The Dark Mountain Blog

The Ghost of Islands Past

Habitat Island 1

Several times a month I cycle by a small island located close to the south shore of Vancouver’s False Creek, a narrow inlet that separates the downtown peninsula from the city. South East False Creek (SEFC), where the island is situated, was the site of the Olympic and Paralympic Athletes’ Village for the 2010 Winter Olympic Games. The island’s profile is quintessentially Canadian – rocky shore, brush, tall spikey trees, it is like something from the brush of a wilderness painter. Maybe this connection is what makes it seem strangely familiar, like something I can’t quite remember. The first few times I rode by I did not see anybody on the island, just standing and looking at it from the shore. But over time numbers grew – people began to sit on one of its logs or rocks, walk its path, or lie on its shore. Once when I passed by there was a bald eagle settled on the top of one of its trees.

The island wasn’t always there. It wasn’t there when I left the city in 2007, but when I came back in 2011 it was, a small island connected to the shoreline by a stone walkway. Since I first noticed it, it has fascinated me and drawn me to it for reasons I didn’t fully understand. I resolved to enquire into where the island came from, why it was there, and try and uncover what story it might have to tell. I decided to follow my intuition, which told me that it had something to tell me about a world diminished and in decline.

False Creek, where the island is located, was once marine estuarine wetlands. Historic descriptions of the area describe tidal grasses and swamps at low levels, while higher upland there were dense bushes of Pacific crab apple. Early First Nations people – Musqueam, Squamish, and Tsleil-Waututh – came to these shores to fish, hunt and harvest the local plants. The land was then settled by primarily European populations (although no treaties ceding this land to the incoming settlers were signed by the First Nations). Serious ecological changes began to occur through the late 1880s and the early decades of the 20th century with the rise in immigrants, increased economic growth, and the arrival of the railroad. The wetlands were dredged into a 150 metre wide, 7 metre deep canal used for local and regional trade. The increase and importance of lumber in BC also created a need for the waterways to become a zone for lumber storage. Industrial and residential developments in the 1950s through the 1970s resulted in the extensive fill of the area, leaving it without a natural shoreline. As a result of development and ensuing destruction of habitat, species were pushed out and False Creek was turned into an industrial brown field: an area degraded from decades of industrial pollution.

In recent years False Creek light industry has been moved out and the lands have been slowly remediated and developed for housing and entertainment venues (BC Place Stadium, Edgewater Casino and Science World). The 32 hectare South East False Creek Neighbourhood is one of the last areas of False Creek to be developed and is advertised as ‘one of Canada’s leading sustainable communities and Vancouver’s first comprehensive sustainable neighbourhood development… [It] will, when fully developed, provide a mix of land uses, be home to 10,000 – 12,000 people in market and non-market housing, and demonstrate exemplary practices in energy and water conservation, innovative infrastructure practices and transit oriented development.'(i)

Condos at the site were initially used to house the athletes during the 2010 Winter Olympic and Paralympic Games. While the original plan was for the post-Games development to include two-thirds affordable social housing, it ultimately became almost exclusively market driven, with condo prices now in the range of $1,000,000.

It was as part of the landscape design for SEFC that a 0.6 hectare island was created. Sixty thousand cubic meters of rock, cobble, gravel, sand, and boulders left over from construction of the Athletes’ Village were used to build the island, shoreline, and inlet. Indigenous trees, as well as shrubs, flowers, and grasses were planted along the waterfront path and on the island. The island was originally designed to be completely inaccessible during high tide, but public safety concerns and fears that people would get stranded on the island at high tide resulted in the creation of a rocky pathway to the island making it, technically, a peninsula. The island’s street address is 1616 Columbia Street, and its official name is Habitat Island.

It seems that the main reason Habitat Island was built has to do with the federal Department of Fisheries and Oceans. Prior to SEFC being developed in 2007 the shoreline on the south side of False Creek was about three blocks back from where it is now. In order to make new land for construction, developers had to fill in that portion of the creek. At the time, the DFO had a process wherein if a project near water was anticipated to cause damage to fish habitat then a compensation agreement had to be reached. In the case of False Creek compensation for habitat loss was arrived at by having developers increase the shoreline by a margin of two to one. Given the space restraints at SE False Creek, the solution was to build an island.

Habitat Island was soon identified by the Vancouver Parks Board as a site that should be included as part of their rewilding plan, an element in the City’s ‘aspirational goal’ to become the Greenest City in the World by 2020.

Since Vancouver was incorporated in 1886, observe the authors of the plan, ‘We have buried nearly all of our former salmon streams; driven species like the yellow-billed cuckoo, western bumble bee and spotted skunk to local extinction; and cut down forests that were taller than any still standing in Canada today.'(ii) But while nature has been diminished, Vancouverites, argue the authors, maintain an enduring attachment to the natural world.

‘Vancouverites deeply value their mountains, ocean and the Fraser River. Within city limits it is possible to see sights – immense flocks of snow geese, prowling coyotes, pods of porpoises – that are the equal of the wildest parts of many nations. We live in perhaps the only big city on earth in which a wild-living creature – salmon – is a part of our identity, as it has been since the Musqueam, Squamish and Tsleil-Waututh Nations first cared for these lands and waters.'(iii)

The hope is that by pursing a policy of rewilding, citizens will have more access to the natural world and nature will have more access to the city. ‘It is possible to imagine a city where everyone can have rich and meaningful experiences in nature as a part of their everyday lives.'(iv)

One of the objectives of this policy is to create Special Wild Places in the City. This includes the identification of 28 biodiversity ‘hot spots’. Sites are located on public and private lands across the city and include forest, shoreline, stream, wetland, and marine environments. Habitat Island (coupled with Hinge Park) is included on this list of hot spots:

’27. Hinge Park + South East False Creek Habitat Island. Hinge Park is a small stormwater-fed wetland that is rich in bird life. It connects to the restored shoreline of south east False Creek including a constructed island and intertidal zone. The cobble intertidal zone around the island has been used for herring spawning which has contributed to the return of sea birds and other species. Together these natural areas showcase the City’s recent efforts to restore natural areas within urban neighbourhoods.'(v)

Proponents of the plan note that the island’s vertical snags, native vegetation, and a natural shoreline have already attracted a range of wildlife, including bald eagles and a variety of waterfowl. Fish are also returning. Pacific herring (one of the key indicator species for the health of inter-tidal habitats and a vital food source for Pacific salmon, sea lions, seals, porpoises, eagles, gulls, cormorants and other diving birds) have returned to spawn for the first time in many years. Possibly as a result of the herring spawn, orcas have recently been seen chasing dolphins into False Creek, and a grey whale swam into English Bay for the first time in decades.

Unfortunately, Habitat Island’s visual similarity to a Canadian wilderness island seems to have made it irresistible to visitors yearning for a bush party experience in an urban setting. As a result, by the summer of 2014 Habitat Island was being called by another name: Beer Island.

When recommending the site for locals and tourists, the Bored In Vancouver website says:

‘”Why Beer Island?” You may be asking… Well, for one reason, it’s a heck-of-a-lot better name than ‘habitat island’. Also, this little island (more of a peninsula type thing) is a great location to crack a beer with friends and enjoy a front row view of False Creek, BC Place, Yaletown, and Science World.

A beautiful location, a nature-friendly habitat, and an island that only has one entrance and exit, which makes it much easier to hide tasty bottles of the island’s new namesake if a disciplinary force so happens to come by.

Beer Island can be found in the Olympic Village area. You’ll know it when you see it, it’s in the water. And, it looks like an island.'(vi)

During the pleasant summer weather of 2014 the evidence of partying – empty beer cans, bottle caps, cigarette butts, and beer cases – could be seen littering the island. Parks board commissioner Constance Barnes told the press, ‘What we don’t want to do is discourage people from having a nice beautiful space to go and enjoy. If you’re going down and have a beer and you’re having a picnic or you’re playing your guitar, I don’t see that the park board would really come down on you for that.’ But the parks board asked visitors not to litter or damage the island’s vegetation or be disrespectful of other people using the island.(vii)

The Vancouver Police Department has taken steps to patrol the island more regularly so as to kerb the rowdier antics. The last time I visited the island my friend and I observed a couple enjoying a toke while looking out over the city skyline. Two VPD officers passing by on bicycle patrol saw them and escorted them off the island.

This vigilance has had at least some effect and this winter there is less evidence of serious partygoers on the island (although it seems unlikely that they won’t return with the warmer weather).

Habitat Island is clearly many things to many people. Initially created to fulfill a bureaucratic requirement in the development of an affluent new neighbourhood, it became an element of a rewilding policy and a destination for urban partyers. Might it also be a work of contemporary ecological art? The island is in close proximity to several pieces of public art, including three major ecological pieces. And it has parallels with the work of ecological artists who fuse natural and human elements in an urban setting. In the case of Habitat Island these natural elements include habitat for birds and fish (bird feeders, nesting opportunities, spawning habitat) which, an artist may argue, allow for damaged nature to be repaired in a beautiful and meaningful way. Human elements include its educational value – enlivening the curiosity of people passing by and visitors, Habitat Island stirs interest in the birds, fish that now live there, and raises questions about the loss of nature in the city. As well, people may stop and ‘look’ at it like an art piece, appreciating its whimsy and sense of fun.

Viewed from this perspective, the island is in the company of Cascadian artworks that revere the natural world:

‘Certainly one of the most distinctive cultural values to emerge from Cascadia is an informal, non-sectarian, virtually universal reverence for nature. In the Pacific Northwest, where traditional religion does not pervade the cultural landscape, nature religion … And the visual art we most treasure in Cascadia’s galleries and the stories we read by its most cherished writers are invariably suffused with nature reverence. The popular visual artists, such as B.C. painters Emily Carr and Jack Shadbolt and Washington’s glass-blowing Dale Chihuly, continually employ images of nature to symbolize transformation, power and mythology.'(viii)

But the ecological works that are in close proximity to the island are critiques – they hold up a mirror to society and ourselves:

The Games Are Open by Folke Köbberling and Martin Kaltwasser (2010-2013): Construction on this larger-than-life bulldozer, located almost directly across from Habitat Island, began three months after the Athletes’ Village was vacated. During the Olympics great effort had been taken to protect the as-yet-unsold luxury condos from the foibles of their temporary residents – this included sheathing kitchen appliances in the ‘environmentally friendly’, biodegradable wheat board that was used to build the bulldozer. The artists understood that because the artwork was on City-owned land its fate would inevitably be determined by capital and municipal neoliberal strategies. They chose as a symbol a bulldozer, a destructive engine which would later morph into earth with the help of the community, who at the opening were invited to implant seeds into the structure. In the spring of 2013 the City added a thick layer of soil to the artwork to further its greening and within a week a local rogue gardener planted a vegetable garden on the site. That fall the City expedited the process by burying the sculpture and garden in another load of soil, and ultimately the bulldozer returned back into earth. Its remains sit in land slated for development, surrounded by a chain link fence.

The Games Are Open

The Birds by Myfanwy MacLeod (2010): Since being introduced to North America by English settlers in the 1800s (as pest control and out of feelings of nostalgia), sparrows have become so commonplace that they have driven out many other native species and wreaked havoc upon ecosystems. Parallel to this is the impact of white colonialists on the lives of indigenous peoples. The large size of the sparrows (5.5 metres high) makes a visual statement about this impact, while locating this artwork in an urban plaza highlights what has become the ‘natural’ environment of indigenous wildlife.

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A False Creek by Rhonda Weppler and Trevor Mahovsky (2012): Painted chromatic blue stripes on the pilings of the Cambie Bridge, which is visible from the island, mark the midpoint of the anticipated rise in sea levels that will occur with the melting of the earth’s major ice sheets (5 metres). The decorative effect of the stripes is ambiguous when considered in relation to the design’s purpose as a marker and a tool for visualization. Seen in relation to the scale of the engineering of False Creek and the Cambie Bridge, the scale of looming environmental change is visually and physically palpable.

A False Creek

So what happens if the island is viewed as a work of art that is not so much here to ‘repair and educate,’ but to critique? Given the history of False Creek over the past 150 years, it seems fairly straightforward to view the island in these terms. The island speaks to us about how nature has been manipulated and diminished by demands of colonization, capitalism, and bureaucracy; how rewilding is a limited, probably self-deceiving response to the fate that awaits us; and how imagination has failed us in our relationship with nature (Nature = Habitat).

But since first seeing the island I have felt there is something else. Probably because I was initially jarred by its appearance, a sense of familiarity while not having seen it before, it seems to me that the island may have something to say about forgetfulness. Sallie McFague, ecotheologian and Vancouver resident says: ‘Cities are made from nature; one could say they are “second nature”, made of transformations of energy from “first nature”. All human building and transformations are but changes within nature, for there is nothing “outside nature”. This deeper meaning of nature – nature as the source of energy that sustains all life and all change – is the nature we city dwellers tend to forget. We slip into simplistic, dualistic thinking when we think that nature in our cities involves only the trees, gardens and beaches – and that we create the rest….

‘Our gradual transformation of first nature, from when we lived as hunter-gatherers, into second nature – the twenty-first century city – now faces us with the deterioration and destruction of everything we hold dear. The human ability to distance ourselves from first nature, both by changing it and by objectifying it, is causing a deep forgetfulness to overtake us.'(ix)

Natural science and First Nations’ oral traditions tell us that False Creek was once a wetland rich in bird, fish, and animal life. But it has been so transformed that we have forgotten what it was and what we had, as everywhere we have forgotten our deep embeddedness in the source of life. Our efforts at remembrance result in the creation of pale imitations of the ‘natural world,’ a series of Habitat Islands. Ironically, as Beer Island the island has become a place we can go to lose ourselves even more deeply in this oblivion. I now think that what I have been seeing as I ride by on my bicycle is a phantasm, a ghost island, a glimmer from the past of a world soon to be gone forever. Judging by the blue stripes on the bridge, the waters will soon cover the island and surrounding land, at which point the traces of this memory will finally slip deep beneath the surface.

(i) PWL Partnership, ‘Southeast False Creek Partnership’ [accessed September 29, 2014].
(ii) J.B. Mackinnon, ‘Foreword’, in Vancouver Board of Parks and Recreation, Rewilding Vancouver: From Sustaining to Flourishing. An Environmental Education Stewardship & Action Plan for the Vancouver Park Board, July 2014, vi. [accessed October 21, 2014].
(iii) Mackinnon, ibid.
(iv) Vancouver Board of Parks and Recreation, Rewilding Vancouver: From Sustaining to Flourishing. An Environmental Education Stewardship & Action Plan for the Vancouver Park Board, July 2014, 5. [accessed October 21, 2014].
(v) Rewilding Vancouver, 52.
(vi) Bored in Vancouver, ‘Enjoy a Cold One on Beer Island’ [accessed October 25, 2014].
(vii) Ian Holliday, ‘Vancouver officials crack down on “Beer Island,”‘ July 10, 2014 [accessed October 25, 2014].
viii Douglas Todd, ‘Introduction’, in Cascadia: The Elusive Utopia. Exploring the Spirit of the Pacific Northwest, ed. Douglas Todd (Vancouver: Ronsdale Press, 2008), 19-20.
(ix) Sallie McFague, ‘Toward a New Cascadian Civil Religion of Nature’,  in Cascadia: The Elusive Utopia. Exploring the Spirit of the Pacific Northwest, ed. Douglas Todd (Vancouver: Ronsdale Press, 2008), 158-159.

Margaret Miller is a teaching assistant and editor living in Vancouver, Canada. She enjoys cycling around the city, looking at things. Sometimes she writes about what she sees.

 

Sea Siege

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England, bound in with the triumphant sea,
Whose rocky shore beats back the envious siege
Of wat’ry Neptune, is now bound in with shame.
Richard II, II.i

It comes, not with a whimper but a bang. I have seen climate change arrive on the shores of Southern England. I have stood, and quickly stepped back, witnessing its arrival. It is visceral and frightening and not about to be theorised. It is a successions of walls of green water, white capped in its eagerness to unfurl upon me, roaring louder than a highway and aimed directly at my cosy preconceptions of millimetre by millimetre sea level rise as the icecaps slowly melt. Here they are already and charging me down with an unpredictable force that throws heavy spray in the air at sudden intervals. The huge rocks behind me on the coastal car park lay heavy with portent, or actually the pastent of a night even worse, or actually a future lived rather differently. All edges are gone. All boundaries awash. All dualities – sea and land, water and rock, seawater and stone buildings, resources and neoliberalism, nature and culture – are here dissolved in sucked-back sea water. And it is dangerous, disturbing and disruptive to shoreline tourism, fossil collecting, rock pool probing, beach kite flying, fish and chips, coastal nuclear power stations and estuarine cities. To say nothing of English seaside sunbathing and the Factor 54 industry.

Charmouth. A quieter alternative, if one is needed, of Lyme Regis, setting of John Fowles’ novel The French Lieutenant’s Woman. The first weekend in February 2014. The South Coast Footpath dips yet again here between cliffs where the little creek of the Char attempts to make a kind of mouth. Backpackers passing through think they are retreating into the past, but they are the future. We visit a joyous family of friends, shaken in a strange way by the destructive force they thought they had the measure of. A week of this storm has the mother sobbing at the threat to their little sea-living community. It’s not the mess made of its emerging Visitors’ Centre, but something much deeper reached by this storm sea, something washing into her dreams and the futures of her small sons.

At our Charmouth B&B the garden is now smaller, having slipped into the landslip that slipped into the sea. A crack like a seismic line in the far edge of the lawn is the next sacrifice to making a living on this cliff top. The garden fence has gone down in a chaos of mud and vegetation under the command of gravity. How many years before the house itself is called for by the deeps? Behind the house is our modest car. (Soon I will fly to a conference in California about John Muir, Scottish founding father of the American conservation movement.) Fossil fuel has facilitated our visit to the Jurassic Coast. At low tide we walk the boulders that hold huge ammonites up to the gaze. We look down on earlier extinctions, without irony. They are in front of our eyes, clearly circling with stories we carelessly step upon and move on under a burning sun. Is ‘tourism’ a word of the past, like a knapped axe of granite from Langdale? Is it already secretly reduced in its range by the small green people of the planet? Have we already made the first small changes in our lives, if only at an emotional level? Is it really happening now, not with a whimper but this sea sieging bang? Are these three paragraphs adequate to the bang? Is their data in any way useful? How could it be? I am now bound in with several reasons for shame. Is this my only default position? you ask. Tell me what it should be and I will tell you if I can live with it. Of course, you will tell me that I should. Choices are narrowing. Sea is still sieging, you and me, incessantly.

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Terry Gifford is Visiting Scholar at the Centre for Writing and Environment, Bath Spa University and Profesor Honorifico at the University of Alicante. He is the author of seven collections of poetry, most recently, with Christopher North, Al Otro Lado del Aguilar (2011), in English and Spanish, and  Ted Hughes (2009), Reconnecting With John Muir: Essays in Post-Pastoral Practice (2006), Pastoral(1999), Green Voices: Understanding Contemporary Nature Poetry (2011 [1995]), editor of The Cambridge Companion to Ted Hughes (2011) andNew Casebooks: Ted Hughes (2015), and is a contributor to The Cambridge Companion to Literature and Environment (2014).

Technê and Technology: an invitation to contribute to Dark Mountain issue 8

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In the opening essay of Dark Mountain issue 6, ‘The Focal and the Flask’, Tom Smith discusses the difference between the digital technology-based world we increasingly inhabit, and a human-framed ‘focal’ world, in which cultures are built around the collective focus of a fire. Focal things, he writes:

‘involve real reconnection with people, species and landscapes… entail greater involvement, greater work and knowledge, greater negotiation with others, all often seen as inconveniences in the narrative of modernity.’

To reverse the destiny of our restless, machine-driven world, we need to take up practices that go in another direction entirely – practices like growing vegetables, saving seeds, making and repairing things for ourselves. We need to learn another way of framing our lives and another way of relating to the things within it. If we don’t, our lives will be designed for us, and the direction of travel will be away from the physical and towards the digital; that is to say, away from a relationship with the world around us,and towards a deeper immersion in ‘virtual’ worlds made by and for humans alone.

Yet we can’t ignore, either, the technological changes which, with ever-increasing pace, are spreading their runners under our feet, into our homes, and through the very substance of our thoughts: the ever-present web, the hand-held devices, the apps-for-everything, the coming ‘internet of things.’ At the same time that the machinery of civilisation is colliding with ecological limits to growth – in terms of space, energy, resources and the amount of abuse the Earth will absorb before it responds with violent change of its own – innovations in software, robotics, artificial materials and genetic manipulation are accelerating, altering the fundamental relationship of humans to the world and to themselves. It is happening so fast that it is barely possible to measure it, let alone properly assess its impact.

Where does this leave us?

From its inception, the Dark Mountain Project has sought to find ways to reconnect writing and art with the material, the practical, the focal. We took the decision to publish real books and vinyl albums, and to invest in making them well-crafted objects of beauty. At our Uncivilisation festivals, many people learnt to forage, scythe and use traditional woodcrafting tools.

At the same time, we have never seen the value in an artificial regression from our contemporary technological reality – a pretence that we can simply carve our wooden spoons and not think about the hidden infrastructure of technology supporting the fabric of our lives. Instead, we have tried to draw the best from the past as we think about the future, and we have tried to think about that future outside of the often dualistic and divisive frameworks that are set up around the discussion: romantic versus progressive; technocrat versus ‘Luddite’; doomer versus utopian; future versus past.

The seventh Dark Mountain book will be published next month (to get your copy hot off the press, you might want to consider our subscription options) but we are already turning our minds to book 8, which will be published in October this year. And while some previous Dark Mountain anthologies have had very broad themes, we are looking to do something a little different with this one.

Dark Mountain issue 8 book will contain a more focused selection of writing than we have produced before, which engages with a single idea: the relationship between human beings and the things we make; with our machines and our tools, our technologies and our hands, and the future of all of them. The Greek term technê encompasses all of these ideas, its implications stretching all the way from music to motorcycle maintenance, from ancient philosophy to AI.

Specifically, this time around, we are looking for two kinds of contribution:

* Non-fiction of between 1000 and 6000 words, engaging with issues of the human relationship with technology high and low, with making, craft, art and skill. This might be in the form of analytical essays, personal stories or creative non-fiction. For this book, we are not looking for fiction or poetry. Alongside these essays, we are seeking shorter pieces: designs, blueprints, objects, musical scores, recipes or instruction manuals that embed the book and the reader back into the world of doing. We’d like the philosophical and the practical to sit side by side.

* Visual art which offers new and dynamic ways of looking at technologies low and high, including photography, painting, drawing, objects, graphics, portraits of makers. We will also be looking for submissions for a colour cover. There will be more space for artwork in this issue than we have had in previous books, so photo essays are also welcome. For formats please check our submission guidelines.

The deadline for Dark Mountain issue 8 is Sunday 31st May. Please send all submissions as separate attachments to an email addressed to submissions@dark-mountain.net, with the subject line BOOK 8 SUBMISSION. We look forward to seeing what you send us.

Image: Three Gorges Dam in China by Edward Burtynsky from the documentary Watermark.

Worried about the future? Then read A Future Manual

Did you see that? That man on the bike? He was wearing too many clothes and a camping rucksack, with heavy pannier bags stuffed with sticks and rags. He was moving slowly through the traffic jam, ignoring the red lights.

Or there was the man on the patch of grass outside the DIY superstore, remember? He was dressed in a khaki t-shirt and walking shorts; he had his pack next to him and a flask of water, and he was perched on his knee like he was looking out into the valley below. Only he couldn’t have been, there were houses in front of him, buses and cars blocking the view. He only looked a few years older than us. His skin was bronzed from the sun.

Do you remember the woman on the high street, standing still, with a bag on wheels, and five spring onions in her out-stretched palm? She can’t have been selling those spring onions, can she? It must have been some sort of mistake.

There was the transit van driving slowly down the street, with its windows wound down, and one rubber-gloved hand extended out of the passenger-side window, ringing a small bell. No-one will tell you what this means.

There was the man fishing in the concrete channel in the middle of the city, next to the railway station. The man walking through the fields, through the waist high weeds of summer, in a boiler suit, with dark stains across his shoulders. The man in the hi-viz jacket, pushing a trolley full of scrap metal, old toasters, sewing machines around the streets where you live. The couple walking hand in hand along the canal, bow-saws swinging in the crooks of their arms.

If you’d seen one or two of these things, you wouldn’t think anything of it. But the more you see, the more you notice. And all of a sudden, you can’t go anywhere without seeing it. Always out of the corner of your eye, from a bus, in traffic. Always disappearing out of sight. No-one will admit it. No-one will talk about it. But suddenly, it’s all around us. Now, every time I open my eyes, I see the future.

I wrote the above text quite a long time ago. I started seeing these things when I lived in Sheffield, but they increased dramatically once I moved to London. Wherever you’re living, I’m sure you’ve seen them too. I was going to send the writing in to Dark Mountain, get it published, get it read. But on its own, that didn’t seem enough. The more I saw the shoeless old men, and the silent wastelands with traffic jams all around, and the foxes in the day time, the more I thought about what to do about it. Whether to try and stop it. How to start preparing. How to help.

In the end, I decided to create something that could try to help other people, once those visions came true.

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It’s called A Future Manual. It’s a DIY guide to surviving and thriving in the bitter, barren world we’re creating for ourselves and our children. It aims to teach you the skills you’ll need once the oil runs out, and the internet’s off, and the Big Sainsbury’s at the end of your road is knee-deep in flood-water.

Every issue aims to cover one thing, with full step-by-step instructions, diagrams and photographs (where technology allows). Issue one is about how to build a fire: from ignition to tinder to sourcing fuel. There’s also some more philosophical tit-bits, to help keep your spirits up. It comes packaged in a plastic bag, to keep it dry in the floods, and includes a free piece of kindling, to get you started.

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Is it serious? Is it a joke? This is the first question that everyone asks. To be honest, it’s half and half. I wanted to do something to reflect the weird position we’re in: where we know our cosy world is going to end soon, but don’t really know what we should be doing about it, or how to spend the time in between. What should you do to start preparing for a life without central heating and pyjamas and breakfast cereals? Start living in the woods? Get buff like those American guys on YouTube in camouflage? Throw away your phone and form a commune?

I think there’s something really interesting in all this. You can’t prepare for ‘the future’ in the same way that you can for a war or a hurricane, because ‘the future’, at least the one that most of us worry about, won’t be over any time soon. And today, right now, while most of us have full bellies and a roof over our heads, it always feels like you’re pretending, anyway.

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So hopefully A Future Manual reflects those contradictions. It’s half hopeful and half hopeless, half useful and half useless, half tragic, half comic. Because it is funny, at least a little bit, when we put our bananas in polystyrene boxes, and ship them across the world, and then don’t eat them anyway, and then throw those boxes back into holes in the ground. It’s funny in the same way Easter Island is funny, or the extinction of the Dodo. We’re a short-sighted species in an evolutionary cul-de-sac, blindly eating and spending our way to death. It’s a planetary sit-com.

It’s important that it looks right too. I thought of doing it on the internet, as you can reach billions more people that way (I’ve only photocopied 500, after all). But at the same time, it felt like it had to be something physical. Something that could still be produced once YouTube and WordPress and Google Maps are just a distant, magical, almost unimaginable memory. So this one’s printed on a typewriter, and photocopied. Long term I’d like to use things like letterpress, and get the copiers powered by solar, if that’s even possible: answers on a postcard, delivered by hand.

I’m not 100% sure about any of this. How to distribute it, how to write about it, what sort of tone it should be. Perhaps it would be better on YouTube? Perhaps it should be a PDF? Perhaps the time I spend learning to ride horses or jump start ambulances would be better spent campaigning for a 10% cut in carbon emissions, or a worldwide communist revolution, to End Growth Now? But the nice thing is that learning to start a fire with an old file and a piece of flint, or learning to grow a courgette from a seed, is actually an enjoyable thing to do in and of itself. It makes you feel connected. It makes you feel a little bit more capable. It makes you feel a little safer.

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If you’d like a copy of A Future Manual, please send five pounds/ten euros in a well-concealed envelope to
A Future Manual,
239 Fordwych Road,
Cricklewood,
London,
NW2 3LY.

Or you can use PayPal on this website. Don’t worry mum, the website’s broken on purpose. I thought it would be funny.

Issue 2 (Ride a Horse) should be produced sometime in the summer. Thanks for reading. Noah says: build your own ark.

Photos by Andy Felton

The Crossing of Two Lines

The following essay was written as the introduction to The Crossing of Two Lines, a book which grew out of my friendship with Robert and Geska Brečević, who work together under the name of Performing Pictures. They are prolific, relentless artists and makers whose work shows up on stages, in museums, on streets and on the screens of mobile phones, as well as in galleries. Much of this work involves tiny films, built into objects, and from around 2008, more and more of these films and objects took the form of venerative artefacts: shrines, roadside chapels, depictions of the saints of folk Catholicism. The Crossing of Two Lines is a document of this work – most of the book is taken up with photographs of their collaborations in Mexico, Croatia and Sweden – and also an investigation into the discomfort that it seems to have caused among their art-world contemporaries.

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The walls of the house on the Antešić land at Rab were built in the last years of the Kingdom of Yugoslavia, but three generations would go by, and two wars, before it came to have a roof. They were a metre thick, those walls, made of local stone, the openings in places no architect would think to put them. It was the brothers Stjepan and Mile Antešić who began the building. On the island, the family grew olives and grapes, but what paid for the construction was the money Stjepan sent back from his work as a ship’s captain on the Danube.

War came and the building stopped. Stjepan joined the Partisans, fought against the occupying forces and the homebred Catholic fascism of the Ustaša, a stand that lived on in the lifelong anti-clericalism of his daughter, Dorica. It was her daughter, Milica, who married Alojz Brečević, a ship’s mechanic. They had met in Sweden, as migrant workers, and they started a family there, a family that would travel back each summer to help with the wine-making. Don’t get too used to this country, they told their son, each autumn: one of these years, we are going back for good.

That promise was severed by the new war of the 1990s and it was not until 1997 that Robert Brečević returned, alone, on a bus from Munich. Later, he and his wife, Geska, would come to visit the family land at Rab and — together with his stonemason cousin, Đani — take on the task of finishing what Stjepan and Mile had begun a lifetime earlier.

A black oak tree hides the stone house from the road. What can be seen is the small chapel, built the same year that the roof went on the house. In the evening, visitors come from around the island — families, old people, young couples out for a walk—to peek through the keyhole and, as if at a fairground peepshow, catch a glimpse of the moving figure of St Christopher carrying the child who will turn out to be Christ. The patron saint of the town of Rab, but also the protector of travellers, his presence is, among other things, a reminder of the journeys that went into the building of this house.

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‘So when did Robert convert?’

The question came from a mutual friend who had heard that I was writing about the turn in the work of Performing Pictures that led to the projects documented in this book. More often, such questions are left politely unspoken, but they hang in the gallery air when this work is shown.

We are used to art that employs the symbols of religion in ways seemingly intended to unsettle or provoke many of those to whom these symbols matter; yet to the consumers of contemporary art, those who actually visit galleries, it is more uncomfortable to be confronted with work in which such symbols are used without the frame of provocation. The viewer hesitates between two anxieties: is there something here that I am missing — an irony, a political message, a joke — or is this a piece of propaganda on behalf of the believers? (Whatever they may believe, the evening visitors to the chapel at Rab show no sign of such anxieties.)

The turn is striking, certainly. There is nothing in the work of Performing Pictures prior to 2009 that would lead the viewer to expect the saints and shrines and altars we find here. The story behind such a turn deserves exploration. Yet if we want to trace the routes that led to this work, I suggest that the question of personal belief will prove misleading: it will not bring us closer to an understanding of what took place, and it may lead us to overlook those clues that have been left along the way.

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Geska Helena Andersson was born into a family of small farmers in Skåne, the southernmost region of Sweden. Her parents’ life was anchored to the land — she was thirty before they had a holiday together — though the family had been migrant workers, too, in times when the farm alone could not support them. Her grandmother cycled half the length of Sweden, in those times, picking crops.

These family stories weave into the work of Performing Pictures. Indeed, the presence of the family, within the production process and the work itself, is one thread that connects the projects here to earlier works such as Kids On The Slide and Fathers and Sons, Verging. That young man standing on a Polish beach is Cesar, the boy who took his bucket and spade to the graveyard in Kids On The Slide; now, he and his father are ready to cycle to the Adriatic, installing roadside chapels along their route. Under a parasol on a Mexican hillside where the Virgin of Guadalupe is about to appear, you can make out Katja, four months old, in the arms of one of the women from the Zegache workshop. Đani Brečević, the stonemason, stares past the camera from under the brim of his hat, fixing the cross to the roof of the St Martin chapel in his home village; then there he is again, cigarette hanging from his mouth, looking hardly less at home as he lays bricks for the St Anne chapel in Zegache.

The presence of family is felt in other ways: not least, there is the image of St Anne, a mother teaching her daughter to read. Those placing votive candles before it in the Église Notre-Dame de Bon Secours do not know this, but the St Christopher of Movement no. 6: To Carry a Child is also a family portrait: the saint is played by David Cuartielles; the child, who weighs on his shoulders more heavily than if he carried the world, is his young daughter. On a ledge in the door of the shrine, where people might leave images or scribbled prayers, Robert has placed a photograph of his father as a young man on the deck of a ship.

There is a movement outwards from the earlier work, in which the children themselves were often the subject, to the community and the village. Yet it would be a mistake to see this as a move away from the family or from the domestic; rather, the implications of these themes now reach wider and deeper. The name of the village of Brečevići, site of the St Martin chapel, is only the most obvious clue to this.

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The sound of the mariachi trumpets goes up into the arches of the church and lingers there. When the service is over, the mourners follow the band through the streets of this dusty town. At the graveside, among the flowers, a video camera stands on a tripod. The band falls silent, the priest says a prayer, the coffin is lowered into the ground. Three of the dead man’s brothers are away, working in the United States, and it is for them that the burial is being filmed.

When John Berger and Jean Mohr made a book about the experience of a migrant worker in Europe, nearly forty years ago, they called it A Seventh Man: in Germany and in Britain, at that time, one in every seven manual workers was an immigrant. Today, one in every three Mexicans lives outside of Mexico, the great majority as migrant workers in the United States. This epic displacement forms the background to life in a village such as Santa Ana Zegache, where the painter Rodolfo Morales founded the community workshops in 1997 as a project to restore the Baroque church, but also to restore life to the local economy, training young women in the crafts required for the restoration of its eighteenth-century altarpieces. Robert and Geska came to visit the workshops in 2008, and it was during a conversation that day that the idea of putting the saints into motion first surfaced, almost as a joke, but a joke that caught everyone’s imagination. Here, in a place where most of the young men are far away, working the land north of the border, you find the point of departure of this work.

In 2011, A Seventh Man was published for the first time in a Mexican edition. Its account of the experience of Gastarbeiters in 1970’s Europe, men of Alojz Brečević’s generation, continues to make sense of the lives of migrant workers on whose labour the economies of the rich countries continue to depend. Berger returned to the subject of migration in a later book, and our faces, my heart, brief as photos. ‘Never before our time have so many people been uprooted,’ he writes. ‘The displacement, the homelessness, the abandonment lived by a migrant is the extreme form of a more general and widespread experience.’

To speak about such homelessness, to acknowledge the loss that it involves, it is necessary to speak about ‘home’, and this is made difficult by the ideological uses to which that word has been put. The language of home is used by those who would stir up hatred against the immigrant worker and also by those who would undo the ongoing transformation of possibilities experienced by women over the past half-century. These toxic associations can hardly go unacknowledged, yet it may be possible to reach behind them, and with this aim, Berger draws on the comparative studies of religion made by Mircea Eliade.

In traditional societies, Eliade observes, home is the place from which the world makes sense. This is possible because it stands at the crossing point of two axes: the vertical line, along which one is connected to the world of the gods and the world of the dead, and the horizontal line, which stands for all the journeys that might be made within this world. (If such a cosmology seems remote from our own experience, consider these axes to stand, among other things, for two sets of relations: to those who went before and may come after us, and to those of our own time.) Emigration may be prompted by hope as well as desperation, Berger recognises: it may represent an escape or a dream, but its price includes the dismantling of this centre of the world.

And yet, somehow, this loss is not the end of the matter: ‘the very sense of loss keeps alive an expectation.’ The substitute home which the migrant finds—and here, again, the migrant experience is an extreme version of the common experience of modernity — is no longer secured to a physical space. ‘The roof over the head, the four walls, have become, as it were, secular: independent from whatever is kept in the heart and is sacred.’

Nevertheless, by turning in circles the displaced preserve their identity and improvise a shelter. Built of what? Of habits, I think, of the raw material of repetition, turned into a shelter.

On that first visit to Mexico, what impressed Robert was people’s ‘way of making a home in something which is totally temporary.’ The images which go up on the wall, the figures, the habits and repetitions that go with them were familiar, not only from the Catholic prayer cards at his grandmother’s home in Brečevići, but also from the ornaments of the household in which he grew up, the little figurines, the flowers and images with lace around them. Misunderstood as kitsch, dismissed or ironically celebrated, these secular altars are also a means of making a home, another form of the ‘popular ingenuity’ by which the displaced continue to improvise meaning. Out of this recognition, the idea of working with shrines took hold.

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As a child in rural Sweden, Geska remembers, anything ‘shop-bought’ had an aura: shop-bought biscuits, shop-bought meatballs, these were the things you pleaded with your parents to have, and the very fact of coming from a shop gave them glamour. Later, living away from home for the first time, it struck her how upside-down that childhood perception had been. Yet the idea that the supermarket version of anything was special, rather than just taken for granted, hints at the tail-end of another world, a world that still centred on the home-made.

All creation stories involve a prising apart of the preexistent. The sky is lifted from the waters, light split out of dark, time from space, and the world as we know it roars into being. The industrial world, the social, economic, technological, political and material realities within which the unprecedented uprooting, the great gains and the seldom fully acknowledged losses of modernity have taken place, began with such a fission: the prising apart of production from consumption, which took concrete form in the new separation of work from home.

The history of the industrial revolution is a history of massive resistance on the part of ordinary people. This resistance fell into two phases: in the first, it was an attempt to defend a way of living; in the second, which began when this way of living had largely been destroyed, it became an attempt to negotiate better conditions within the new world made by the destroyers. What had been lost was a way of living in which most production took place on a domestic scale, interwoven with the lives of families and communities. Work was hard, but it varied with the seasons and required skill and judgement. Many of the basic needs of a household could be met by its own members or their immediate neighbours, not least through access to common land, so that people were not entirely exposed to the mercilessness of the market.

It is not necessary to romanticise the realities of pre-industrial society: the intensity and duration of the struggle which accompanied its passing are evidence enough. (In 1812, at one of the high-watermarks of this struggle, the British government deployed 12,000 troops against the Luddites in four counties of England, more than Wellington had under his command that year in the ongoing war against Napoleon.) The relationship between this first phase of resistance and the labour movement that would arise out of its defeat has most often been presented as a progressive development: the dawning of a new political consciousness, and with it new forms of organisation and effective action. Yet it was also an accommodation to what had previously been fought against: the new division of the world between the space of work, dedicated to the sole purpose of maximising production, and the domestic space, now dedicated to reproduction and consumption. The sentimental idealisation of the home as a woman’s sphere originates in this division, as established in Victorian England. Behind this advertising hoarding lay the real transformation of the home from a living centre of activity to a dormitory, a garage in which the worker is parked when not in use.

Yet even such a transformation, so elemental that we hardly perceive it, can never be the whole story. In the words of Eugenio Montale:

History isn’t
the devastating bulldozer they say it is.
It leaves underpasses, crypts, holes
and hiding places.

The memory of the seasonal return to help with the wine-making, the memory of the shininess of anything shop-bought, these are fragments that have survived the bulldozer, clues to another way of living. More widely, the older rhythms of working life survive in certain historical underpasses, as E. P. Thompson notes in his essay on ‘Time, Work-Discipline, and Industrial Capitalism’:

The pattern persists among some self-employed—artists, writers, small farmers, and perhaps also with students—today, and provokes the question whether it is not a “natural” human work-rhythm.

In this respect, the practice of Performing Pictures is hardly exceptional — how many artists could draw a line between work and life? — but certain elements, in particular the involvement of the whole family in the work, resonate strongly with the world whose memory remained alive in their own childhoods, a memory which still finds echoes in the places where this work was made.

Capillas

A priest is fetched to bless the chapel. He comes from two villages away. The proper words and gestures are performed. Yet it would be a mistake to assume that these stones were cut and carved, the door made, the animation shot or the screen rigged to the solar panel, either for or on behalf of the institution which he represents.

‘We have become fascinated,’ Robert writes, ‘by those rural chapels to be found outside of the control of the churches, the patrons and urban plans.’ A series of photographs shows small capillas at the corners of cactus-fenced yards in the lanes around Zegache. Improvised out of industrial materials, concrete and rusting corrugated iron, with shop-bought figures, a virgin studded with LEDs, a vase of drying flowers, these unofficial shrines are also expressions of popular ingenuity. Sometimes, nature adds its own contribution: a spider has caught Christ in a net that funnels into a silk vortex in the gap between body and cross, like an opening to another universe.

Looking through them, I remember another set of photographs, taken by the British artist Rachel Horne in the South Yorkshire coalfield where four generations of her family worked as miners. Many of the former colliery sites have been grassed over, the slag-heaps topped off with public artworks. In Horne’s photos, these sculptures seem to have landed from nowhere, unaware of the pride, the conflict and the loss that these sites represent. They are asking to be vandalised, and, in one case, this has already happened, the stone structure toppled like a children’s toy and a stencil sprayed onto an exposed face.

Modern public art has its beginnings in the assumption by the secular state of a symbolic power which had formerly been exercised by the church. Yet the contrast between those commissioned memorials and the improvised sites of devotion around Zegache suggests the limitations of official art. The capillas are cared for by small fraternities which take responsibility for their upkeep. The shrine as physical object is held within a web of mutuality which lends it a certain resilience, beyond the properties of the material itself. A similar principle applies to the chapels in this book.

‘As media artists,’ Geska points out, ‘you’re not invited to do public space installations, because it’s not something that’s stable, and there’s the electricity, and everyone knows that the technology is going to break within three years.’ The idea for the Chapel of St Anne grew out of the previous collaborations with artisans at the Zegache community workshops, although it required the support of the local mayor to go ahead. In Brečevići, it was a group of villagers who proposed the St Martin chapel and provided the materials. ‘If the screen breaks, there is someone who will make sure it’s mended.’

The thing that redeems this fragile work from being a future piece of junk is its embedding within a community of people to whom it matters. The tasks of maintenance that would have been a line to be cut in a public budget become, instead, part of the rhythm of life for those around the work; or, seen from another angle, this activity becomes part of the work, as in the Maintenance Art of Mierle Laderman Ukeles. The connection is significant: few artists have addressed so directly the schism between home and work. As Ukeles writes of her younger self, ‘She was looking to sew back together a great fabric that she saw rended, torn apart.’ Except that in this case, the context is not the museum — literally, ‘the shrine of the muses’, home to the cult of art — but the vernacular Catholicism of those for whom this work becomes part of their venerative practice.

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The discomfort with work that appears to be an expression of religious faith and the polite avoidance of putting the direct question about the artists’ beliefs are both symptoms of the modern doctrine that religion belongs to the private sphere. Within the boundaries of one’s own home, there is complete freedom of belief, but to bring one’s belief into the public sphere is to threaten the stability of the secular order which guarantees this freedom.

As Robert observes, today’s Sweden has become the kind of radically secular society that the ideologically atheist states of the former Eastern Bloc proclaimed without achieving. In such a society, religion becomes countercultural: to experience and express a religious faith as something stronger than a personal opinion is to put yourself at odds with the background assumptions of the world around you. The forms of religion that emerge in such a society reflect this: faith becomes a conscious foreground statement.

Yet in much of the world — in rural Oaxaca, and even in rural Croatia, despite a generation of official atheism, and despite the toxic entanglement of Catholicism and nationalism — religion remains part of the social background. If one person has more time for the church than another, this is a matter of inclination, rather than a charged personal dilemma. It was in this world that Performing Pictures began making venerative objects. The experience they reflect is not so dramatic as the language of conversion would suggest, neither as personal in its intensity nor as universal in its implications. More like the experience of coming home.

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When work began again on the house at Rab, its stone and timber construction must have seemed an anachronism; on neighbouring land, a German property speculator was building a set of holiday apartments. Yet it is these which now stand unfinished, ghosts of brick and concrete, abandoned by their owner, who no longer answers correspondence from the municipality. Perhaps, three generations from now, his descendants will return to finish what he began, but as the sun goes down over the Chapel of St Christopher, this seems to stretch our capacity for belief a little further than it will go tonight.

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The Crossing of Two Lines by Dougald Hine and Performing Pictures is available to order through the Dark Mountain shop.

Epilogue

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Jeppe Graugaard is a researcher and writer who explores the connections between cultural narratives, worldviews and social change. For his PhD on grassroots sustainability narratives he wrote an in-depth case study of the Dark Mountain Project. From 2011 through to 2014 he had a series of interactions, exchanges and conversations with different mountaineers as a researcher-participant. He has recently submitted his thesis, which you can find on http://www.refiguring.net/thesis.html. The following is an excerpt from his field notes written at the end of the research.

A year has passed since the Chaffinch flew into this text. Although the Chaffinch and the summerhouse now seem distant – the entire thesis and many life changes lie between then and now – those months were a medicine, a salve which I have kept with me as I travelled on. I am on a train again, travelling from my recent home in Berlin back to my childhood home in Holstebro. We zoom through bright yellow rape fields, pine tree plantations, desolate industrial landscapes and small German towns with their unruly allotments, red brick houses and parking lots. I like trains. They offer a time in between, journeying hours that are not structured by the normal rhythms and schemes of the everyday and which allow the mind to wander in backside views of the places we pass through. Crossing the river Eider on the Rensburger Hochbrücke, I get a magnificent view of the surrounding suburban landscape. Windy streets and open green spaces are dotted with trees and people which seem almost motionless from my window. Sitting here, squinting my eyes against the afternoon sunlight, I think of the journey with Dark Mountain. Or is it to Dark Mountain? Or across? It appears to me that the first metaphors I associated with my inquiry into what Dark Mountain is and means – finding home, settling and becoming rooted – all took as their premise that I was already away or uprooted. But in the last months the possibility of becoming rooted in the journey has revealed itself. And Dark Mountain is, after all, not a place to live one’s entire life but a viewpoint or a place of transformation where the boundaries that define the rest of life can be challenged and expanded. Rather than a home, I found a community of fellow journeyers, people who are experimenting with ways of living which can cope with the disappearance of the certainties and expectations of progress.

My journey began with a search for ways of coming to terms with the great sadness of seeing the social and ecological structures that support life as I know it disintegrate and perhaps fail altogether. This prospect undermined everything I had come to take for granted as a child growing up in the ’80s and ’90s. It is – with a term that my friend Tony Dias uses – an enormity: a circumstance which appears so horrific as to incapacitate or paralyse basic aspects of everyday life. As I began to speak with other mountaineers about this, I found not only support in dealing with this rupture of the future but also guidance in building my own practices to help me thrive. ‘We don’t want just to survive, we want also to flourish’, as Andrew Taggart put it in one of our conversations. And the many conversations, inquiries and collaborations I involved myself in became part of my personal practice. My position as a researcher allowed me to cultivate a practice, develop my perceptual skills and work with the ideas presented in this thesis in a fairly consistent and continual manner. While my engagement with Dark Mountain has in this way been unique, there are many parallels between my experience doing this research and those of other mountaineers. At its very broadest this can be described as a process of breaking out of a feeling of isolation and finding community or a place to retrieve a sense of unity within the lifeworld. This is a shift which locates community in the ongoing stream of life itself and which is expressed as a radical shift in the kind of relations one has with the natural world. A re-integration.

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Journeying with Dark Mountain has shown me that the shift towards re-imagining and embodying a different relationship with the world requires that many of the rationales which structure modern life are left behind. That changing worldview involves a deeper engagement with the beliefs, habits and assumptions that organise how one experiences the world. And that there are no blueprints or big solutions. This condition has been part of my own struggle in doing this research both because I have been encouraged to look for solutions as an academic and because it has been difficult to overcome my deep-rooted urge put right to wrong and try to fix my great sadness. But grief cannot be fixed like pollution cannot be washed away with dispersants. Accepting what feels like inadequacy and letting go of the hope that the enormity can be reversed has by far been the hardest part of my journey. Surrendering some of my deeply held convictions has been disagreeable and challenged my identity. Nonetheless, the great discovery for me has been the understanding that the feeling of isolation and fragmentation that follows in the slipstream of the enormity is the result of a worldview which denies the inherent ‘relationality’ of the world. Although I first sensed this years ago, I believe this is a truth which will keep deepening long into the future as it is a remedy for a lot of the unintended consequences we tend to think of as ‘externalities’ – whether they are social, psychological or ecological.

When our relations with each other, the places we live and the wider natural world are obscured, frayed or ripped we lose not just a connection to the world but a small part of ourselves. Indigenous research paradigms hold that a researcher is answerable to all her relations and one could restate this to say that a person is all her relations. When relationality is broken we become less than what we were before. This has become clear to me especially through my sister Naja’s research and our conversations about our identity as mixed-race Greenlandic-Danes. I was joined by her from time to time last year in the summerhouse when she was writing her Masters thesis on decolonising Inuit politics and identity in Greenland. She writes about the internal dissension that arises when a part of one’s identity becomes isolated and framed as conflicting with the rest of one’s person: “[t]he experiences within mixed-race lives articulate the destruction when our inherent “relationality” as living beings is suppressed”. It is interesting that she has found many parallels to what I have described as threshold or liminal states in her process of resolving this fragmentation. Letting go of certain ideas about oneself can seem like ‘dissolving into nothingness’ but, she finds, “we become more of who we are when we, upon dissolving, embrace our relations as a part of the becoming our expansive selves, our lineage […] and our embodied memory”.

This possibility of becoming more of who we are seems to me to be a key to many of the problematics related to the sustainability challenge. For me, it has resolved a personal question which I set out with at the beginning of this research: how can I discontinue the relationships that have produced the enormity and where can I help build new kinds of relations? Many of the conflicts I have experienced surrounding this question faded away once I accepted that they were based on a false division between myself and the world: I do not need to act on behalf of “nature” or to “save the world” when I am answerable to all my relations. We constitute each other and in this way they are part of me as I am of them. While this may seem to make sustainability science and research less ambitious or heroic, it also makes sustainability less abstract and immediately relevant to local contexts because it implies something different depending on the personal and collective circumstances in which one inquires about what it means. As a question of meaning, it will be necessary to inquire about what a true or right relationship means and Dark Mountain has a lot to offer for this kind of inquiry because many participants are actively searching for and creating a new vocabulary which can hold the personal and collective quandaries that arise from living in an age characterised by overconsumption, climate change and species extinction.

The inquiries I have become involved with in my conversations with mountaineers have generated a compass of evolving perceptual and conceptual tools with which to navigate my own lifeworld. Some have proved invaluable while others in hindsight were less relevant. I think such creative mapping or indexing is invaluable for making sustain- ability an expression of right relationship – it is necessary for grounding the processes of re-imagining and embodying in the personal lifeworld. It is also required for ‘doing the hard work’ and avoiding simply generating abstract recipes which can be evangelised to other seekers. These vocabularies “must be the kind sketched in the dust with a stick, washed away by the next rain” as the Dark Mountain manifesto puts it. Held lightly and not pressed for answers, the poetics of inhumanism presents a space for the imagination where the otherness of all our relations can emerge and re-orient the settings, plots and vocabularies that guide the course of life.

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The familiar open, flat landscape of Jutland is now rushing past outside my train window. Spring has come later here and the green colours are lighter, almost translucent. I left this country when I was seventeen. Back then I dismissed this domesticated landscape as uninteresting and empty. It took me many years of coming back here to appreciate the finer shades it contains and I am still learning. Much of it is an agricultural wasteland, the ancient forest that once covered this peninsula all but gone. It was cleared for husbandry and used to build the fleet that made Denmark a major seafaring power until it was sacked and stolen by the English in 1807 during the Napoleonic wars. Generations of peasants worked to make the poor soils of Jutland yield, an effort which eventually paid off with the introduction of petrochemicals that made it profitable to grow the wheat, barley, rape and maize that now dominate the landscape. With each generation a small part of the past was forgotten as the changes they lived through became the new normal. It is easy to ignore that the landscape I grew up with is – ecologically speaking – an impoverished version of the past. I sometimes wonder what this country will look like in a hundred years. What will someone like me then see journeying across this land? Will there be trains to journey on? It is a thought which takes me on a tour of some of the things that trains imply: the industrial society that produces them, the places and people they connect, the ways of life they express and the modes of time they embody. Trains are one of the hallmark symbols of modernity. They represent the domestication and harnessing of the wild landscape, the co-ordination and subjugation of local time differences and the drive towards speed and efficiency which characterise industrialised societies. And still I would prefer not to be without them now that they are here.

Over the centuries-long formation of the meta-narrative of time and history as progress, linear storylines have become embedded in our institutions, our technologies and our ways of thinking. In the same way the invention of the steam engine, clockworks and linear schemata ushered in a revolution in means of production and the material world, it altered profoundly the way we think about and see the world. And it gradually led to an extreme de-valuing of the past in favour of the future and the forgetting of our connection with all our relations. It is a mistake to treat ‘environmental problems’ as primarily a material reality: they have deeper roots inside a worldview that leads us to reproduce the social patterns and material circumstances that created pollution, waste and other externalities in the first place. While shifting worldview requires patience and practice to overcome the acculturated blindness to the otherness of the world, my feeling is that in the long run this will be more effective than technical solutions in creating a desirable future. But changing worldview cannot happen in a flash, it is the slow process of working from the margins towards the centre. It is our longest journey and it begins by creating our own maps and tools with whatever we have at hand. I recall Dougie’s tongue-in-cheek question from last year when I was living in the summerhouse: what was it you did there? What will people say of this time and of Dark Mountain fifty years from now?

Here, approaching my destination, I remember hearing a choir of owls, foxes, whales, howler monkeys and (stinking) kippers in the forest and it appears to me that we have broken open our stories, our ways of telling and inter- preting. As a movement in the social imaginary – rather than of people trying to ‘change the world’ – Dark Mountain has opened a door for wildness and untamed otherness to slip back into the lifeworld, offered a way of being which makes it possible to flourish even in the shadow of the enormity. It allows us to embrace and align with our wider relations without requiring us to blow up civilisation in a battle that can never be won. By retreating to the mountains and reorienting our compass it has become possible to dispel the pull on attention which the enormity exercises on us, to decide to focus our awareness on the dark spots on our maps, on the absences wherefrom new things can grow. Journeying in this range shows that ‘civilisation’ is only one name among many for a pervasive logic which divides the world without anchoring complexity in the greater movement of which we all are part. At the edge, hearing the faint voices beneath the clamour of engines, it is possible to perceive the soundscape of a world which does not need us to do anything but to listen and to live our questions now.

Big Agnes Ascent

In the film studio the apparatus has penetrated so deeply into reality that a pure view of that reality, free of the foreign body of the apparatus, is the result of a technological procedure peculiar to it — namely, the shooting by the specially adjusted camera and the assembly of that shot with others of the same kind. The apparatus-free aspect of reality has become artifice, and the vision of unmediated reality the Blue Flower in the land of technology.
— Walter Benjamin, Art in the Age of Mechanical Reproduction, 1936
It is not news that we spend more and more time with our devices, which are more and more capable of delivering high-resolution, hyperreal moving images to our eyes in a continuous, unending stream.

Most of these moving images show us an intensely artificial, constructed, manipulated reality, and though we pride ourselves on our sophistication in knowing what goes on ‘behind the scenes’, much of that very knowledge is provided in the same, controlled manner.

I am one of a number of experimental filmmakers around the world working with old photographic processes and primitive tools. This particular film, ‘Big Agnes Ascent’, was made with a hand-made, hand-cranking 16mm pinhole camera in the mountains of Colorado, developed in photo chemistry warmed by a fire, high on the mountain on a moonless night. Electricity didn’t come into the process until I had a digital scan of the footage made, so I could share it more broadly — it’s not that I’m anti-internet or anti-technology by any means.

My interest in these primitive techniques is not about kitsch or nostalgia — it’s a way to explore the nature of the moving image itself, how the eye constructs movement from distinct frames. How our brains fill in the gaps, smudges and scratches to make meaning out of indistinct, faint, flickering shapes and textures. This film is part of an ongoing effort to rediscover the fundamental illusion of motion and the basic alchemy of the captured image, as a way to reflect upon the very seamlessness of the media product we consume as part of our daily interaction with the modern world.

To see more of my work, visit www.videohaiku.com. If you’re interested in developing film on a mountainside by starlight, check out www.handmadefilm.org.

Reading the Ashes, part four

This is the fourth and final installment in a series of four blogs about Dark Mountain’s newly released compilation album, ‘Reading the Ashes‘.

Last week we released the album as a digital download only on bandcamp. In the first blog I described the reasons for another musical angle of the Dark Mountain Project. In this final installment, we celebrate the following three artists that feature on the compilation, Evi Vine, Joe Wilkes, and brazenly, myself, Marmaduke Dando. To download and listen to the full compilation album, please go here: Reading the Ashes

Marmaduke


Evi Vine

Evi Vine

Evi Vine

Evi Vine is a singer and songwriter from London inspired by a deep connection and love of the natural world. Together with Steven Hill her musical partner, they create a unique and uncompromising reverential atmosphere.

Their second album ‘GIVE YOUR HEART TO THE HAWKS’ has recently been released, which was co-produced with Richard Formby & mixed by Phill Brown. Hiding out in the woodlands of greater Berlin, reading Robinson Jeffers, Henry David Thoreau & The Dark Mountain Manifesto, they found the soul food for this album. Their track ‘My Hands Are Tied’ comes from this album.

When asked how Dark Mountain relates to their music, Evi said:

“It can be overwhelming to see such terrible things happening in the world, with the knowledge comes a burden in the way a journalist will need to document accounts for us to read in the daily news, sometimes its beyond words so artists, musicians, writers come together and build a relationship with their audience, without alienating, but to pass on something vital thought provoking. The protest song has a history in these dark days and has been so necessary it has long inspired change and kept hope alive for those without a voice. Victor Jara for example, has always been a huge inspiration to me, the voice of one who spoke out, for so many. A message that has the power to travel in the form of song is forever.”

When asked about their song ‘My Hands Are Tied’ on the compilation, Evi said:

“[It] starts with the line ‘We all start with a pure heart’. The idea that we are all connected runs though much of my writing, but who would we be if our histories could be altered, changed in any way, who we become at the end and the struggles in between. The pursuit to find the light and the goodness in ourselves and in a day even when we feel we are failing.”

To find out more about Evi Vine visit her website here:

http://www.evivine.com

Joe Wilkes

Joe Wilkes, photographed by Victor Alonso

Joe Wilkes, photographed by Victor Alonso

Joe Wilkes has finger picked his way across much of Europe with his storytelling anarchist croon. Sweetly reminiscent of early Tom Waits, but with a more familiar tone, Joe is originally from Coventry but now resides in Deptford, London. Along the way Joe’s played with Bert Jansch, Davy Graham, Dick Gaughan, Leon Rosselson as well as the poet / playwright Harold Pinter.

When asked how Dark Mountain relates to his music, Joe said:

“It is natural for civilisations to come and go and we are perilously dishonest about this fact. Although I’m deeply sympathetic with that dishonesty, it seems a very good thing that an artistic project shine a light on this, much like it’s a good thing when a friend tells you, you are drinking too much especially in the morning. Reclaiming storytelling as something deeper than entertainment (or simply redefining entertainment) is also a relevant idea that I fully support in our late capitalist epoch.

“Today in our society collectively, culturally we have ceased to believe in the validity of the message in art or politics or indeed anything. It’s not that we have considered all Ideologies and dispensed with them wisely. We simply don’t believe in anything and we don’t believe in anything because of our ignorance not our experience. We don’t even really believe in corporate capitalism or only a tiny minority of us do. Any message in art that doesn’t address this is naive and naive messages particularly in pop music are part of what has encouraged disillusionment and apathy about meaning and rendered political pop songs or meaningful popular folk songs obsolete.

“In terms of having a meaning our society is a joke and often a sick one. It better serves the public for a songwriter to write good musical hedonistic songs devoid of meaning than to work on something which is ostensibly pro feminist, class conscious, anti war, awareness raising, whatever.
Failure to address the fact that we live in a society where a song, poem or film with an intended meaning will be co-opted and emasculated by current cultural and political values fails to look in the mirror, fails to live in the here and now as opposed to the 1930’s or the sixties. In other words the value of a message has little to do with the actual art and everything to do with the organisation of ordinary people, political praxis, direct action etc. The message and meaning are secondary, the context and time are primary.”

When asked about his song ‘Here on this Frontline’ on the compilation, Joe said:

“Here On This Frontline is a sort of collage of snippets as opposed to a story. Sometimes I remember the verses in the wrong order on stage and it still seems to work. The first verse is about the Spanish Revolution ‘In 1936 …etc’ The following verses name check subsequent revolutions such a Vietnam and preceding ones such as the French revolution as well as name checking French resistance leader Jean Moulin. There is no message per se or judgement about Ho Chi Minh or anything like that. It sounded cool for me to write about my interests in history. One reviewer wrote: ‘The great beauty of Here On This Frontline is encapsulated perfectly by the title track, which paints an exotic musical backdrop in front of which is played a poignant love song, born out of tragedy’ that sounds good, so I’ll go along with that. At the end of the song there is a reference to 9/11, which states that ‘the dust from your fall will rise higher than you ever did’, I guess this an end of empire sort of message. If there is one hidden in there. That might be my Dark Mountain moment.”

To find out more about Joe, please visit his website here:

http://www.joewilkes.co.uk

Marmaduke Dando

Marmaduke Dando

Marmaduke Dando

Brazen that I chose one of my own songs to feature on this compilation? Perhaps, but then again why not. After all, the Dark Mountain Project has been significant in my life for nurturing the quest for more truth. This is starkly reflected in the third album I’m currently working on, tipped to be titled, ‘Where the Wasteland Ends’, after the Theodore Roszak book of the same name.

Here’s a little description I use to introduce my music which may help if you’re not yet acquainted.

“Marmaduke Dando is the bard of disempire, a crooner of morose ballads and fiery diatribes, often eliciting references to The Bad Seeds, Roxy Music, and Scott Walker. He writes about the horrors of the modern world, and barks back at it in iniquitous dives with his 5 piece organ-fuelled band. Originally from Portsmouth and of genuine pirate ancestry, he is now based in London and living amongst the bargee community. Of his music, Steve Lamacq, BBC6 Music, has said it’s ‘…distinctively haunting…’, and Charlie Ashcroft, Artrocker, like ‘…poetry in motion…’. His songs have been set to films, woven into a seminal Secret Cinema event, and played in the Houses of Parliament.”

I’ve probably answered most of the questions I’ve posed the other artists, so let me just tell you about the song of mine I’ve included on the compilation.

Angles started off as a jam in the practice room with my band. I asked my drummer to start something off, anything that came into his head. He remembered a rhythm he heard a school boy on the bus tapping out a few days before that seemed to him as particularly uncommon. What you hear on the track is what he tried to recreate from memory. The rest of the band naturally fell on to E major…probably years of me conditioning them with songs in the key of E major! For a few years, we had no words to this piece of music. It was a hell of an exhilarating ride to play as it was, but we all thought it needed a voice for it to really make a mark. After dodging the bullet of actually having to write words to a piece of music I hadn’t strained out in my bedroom alone (the usual way), eventually I remembered a poem by Paul Kingsnorth out of his Kidland anthology. It had struck me when I’d first read it as a fiery sermon, a history lesson, the sort of thing that would scare the shit out of you had you had this bellowed at you in the run up to your GCSEs. And so, after a few tweaks, I bellowed it out over the jam and everything fell into place.

The original author may have a different take on the meaning of the words of course, but for me they seemed to chart so precisely the moves of enclosure over the last two millennia, in England as the example, but over the world in general. The half a century bit towards the end of the song hit the nail on the head. My interpretation of this is that despite the illusion of taming the forces of enclosure/civilisation/colonialism through education and democracy in recent history, all that has happened is that those forces have simply out maneuvered us by morphing into the institutions that deliver those hard fought wins. Leaving us essentially, in as much bondage as when the first king became king, despite a notion of progress. And so the song ends with the ring of incredulity, “You have bought the universities?!”.

If you’d like to find out more about my music, please visit my website here:
www.marmadukedando.com

My last album, ‘Sweet Dregs’, is available at the Dark Mountain shop.


As this blog brings us to the end of the series about the Reading the Ashes album, I’d like to take this opportunity to thank everyone involved in bringing it to fruition. Particularly to the musicians for donating their uncivilised music to this beautiful collection. I’d also like to thank Dougie Strang for lending his photograph of his tein eigin ritual to use for the artwork. And also to Andy Garside who added his sprinkling of magic to the artwork with his graphic design skills. Check Andy out here if you have the time, http://www.andygarside.com/

Thank you for reading and I hope you enjoy Reading the Ashes.

Marmaduke Dando

Reading the Ashes, part three

This is the third instalment in a series of four blogs about Dark Mountain’s newly released compilation album, ‘Reading the Ashes‘.

Last week we released the album as a digital download only on bandcamp. In the first blog I described the reasons for another musical angle of the Dark Mountain Project. In this third instalment, we celebrate the following three artists that feature on the compilation, Young Hunter, Angela Faye Martin, and Billy Bottle and the Multiple.

To download and listen to the full compilation album, please go here: Reading the Ashes

Marmaduke


Young Hunter

Young Hunter

Young Hunter

Young Hunter is the doom metal stoner rock brain child of Benjamin Blake.
Originally from Tucson, Arizona, Benjamin started the band there in the desert. He has since moved to Portland, Oregon and started the band from scratch. The band’s e.p. ‘Embers at the Foot of Dark Mountain’  is available on cassette in the Dark Mountain shop.

When asked how Dark Mountain relates to their music,  Ben said:

“We try to channel primal energies through our music, both harsh intensity and alluring beauty. Our songs are about the land we live on – first when the band was based in Tucson, then now in the Pacific Northwest – and the relationship between humans and the earth, both our modern civilization and those who were here before. The myths of our culture put us at odds with the wild, with nature, and ultimately ourselves, and this self-imposed exile seems to be leading to a major collapse. We explore those underlying myths and potential futures, as well as the way that the earth is ever calling us back to itself, waiting for us to wake up, individually and collectively.”

When asked about their song ‘Dreamer’ on the compilation, Ben said:

“This song is on one hand about the inherent violence of existing in the physical world – in the sense that we are unable to escape the fact that by being alive, we necessarily will destroy other beings and forms, as part of the cycle of destruction and creation. On the other hand, this song is about how the current situation on planet Earth is taking that to an extreme – we are at the risk of wiping out ourselves and doing great damage to the web of life which has gifted us our lives. And it is also about the cognitive dissonance between humans and our larger actions, and the importance that we all wake up to the present moment. Like, right now.”

To find out more about Young Hunter visit their website here:

https://younghunter.bandcamp.com/

Angela Faye Martin

Angela Faye Martin

Angela Faye Martin

From deep in the mountains of North Carolina, Angela-Faye Martin has been recording her rare breed of alternative folk music. In 2012 she released the album Anniversary from where this track comes from. This follows her acclaimed 2009 album Pictures from Home, produced by the late Mark Linkous aka Sparklehorse. Both of these albums are available in the Dark Mountain shop.

When asked how Dark Mountain relates to their music,  Angela said:

“Years ago, I read an essay by Wendell Berry, in Harpers Magazine, that convinced me that art had much to contribute to the greatest problems of our species. The gist being that artists understand limits. The problem is that most of the decisions that affect the planet take place in boardrooms, one of the least likely places you’ll find a sculptor, poet, songwriter and so forth. But to me, Dark Mountain is a refugium where life and art intersect in ways that are relevant to those who grieve, grapple and perhaps reject mainstream paradigms and the way art is consumed. When I make a song, it becomes a cave painting of what I see in my rural landscape and at once puts me in touch with my most primitive self because I don’t approach it systematically. It’s similar to looking next to a star, so that you can see the star. Peripheral vision and peripheral geography are my modes, I’m finding. Dark Mountain allows me to feel at home without making the scene, where you typically encounter music. My scene is the periphery.”

When asked about her song ‘Ravens at Night’ on the compilation, Angela said:

“Ravens at Night scolds. It refers to a few simultaneous but congruous notions and events. A raven sighting is rare at my home but ravens at night are extremely rare and only in the event of extreme hunger, from what I understand. But I liked to think that this raven visitation was my late friend, Mark Linkous. Also, I’d just climbed the big mountain behind where he lived and had just watched the documentary film, Ghost Bird, which filled my heart with outrage for the destruction of Ivory Billed woodpecker habitat in my southern US, for the construction of sewing machine cabinets. Sewing machines are one of those loaded subconscious images that come up often for me. ”

To find out more about Angela, please visit her website here:

http://angelafaye.com/

Billy Bottle and the Multiple

Billy Bottle and The Multiple

Billy Bottle and The Multiple

Burrowing in the depths of Devon, England,  Billy Bottle ran away from the circus to work with Canterbury organ figurehead, Caravan’s Dave Sinclair. Pianist for Mike Westbrook’s Big Band, Billy blends a hint of Canterbury-scene with jazz and folk. His recent album with The Multiple is a Thoreau inspired epic that connotes nostalgia and whimsy, whilst pushing the experimental/free improvisational boundaries. In a strange twist of fate, Billy and Martine from the band have recently appeared on the reality television show, The Voice. Their Waldenesque album, ‘Unrecorded Beam’, is available at the Dark Mountain shop.

When asked how Dark Mountain relates to their music,  Billy from the band said:

“Believing that people are live metaphor, music is a means to explore the natural narratives of the earth. Ancient and futuristic, the nature of alchemy is such that we can only dance this story together.”

When asked about their song ‘O Nature’ on the compilation, Billy said:

“O Nature was our collaboration with the dead poet, Thoreau. His ideas are still very much alive in the ecology movement but the intention of our chorus was to describe a yearning for the earth and a less andro-centric experience of reality. In a sense this is a call for humility but also grieves what was lost.”

Billy Bottle and The Multiple release their new single La Belle Époque today. To find out more about the band, please visit their website here:

http://www.billybottle.co.uk/

Reading the Ashes, part two

This is the second installment in a series of four blogs about Dark Mountain’s newly released compilation album, ‘Reading the Ashes‘. Out fresh just this Monday past, I described the reasons for another musical angle of the project on the first blog. In short, as a musician myself, it has seemed to me that music and song are often some of the most prominent forms of storytelling. And so it felt pressing to bring together a collection of musical artists and their songs, inspired in some way by Dark Mountain themes.

In this second installment, I bring to you the following three artists that feature on the compilation, Telling the Bees, Tom Maringer, and Dougie Strang.

To download and listen to the full compilation album, please go here: Reading the Ashes

Marmaduke


Telling the Bees

Telling the Bees

Telling the Bees

Taking their inspiration from folklore, landscape, psychedelia, paganism, and the politics of protest, Telling the Bees mix driving songs and tune-sets with haunting ballads. Intelligent lyrics, exotic rhythms and modes, and instruments as varied as fiddle, mandolin, cello, double bass, concertina, stomp box and English bagpipes are brought together in skilful arrangements, wild at times, gentle at others. They met in 2007 at Oxford’s legendary Catweazle Club, and have released two acclaimed albums, Untie the Wind and An English Arcanum. Their new album, Steer by the Stars, is due for release on may day 2015.

When asked how Dark Mountain relates to their music,  Andy Letcher from the band said:

“I’ve been involved in green, alternative, festival, eco-protest movements all my adult life so it’s inevitable that that comes through in my music. And I’m instinctively drawn to the older, folk, drone-based musics of the world. Perhaps that reflects a yearning for something ancient, something that’s been lost.”

When asked about their song ‘Lyra’ on the compilation, Andy said:

“The Lyra of the title has nothing to do with Philip Pullman! I was noodling on a recorder, sat in the stairwell of the house where I was living in Frome, and I started thinking about the constellation Lyra and the ring nebula. The tune just popped out in that rather mysterious way that they do. The epic string arrangement belies its rather mundane origins!”

Find out more about Telling the Bees at their website here: http://tellingthebees.co.uk/

Tom Maringer

tom-maringer

Tom Maringer

Tom Maringer likes to call himself a comprehensivist in the style of Buckminster Fuller and after the writings of Robert Heinlein. He has degrees in geology and geography, has worked in mineral exploration, cartography, writing, teaching, music, media services, and currently owns a business dedicated to the production of fantasy coinage from fictional or mythical worlds. His novel, ‘A Superior State of Affairs’, deals with the social repercussions of an academic discovery of time-travel, with the fundamental problem of time lying at the root of most of his efforts. Tom was an avid climber and caver back in the day, though in his 60s now has a higher aversion to risk. He still likes to get out in the wilderness whenever possible.

When asked how Dark Mountain relates to his music,  Tom said:

Art and fiction can bend the fabric and time and space to engage with might-have-beens and future possibilities such that we can immerse in those ideas and experience the emotional impact of them. It’s one thing to imagine the world descending into an environmental catastrophe and calculating numbers of dead… it is quite another to immerse in a story of an individual living through that catastrophe. Thje intellectual grasp of FACTS alone will not get people to change the business-as-usual manner of doing things. It will require the absorption of TRUTHS about the nature of time and space and perceivable reality. Only then can ideas be translated into actions.”

When asked about his song ‘Otterhead’ on the compilation, Tom said:

“It is not a song that I intended to write, and indeed I found myself fighting against it at first. I was like: No No! I can’t write that! I want to write a happy song! But the song wrote itself as it were. I woke up from a deep sleep on the eve of Dec 22, 2012… from a dream in which someone is singing this song in my face and demanding that I write it down and remember it. There is a subtext to the song… scenery and images that flicker behind it. I have come to interpret it as a message from the far future… a warning to us in this time… not to let things get too far out of balance. The melody is very simple… like a nursery rhyme, easy to remember and easy for children to sing. And the message is also very simple, if profound. It tells us that if the sea-otters are lost, then the catastrophe is irredeemable. The corrolary is that if we can keep the sea-otters, then whatever else is wrong can be fixed with time. I should tell you that, when I wrote this song I knew nothing about sea-otters… other than a few cutesy photos. I live a thousand miles from the nearest ocean. I’ve never even seen an otter! So this bizarre song erupting into my life caused me to start researching… and to find that the sea-otters are considered a keystone species of coastal ecosystems. That tended to encourage me that perhaps there was something to this thing… this message that I have been asked to pass along. To all who enjoy this, pass it on: “Aint no good if they all gone away, there’s gotta be otters bobbin’ in the bay”.

To find out more about Tom visit his website here: http://www.shirepost.com/wp/mint-master-tom/

Dougie Strang

Dougie Strang

Dougie Strang

Dougie Strang is a Scottish artist and performer drawn to making things that are mostly out of doors, collaborative and participative. Particularly interested in exploring the subtle and not so subtle gaps between human and animal, Dougie makes art that tries to bridge those gaps. Dougie has an MA in Scottish Ethnology from Edinburgh University, where he studied folklore, folk art, and traditional cosmology, all of which continues to inform his work.

The artwork for this album came from one of Dougie’s photographs, called tein eigin/need fire. Here he is explaining his work:

“The tein eigin or need fire was lit as part of a protective and restorative ritual, enacted during times of calamity or illness amongst people and/or livestock. It’s recorded as having still been in use in remote communities in the Scottish Highlands up until the end of the 19th century – almost within living memory – though evidence suggests its use was once widespread throughout Great Britain. It represents a continuity of ritual practice stretching back to the Mesolithic and to the peoples who first inhabited these isles. My instillation/performance is a gesture towards that continuity, though it also takes its own form: the tein eigin was specifically a fire ritual, whereas my piece, by including a burial, highlights its relationship to wider themes of death and regeneration. I’m learning, slowly, to simply make the thing that wants to be made.

“For the piece to have integrity, I knew I’d have to bury myself rather than use a sculpted figure or photo-shop the images. Any sense of artifice was quickly erased by the earth being shovelled on top of me. I struggled with claustrophobia and a growing panic – the need to push my way out – despite being covered by only a couple of inches of soil. Earlier, whilst excavating the burial hole in a randomly chosen clearing in a wood in Galloway, I found bones, old bones, laid deep – the skeletal remains of more than one animal – along with fragments of charcoal. My world-view, the one that comes as standard issue when born into a culture that insists on rationality and empiricism, is increasingly challenged by such ‘coincidences’.”

To find out more about Dougie visit his website here: https://dougiestrang.wordpress.com/