Showing posts with label Aesthetics. Show all posts
Showing posts with label Aesthetics. Show all posts

Beauty in a Landscape

SUBHEAD:  The post-modern American hedgerow, a landscape form that offers benefits to humans and nature.

By Adrian Ayres Fisher on 18 November 2014 for Ecological Gardening -
(http://www.ecologicalgardening.net/2014/11/where-do-we-find-beauty-in-landscape.html)


Image above: Separating agland from the road are hedgerows of eucalyptus creating the Tree Tunnel on the way to Poipu, Kauai, Hawaii. Photo by Brian Harig. From (http://fineartamerica.com/featured/eucalyptus-tree-tunnel-kauai-hawaii-brian-harig.html).

Part one of a series on the post-modern American hedgerow, a landscape form that offers benefits to humans and nature.

Before we get to hedgerows’ multifaceted functionality and usefulness, and why and how we should plant them, let’s start with beauty, a quality not often associated with the mundane, anthropocentric landscapes, whether urban, suburban or rural, of many parts of the Midwest—or elsewhere in the US, for that matter. Beauty—deep, profound, emerging through complexity, impossible to quantify—matters immensely.

As Aldo Leopold and a host of others, most recently Courtney White in Land, Soil, Hope, have pointed out, though there is struggle, suffering and disease, predation and often early death among the wild denizens, enmeshed in the food web as they are, nevertheless, an ecologically sound landscape—wherever it is, however lush, arid or in between—is beautiful in a way a degraded one can never be.

Beauty’s necessity is a fact of life for indigenous peoples and for us moderns who have lived close to the land in regenerative fashion, who’ve been worked on by it until we have become re-enchanted, until we’ve have become naturalized citizens of our home ecosystems. Artists, writers, poets, composers and musicians have always known and celebrated this fact, as have certain religious writers, philosophers and scientists.

I believe even the most urbanized, nature-phobic among us recognize and understand this necessity, though they may be unaware of it, or may have suppressed this knowledge to the detriment of their own psychic health and much else.

Because of the extreme degradation of so many human-occupied landscapes, some people might only associate beauty with a manicured corporate campus, or Disney-fied theme park, with the neat and tidy in general.

 Some of these landscapes might be pretty, but they have none of the deep mystery and complexity—and delight—that beauty entails. Others might only associate wild nature’s beauty—and ecosystem health—with nature reserves, national parks, and places of spectacular scenery well away from cities.

This camp includes people, even respected conservationists and scientists, who hold the ethos that true ecosystem health and beauty depend on a lack of humans in the landscape, where nature can do its thing free of our interference.

This attitude is important and necessary: it is why we need and have our great national parks and nature reserves and must continue to set aside land where other species can live and humans can visit without the threat of shopping malls apartment complexes, industrial farming and, worse, extractive industries, ruining the land.

However, and this is where hedgerows and other forms of greenways such as wildlife corridors come in, human-occupied landscapes can also be ecologically sound, full of a beauty not imposed according to strictly human rules and principles.

While an overly controlled landscape or one managed only for short-term gain, function or appearances never can be beautiful, a working landscape will be beautiful if it is managed with close attention to natural processes and room for the messy complexity of wild nature.

Unless there is room for wild nature, there will be no beauty or health—and there will be no life, in the sense of all the processes and cycles of living and dying that form that landscape.

There will only be that tendency toward cessation, toward depletion, degradation and impoverishment—toward death in its guise of “nevermore,” that is, of finality, of entropy, of extinction, of the dissolution of complexity that is the ruin of any piece of land.

As far as I know, the first peoples understood that humans can be part of an eco-system without destroying it, and that human influence is not necessarily negative.  I’m pretty sure that those original settlers of my part of the world never thought about the question of belonging or not in the terms set forth here.

Often the question was, and is, one of how humans can fit in properly, can earn the right to partake of the gifts our ecosystem offers, and of what we will give back. This is obvious if you read any of the old creation myths and stories about life on our continent, sometimes called Turtle Island. Humans belong here.

The wilderness that Europeans “settled” was actually land that had been lived in and managed by its peoples since the Laurentide ice sheet retreated 10,000 years ago.

We humans, if we live and work, think, plan and do as citizens of the biotic community, can actually be of benefit to an ecosystem, but only if we make an effort to follow the rules, sometimes called the “original operating instructions.”

This ancient, vital knowledge is only now being redeployed. Combining it with modern ecological science forms a powerful hybrid that can lead to truly regenerative land management practices.


Image above: Endless GMO soy and corn fields in Kansas stretch to the horizon. Photo by Galen Maly. From (http://www.imbikingacrossthecountry.com/?p=692).

Some caveats
Now it’s true that some farmers, the ones who grow commodity crops like soybeans and corn on vast fields, don’t like hedgerows. Nor do many developers, park districts, or conventional landscaping firms.

Hedgerows are inappropriate in large prairie areas, whether remnant or restored, where grassland birds require vast, treeless areas on the order of 10,000 acres or so to feel comfortable enough to nest and start families. They are shaggy, messy, unkempt looking. They require effort to put in, nurturance while young, and regular maintenance thereafter. We have fences.

I would never promote use of hedgerows in areas of the country where they’d be inappropriate, such as the desert southwest, or arid grasslands (except possibly where trees and shrubs might occur naturally, such as riparian areas) or large public lands managed for restoration. They have their own beauty and ecosystem complexity.

My aim during this series of posts will be to talk about how, in temperate areas of our country that are already built on or farmed, that can’t be restored or set aside, hedgerows can be used to help heal the land. They can be an important component of green infrastructure, complementing bioswales and raingardens.

Further, as our climate changes, hedgerows and greenways could be crucial not only for their carbon-storage properties, but also for their ability to serve as corridors linking larger, wilder areas so that animals and even plants can migrate to more favorable habitats.

Some of the plant migration could even be human-assisted, though that is controversial. In all, they are a prime example of reconciliation ecology, the practice of designing human-centered landscapes to accommodate the needs of other species.

Unless you’ve visited places with thriving hedgerows and have seen how they can positively impact a landscape, you may not understand why they are so vitally important.

This is partly a case of shifting baselines. You can’t appreciate or miss a type of landscape that nurtures all the creatures that live in an area unless you experience it, and beyond that, have the cultural understanding to value it.

In England, enough hedgerows have continued to exist and enough people and organizations have kept the cultural and historical knowledge alive to enable hedgerows as a concept to remain viable, and as a landscape feature to be to be saved and resuscitated.

Here in the US, both the concept and the reality are having to be reinvented. A friend of mine, who has been studying hedgerows and advocating their use for twenty years, calls these new efforts “post-modern hedgerows.”

Gardeners, conservationists, permaculturalists and organic farmers are already practicing hedgerow making, particularly in California.

By so doing they are reinvigorating ancient art and utilizing modern science that could, if practiced widely enough, help knit back together many of our fractured landscapes, providing habitat for pollinators, other beneficial insects, birds, and other animals while simultaneously providing food, materials, and shelter—in the form of privacy and microclimate enhancement—for humans.

Properly planned and maintained, they can increase bio-diversity, store carbon, help manage rainwater, and add beauty and livability for all.

When a farmer plants and manages a wide, ecologically diverse hedgerow, or enriches an old fencerow, or a government agency does the same along a road, they might say they are creating a pollinator reserve, wildlife corridor, game bird habitat, micro-climate enhancer, even a carbon sequestration system.

The same goes for those of us who have smaller pieces of land to work with in suburbs or city, whose small yards can link together in beneficial ways. But what we all really are doing is co-creating beauty.


.

Aesthetic of Uncivilization

SUBHEAD: Seeing through a glass darkly – towards an aesthetic of uncivilization to the Dark Mountain.

By Charlotte Du Cann on 4 December 2013 for Dark Mountain -
(http://dark-mountain.net/blog/seeing-through-a-glass-darkly-towards-an-aesthetic-of-uncivilisation/)


Image above: Laurence Edwards with Creek Man in the Suffolk marshes. From original article. For more images click on link above.

Those people were some kind of solution
(‘Waiting for the Barbarians’, CF Cavafy)

I’m exploring a territory I have not stepped into before. Maybe none of us have yet. I am not sure if aesthetic is the right word for it, but it’s the one that comes to me as I begin a new role as the arts editor for the next Dark Mountain collection, as the editorial crew sift through the material for a fifth volume in a fifth uncivilised year.

Images form an intrinsic part of the Dark Mountain anthologies – photographs, paintings, drawing and illustration appear in all of them. The books themselves are beautifully and deliberately constructed; handsome hardbacks with covers the colour of damsons and field maple leaves. A physical thing you wouldn’t want to throw away.

But what about the look and feel of the Dark Mountain Project that extends beyond its text? Is there an aesthetic we share as writers and artists, makers and thinkers? And if so how can we best showcase it within the pages of a book?

The team (that’s Paul Kingsnorth, Dougald Hine, Nick Hunt, Adrienne Odasso and myself) are now looking for new visual work for Dark Mountain 5 and 6, so this post is an invitation to contribute as well as an exploration. I wanted to talk about aesthetics in a wider context, because, even though I have long rejected the words that once earned me a good living in the city – style, design, fashion, taste – I know the look of things, their shape and form, are as important a part of a new narrative as words.

The fact that civilisation holds us so tightly in its unkind embrace is not only because it controls what some call ‘industrialised storytelling’, but also because it manufactures the images that powerfully and unconsciously distract and misinform us, keep us endlessly looking at the shiny surfaces of what we feel is our cultural reality,


I want to ask: what are the arts of uncivilisation? What happens outside the gallery and the multiplex, what are the barbarian images that might liberate our vision, that bring us home? If we live in a culture that is separated from and in control of what is seen, how can we make an unofficial art created within experience to include dimensions our ordinary attention might miss?

Behavioural scientists observe that change happens slowly and deliberately over time but artists know it happens in a split second: a chink in the door, a wild unexpected moment that appears before you and for no reason you change lanes. A flash of quicksilver that can transform the dark materials of a whole culture.

When I walked through the trees at the Uncivilisation Festival past sticks arranged in a circle on the ground, people in animal masks, slates hanging from the boughs of a tree, I recognised something that made sense of a long journey I had once made.


A coyote on a television looking across a valley, a hare leaping inside a poem, Rima Staines’ Weed Wife covered in flowers on a sheet of oak, Dougie Strang’s Charnel House for Roadkill, like an archaic Tardis on the steps of the Glasgow Art Gallery.

Uncivilising the Eye
I have to tell you a story about the journey. Because that’s where this exploration begins. Late ‘80s,walking down Bond Street, my eye is caught by a room full of vast chunks of stone and a pale suit hanging on the wall – an Anthony D’Offay exhibition of Joseph Beuys’ The End of the Twentieth Century. The stones are hewn from basalt, a stone that will form Beuys’ perhaps most famous work, the planting of 7,000 oaks in the city of Kassel in Germany.

The suit is made of felt, the material the artist was wrapped in by nomads when his Luftwaffe plane crashed in the snowy wastes of Crimea. Felt and fat saved his life, but they also transformed his life. They became the materials that defined his art.

On a video Beuys is telling the world: in the future everyman will be king.

I could say this was the moment I walked out of galleries and stopped writing copy about Bond Street. Because shortly afterwards I left the city whose high culture I had been steeped in for 35 years. The change happens quickly but it sometimes takes years to thrive in the world without those beautiful clever things that shielded and once defined you.

Roland Barthes in his elegant deconstruction of the bourgeois mindset, Mythologies, laments how hard it is to forge a culture unbound from a market economy. He points to a painting of a Dutch interior where a wealthy burgher sits surrounded by his possessions. His library, bolts of cloths, furniture. Shipped from all round the world, the goods set a pattern for material desire that has become the stuff of Sunday colour supplements ever since.

This is the art of civilisation. Globalised goods, fetishisation, possession. This is mine, all mine! Houses, horses, naked women, rich and poor, the painter who paints the canvas and the canvas itself. And even when art has rebelled against the pattern in a hundred dexterous and avant-garde moves the painting (or sculpture, or drawing) is still possessed. It is still property, a commodity in the minds and hands of those who could buy it – once the Church and then the collector and the State museum.

What do art and aesthetics look like within the frame of collapse? What does photography look like that is not alienated from its subject? How do we love the world in a time of extinction? I look at my own collapse in order to see what that might mean. Because although I was educated in the dominant culture, there were strains of an uncivilised aesthetic that ran counter to everything I was taught, flowing dangerously beneath the surface like the river Styx. I wrote about the one perfect gleaming designer chair but my eye was always caught by rougher stuff that felt it had content and not just form. Like a linguist in search of a lost language, I would sometimes stumble upon its broken vocabularly. 

These were the creative salvage years in London where makers like Tom Binns conjured ‘unjewelry’ from keys he found in the Thames foreshore or seaglass from his native Donegal; where welders like Tom Dixon made furniture from scrap metal. Post-punk warehouse years before corporate style had taken hold, when the original cut of your coat, or tribal marking distinguished you. There were chinks everywhere if you looked.

One of those chinks I went through in Bond Street and found myself in Mexico. To liberate yourself from the mindset, you sometimes have to leave the city that bore you, or crash into another territory entirely.

In Mexico I did not go to museums or churches. I watched market squares and mountains, the colours and the vernacular of places. Later I looked at plants and at dreams.

For six years I stopped writing and taking photographs, took out a notebook and studied living forms and the shapes of my imagination. I was uncivilising my eyes: shifting my attention, away from an aesthetic moulded by the hard lines of Balenciaga and Mondrian and Diane Arbus. I learned not to be enticed by the siren images, the fairy world of haute couture and Hollywood.

I learned to wait in the long American afternoons, for the slow and deep and resonant thing to appear.
Architectural details in Karl Blossfeld studies of seeds and leaf; Eliot Porter’s portraits of the boojams and elephant gums in the desert landscape of Baja California. 

It was as if I had never paid attention before to the world. These glimpses became the main track: images that were archaic and aboriginal, that spoke of trees and elements and beasts and weather, that linked the people to the dreaming of the planet. The rough beauty of the woodcut, the mythic fairytale, rock and cave painting, the shapes that follow the contours of the earth. The art that invites us to engage and remember, rather than possess and to forget. To ask questions rather than feel superior with our great knowledge of paintings and history.

Although I did not go to exhbitions in these years, I met artists. I met scultors and painters who lived in Bogota and the Arizona desert. I met the Slovenian peformance artist, Marko Modic, on his way back north from Tierra del Fuego where he had travelled alone with a dog and a camera.

Marko was an extreme caver and mountaineer and he brought that wildness and strangeness into every room he entered. And that’s when I realised that the buying and showing was not the true function of art. It was the practice of the artist themselves: their capacity to live against the grain, the shape they made, the line they took.

From them I learned that the ancestors do not look like the gods. That barbarians do not speak in perfect prose. All artists wait for Prometheus to arrive with his firebrand to lighten a darkened world. The best of them know that time is a gift, not a curse, and that waiting is part of the art. That all paths lead inevitably away from Rome.

The artist is the one who can find the chink in the door and allow us to push it open. In a fixed and atrophied world they act as strange attractors bringing chaos and freedom and new life. Their work and their practice break dimensions in time and space, throw wild seeds into monocultures. In a disconnected world they bring connection. And sometimes they bring us back.

Following the track of the coyote
There is a moment of return and that too comes as a surprise. I am in the Museum of East Anglian Life, at an event called What if . . . . the seas keep rising? As the director of nef and a woman advisor from Natural England talk about climate change and what this might mean to the marshlands and coastline of Suffolk, there is a photograph on the wall that has transfixed me.

It’s by the sculptor, Laurence Edwards. Two men with long poles are taking clay giants on a raft down the river Ore. These are the Creek Men, the beings of these waterlands that have emerged from the landscape, from the artist’s imagination and from his hands. I can’t stop looking at that image. Like an anchor among a babble of voices that I will not remember, it was an image of belonging that made sense of everything.


I realise now what grabbed me was something that Mexico taught me years ago. At some point the ancestors return and reclaim the earth. All civilisations which ignore their original blueprint live out the consequences of that defection.

And whether you understand ‘the ancestors’ as the primordial forces that govern this planet, or a part of yourself that makes sense of everything, to which you are loyal in spite of your upbringing, they are always here: we just have to see and feel them. Make space for them in paper and stone, in a corner of our tidy lives.

In that journey I understood that artists are the ones that remember the tracks those ancestors made in the beginning. Those shapes and colours appear in dreams and on canvas, and artists follow them, in the cities and on the seashore, walking across the land, reminding all of us who watch them of the way back.

And when the rational world seems to make less and less sense, becomes more and more incoherent, so it is that the artists come with their intelligence and their wit, their delicate brushstrokes, the rivermud under their fingernails, their mask and their surprise to push the door.
It is my hope as the new ‘curator’ of the Dark Mountain pages dedicated to visual content, that we will be able to publish some of those uncivilised shapes and colours, lines and images.

We are now open for submsissions for original work (paintings, drawing, photography) for the next two volumes (Dark Mountain 5 and 6). We are also actively seeking to commission illustrators for some of the stories and poetry, as well as strong images from the four Uncivilisaition Festivals 2010-2013. Please look at the submission guidelines for details and send submissions to charlotte@dark-mountain.net. Deadline is 2 January.

See also:
Ea O Ka Aina: Forty Days 8/22/13

Ea O Ka Aina: The Age of Endings 8/7/13
Ea O Ka Aina: Refuge 2/23/13
Ea O Ka Aina: Hope in the Age of Collapse 5/2/12
Ea O Ka Aina: Climbing a Dark Mountain  9/8/11



Ea O Ka Aina: Industrial Apocalypse   8/18/09
Ea O Ka Aina: A Terrible Ambivalence 9/10.09
Ea O Ka Aina: Monbiot vs Kinsgnorth 8/17/09

.

Off-grid handcrafted life

SUBHEAD: Schulz models much of what he builds on the Japanese aesthetic - make everything in life not just functional, but beautiful.

By Kirsteen Dirksen on 25 November 2013 for Fair Companies -
(http://faircompanies.com/videos/view/off-grid-handcrafted-life-on-oregon-farm-workshop/)


Image above: Front entrance of 200sf structure built from local materials. Still from video below.

Brian is an "obsessive craftsman" who believes he can build most anything in his life. On his Oregon farm he has built, or renovated, five tiny structures. After being told by the county that he couldn't erect a yurt, he built a code-approved main house "to give us a place to legally stay".

Once the main house was built, he created several smaller structures (less than 200 square feet) on the property from 90% local materials.

The farm is completely off the grid and Schulz points out that this doesn't mean they rely on propane or lots of photovoltaics. Nearly all their tools for living have been adapted to fit the off-grid lifestyle.
For his prototype solar-powered bathhouse Schulz used recycled solar hot water panels, salvaged hot water tanks (from the dump), a solar thermal window and a recycled soaking tub.

Indoors, Schulz has adapted a chest freezer to create a low-consuming refrigerator (using a tenth of the electricity of a regular fridge) and a 1940s wood-fired cookstove to cook, heat and as a heat-exchanger, harvesting waste heat and thermo-syphoning water to heat up the home's hot water.

They do have a limited number of photovoltaic panels which produce about 1000 watts of electricity when the sun is shining (for the entire farm), as well as a micro hydro generator in the creek and solar thermal panels.


Image above: Hand-crafted kayak frame on rafter ties below ceiling of structure above. Still from video below. 

Schulz models much of what he builds on the Japanese aesthetic and tries to make everything in his life not just functional, but beautiful (e.g. his bathhouse was designed not just as a shower, but as a way to de-stress).

Schulz is an avid kayaker and for his day job, he builds skin-on-frame kayaks (as well as teach others to build their own).


Video above: Tour of off-grid Oregon organic farm, kayak workshop and home. From (http://youtu.be/7DSQ0W2lwtw).

Cape Falcon Kayak: http://capefalconkayak.com/

More info on original story: http://faircompanies.com/videos/view/...


.