Online Course for Members

October 19, 2024 - January 4, 2025

DEADLINE to register  August 15, 2024

This is our fifth course designed exclusively for ecoartspace members that will prepare artists to develop ways of thinking about sustainability in their practice, both conceptually and physically. Participants will learn how to wildcraft art materials, a practice that requires one to deepen their relationship with land, creativity, and self. Artists will also be invited to think critically about their relationship to place, materiality and voice in a time of socio-ecological destabilization. Through lectures, discussions, creation, and sharing, implications of a bioregional perspectives alongside the function of art to inform will be considered, and what a grounded and meaningful art practice can entail today.

Course content includes: sustainability as a stand alone concept, the historical background and function of art, review of artists and concepts including practical strategies and resources, exposure to a range of natural art processes and mediums, circular systems, interbeing, establishing sustainable development needs and goals, developing alliances and an action plan to generate one’s own project throughout the course.

All classes will be held on Saturdays. The first three sessions will be held October and November from 2-4pm EST, the fourth session in December with artists presentations, and the final session in January with roundtable discussions. Participants will create a project during the course.

This online course is taught by Anna Chapman with guest presenters (below).

 Course Schedule

I - Intro to Art and Sustainability - 2 - 4pm ET, Saturday, October 19th

- Sustainability as a standalone concept

- Historical background and the function of art

- The local and the global

- Sustainability: an issue of materials

- Circular systems

- Sustainable art in the city

- Sustainable art in under-resourced contexts

II - Art Processes and Sustainability - 2 - 4pm ET, Saturday, October 26th

- Visiting artist from ecoartspace (((TBD)))

- Painting processes: paints, inks, & watercolors

- Charcoal

- Natural dyes 

- Papermaking 

- Found & recycled materials

III - Objectives, Relationships and Alliances - 2 - 4pm ET, Saturday, November 2nd

- Visiting artist from ecoartspace (((Leah Mata Fragua, Northern Chumash)))

- Establishing needs

- Establishing our own SDGs 

- Interbeing 

- Local relationships and alliances

- Developing ideas around sustainability

- Action plan (students develop a project from a choice board)

VI - Progress Presentations- 2 - 5 pm ET, Saturday, December 7th

- Participants share the research and progress of their projects and receive feedback from class and instructor

V - Presentations - 2 - 5pm ET, Saturday, January 11th

- Participants present and debrief about their projects.

Anna Chapman is passionate about the intersection of art, education, ecology and healing. Believing that interdisciplinary approaches to art and education are necessary to meaning-making in the context of the Anthropocene, her work is inspired by post-colonial, post-human, early European, and indigenous perspectives. Through her practice, Anna aims to mobilize reconciliatory relationships to place, community, materiality, and voice, to awaken one’s innate capacity for care and creative life force. She received a BFA in Painting at the Rhode Island School of Design in 2012, a Masters of Arts in Art Education at the School of the Art Institute of Chicago in 2022, and is currently pursuing a Masters of Fine Arts at UMass Amherst. Anna currently teaches through the Center for Art Education and Sustainability, the Continuing Education department of the School of the Art Institute of Chicago and at Umass Amherst. @owl_and_apple  annachapmaneducation.com

Cost is $375 per member, membership fee can be waved if needed, three scholarships are available at 50% off. Approximately 12 participants max.

Email info@ecoartspace.org to participate

July 2024 e-Newsletter for subscribers is here

Left: Leonardo Martinez-Diaz at The Crow’s Nest by Vivian Doering via BMore Art

Bridging Divides to Grow Resilience Through Expression: Leonardo Martinez-Diaz’s vision for artist’s crucial role in environmental and climate policies and politics at The Crow’s Nest, Baltimore, MD

Olivia Ann Carye Hallstein

Leonardo Martinez-Diaz’s accomplishments in politics are inspiring, as is his dedication and deep belief in the influential power of art to create lasting impacts and change. Standing between the worlds of policy and fostering creative visionaries, Leonardo is an exemplary agent for change both on the ground and in the boardroom. Opening this fall: The Crow’s Nest in the Bromo Arts District of Baltimore, Maryland, fosters cross-disciplinary collaboration to activate the power of creativity to make the difference in environmental and community resilience. Working with ecoartspace for the opening exhibition this fall (apply here), topics of social ecology will welcome a new force in the downtown district; one that will shed important light on the power of bridging disciplinary divides to build resilience to best confront the challenges this new century brings.

I want to start by thanking you, Leonardo, for taking the time to share with us at ecoartspace. It is inspiring to see such an influential expert and politician practicing what they preach. I wonder: how does your position allow you to act as a bridge in order to make a lasting impact both through policy and on the ground? Do these elements of your work cross-pollinate?

My work in government has enabled me to understand what policy and politics can do to tackle global environmental challenges — and what they can’t.  For policy to become more ambitious and match the urgency the crisis requires, we need an educated citizenry that demands change. Without that push, good policy ideas stay on shelves collecting dust, or they become laws that are never implemented effectively.

Art is a way of engaging everyone in a larger, more inclusive, and more intelligible conversation, one that can produce the informed and motivated citizens who demand better policies from government and business leaders.

It is heartwarming to hear this stated so clearly and I share this perspective as many artists do.  What role do you think artists in particular are able to play in developing new policy, especially when related to environmental and sustainability topics?

Artists and their work have a crucial role to play in environmental and climate policy and politics. Art can help people grasp the nature and scale of these vast challenges. Art can enable us to come to terms emotionally with them and to channel anger and frustration in productive ways. Also, art can help build support around particular policy approaches or proposals, and it can enable us to envision new worlds, to visualize alternate realities that exist beyond the narrow confines of what is politically  possible at any one time.

You will soon open The Crow’s Nest in Baltimore, Maryland, which will foster cross-disciplinary projects between artists, scientists, policy makers, planners, activists, etc.  In a recent interview you described your aspiration for the space to create “a diverse creative community whose members can inspire one another, collaborate, experiment, and cross-pollinate ideas.” What is your vision for the kinds of projects and ideas that cross-disciplinary collaboration uniquely achieves?

I don’t have any preconceived notions of what those working at the Crow's Nest will produce or of what will come out of this experiment in creativity.  What I hope is that the creative output will push boundaries and challenge and inspire us. The goal of the Crow’s Nest is to provide a space where creators feel free to explore and experiment and share ideas, producing original work that helps us view the world in a different way. 

Your open mindedness to creativity is very freeing. What inspired you to advocate for this creative and diverse vision?

After many years of working in government and nonprofits, I am convinced that we also need culture and the arts to help our country tackle the twin challenges of climate change and environmental injustice. Charts and graphs and political discourse are not enough to educate and convince people in our polarized society.  We also need to engage people’s imagination, their fears, hopes, dreams, and aspirations. The arts are a powerful way to do that.

Does the Baltimore location and the Bromo district’s residents present especially fertile ground for this kind of inspiration and boundary pushing?

Baltimore was a natural choice, because it is close to the center of policy and politics, but it also has a vibrant arts community and world-class cultural institutions, like the Peabody Conservatory, the Maryland Institute College of Art, and the Baltimore Museum of Art. The city also supports the arts and its arts districts. Baltimore remains a place where experimentation and risk-taking is still possible.      

Considering potential risks, how does the changing climate and related environmental risks contribute to your considerations investing in this location? And specifically, in the resilience of the Baltimore creative community?

 Baltimore is actually a lower-risk location than other metropolitical areas, including New York, Philadelphia, and Los Angeles. The top threats here are heat waves, high winds, and tornados.  Heat waves are what concerns me most, as they can kill more people than any other peril, and they hit the elderly and low-income communities hardest. Heat islands overlap with poor and historically-marginalized communities, which often have little green space, which lowers temperatures. I hope the art produced or exhibited at the Crow’s Nest will engage not only the global dimension of environmental challenges, but also with local aspects and their solutions.  

Lastly, you are planning an exciting upcoming exhibition called "the ecology of freedom" in collaboration with ecoartspace on Murray Bookchin’s free nature ideas. What are your hopes for this exhibition to support and activate this goal of nature's and human's self-determination to the goals of environmental and community resilience?

My hope is that the exhibit will allow artists and those who experience the art to explore some of Murray Bookchin’s revolutionary ideas. I hope the artworks will make some of these concepts, such as free nature and hierarchy, come alive for the viewer and enable them to relate these ideas to the struggles, challenges and solutions they see daily in their communities.

Apply For the Upcoming Exhibition

Rainey Straus, Blown Away, 5 x 10 feet, acrylic and watercolor on Yupo paper, 2022

The following pieces were developed for a public event in conjunction with the Old Growth Project, shown at Marin MOCA over the spring/summer of 2024. The gathering combined an artist talk by Rainey Straus with movement exploration led by Aline Wachsmuth to explore the creative process behind the painting series and somatically experience the life cycle of a Redwood tree.

Thinking with the Trees

Rainey Straus, June 17, 2024

The Old Growth Project

The Old Growth Project started with a walk in the woods, specifically in Prairie Creek and Redwood National Parks up north in Humbolt County. But truthfully, this project started more than 30 years ago when I moved to California. Although I’ve spent many years here enjoying the great outdoors — I’ve never become “of this place,” I’ve stayed on the beautiful surface. So core to this investigation is my desire to grow more intimate with my home — to inhabit this specific place, especially as the climate changes before my eyes.

The paintings in this show are essentially artifacts of a relationship-building practice. They may appear “tree-like,” but they also hold all the stories, experiences, and learnings that emerged over the past two years of research and making. These paintings carry multiple questions, grief, loss, and tremendous awe and wonder.

At the end of the day, as Robin Wall Kimmer speaks to so beautifully in Braiding Sweetgrass, this project is an effort to become kin to the beings I share space with.

The Importance of Stories

This notion of narrative or story is very important to me in framing this work. The thinking of so many writers has nourished the Old Growth Project. Still, related to story, I look to the work of Jeremy Lent (The Patterning Instinct), Amitav Ghosh (The Nutmeg’s Curse), Indigenous scientist/scholars Robin Wall-Kimmerer (Braiding Sweetgrass), and Tyson Yunkaporta (Sand Talk, Right Story/Wrong Story) to guide my thinking.

From this research, I take away three critical concepts:

The First:
Stories are the foundation of culture; they hold the values that drive our actions and behaviors. Stories can be held in the land.

Second:
We are entrenched in the “wrong story,” a story of separation, extraction, monoculture, and human dominance.

I think we all know the outcomes of this story, so I won’t go deeply into what is not news to any of you.

Third:
We need to live from different stories, diverse stories, new stories that incorporate the wise use of modern technologies, ancient stories that model the right relationship with the more-than-human world, and stories that reflect care and reciprocity.

Continue reading here

100th IUSS Soil Congress and Il Conventino Pop-up, A Report from Florence, Italy by Patricia Watts

This trip to Italy was three years in the making, meeting monthly for our Soil Dialogues Zoom sessions. With over 100 ecoartspace members who are interested in soils, during the last year and a half, twenty-seven of them decided to take an active role in responding to a provocation to bury textiles in soil as an aesthetic and scientific inquiry. Our in-house soil scientist and artist, Rhonda Janke, shared this textile burial method with our Dialogues and offered to do DNA testing for some of the burial sites. Alexandra Toland, co-editor of Field to Palette: Dialogues on Soil and Art in the Anthropocene (2018) and curator of Gaia Glossary, included in We Are Compost / Composting the We at Centre for Contemporary Arts in Glasgow (2022), suggested that participants could present their findings at the celebration of the International Union of Soil Sciences (IUSS) 100th Soil Congress, in Florence, Italy (May 2024).

Over last summer and fall, ten of our members prepared papers to present at this special 100th Soil Congress, they buried their textiles, then transported them to Italy for a pop-up exhibition at Il Conventino. The former monastery, which Jo Pearl from London, found for us through a friend, was perfect for our needs. By January 2024, we were scheduling flights and finding hostels, hotels and Airbnbs for our week in Firenze. Some arrived early to go to Venice for the Biennale, others waited until after the conference to check out “the Olympics of the art world,” this year titled Foreigners Everywhere. The congress began Sunday, May 19, for three consecutive days, kicking-off with 1,400 attendees from around the world. For several of us, it was about a 25-minute walk one way to the Palazzo Dei Congressi near the train station. Luckily, there were gelaterias along the way to keep us cool.

The three-day congress was jam-packed with incredible opportunities to attend sessions where you could learn everything from black soils to soil regeneration, soil health indicators, and more. There was a soil literacy session where communication and community engagement were discussed. Author and presenter Nikola Patzel, who wrote the book “Cultural Understanding of Soils,” presented a “soil vision” by Hildegard of Bingen, painted in the 12th century. The vision was included in Bingen’s manuscript “Liber Divinorum Operum,” completed in 1174, which conveyed her ideas about the universe and is preserved in the State Library of Lucca in Italy. There was a session on mulching that addressed prototyping alternatives to plastic films used in vegetable production to reduce tillage and suppress weeds. These films are made with biopolymers rather than fossil fuels and can also serve to release fertilizers, though they are not yet commercially available. There was a session on anthropogenic soils and information on a mass worm death in India due to increasing temperatures. Other member favorites included a session on the soil microbiome gut-fecal connection, and understanding how climate change is affecting soil conditions for growing food. And, there was an experiment presented where warmer climate inside a biosphere was monitored to see how it would affect peat fields.

The majority of the humanities sessions were scheduled for Tuesday, the last day of the congress, and most of our participants presented in the final time slot. A few of us set up the Soil Dialogues pop-up exhibition in the morning, installing over fifty works by thirty artists in three hours. We were situated in a ceramics studio, where we used drying racks to hang textiles from, invented hanging devices from the tops of temporary walls and over window shutters, and laid several works on a long turquoise table placed on squares of Kraft paper with corresponding numbers on dots that matched printed checklists in both English and Italian.

At noon, at the Palazzo dei Congressi, the soil work of Italian artist Samantha  Passanti was presented by contemporary art critic and curator Davide Silvioli who discussed her work immersing fabrics in a rich ochre pigment found in soils at a former Sienna quarry in Bagnoli, which operated from the late 1700s to the 1800s. His talk, titled "Oltreterra Art Project: Artistic, cultural, environmental and cross-disciplinary project on Raw Sienna,” was included in the session titled “Soil, soul and society: transformative pathways in soil care practices.”

Alexandra Toland presented on three panels on Tuesday, including “The Sky Inside the Soil,” which is a multi-phase, co-authored, research-creation project developed by Toland and Caroline Ektander that explores the rhizosphere as a place of trans-mediation in an environment of extreme toxicity. Toland also presented for the “Epistemologies and Ontologies of Soil: Towards New Politics of Soil Knowledge” panel, her paper titled “Soil Personhood, on the possibility of ped-ontological protection of soil beings and livelihoods,” and for the “Soil, Soul and Society: Transformative Pathways in Soil Care Practices” panel, she presented a new publication project in the making, the “Language of Soil” with Anna Krzywoszynska.

Rhonda Janke, Deanna Pindell, Jwan Ibbini and Patricia Watts convened and moderated a session titled “Soil Health from Multiple Perspectives,” which was presented in two separate panels in the rooftop Belvedere room with an incredible view of Florence. The first panel included Janke’s introduction to “A brief history of the buried cotton cloth assay use in science and art and current comparisons of diverse sites using metagenomic indicators.” She also unfurled a long data set on the DNA soil testing sampled from the participants located between Oman, Europe and the U.S. Pindell presented “Burial Shroud: a multispecies and ecofeminist perspective on human/microbial relationships in soil fertility and decomposition, as expressed through art.” She also presented Allie Horick’s Soil Quilt, made of soils from fourteen of her families’ ancestral cemeteries and patterned after her great-grandmother’s quilts.

This was followed by Ibbini’s talk titled “Buried Cloth Technique: Soil Microbial Art as a Teaching Tool for Laboratories.” With her students they conducted experiments by adding toxic substances, and sugar to the fabric before burial, which accelerated decomposition and affected resulting colors. The concluding panel was “Two Painters’ Collaboration with Soil, A Search for Understanding,” presented by Andrea Bersaglieri who shared watercolors on paper by Pamela Casper, featuring colorful underground worlds with circular insets of buried fabric on which she embroidered microbial life. The works mimic a microscopic view and channel generations of women’s work, typically undervalued—analogous to the way soil life has been undervalued. Bersaglieri also presented her paintings and drawings of clumps of soil on the soiled textiles, incorporating inks made from organic matter found within the soil buried in the artists’ backyard garden, in Los Angeles, California.

For the second session on “Soil Health from Multiple Perspectives,” I gave a brief history titled “Ecological artists engaging soils as both medium and non-human collaborator,” including Italian Arte Povera artists Peno Pascali and Giovanni Anselmo and post-war painter and farmer Gianfranco Baruchello, as well as several early American artists working with soils, and the buried textiles of ecoartspace member participants unable to attend, participants of the Soil Dialogues. Anne Yoncha presented the sound work of Kim V. Goldsmith and her own sound work in a talk titled “Sound of Soils: Two approaches to a multisensory understanding of soil.” She outlined how they each used different processes to explore their respective soil microbiome communities and shared the resulting sounds. Next was Jo Pearl, who presented Cindy Stockton Moore’s experimental short video Refuge in dialog with her own film Unearthed for the panel titled “Animating Soil Health: Breathing Life into Soil, Campaigning through Stopmotion Film.” She highlighted the origins and meaning of the practice of animation, defending its dynamic ability for bringing the hidden soil biome to life.

Three scientific posters were also presented, displayed around the perimeter of the main lecture hall for the duration of the congress (a strategy more ecoartists should be participating in at science conferences). Saskia Jorda illustrated her buried cloth experiment at two locations in Arizona, and included shoes or slippers with attached “mycelial roots'' sprouting from the bottoms, which she made from the textiles buried near her home. Her slippers and the poster titled “Rooted: soil health and memory of place,” were displayed at Il Coventino following the congress. Another collaborative poster by Anne Yoncha titled “Suon Laulu (Song of the Swamp): Soil Data Sonification of Post-Human Landscapes,” presented data from a graphic score, choral performance, and programmed video visualization that sonified 160 years of soil data from post-extracted peatlands in Finland. And, Ibbini’s daughter, Nada Hatamleh, from Oman, summarizing both historic and contemporary use of soil for design and construction in her poster titled “Harbony beneath our structure: bridging sustainable architecture and soil science in a changing world.”

During the same time, in another area of the Palazzo dei Congressi, Maru Garcia presented her talk, “Under the Concrete: Explorations of Soil Biodiversity through Art and Science in the Los Angeles River,” a multi-year large-scale project led by Lauren Bon + Metabolic Studio in California. Garcia has been a Metabolic Studio Fellow for the last two years, and presented this project in the session titled “Soil sciences entering into transdisciplinary research.” Bon sent six microscopic images of microbial soil organisms found in the river, printed on colorful textiles, which were hung on cordage up high diagonally across the ceramics room at Il Conventino. Garcia also displayed postcards from her project Prospering Backyards, which has provided free soil testing for lead to residents of Los Angeles County.

After the presentations, and after passing out flyers in both English and Italian at the Palazzo Dei Congressi for our Soil Dialogues pop-up exhibition, we rushed back to Il Conventino to welcome the soil scientists. For three hours, we had a full house of rotating guests. We were lucky that the venue had a cafe adjacent to the ceramics studio, where visitors could also get dinner. There was also a large courtyard where visitors continued conversing on the power of art to create an aesthetic context for discussion on soils.

Other artists in the pop-up included: from Australia, printed images of burials and exhumation of soiled textiles by Annette Nykiel, Renata Buziak and a quilted banner by Cassandra Tytler. From the US, unaltered buried textiles by Ashton Phillips along the Los Angeles River, and by Ruth Wallen four textiles from two different sites to measure soil health post-fire restoration in California, and a piece of buried Birch tree bark composed into an artwork by Stephanie Garon; remaining threads from a vermicomposted America flag by Christopher Lin; a painted textile by Priscilla Stadler mapping the area near Newtown Creek, in New York City where she buried her fabric; a degraded soiled embroidered textile with a nematode, juxtaposed with a printed before picture by Valerie Constantino; a monograph of bio-char on paper by Erin Wiersma; and from Canada, raw soiled fabric buried by Grace Grothaus; and a soya ink on cotton with the word soil on a dinner napkin that had been buried in roadside by Jill Price; and, from London, a recently exhumed textile with paintings of plastic forms buried in a community garden by Susana Soares Pinto; several raw soiled textiles buried in two locations by Kim Norton, and two tied canvas pieces buried with food waste or compost by Helen Elizabeth.

There was also a table with take-aways including brochures, postcards, business cards, and books for sale including Clive Adams and Daro Montag's book Soil Culture: Bring the Arts Down to Earth, Samantha Passaniti's Oltreterra Art Project, and Kim V. Goldsmith's Good For Nothing Dirt & Subterranean Sernade.

Exhausted from the Congress and reception (not to mention the time change), we went back to Il Conventino the next morning at 11am to welcome local artists. And, in the afternoon, we held another reception for the participants of the Art & Soil Tour, led by the IUSS Soil Congress. Many attending scientists left Florence right after the Congress, and others went on tours in other parts of Italy. We did, however, find a few scientists who stayed longer and came to our post-congress events, including on Thursday morning, where we talked with two soil scientists about the differences between artists and scientists and their processes of observation and visualization, which we concluded were not that different.

Jo Pearl wrapped up the three-day pop-up with a clay workshop in the afternoon where we formed soil microbes based on illustrations and our imaginations to collaboratively make a sculptural 3D bacterial biome. The participants were all ecoartspace members, so we used this time to share what we had learned from the soil congress and our interactions with scientists. We discussed future plans for a book documenting this journey—our working title is “Burial Shroud: a multispecies and ecofeminist perspective on human/microbial relationships in soil fertility and decomposition, as expressed through art.” And we considered additional possibilities to do pop-ups at upcoming conferences. This led us to consider how we could execute a collaborative work–an exquisite corpse style assembly of textiles. We have already started laying out a schedule to accomplish this over the next year.

The Soil Dialogues will continue through 2024 and beyond and we are looking forward to publishing the ecoartspace annual book titled Soils Turn in 2025, a directory for curators and scientists to locate artists for exhibitions and collaborations. Soils Turn will be co-edited by myself and Dr. Alexandra Regan Toland, Professor of Art and Research at Bauhaus University, Weimar, Germany.

Of course, we will follow up on our contacts made during this time in Italy and look forward to more opportunities for creating new ways of seeing and engaging with soils.

Image: Listening Party, Zoë Sadokierski, 2024

Sketching Soundscapes

Wednesday 5 June, 12:30 – 1:30 pm
Waraburra Nura, Indigenous Plant Garden
L6 (balcony), Building 1, UTS

In this free workshop, Zoë Sadokierski led participants through a guided listening experience, followed by a simple soundscape sketching exercise. The activity encouraged people to slow down, listen and reflect on ways to engage with the natural world, even in a hectic urban environment.

Read full blog post with images here

Nature was quiet on World Environment Day: The Stories Behind the Silence

published June 5, 2024 by Kim V. Goldsmith

Outdoor events involving technical equipment are always a gamble. Winter announced her presence early this year in the Central West of New South Wales, cloaked in cold southerly winds, showers, and overcast days with plunging temperatures in the week leading up to World Environment Day 2024 on 5 June. Of course, I had planned an outdoor listening event for the occasion.

I was part of a program of place-based interventions across the country by members of the ecoartspace Australian Dialogues, each of us marking World Environment Day by creating hopeful actions to address the issues impacting the environments where we live and work. This is the first of a series of events we're planning over the next 12 to 18 months.

An urban setting was chosen for my Lunchtime Listening Lab event—not an environment I usually work in, or my personal preference. However, I believe an intervention requires one to go where the people are rather than expecting them to come to me. My event location was on the lawns at the front of the Western Plains Cultural Centre in the regional city of Dubbo—facing a busy street and close to the path leading into the gallery museum complex’s popular café.

To read the full post go to the artists' blog here

A Listening Ritual with Clarice Yuen, 10am AWST

@clariceyuen

#worldenvironmentday2024

This simple recording is for all earthlings to use at their leisure for reading, drawing, or meditation. This event explores the ritual of listening, moving beyond human language to embrace the subtle interactions within our everyday surroundings. For instance, garden peas communicate with their environment through nonverbal networks. Beyond our languages, we also engage in communication through smell, touch, and other sensory experiences. I will remain still in my garden, recording its soundscapes. Perhaps you can share your sound recording so I can enjoy a different corner in the earth. This event was part of an ongoing program through the ecoartspace Australian Dialogues.

#easAUSDialogue#worldenvironmentday2024#世界環境日

World Environment Day 2024 – Wed 5 June

Sound Works by Jane Richens

Thanks to all who took some time to tune into sounds of nature at the Dungog Listening Station. It was my listening action for Ecoartspace’s Australian Dialogues event ‘Place-based interventions in three time zones’ – one of 17 events across the country.

11, + Leon the dog, stopped by the Listening Station for an extended period of time – listening to and watching multiple audio and video works created in local forests. It led to many conversations about sound, nature, equipment, consequences of human interactions and how aware we are of human noise pollution. Particularly of interest were the two different passive acoustic recording devices – how they worked and what could be done with the recordings.

Read full report here

  June 2024 e-Newsletter for subscribers is here