cool my body in a garden of soft-skinned creatures … Everything moves, the living with the dead. Lives within lives. Our cells are the lenses through which we see our futures. We are all transparent to the longer waters of the sea ... ”

The uranium was pulled by brown hands from hot, dusty places, fabricated and made into rich pieces of tradeable merchandise. The military sent those high-priced shells out over the miles of waiting water. In the instant that they touched the sea surface they were waste. As they bedded into the soft sands, they began their dissolution into sea salts and the human imagination. ‘the sea cannot be depleted’ takes off from what seems like discrete events, but those events are only part of a long arc that has no end.

Sandyhills
Photograph: Wallace Heim © 2018 theseacannotbedepleted.net

Find out more

‘the sea cannot be depleted’ was written and produced by Wallace Heim, with music and sound composition by Pippa Murphy and the voices of Camille Marmié (Diver), Vincent Friell (Man) and Lisa Howard (Woman). The project was funded by Future’s Venture Foundation, Manchester.

You can hear the full dramatised audiopiece for ‘the sea cannot be depleted’, and view Wallace’s extensive research journal and other background documents about Depleted Uranium, the MOD’s firings into the Solway Firth and the area itself, at the sea cannot be depleted. And you can explore more of Wallace’s work via her ClimateCultures profile page.

Wallace has also shared a number of references you might like to explore:

Heim, Wallace (2017). ‘Theatre, conflict and nature’ in Performance and Ecology. What Can Theatre Do? Ed. Carl Lavery. London: Routledge. also in: Green Letters. Studies in Ecocriticism. (2016) 20:3. The journal is behind an academic firewall, and the book is exorbitantly priced. Please email me if you would like a pdf of the article: home[at]wallaceheim[dot]com

On the ‘postdramatic’:

Lehmann, Hans-Thies. (2006). Postdramatic Theatre. Trans. Karen Jürs-Munby.  London: Routledge.

Jürs-Munby, Karen (ed). (2013). Postdramatic Theatre and the Political. International Perspectives on Contemporary Performance. London: Bloomsbury.