MAPPING 4 KEY CARBON EXIT POINTS

Carbon in the form of fibre – wood chips – is on 4 docks waiting to be shipped elsewhere for ever shrinking returns and ever increasing costs.

A Context: HERE

WATCHING A PLACE: A Logging Coupe 10 years on

A logging coupe watch started 10 years ago and the spot was marked with a REDstump. The watching goes on, Click here for more information

The REDreadTREE Strategy

By painting a dead tree red this will make all the dead trees along the highway more visible – and readable. A ‘Red Tree’ will be ‘read’ and stand out in the landscape, as an unlikely intervention. The action of painting a tree red has a simple message and symbolically it will:

• be‘read’ and thus no longer dead;

• be ‘read’ albeit at 110 kilometres per hour; and

• be better ‘read’ (or red) than dead.

• carry with it symbolisms attached to red;

• carry new messages and meanings for highway travellers

• mark (and cryptically restates) the fact that 'The Red Tree’ is no longer all that dead.
In particular, the ‘red/read’ double entendre takes on a new poignancy in a Landliteracy context.

The Concept
Painting a tree ‘red’ is about intervening in the landscape, reclaiming the site and branding the site with a memory of the living tree. Striking a tree red (as it was struck dead) changes the ways it might be read. To be affective these actions need to be done with considerable care and attention paid to the detail of creating an ‘aesthetic’ and attending to the ‘formal’ concerns.

Painting a tree red in the landscape has an inbuilt success factor in that the aesthetic and formal concerns are inherent in the tree and the landscape. The 'art-action' is concerned with ‘divining’, reinventing and declaring these things rather than ‘designing’ them. On the other hand, painting a tree red is about inventing (constructing) the idea rather than either ‘claiming or reclaiming’ it. To reinforce the symbolism, and achieve a satisfactory aesthetic outcome, there are demands to be met as the idea is constructed – not simply found in ‘place’. In terms of the ‘place’s story the construction (reconstruction) has a special poignancy.

Being halfway between Hobart and Launceston carries the Red Tree Site at Antill Ponds had a particular landmark significance in Tasmania and along the Midlands Highway. Curiously, the location is simultaneously in ‘the middle’ and at ‘the edge’ – north of it people read the Examiner and drink Boag’s beer while to the south they read The Mercury and drink Cascade beer.

THE RED TREE: The Art & Landliteracy Idea Set

In 1996 Basil Schur’s draft report “THE ALBANY HIGHWAY: The Landcare Way” outlined an education strategy for the Albany Highway that is translatable to the Midlands Highways in Tasmania, and indeed other highway anywhere in Australia or elsewhere. Most importantly it flags strategies that could be used in a context of a proposed national ‘The Land Sees Red’ project to:
• increase public awareness of Landliteracy, Landcare and other environment management issues and/or groups;
• ‘market the Landliteracy ethic in a multi-dimensional way, and to a wider audience;
• promote ecosystem rehabilitation and sustainable land management strategies.

In his report Basil Schur used the term ‘land literacy’. This term succinctly describes the ability to read the land. Clearly, if more people could detect the early signs of land degradation this would foster more affective holistic approaches to designing Landliteracy strategies in both urban and rural areas. Also, social and political responses to land custodianship would be enhanced if there were an higher level of Landliteracy; particularly in urban areas.

Terry White defined "Landliteracy" as;
“the ability to read and appreciate the signs of health in a landscape’ ...[and]...by implication, this definition also implies the ability to read the signs of ill-health in a landscape.”
By his definition land literacy is a reason for including ‘art’ in the Landliteracy equation. The Landliteracy idea has its roots in Kerela India where it is a participatory process that engages people in environmental management issues. In more ways than one White borrowed the idea and gave it a Landcare context.

Indeed, he has articulated a place for art in a Landcare context and thus Landliteracy. Terry White says;
“Art has to do with the awakening of interest, with curiosity and discovery. An artist is one who perceives the world otherwise than we are accustomed to perceive it. And since custom leads to established views and established views are the opposite of perception as an active process, the result is that we see the world less and less. That is why we need art, and why anyone who wishes to perceive the world around them must have recourse to art.”
Here he points to art’s role in exposing more and more in the land, and if artists are collaborating with landcarers, ecologists, environmental activists and perhaps even more still.

Landliteracy is a multi-dimensional idea in that it calls in question an individual’s experience, and perception(s) of, ‘the land’ from a culturally defined position. Sensual experience – sight, sound, taste, touch, smell – and intellectual observation(s) of the land through the physical and social sciences mean that we experience the land in a multi-faceted way. Likewise, art is multi-dimensional in that it draws upon culturally determined belief systems, as well as sensual and intellectual experience, to make sense of the world. Thus art provides a channel through which Landliteracy can be articulated and developed.

In Australia this is evidenced in Aboriginal art, particularly in the ways in which it carries ‘cultural-cum-spiritual ‘ cargo, the ways in which Aboriginal art codifies obligations to ‘country’ and how this is understood today from a ‘Western’ perspective. Also, the ways in which Aboriginal art is interpreted in terms of Australian identity from an ‘international-cum-gobal’ perspective has a particular poignancy.

The counterpoints Aboriginal art and culture(s) set up between Aboriginal perceptions of ‘country’ and Western interpretations of ‘the land ‘ point to a need to look at ‘Australian’ relationships to the land. And also, to re-evaluate Landliteracy from the perspective of an Australian self-identity rather than ‘imported,’ and alien, relationships to ‘natural’ resource management. More than anything else, Aboriginal art has alerted non-Aboriginal society to alternative visions of custodianship, and land literacy, as Australia reassesses its position in the world.

The ideas put forward by Terry White and Basil Schur in their writings seemed to provide a foundation for a national art and Landliteracy program where cultural production (art?) plays a more proactive role than had been evident up to then – and largely is still the case. This idea needs to be developed in much more detail but if a Landliteracy Placemarker cum Placemaker project can be linked to a national Landliteracy program there would be a synergy at work that has the potential to provide a foundation for a dynamic multi-dimensional program; and one that could open up new opportunities for the promotion of Landliteracy ideals and strategies.