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I agree that classroom learning can be quite limiting. As a child, I found that the most impactful and memorable learning experiences occurred outside, in nature. 

Through the podcast assignments, I found that I, too, enjoy interpreting nature through stories. To my surprise, I also found that I enjoyed creating the children’s podcast more than the adult podcast. This was quite shocking to me as I usually don’t know where to start when it comes to children. However, I have always believed in the importance of educating and appealing to children through nature interpretation. Nature interpretation can provide children with profound and long-lasting impressions that can follow them for the rest of their lives. Thus, nature interpretation may be the key to inspiring up-and-coming age cohorts into becoming environmental stewards.

Moreover, I noticed a connection between various aspects of your post and the Anishinaabe worldview; perhaps you can consider these parallels as you continue to develop your personal ethic as an interpreter and teacher. Namely, these connections reside in your mention of the importance of raising the next generation and the value of story-based teaching. I have been taught that the Anishinaabe community revolves around the child and builds out from there. You can think of this as a series of concentric circles with the child at the center. The child is the community's core, as they represent the future. Educating and raising children in the right way is how the Anishinaabe preserve their world, the land, and the environment. This relates to your want to educate the world about the environment through the children. Additionally, stories are the roots of Anishinaabe identity. Stories form the foundation from which they learn to understand their place in the world and how to navigate it. This parallels your passion for storytelling and belief in it as a method of interpretation. There is a really amazing book by an indigenous author that I have read called "The Mishomis Book: The Voice of the Ojibway." In it, the history, traditions, and culture of the Ojibway people are documented through stories and myths that have been passed down through generations. Many of these stories teach lessons about the importance of the environment and the function of humans within ecosystems. All in all, I highly recommend it to anyone wanting to learn about the Anishinaabe way of life.

I wish you the best of luck in your endeavours. 

Being Outdoors Allows Us To Explore

This week brings us to our final blog post, I’m excited to share with you my final thoughts about what I’ve learned is important to me as a nature interpreter and how I want to share my knowledge with the public going forward. 

As an interpreter, my four main goals are to educate, connect, engage, and inspire those I’m interacting with. I believe that these are essential components of what being an interpreter means and the impacts they should have on those around them. As an environmental steward and a future educator, personally, I believe some of the most important people to interact with and inspire are children. Although some adults are receptive to change and new ideas, many are not. The media clearly shows us this by reporting the decisions governments and big corporations are making. For example, the Willow Project, there is a lot of controversy surrounding the project so I won’t go into too much detail, however even though there are many economic benefits the environmental repercussions of this project could be huge. Not only will 239 million metric tons be emitted over the project’s 30 years, but what about the harmful effects of building roads, increasing the human population, building more houses, and more noise, and light, what effects will this have on wildlife (Puko, 2023)? On the plant and climate change? People like Biden, and there are many others, say one thing and then do something else. People like Doug Ford want to develop the Greenbelt, an important protected natural area in Ontario and even with large opposition from the public (Jones, 2022). I don’t want to get too political here, but I want to make a point that, in my opinion, many adults cannot have their minds changed and continue to deplete and ravage the natural, endangered world around us. 

For me, my focus and my passion as a future educator is to teach and inspire the new generations to be aware of and respectful of the environment. Taking them outside on a nature walk or on a field trip allows them to learn about the environment, and connect with the world around them through touch, sight, and sounds. It engages them in current world issues such as pollution, deforestation, and animal conservation. And hopefully inspires them to learn how they can help, inspires them to become environmental activists, and inspire them to teach people in their community. But, as mentioned in Jacob Rodenburg’s article, getting kids outside to explore and learn is becoming more difficult because it's cheaper and “safer” for kids to be inside (2019). I want to directly quote the article here because this short sentence is powerful “leaving kids indoors cuts them off from the knowledge and understanding of what it means to be a living being that shares a world with other living beings” (Rodenburg, 2019). I think this is such a powerful quote and is seen in our modern-day, corporate world. I honestly believe that some people forget that we share this planet with other living beings besides other people. They see plants, trees, squirrels, and birds daily but I don’t think they truly make the connection that we share the environment, they just think that they are living in our world. 

You can only learn so much inside a classroom, that is where the differentiation lies between a teacher teaching you about the environment and an interpreter connecting you with it. Kids need to see it, touch it, explore it, listen to it, hear stories about it, and interact with it, learning about the environment from a classroom cannot create the connection that being outdoors can (Rodenburg, 2019). In schools, there is still a lack of balance between education, well-being, and life skills/exploration. But I believe incorporating environmental exploration and learning from nature interpreters can be a great way to balance all three. We came from the Earth, it is connected and has guided us for millennia, but with the rise of technology, we have become disconnected from it. Nature has been proven to help improve mental health, an important focus in today’s schools, it educated us, it tells stories by watching trees grow, seasons change, and animals hunt. And it gives us the space to explore and fulfill this biological need to connect with the environment around us. 

As a future teacher, I believe it is my responsibility to my students to teach them about and interpret the environment around them but to do that they need to be in it. As I’ve gone through this course and reflected on my own guided nature experiences, I’ve discovered that I, as a nature interpreter, enjoy interpreting through stories. Not necessarily made-up stories like about a snapping turtle named Snappy, but stories that are about history, about the daily life of a grizzly bear, about the life cycle of a plant, stories that help to explain the world around us. Interpreting in this way, I believe, brings a sense of clarity and allows connections to form. These connections can lead to inspiration to help conserve and protect our environment and its inhabitants.  

I believe it is my responsibility and my calling as an interpreter to teach children about the importance of the environment and how to connect with and be respectful of the world that provides and lives around them. Helping them understand the environment and creating healthy connections with the Earth will hopefully inspire them to as they grow up learn more, educate others, and get involved in protecting the environment and its inhabitants who, unfortunately, do not have a voice to advocate for themselves. That is another hope I have as an interpreter is to not only teach and build connections but to inspire others to do the same, and if need be fight to preserve the environment for generations to come, because at this rate there isn’t going to be much left. 

Jones, R. P. (December 22, 2022). Ford government forges ahead with Greenbelt development plan despite ‘broad opposition’ in public consultation. CBC News. https://www.cbc.ca/news/canada/toronto/greenbelt-oak-ridges-moraine-regulations-1.6692337

Puko, T. (March 24, 2023). What is Willow? How an Alaska oil project could affect the environment. The Washington Post. https://www.washingtonpost.com/climate-environment/2023/03/17/willow-project-alaska-oil-drilling-explained/ 

Rodenburg, J. (2019) Why Environmental Educators Shouldn’t Give Up Hope. Clearing. https://clearingmagazine.org/archives/14300

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I came to a similar conclusion with the breakdown of my personal ethics. While I didn’t think of this for my post, I agree with your assertion that respect is the most important character trait for interpreters. That is respect for both the environment and our audience members. Respect can be applied to everything we do as interpreters. For example, we respect the environment by asking people to stick to the trails, thereby protecting trail-side plants from foot traffic. We respect our audience members by considering their basic needs according to Maslow’s hierarchy and by creating or adapting programs to better appeal to their interests and individual needs (Beck et al. 2018). Also, we respect the future of our environment by facilitating meaningful relationships between our audience members and nature.

Moreover, I believe that respect relates to all the other traits you have listed. Honesty, responsibility, integrity, and empathy, as you have described, are all derived from respecting our audience, the environment, and the future of our planet. I love how you bring attention to the future in your post. I believe in the value of nature interpretation for encouraging environmental protection by facilitating relationships between humans and the natural world. Through this, I think that interpretation is a valuable tool in nurturing societal change. Great post!

References:

Beck, L., Cable, T. T., & Knudson, D. M. (2018). Chapter 3: Values to individuals and society. In Interpreting culture and natural heritage for a better world (1st ed., pp. 39-58). Sagamore Venture.

Unit 10: My Ethics as an Intepreter

So here we are, finally rounding out the end of the semester, the last round of blog posts. This course has given me the opportunity to analyse and reflect on many different aspects of a topic I had a lot of intuitive understanding of, but one which I had not given much serious thought before now. I was also able to learn about several topics I had never considered before, and learn from a variety of different points of view through all of your posts. Of course, this week’s prompt is just as thought provoking as ever. 

In considering my personal ethic as a natural interpreter, I was forced to analyse the ethical views I hold in all aspects of my life. As a human being interacting with other human beings in this thing we call a society, I value things like honesty, responsibility, integrity, empathy, and above all, respect. These are important character traits that I try my best to embody in my own life, and hope that others offer to me. They are also important traits when acting as a nature interpreter, both for my own interpretation and as a group interpreter. 

As interpreters, we all bring certain biases into our interpretations. To be human is to be incapable of objectivity. Because of this, the next best thing is to be conscious of these personal biases, and let them affect my interpretation as little as possible. In a previous unit, we did a bit of reflection on our unconscious biases and unpacked our ‘invisible backpacks’ to get a better understanding of where each of us are at as we each come to the table as interpreters. This exercise was a good reminder of some of the parts of my identity as an interpreter which cloud my interpretation. No matter what, by virtue of the fact that we are all individuals with unique lived experiences, I will have inherently different points of view, which I have to make sure I am conscious of as I present various elements of nature and the world around us through an interpretive lens. 

Some of the things which influence me whether I like it or not are things like the circumstances of my upbringing, my education, my gender and my ethnicity. These are things which play a role in how I view the stories I will be sharing as an interpreter, and they have the potential to alienate my audience, or help us connect. There are many other factors which will influence my effectiveness as an interpreter. For instance, I have a strong inclination toward enjoying the outdoors, and get a sense of fulfillment from being in nature and learning about the various processes which make up the world around me. I conduct my interpretation through a naturalist lens, informed by my study of biology and general interest in pretty much all aspects of science. This offers me many advantages in explaining certain concepts and offering an interpretation consistent with our modern understanding of the world, but it also has the potential to alienate or just plain bore some people.

Respect is, in my opinion, the most basic and important ethics and character trait to reflect on. Respect for the environment we are interpreting, respect for the people I am helping in interpretation, and their respect for both of us are crucial elements of effective interpretation. It almost goes without saying that without this basic respect, nothing really meaningful can come of any interpretation which is done. From this basic understanding, all the other ethics come fairly naturally. 

Honesty comes with respect, and it is a vital part of building interpersonal relationships, and being an effective leader. Part of my role and duty as an interpreter is to be honest and truthful with my audience. A blog post that I began to write and which slowly morphed into a couple of thousand words’ worth of rambling focused on the HBO series Chernobyl. This 2019 miniseries focuses on the cost of lies and the value of the truth when disaster strikes and people’s lives are at risk. Eventually I may finish that essay (?), but at least I get to reference it here, along with the excellent show which inspired it.

Responsibility is another crucial element of being a good environmental interpreter. I feel an inherent responsibility to be a good steward of this Earth, and in my role as an interpreter, I have that same feeling of responsibility to instill that sense of stewardship through my interpretation and storytelling. I also feel it important to have a sense of responsibility towards those I am leading in interpretation, both in terms of their physical safety, and ensuring that they are receiving accurate, measured information, and hearing as many well reasoned points of view as possible.

Integrity goes hand in hand with honesty, but in my mind encompasses a general sense of not only being truthful, but also having that sense of responsibility and duty to what is true and what is right, even when no one is around to see. It means not being compromising in one’s ideals, while at the same time not being afraid to change one’s mind when new information is provided. This is, in my opinion, the trait which ties the rest together, and is especially important in education.

Empathy is, if you ask me, an underrated virtue. It invokes a sense of emotional vulnerability, but I find that it also aids one in understanding and being receptive to other people’s feelings, and one’s own. I think if more people were more empathetic, there would be far fewer problems in the world. I also think that when considering nature interpretation, or any kind of education, empathy is crucial to being a good teacher and understanding a student's needs. 

As we close out the semester and look to the future, there is a lot to think about. With each passing day, I feel more and more that we now stand on the precipice of several monumental changes. Anyone reading this now has already lived through many of them, both good and bad. The 24 Hour news cycle, the Internet, climate change, social media, the pandemic… “we didn’t start the fire!” 

It is not inconceivable that a person alive right now will set foot on another planet. It is extremely likely that they will be doing so in an effort to help our species find refuge from an increasingly inhospitable home. As nature interpreters, we must do our part, working in classrooms and board rooms and recording studios and maybe even in the stars, to work ethically, with respect, integrity, duty, honesty, and empathy, to offer truthful and meaningful lessons about the world around us.

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Personal Ethics in Interpretation

When you interpret nature for an audience, you are provided with an opportunity to helm not only their education but their sense of place and passion for the natural world (Beck et al., 2018c). Here, the combination of your knowledge, ethics, passion, and personality dictates your success in deepening your audiences’ understanding of the natural world and inspiring their appreciation of nature and willingness for environmental protection (Beck et al., 2018b). Knowledge provides credibility and is the basis for programming, and passion and personality work together to fuel the appeal and effectiveness of programs (Beck et al., 2018b). An interpreter’s personal ethics, however, is particularly important as it is what guides the direction and outcome of programs.

An interpreter’s personal ethics is apparent in all aspects of programming. When I think about the ethics surrounding my development as an interpreter, words such as amiability, honesty, open-mindedness, sensitivity, compassion, authenticity, patience, and reliability come to mind. These ethics appear in various parts of program development and delivery.

At the most fundamental level, interpreters must be empathetic and responsive to their audiences’ needs. Understanding how to account for Maslow’s hierarchy of needs is an essential aspect of facilitating effective and safe programming (Beck et al., 2018). You must ensure that your audience is comfortable before anything else. Do they have to go to the washroom? Are they straining their eyes by looking into the sun? Are they getting bitten by bugs? Do they feel safe? These are some examples of questions you must consider before and during your program's delivery. Doing so makes it easier for your audience to appreciate your program by limiting their distractions from discomfort. To do this effectively, you must constantly be aware of your audiences’ comfort by harbouring a level of empathetic sensitivity.

There is something so facilitating about interpreting nature while immersed in nature. I think a large part of this has to do with the fact that we are a part of nature. So, in a way, we are facilitating connections between two things that are already innately connected. As nature interpreters, our role goes beyond that of a teacher due to our ability to inspire hearts as well as minds (Beck et al., 2018d). With this, nature interpretation has the power to encourage individuals to look at the world through a new lens. I believe this is enabled through the ability of effective nature interpretation to provide audiences with profound multisensory experiences (Beck et al., 2018a). What’s better than immersing yourself in serene and wonderous natural landscapes, seeing the plants and wildlife, listening to the music, or biophony, of nature, smelling the sap and wildflowers, and feeling the breeze or sun against your skin, all while learning about the history or science behind elements of your experience (Beck et al., 2018a; Grey et al., 2001)? Fully immersive natural experiences like this appeal to so many parts of your brain and can fully captivate your senses in a way that makes you feel small and insignificant. I’m sure many of us have experienced this feeling when in nature; I know I have. 

As nature interpreters, I believe that we have a duty to encourage our audience to connect with the land so that they develop a sense of care and responsibility towards it (Rodenburg, 2019; Beck et al., 2018d). Nature interpretation helps develop our audience’s ethical sense of place in the world as well as encourages them to respect the animals and plants that we share the world with (Beck et al., 2018d). My background in environmental ethics and historical human-nature relationships led me to believe in the ever-growing importance of honest and progressive nature interpretation. Unfortunately, developing relationships between humans and nature is often impeded by deeply ingrained assumptions of human ascendency and widespread consumer-facilitated anthropocentrism. The consequences of this are twofold. Firstly, we must be wary of biased scientific research that may support sacrificing ecological sustainability for economic growth. Thus, substantiating the need for well-informed and honest interpretive programs (Beck et al., 2018e). Secondly, society’s deeply ingrained anthropocentrism tends to limit the effectiveness of interpretive programs that are aimed at ecocentric or biocentric worldviews, for example. In these cases, we must structure our programs to appeal to anthropocentric worldviews by acknowledging the value of nature to humans. Such value may be derived through aesthetic, aural, climate, or ecosystemic processes, to name a few.

You may ask, “why does it matter? It’s not our duty as nature interpreters to make people care.” However, I believe that as nature interpreters, we also have responsibilities as environmental stewards (Beck et al., 2018b; Beck et al., 2018d). Hence, I think that it is our responsibility as environmental stewards to encourage people to open their minds to different and potentially more ecologically sustainable worldviews and perspectives. In doing so, we must also be open-minded in understanding that not everyone harbours the same worldview. We must be able to approach topics from the different perspectives of various worldviews, appealing to human-centric mindsets in addition to biocentric or eco-centric ideologies. Therefore, we must be open-minded and sensitive in our interpretative programming in addition to honest and progressive.

Of course, there are additional perspectives that we must also consider, including those we carry in our invisible backpacks (McIntosh, 1989). Being sensitive to our audiences’ potential limitations, experiences, or existing ideologies allows for more effective programming and enriching experiences. This idea also applies to the accessibility of programs. As interpreters, we are responsible for continuing to increase the accessibility of programs and natural spaces so that everyone can enjoy them (Beck et al., 2018f). 

References:

Beck, L., Cable, T. T., & Knudson, D. M. (2018a). Chapter 6: How people learn. In Interpreting culture and natural heritage for a better world (1st ed., pp. 105-126). Sagamore Venture.

Beck, L., Cable, T. T., & Knudson, D. M. (2018b). Chapter 5: Guiding principles of interpretation. In Interpreting culture and natural heritage for a better world (1st ed., pp. 81-104). Sagamore Venture.

Beck, L., Cable, T. T., & Knudson, D. M. (2018c). Chapter 1: What is interpretation? In Interpreting culture and natural heritage for a better world (1st ed., pp. 3-16). Sagamore Venture.

Beck, L., Cable, T. T., & Knudson, D. M. (2018d). Chapter 3: Values to individuals and society. In Interpreting culture and natural heritage for a better world (1st ed., pp. 39-58). Sagamore Venture.

Beck, L., Cable, T. T., & Knudson, D. M. (2018e). Chapter 15: Interpreting history. In Interpreting culture and natural heritage for a better world (1st ed., pp. 325-347). Sagamore Venture.

Beck, L., Cable, T. T., & Knudson, D. M. (2018f). Chapter 7: Serving diverse audience. In Interpreting culture and natural heritage for a better world (1st ed., pp. 127-164). Sagamore Venture.

Gray, P. M., Krause, B., Atema, J., Payne, R., Krumhansl, C., & Baptista, L. (2001). The Music of Nature and the Nature of Music. Science, 291(5501), 52. https://link-gale-com.subzero.lib.uoguelph.ca/apps/doc/A69270354/AONE?u=guel77241&sid=bookmark-AONE&xid

McIntosh, P. (1989). White privilege: Unpacking the invisible knapsack. Peace and Freedom, 10-12.

Rodenburg, J. (2019, June 17). Why environmental educators shouldn’t give up hope. Clearing. https://clearingmagazine.org/archives/14300

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Carnivorous plants are truly amazing. They really make you think about how resilient nature can be. It’s crazy how when faced with nutrient-deficient conditions, specific plants were able to adapt to digesting animal tissue as a way of outsourcing nutrients that they could not attain from their nutrient-poor soil. There are so many cool carnivorous plants that trick or seduce their prey into getting trapped and digested (Mithöfer, 2022). While I do love the Venus fly trap, I’ve got to say that my favourite carnivorous plants are probably pitcher plants. There are many species of pitcher plants, all with a similar distinctive pitcher-like shape. These plants typically attract their prey using sweet-smelling nectar that they secrete from the slippery rim of their "pitcher" (Mithöfer, 2022). By attempting to indulge in the sweet treat, unsuspecting insects will slip and fall into the plant, where they become trapped by downward-pointing hairs and quick-acting digestive enzymes contained in a pool of sugary liquid (Clarke et al., 2010; Mithöfer, 2022). These digestive enzymes can dissolve the prey almost immediately, so there is no chance of escape.

However, I think the coolest thing about this type of carnivorous plant is that it can digest far more than just insects. Some species of pitcher plants are known to feast on the bodies of small mammals and amphibians that are unfortunate enough to fall into their “pitcher” (Mithöfer, 2022). Other species, namely three species of Nepenthes pitcher plants from Borneo, feed primarily on nitrogen-rich feces deposited by small mammals (Clarke et al., 2010; Wells et al., 2011). These species of pitcher plants act as both a feeding station and a toilet for tree shrews and other small mammals (Clarke et al., 2010; Wells et al., 2011). As the tree shrews feed on the nectar supplied on the pitcher plant's lid, their bums are perfectly positioned over the funnel-like shape of the plant (Clarke et al., 2010; Wells et al., 2011). These species of pitcher plants rely so much on feces that they have effectively lost the capacity to trap animals, having traded in their slippery rim for a comfy shrew toilet bowl seat (Clarke et al., 2010).

Image credit: Ch’ien Lee (n.d.)

References:

Clarke, C., Moran, J. A., & Chin, L. (2010). Mutualism between tree shrews and pitcher plants. Plant Signaling and Behavior, 5(10), 1187-1189.

Lee, C. (n.d.). Tree shrew on Nepenthes lowii pitcher plant. Live Science.

Mithöfer, A. (2022). Carnivorous plants and their biotic interactions. Journal of Plant Interactions, 17(1), 333-343.

Wells, K., Lakim, M., Schulz, S., & Ayasse, M. (2011). Pitchers of Nepenthes rajah collect faecal droppings from both diurnal and nocturnal small mammals and emit fruity odour. Journal of Tropical Ecology, 27(4), 347-353.

The Venus Flytrap

This week we get to talk about an amazing thing we know about nature. Although I find many things amazing, the first thing that came to mind today was the Venus flytrap (Dionea muscipula). In my botany class, my professor briefly mentioned this plant and essentially talked about how cool it is. I have known about this plant before, but part of me wanted to dive deeper and discover how they "trap" their food. Therefore, today I will be enlightening you with all things Venus flytrap! I know you have probably seen a video or two of this plant before. It is the one where it can close and trap its prey! I have always found this very cool, especially since I was a child and I never really understood how it worked until now. 

The Venus flytrap is a carnivorous plant (Hedrich & Neher, 2018). There are approximately 630 other carnivorous plant species, so the Venus flytrap is not alone in this category; however, they are one of the few that have to complete a movement to capture their prey (Lotzof, n.d.). It terms of its trap, there are two lobes that are positioned towards the end of the leaf that are hinged and allow for the open and closing movement, and this is called the bivalved trap (NWF, n.d.). On the inside of the trap, trichomes are present, which are appendages that protrude off the leaf's surface (Werker, 2000). Essentially, the trichomes resemble hair, and when something like an insect touches them, they signal the plant to shut closed (NWF, n.d.). This plant has mechanoreceptors that are easily stimulated that transfer the signal from extracellular to intracellular with the help of an electrical network (Hedrich & Neher, 2018). Although they are easily stimulated, the trap will only close shut once the trichomes have been stimulated multiple times in order to conserve energy (NWF, n.d.).

Now, let's say the plant has trapped its prey. You may be wondering how does it even digest it? Essentially, along the edge of the trap, there are digestive glands, and once the trap is fully closed, the glands produce a liquid (Leege, 2003). The liquid touches the prey and slowly softens it, and the enzymes within the liquid break down the prey and withdraw only the necessary nutrients (Leege, 2003). The digestion process can prolong for approximately five days, so they do not need to trap prey often (NWF, n.d.). It can last many months before its next trap, as it can still undergo photosynthesis and get essential nutrients from that process (NWF, n.d.). 

Overall, I hope you learned something about the Venus flytrap, and that this has made you want to do more research! I have always found this species extraordinarily interesting, so I hope you did too. Now let me ask you, what is your favourite plant? Or a plant you find interesting?

Literature Cited

Hedrich, R., & Neher, E. (2018). Venus Flytrap: How an excitable, Carnivorous Plant Works. Trends in Plant Science, 23(3), 220–234. https://doi.org/10.1016/j.tplants.2017.12.004

Leege, L. (2003, December 29). How does the Venus Flytrap Digest flies? Scientific American. Retrieved March 14, 2023, from https://www.scientificamerican.com/article/how-does-the-venusflytra/#:~:text=Once%20the%20trap%20closes%2C%20the,to%20extract%20the%20essential%20nutrients.

Lotzof, K. (n.d.). Carnivorous plants: The meat-eaters of the Plant World. Natural History Museum. Retrieved March 14, 2023, from https://www.nhm.ac.uk/discover/carnivorous-plants-meat-eaters-of-the-plant-world.html

Venus Flytrap. National Wildlife Federation. (n.d.). Retrieved March 14, 2023, from https://www.nwf.org/Educational-Resources/Wildlife-Guide/Plants-and-Fungi/Venus-Flytrap

Werker, E. (2000). Trichome diversity and development. Advances in Botanical Research, 1–35. https://doi.org/10.1016/s0065-2296(00)31005-9

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The Most Amazing thing about Nature: the Arctic Tern

There are so many amazing things about nature, so it was very difficult to settle on just one topic. As a wildlife biologist, I know a lot of cool animal facts and characteristics. How does one pick between a venomous mammal and bullet-resistant armadillos? Or the various ways reptiles survive freezing temperatures, such as having antifreeze in their blood like painted turtles or drying out their organs and freezing 60% of their bodies like wood frogs?

There are so many fascinating behavioural and biological adaptations to sort through that I could travel to the ends of the earth and still not find the most amazing one.

“To the ends of the earth.” 

Wait a second; that might just be it! The story of a tiny little bird who spends its life doing just that: the Arctic tern!

Image credits: Barni1 (2015).

The Arctic tern is a small seabird known for its incredibly long yearly migration that takes them, literally, to both ends of the earth. Each year, during this migration, they will travel over 40,000km, making theirs’ one of the longest migrations of any animal on earth (Ramroop & West, 2022).

Distribution range and migration routes of the Arctic Tern (nesting region in red):

Picture by Andreas Trepte (n.d.)

How do they do it? Arctic terns have unique adaptations that allow them to be incredible migrators. Their wing shape and lightweight bodies enable them to glide great distances carried by the ocean breeze without expelling much energy (Ramroop & West, 2022). Additionally, they can eat and even sleep while gliding in the air (Ramroop & West, 2022).

Image credits: Canadian-Nature-Visions (2022)

Now, you may wonder why this bird, which weighs slightly less than a quarter-pound burger, is willing to travel such miraculous distances each year (Trepte, n.d.). Well, much like the Beatles’ 5th track on their 1964 album, Beatles for Sale, they “… Follow the Sun.”

In doing so, these birds are constantly perusing summer. As you may know, the seasons are caused by Earth’s tilted axis as it revolves around the sun (Mika, n.d.). As a result, Earth’s northern and southern hemispheres are experiencing opposite seasons at any given time of year. During North American winters, the Northern Hemisphere is tilted away from the sun, making it colder and darker in areas north of the equator. At the same time, the Southern Hemisphere is tilted towards the sun, making it warmer and brighter in areas south of the equator. The duration of daylight also changes depending on the season, especially in areas furthest from the equator (Mika, n.d.). During the summer, the Arctic and Antarctic get nearly 24hrs of sunlight. Conversely, in the winter, it is almost entirely dark. There are less noticeable temperature changes between the seasons in these areas than in other regions. Thus, the Arctic tern is not following the summer heat, as we may have envied. But instead, they are following the summer light (Ramroop & West, 2022).

Arctic terns rely on sunlight to illuminate the ground and ocean surface to see their prey (fish and insects) more clearly (Ramroop & West, 2022). By experiencing the ~24 hr-light of the Arctic and Antarctic summers, the Arctic Tern may experience more daylight than any other animal on earth (Ramroop & West, 2022). Their migration also allows them to take advantage of the good weather that accompanies summer, as it is beneficial to their method of flying. Terns rely so much on good weather and sunny conditions that they will fly thousands of miles out of their way to take advantage of the best weather and acquire the best food (Ramroop & West, 2022).

This post just scratches the surface of how amazing this tiny explorer is. The Arctic tern undoubtedly exemplifies one of nature's most impressive feats.

Google Earth tour of the Arctic tern’s migration:

Video credits: Encyclopedia of Life (2012).

References:

Barni1. (2015). Glacial lake birds to hunt fish [Image]. Pixabay. https://pixabay.com/photos/glacial-lake-birds-to-hunt-fish-889783/

Canadian-Nature-Visions. (2022). Arctic tern Sambro Island nesting. Pixabay. https://pixabay.com/photos/arctic-tern-sambro-island-nesting-6922063/

Encyclopedia of Life. (2012). Arctic tern migration Google Earth tour video [Video]. Youtube. https://www.youtube.com/watch?v=bte7MCSBZvo&ab_channel=EncyclopediaofLife

Kaufman, K. (n.d.). Arctic tern: Sterna paradisaea. Audubon. https://www.audubon.org/field-guide/bird/arctic-tern#

Mika, A. (n.d.). The reason for the seasons. National Geographic. https://www.nationalgeographic.org/activity/the-reason-for-the-seasons/

Ramroop, T., & West, K. (2022). To the ends of the earth: Article on the annual migration of the arctic tern. National Geographic Society. https://education.nationalgeographic.org/resource/ends-earth/

Trepte, A. (n.d.). Distribution range and migration routes of the arctic tern [Image]. Cool Antarctica. https://www.coolantarctica.com/Antarctica%20fact%20file/wildlife/Arctic_animals/arctic_tern.php#:~:text=arctic%20tern%20facts%20Basics,(26%20%2D%2030%20inches)

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Thank you so much for the uplifting reply! Don McLean's "Vincent" does the same for me as well. I remember the first time I actually listened to the lyrics and realized he was singing about Vincent Van Gogh. I must have heard that song over a dozen times before I finally clued in! I always appreciated the song musically but never connected with it in the way that I did following that revelation. Your brain is a funny thing. I don't recall where I was the first time I listened to it, nor any time after. But I do remember exactly where I was, what I was doing and what part of the song I was at when I made the connection.

Nature Interpretation Through Music

Using music as a means of interpretation is no new concept. The protest songs of the 60s and 70s provide a clear example of people using music as a hugely successful means of mass interpretation. This music reached a vast audience of change-thirsty youth, mobilizing them against the time's social, political, and environmental issues (Covach & Flory, 2018). The power of music as an interpretive force is undeniable, but how does this apply to our discussion of nature?

Well, if you consider music to be a combination of vocal or instrumental sounds combined in a way that produces beautiful form, harmony, and emotion, then wouldn’t nature be the purest and longest-playing symphony? Music is everywhere in nature. It’s in the rustling leaves, the whistling wind, the chatter of animals, the pattering rain, the billowing thunder, the trickling water, the crashing waves, and the sounds of footsteps.

Additionally, nature is everywhere in music. It’s in the sounds of instruments, the rhythm/ tempo, and the topic of lyrics. Nature inspires music. Take “The Four Seasons” by Antonio Vivaldi, for example. Each concerto in the series represents one of the four seasons. If you listen to these concertos, you will hear representations of flowing creeks, singing birds, barking dogs, buzzing flies, storms, winter fires, and frozen landscapes, to name a few. “The Four Seasons” may be one of classical music's most obvious direct expressions of nature. Still, many others work off a similar premise, such as Claude Debussy’s “Clair de Lune,” which translates to “Moonlight” in English. Such representations of nature are also not limited to classical music. “What a Wonderful World” by Louis Armstrong is a great example from late 1960s R&B, and “Summer Breeze” by Seals and Crofts is an example from 1970s folk rock. Lyrically, many songs have nature-related themes and inspirations. There is “Sundown” by Gordon Lightfoot, “Bobcaygeon” by the Tragically Hip, “Where do the Children Play” by Cat Stevens, “California Dreaming” by The Mammas and The Pappas, and the list goes on.

Music doesn’t have to have nature in its theme, lyrics, or instrumentation to inspire thoughts of natural landscapes in its audience. Music triggers a part of our brain that helps us to remember (Baumgartner, 1992). I’m sure you all have specific songs that trigger memories of natural landscapes from your past. Likewise, I can recall many songs that transport me to places in nature. Despite growing up in the age of iPods and Apple Music, I listened to most of my music through CD players. Thus, many of my transportive tunes were, instead, transportive albums. Most notably, every song in the “Cheap Thrills” album by Big Brother and the Holding Company with Janis Joplin swiftly transports me back to the summer of 2016. I would lie in the back of my truck in the middle of the hay field or bomb around on my dirtbikes, all while repeatedly listening to the album.

I compiled a Spotify playlist of some of my favourite nature-related music. Have a listen. Who knows? Maybe you'll find your new favourite tune!

References:

Baumgartner, H. (1992). Remembrance of Things Past: Music, Autobiographical Memory, and Emotion. Advances in Consumer Research. 19. 613-620.

Beck, L., Cable, & T. T., Knudson, D. M. (2018). Interpreting Cultural and

Natural Heritage for a Better World. Sagamore Venture.

Covach, J., & Flory, A. (2018). What’s that Sound?: An Introduction to Rock and its History. W.W. Norton & Company. 

Gray, P. Krause, B. Atema, J., Payne, R., Krumhansl, C. & Baptista, L. (2001). The Music of Nature and the Nature of Music. Science. 291. 52-54.

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This is such a beautiful and captivating post. I wanted to expand on your reply to the question, “do musical sounds in nature reveal a profound bond between all living things?” (Gray et al., 2001). Music has a certain power over us that is unlike anything else. As humans, we seem to have an innate connection to music. Many theories attempt to explain this connection through various evolutionary concepts such as sexual selection, cultural evolution, social bonding, and natural selection. I find the ideas of social bonding and cultural evolution quite fitting to your post's narratives. No matter the theory, it is clear our deep connection with music is likely rooted in evolution. Therefore, music is part of our biological nature. I found this video very fitting to your discussion.

It explains the power music has over your brain.

In the video, Michael Spitzer explains how music leads to social bonding at a neurological level (Big Think, 2023). He also provides an interesting link between a species’ “music” and the rhythm of its movement. Have you ever considered how a species’ music complements its movement? For example, human music often complements our dance and walk; a whale’s song perfectly embodies its slow fluid movements; and the twittering of small birds epitomizes their sharp, quick movements. Music seems to be representative of the species that creates it. It’s as if music provides each species with an auditory identity and, thus, a way to recognize and unite individuals of a species, regardless of their being human. Michael Spitzer ends this video by stating that music is the umbilical cord to mother nature, which I find very fitting to this week’s topic.

References:

Gray, P. Krause, B. Atema, J., Payne, R., Krumhansl, C. & Baptista, L. (2001). The Music of Nature and the Nature of Music. Science. 291. 52-54.

Big Think. (2023, January 29). Music’s power over your brain, explained Michael Spitzer [Video]. YouTube.

Music, A Gateway to Nature

In a previous post earlier this year, we discussed interpretation through art. Discussing the “gift of beauty”, concluding that art can be a great way of indicting the preservation of nature by exposing audiences to nature around them. Through emotional and personal responses, art can be a great way of bringing passion linked with memory to the surface. In my post, we focussed on the great works of Bob Ross and his influence on me with his beautiful depictions of landscapes. Like paintings, music is another great artform of which can deeply entrench us in memory or space. In almost an instant, a cord, a singing voice, or a melody can streamline us into a memory or even a particular feeling.  Maybe even more so than a painting or other types of art. 

Music is enjoyed by all - an important part of every culture and the weird connection of music is seen not only in our own species but in other animals alike (Gray et al, 2001). Animals from across the world, not only humans, respond to music, evoking strong responses… emotional, cultural, and cognitive (Gray et al, 2001). Animals like elephants and birds actually have been documented making their own music (Abraham, n.d) (Hughes, 2022). Animals like dogs, cats, cows, primates, rabbits, as well as several others have been shown to elicit specific responses to specific musical stimuli (Hughes, 2022). Music has been shown to influence animals across the board. 

After going over this week’s readings, a particular quote from The Music of Nature and the Nature of Music spoke to me… Less a quote, more a question they pose. They ask the reader “Do musical sounds in nature reveal a profound bond between all living things?” (Gray et al, 2001). I believe this critical question to be true. Not only because musical notes can elicit a response in many animals, but because it is so good at bonding people. Whether part of the same culture or completely different ones, music has been proven to bring people together in times of sorrow. Whether it’s a popular song heard from across the world or a national anthem that brings a nation together, music has the ability to heal and bond.

As I sit here, at 12 am, searching my playlist to find music that brings me to a natural landscape… I find myself struggling. I have songs that remind me of people, and experiences, but why not any place? Of course, I remember songs like Mr. Brightside, bringing me right back to my first year on rez. Or 1901 by Phoenix transporting me to late-night drives in the summer. But no natural landscape. Racking my brain, and listening to about 2 hours of my playlist, I find it.

Like I mentioned in my first post, my dad was the person who gave me my “sense of place” in nature. Oftentimes, living in suburban Toronto, experiencing nature came hand in hand with long drives. That’s where I found many songs that brought me directly back to those car rides. Natural landscape wisping by my head. Songs like; When You Were Young by The Killers, Champagne Supernova by Oasis, She Will Be Loved by Maroon 5, Best of You by the Foo Fighters, and 1979 by The Smashing Pumpkins… All bring me right back to long car rides filled with beautiful views and warm feelings. Although there isn’t one particular song, I sit here listening to this playlist being almost completely transported. Rain hitting the window, leaning my head on the window sill, I can almost perfectly picture the rough beautiful landscape of Hamilton cliffsides. Or the flat, seemingly endless fields in Essex, Ontario. In what I can only explain as a fever dream, these memories come flooding in.  

A photo from a cottage I visited in Kawartha Lakes, in 2017. Found this super late, but Juicy by Biggie reminds me of boat rides on the lake with my brother. Catching fish and good vibes.

References

Gray, P. Krause, B. Atema, J., Payne, R., Krumhansl, C. & Baptista, L. (2001). The Music of Nature and the Nature of Music. Science. 291. 52-54.

Abraham, R. (n.d.). Science tells us which Animals Like Music & which don't. Cuteness.com. Retrieved March 5, 2023, from https://www.cuteness.com/blog/content/science-tells-us-which-animals-like-music-and-which-dont 

Hughes, E. (2022, January 27). Do animals like music? Musical Mum. Retrieved March 5, 2023, from https://www.musicalmum.com/do-animals-like-music/ 

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Nature Interpretation Through Music

Using music as a means of interpretation is no new concept. The protest songs of the 60s and 70s provide a clear example of people using music as a hugely successful means of mass interpretation. This music reached a vast audience of change-thirsty youth, mobilizing them against the time's social, political, and environmental issues (Covach & Flory, 2018). The power of music as an interpretive force is undeniable, but how does this apply to our discussion of nature?

Well, if you consider music to be a combination of vocal or instrumental sounds combined in a way that produces beautiful form, harmony, and emotion, then wouldn’t nature be the purest and longest-playing symphony? Music is everywhere in nature. It’s in the rustling leaves, the whistling wind, the chatter of animals, the pattering rain, the billowing thunder, the trickling water, the crashing waves, and the sounds of footsteps.

Additionally, nature is everywhere in music. It’s in the sounds of instruments, the rhythm/ tempo, and the topic of lyrics. Nature inspires music. Take “The Four Seasons” by Antonio Vivaldi, for example. Each concerto in the series represents one of the four seasons. If you listen to these concertos, you will hear representations of flowing creeks, singing birds, barking dogs, buzzing flies, storms, winter fires, and frozen landscapes, to name a few. “The Four Seasons” may be one of classical music's most obvious direct expressions of nature. Still, many others work off a similar premise, such as Claude Debussy’s “Clair de Lune,” which translates to “Moonlight” in English. Such representations of nature are also not limited to classical music. “What a Wonderful World” by Louis Armstrong is a great example from late 1960s R&B, and “Summer Breeze” by Seals and Crofts is an example from 1970s folk rock. Lyrically, many songs have nature-related themes and inspirations. There is “Sundown” by Gordon Lightfoot, “Bobcaygeon” by the Tragically Hip, “Where do the Children Play” by Cat Stevens, “California Dreaming” by The Mammas and The Pappas, and the list goes on.

Music doesn’t have to have nature in its theme, lyrics, or instrumentation to inspire thoughts of natural landscapes in its audience. Music triggers a part of our brain that helps us to remember (Baumgartner, 1992). I’m sure you all have specific songs that trigger memories of natural landscapes from your past. Likewise, I can recall many songs that transport me to places in nature. Despite growing up in the age of iPods and Apple Music, I listened to most of my music through CD players. Thus, many of my transportive tunes were, instead, transportive albums. Most notably, every song in the “Cheap Thrills” album by Big Brother and the Holding Company with Janis Joplin swiftly transports me back to the summer of 2016. I would lie in the back of my truck in the middle of the hay field or bomb around on my dirtbikes, all while repeatedly listening to the album.

I compiled a Spotify playlist of some of my favourite nature-related music. Have a listen. Who knows? Maybe you'll find your new favourite tune!

References:

Baumgartner, H. (1992). Remembrance of Things Past: Music, Autobiographical Memory, and Emotion. Advances in Consumer Research. 19. 613-620.

Beck, L., Cable, & T. T., Knudson, D. M. (2018). Interpreting Cultural and

Natural Heritage for a Better World. Sagamore Venture.

Covach, J., & Flory, A. (2018). What’s that Sound?: An Introduction to Rock and its History. W.W. Norton & Company. 

Gray, P. Krause, B. Atema, J., Payne, R., Krumhansl, C. & Baptista, L. (2001). The Music of Nature and the Nature of Music. Science. 291. 52-54.

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Hi Kate,

I really admire how you unpacked the quote by integrating the course material. The way I interpreted the quote was that without historical context, historical items bear no merit. In this way, it is the historical context and happenings surrounding the item that gives it merit. Here, ancient things refer to both items and occurrences. I agree that such things do have value on their own; however, not to the same extent that they would provide the historical context. Without context, I find that most historical items and photographs would hold little value to the modern person. In fact, they may be seen as no more than junk. You touch on this in your analysis, with your assessment of the first car ever built being an ancient thing that evokes a story of persistence and tells a truth about how far the world has come. It is the context that the car represents which provides it with merit, not the car itself. Context is necessary to make something worthy. Without it, an item is akin to a puzzle piece without the rest of the puzzle. What makes Anne Frank’s diary so important and valuable, for example, is the context under which it was written. Without that, it is just another diary. Of course, there are a few exceptions, such as some pieces of art, for example, which can have a level of aesthetic value that provide merit independent of its context. Although, still, historical context still adds to the merit of these works. I am really interested to hear your opinions on my assessment. Really great post!

Unit 6: Interpretation Through His/Her Story

“There is no peculiar merit in ancient things, but there is merit in integrity, and integrity entails the keeping together of the parts of any whole, and if these parts are scattered throughout time, then the maintenance of integrity entails a knowledge, a memory, of ancient things. …. To think, feel or act as though the past is done with, is equivalent to believing that a railway station through which our train has just passed, only existed for as long as our train was in it.” (Edward Hyams, Beck at al. 2018, pp. 342)

This quote begins, “there is no peculiar merit in ancient things”, which is the

only part of the quote I disagree with. Firstly, what is the reference to says “things”?  Are they material objects, or can they be facts of a history. Either way, both have merit. The first car ever built is an ancient thing, but to be able to view it now, evokes a story of persistence and tells a truth about how far the world has come. As another example, it is a fact that Punjab (a state in India where my parents were born), was once controlled by Afghan rulers. As a fact on its own, it’s still powerful, as it begs a curiosity.

With the rest of the quote, I fully concur, the past helped form the present and tomorrow, today, will be the past. Each day brings lessons, it etches a way forward and losing those lessons or paths, ignoring the past, has and will continue to lead to missteps. So much of what has happened, will happen again. Just take bell-bottoms as an example. As David Uzzell says, “We are deceiving ourselves if we think that when we stand in front of a case of medals, or guns, or photographs …., we are looking at the past. We are looking also at the present and the future. ….” (Beck et al, 2018, p. 342).

In our readings, there was a discussion regarding “place of memory”. In nature interpretation, to ignore the historical facts or relevance, is at best foregoing an opportunity to evoke more from the visitor, and at worse, it disrespects what came before. In the ICOMOS definition, I found this point most important: ”… What differentiates a place of memory from other categories of heritage is the relation between the material and non-material components of the site. In “places of memory”, the non-material component is of far greater importance than the material one.” (Beck et al, 2018, pg. 327). I believe this captures the importance of story and bringing life to a material place.

One last point, I would like to speak to is the controversary around Heritage. Hyams speaks to the merit in integrity. The discussion around heritage and Saxes definition, “heritage is an active phenomenon with two stages: … and (2) our decision to do something about it (options include: to ignore,  reject,  or  destroy  it  and/or  to  embrace,  restore,  and  preserve  it  for  others)…” (Saxe, 2009, cited in Beck et al, 2018, pg. 341), seem to be at odds. To have integrity, we cannot ignore, or reject. To preserve integrity, all important facts must be set forth, so the visitor or viewer can interpret their own truth. This is, I think, a very difficult task, and one that will never be perfect. All stories, have interpreters, and all facts are passed on with some level of opinion.  

Beck, L, Cable, Ted T., Knudson, D. M. (2018). Interpreting Natural & Cultural Heritage. Sagamore-Venture Publishing. 2018

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On the Importance of History

“There is no peculiar merit in ancient things, but there is merit in integrity, and integrity entails the keeping together of the parts of any whole, and if these parts are scattered throughout time, then the maintenance of integrity entails a knowledge, a memory, of ancient things. …. To think, feel or act as though the past is done with, is equivalent to believing that a railway station through which our train has just passed, only existed for as long as our train was in it.” (Edward Hyams, Chapter 7, The Gifts of Interpretation)

I find this quote relates well to another from chapter 14 of our textbook:

"We are deceiving ourselves if we think that when we stand in front of a case of medals, or guns, or photographs of mutilated bodies, we are looking at the past. We are looking also at the present and the future. If interpretation is to be a source of social good, then it must recognize the continuity of history and alert us to the future through the past.” –David Uzzell (Beck et al., 2018)

The first portion of the first quote says: “there is no peculiar merit in ancient things…”. Here, I assume “ancient things” refers to historical things, being circumstances or objects, that no longer exist in today’s society. Additionally, I define “merit” as the quality of being particularly good or worthy. Thus, “ancient things” in the first quote parallels the use of “medals, guns, or photographs” in the second. And “merit” could be understood to relate to the second quote’s description of “source of social good”. Therefore, “there is no peculiar merit in ancient things…” can be understood as that the worth of historical artifacts is not the items themselves.

The next part of the first quote: “… but there is merit in integrity, and integrity entails the keeping together of the parts of any whole…” correlates with the part of the second quote: “If interpretation is to be a source of social good, then it must recognize the continuity of history…”. Here “integrity” encompasses the importance of acknowledging “the continuity of history.” So now we have the worth of historical artifacts is not in the items themselves but in the acknowledgement of the lessons, pertinence and impacts they continue to have. Interpreting history helps us understand how to better navigate present and future challenges; moreover, it provides us with context to help us better understand the feelings, trauma or subjugation of certain groups of people. As the first quote states, to ignore these historical happenings or act as if the “past is done with”, is akin to “believing that a railway station through which our train has just passed, only existed for as long as our train was in it.”

There are many examples that aptly exemplify this concept. One that is important to me, is the treatment of indigenous peoples by white colonizers. Many non-indigenous people are quick to put the subjugation and mistreatment of these people in the past, however these communities continue to feel the impacts and trauma from this part of history. Just because we may believe something is in the past, does not mean that it is for everyone. When we interpret historic items and occurrences while upholding the integrity of historic contexts, we become advocates for social justice and responsible citizenship.

References:

Beck, L., Cable, T. T., Knudson, D. M. (2018). Interpreting Cultural and Natural Heritage for a Better World. Sagamore Venture.

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I like the way this blog post focuses on scientific communication. I strongly agree that one purpose of nature interpretation is to make scientific knowledge more accessible to the general public. Additionally, science opens up so many creative avenues for nature interpreters. The very nature of science is exciting and provides many opportunities for interpretive activities to be incorporated and tangible-intangible links to be made. Humans love discovering things. There is a reason that so many children’s activity kits are based on scientific exploration and knowledge. Being the one that bridges the gap between science and the general public can be a lot of fun but also involves a lot of responsibility.

I read some posts this week that claimed all scientific literature should use simpler wording and be made more accessible to general audiences. I do not believe this to be true because of how easy it is to misinterpret scientific information. Not all available scientific information is trustworthy or accurate, and most people without scientific backgrounds do not know how to locate and address potential inaccuracies and biases in scientific literature. Using more accessible language could be damaging because of the potential for scientific studies to be misinterpreted and used to support controversial issues such as unsustainable environmental policies. This is already a very common tactic used by various groups. Having nature interpretation as a bridge between scientific knowledge and public understanding is both a wonderful solution and a disastrous risk, depending on the interpreter. Through interpretation, we allow for scientific information to be made more accurately understood but also risk opening the door to biased analyses. These are just some things to think about.

Scientific Communication and How Interpretation Can be a Bridge

After reading the contents for this week, I started to think about scientific communication. There are endless environmental crises that our generation and the world faces today. When mentioning this, most would likely think of things like climate change, biodiversity loss, and habitat loss. However, perhaps a bit lesser known crisis that we face is with scientific communication. According to Watson et al. (2014), we are seeing waning support for conservation along with decreasing governmental resources and policy failures. A major part of this issue, I believe, stems from an issue with scientific communications in which the public and governments are not well-informed (Hunter, 2016). 

The readings gave me an idea: natural interpretation could be a bridge to connect environmental scientific knowledge to the public. Throughout the course, I learnt how effective natural interpretation can provoke, enrich, and inspire all kinds of people in respect to nature. As a result, it can help people truly understand the beauty of nature and inspire many to help with the conservation/environment efforts from the challenges we face today (Beck et al., 2019). 

Just dry facts are typically not enough to interest a significant portion of the public on nature and all crises it is facing (Beck et al., 2019). In fact, this is told as something to avoid as interpreters because it can cause the audience to lose interest, since they are there for recreation, not a lecture Beck et al., 2019. Lecturing is also another thing to avoid. Rather, an ideal interpreter should help the audience absorb knowledge and enrich their natural perspectives (Beck et al., 2019). 

This is something that the area of environmental education has recently shifted to, where it went from dry facts and awareness to something that enables the public to create their own abilities to perceive environmental situations and make their own informed decisions and commitments (Wals et al., 2014). That sounds awfully a lot like interpretation. 

I think Wachira (2017), from his Ted Talk on birds, does a fantastic job showing the ability to bridge scientific knowledge to the public through interpretation. Without using fancy scientific words and encompassing all sorts of approaches (like using visual showings along with story-telling), he was able to tell the audience a story about birds in a very engaging, inspiring, and factual way. His story about nurturing a bird back to strength and the wonders birds provide to the ecosystem like with the vultures bring fascination to those that might not even be interested in birds (Wachira, 2017). He also connects the tangible birds to human intangibles, such as the feelings of freedom (Wachira, 2017). Judging from the reaction of the audience, many were deeply moved by his talk on birds. This includes me as well. 

Picture of a Magpie, my favourite bird. The unique behaviors and sounds of the magpie could make for an amazing interpretation.

In conclusion, I believe natural interpretation can be the bridge that links scientific knowledge to the public. By approaching environmental issue topics in a way that allows the public to be enriched by nature in order to come up with their own perspectives, it would allow the public to be better informed and thus increase support for tackling those environmental issues. Wachira (2017) showcases how effective this can be.

Beck, L., Cable, T. T., & Knudson, D. M. (2019). Interpreting cultural and natural heritage: For A Better World. Sagamore Publishing.

Hunter, P. (2016). The communications gap between scientists and public. EMBO Reports, 17(11), 1513–1515.

Wals, A. J., Brody, M., Dillon, J., Stevenson, R.B. (2014). Convergence between science and environmental education. Science, 344(Pages: 583-584).

Watson, J. E. M., Dudley, N., Segan, D. B., & Hockings, M. (2014). The performance and potential of protected areas. Nature, 515(7525), 67–73.

Wachira, W. (2017). For the love of birds [Video]. TED Conferences. https://www.ted.com/talks/washington_wachira_for_the_love_of_birds.

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The Power of Science as a Lens for Nature Interpretation

This week’s course material focused on the interpretation of nature through a scientific lens. Firstly, I find it interesting that we are following our study of nature interpretation through art with that through science. Science and art are often seen as two very distinct and different disciplines. Given the context of nature interpretation, I tend to agree with this statement. Provided the target audience is the general public, interpreting through a scientific lens requires you to break down information, whereas interpreting through an artistic lens requires you to build up information. I recognize this assertion is not without exception, but please, let me clarify what I mean by this claim. When you interpret nature through science, you often explain the fundamental concepts underlying the bigger picture. You may look at lichen, for example, and explain, in simple terms, how it’s the product of a symbiotic relationship between a fungus and an alga or cyanobacterium and the role of each within the relationship. In doing so, you are taking a small element of the greater picture, being nature, and further breaking it apart to increase your audiences’ understanding and, through this, their appreciation of nature. Conversely, when interpreting nature through art, you tend to reach for larger information found outside the painting, such as context and theory, to build the bigger picture for your audience. There are many other connections and differences between the two lenses that I could get into, but there is more that I want to touch on in this week’s post.

For one of my other classes this week, I was tasked with writing an essay about the changes to public opinion and legal disposition towards animals in early America. My mind was quite preoccupied with this topic, so as I was reading this week’s course material, I was pondering the ever-changing and ever-expanding nature of science and how that intermingles with societal understandings. The environmental crises we are facing speak to the mounting importance of nature interpretation as a method for increasing public awareness and willingness to act in favour of the environment. I see the historic changes to animal rights as hope. At the beginning of the 1800s, animals were viewed as no more than insentient machines intended by God to serve humans. Not even 100 years later, every state had implemented laws protecting animals based on their sentience. Historically, the theologically supported idea of animals as subordinate, soulless and mindless creatures whom we have no moral obligation towards has largely been displaced by the scientifically defended understanding of animal sentience. Who is to say this outcome will not be the same for our plant friends? Animals have largely gained our respect and willingness to protect, so why can’t this expand to the rest of nature? Just as science could convince people to protect animals, I believe it has the potential to do the same for the rest of the environment. The progress of animal rights speaks to the power of science as a lens for nature interpretation and its ability to justify and inspire protection.

Photo of Oliver the Dog on a Canoe Trip in 2020

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I really like how this post relates the idea of "vulnerability" to art and nature. I cannot think of a better way to define the depth of emotion I feel when surrounded by the beauty of the natural world than by it making me truly vulnerable to my emotions and sense of being. If you allow yourself to give in to this vulnerability, you open yourself up to experiencing an unparalleled level of connectedness with the environment. In my experience, the only man-made equivalent through which humans can even come close to emulating the emotions evoked by nature is through art.

I remember sauntering through the McMichael Gallery in Vaughn, Ontario as a young girl. Very few people were in the gallery, and I was left to roam on my own. As I walked, I came across a painting of a horse that had fallen in battle. The style of the painting, however, made the forms and context ambiguous without the help of the information card. Nevertheless, the painting caught my eye, and I stood and stared for a good many minutes, totally immersed in the unknown forms in front of me. I cannot recall the name of the painting, but I can clearly remember the emotions it evoked in me. Feelings of dread, fear, and anguish washed over me, along with an inkling of calm and longing. The way this painting evoked an emotional response is similar to the vulnerability imposed by nature.

This post also explains how art can be a snapshot of the artist's emotions when the art is made. In the context of nature and nature photography, I agree. However, I’ve found that nature photography has never been able to fully encapsulate the depth of feeling I experience when physically surrounded by nature. A photograph lacks the connection with all five senses you experience when in nature. Part of the vulnerability experienced in nature comes from the sounds, smells, and physicality that are not present in a photograph. Although, I must agree that a photograph does make for a good reminder.

A photograph I took at Rustle Lake while hiking Trappers Trail at Lake Superior Provincial Park in 2022.

I find this photograph strangely calming. It is beautiful and serene but also dark and mysterious. Near the time of this photograph, I was sitting on the forest floor in total silence, listening to the sounds of nature surrounding me. I remember my emotions and tranquillity at that time to be exaggerated equivalents of how this photograph makes me feel now. This is an example of how art can capture an emotion and relay it to the hearts and minds of viewers.

Unit 04: Nature Interpretation Through Art

This week we ask, “who are you to interpret nature through art?” although you may read this prompt defensively at first glance, I believe that interpretation through art comes in many forms. The beauty of interpretation is that there is no correct answer. There is a method and a medium for everyone to enjoy, such as music, paintings, theatre, photography, etc. As Beck et al. (2018) state, incorporating art into nature interpretation is helpful for increasing the pleasure and enjoyment of the audience. Information and emotions can be communicated through art forms, making them powerful. Beck et al. (2018) also mention how the utilization of art can permit areas of your mind to open and connect yourself to the interpretation. 

I believe this relationship flourishes because of our five senses; sight, taste, smell, hearing, and touch.

They are powerful. 

They can have you revisit a single memory from one specific day in 2012 just based on one triggered sense. I believe art taps into these senses in a similar way. Since art can satisfy all senses, it can compel your body and mind to vulnerability. Vulnerability aids in forming connections and resonating with the topic, which is why art used in nature interpretation is so influential.

My favourite form of art for nature interpretation is photography. Taking pictures of what I find beautiful is what brings me joy. It allows me to open up and saturate myself with my surroundings. Not only does it delight me in the present, but I can relive it all later. This may be a biased approach since I have grown up with a smartphone for most of my life. However, when I am surrounded by nature’s beauty, instead of taking it all in, I have been subconsciously conditioned to take out my phone and take a picture. Although this seems upsetting, I like to alter this outlook to have a more positive approach. I remind myself that wanting to take a picture should not make me feel guilty and should not make me feel as though I am not “living in the moment”. If photography brings me joy and I wish to revisit this picture later, what’s the harm? 

That is the charming aspect of art. There is a medium for everyone. 

In terms of the “gift of beauty,” I believe that the spectrum of “beauty” is vast. This concept is expressed as a person’s capability to observe beauty in their surroundings through interpretation that aids in increasing resource preservation (Beck et al., 2018). I agree with this concept and its premise. Since everyone has different tastes, anything can be considered beautiful! Regarding myself, I coincide with this concept as nature is truly a beautiful gift that we have been provided. 

To conclude, I have added a quote from Vincent van Gogh that correlates different methods of art and nature.

“I have nature and art and poetry, and if that is not enough, what is enough?”

 –Vincent van Gogh

The photos I have added to this post remind me why I love photography and nature!

Literature Cited

Beck, L., Cable, T. T., & Knudson, D. M. (2018). Interpreting cultural and natural heritage : for a

better world. Sagamore Venture.

Vincent van Gogh to Theo Van Gogh : January 1874. (n.d.). Retrieved February 1, 2023, from

ightful,not%20The%20Hague%20and%20Brabant.

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Interpreting Nature through an Artistic Lens

As humans, we have an intrinsic and universal ability to appreciate art. We draw from our emotions, opinions, influences, and personal experiences to develop an artistic perception that is purely our own. Art relates to nature, such that nature can be the subject or medium of art. It is a well-known fact that much of history’s most brilliant and impactful works of art have nature as their subject. Artworks by artists such as Monet, Van Gogh, Hokusai, and the Group of Seven capture nature as it is interpreted by the artist. These artworks elicit an emotional response in their viewers in a way that touches their minds and hearts. It’s interesting to note that the emotional response itself is a form of interpretation. Art is something that everyone can and does interpret in the context of themselves. Art encourages its viewers to look inward at their own selves and their emotions to understand the art as it appears to them. Interpretation of art is, therefore, something that everyone can intrinsically do; the challenge is applying it as a way to interpret nature. Nature is already the subject of art; furthermore, its beauty, form, complexity, variety and uniqueness all parallel with what we already view as art. With that in mind, there is no reason that nature cannot be interpreted as art itself. Moreover, it is my belief that if anyone can interpret art, then anyone can interpret nature through art.

Based on the principles outlined by Beck and Cable (2011), an interpreter provides its audience with “the Gift of Beauty” when they instil in them the ability and desire to sense the beauty in their surroundings (Beck et al., 2018). One way this can be achieved is by encouraging people to view nature as art to extend their appreciation of nature to also encompass its aesthetic value. By viewing nature in this way, we open doors to a type of interpretation that can only truly be accessed through art. This type of artistic perception enables us to create our own interpretations based on how an artwork, or in this case, nature, makes us feel. How we view and interpret art is something that is not universally understood. Art lacks the objectivity of math and science, which are dictated by laws and formulas. Instead, art is subjective, and the emotions and opinions of both the artist and the viewer largely influence its interpretation. Art encourages us to connect with our emotions more deeply than other disciplines. It is this aspect of art that connects it to nature so eloquently.

By encouraging the viewing of nature as art, we can help our audience to develop deeper emotional connections with nature, allowing them to become more empathic towards the environment (Beck et al., 2018). We also encourage personalization of each individual’s perception and understanding of nature as it relates to them and their unique emotions. As interpreters, we can guide our audience and encourage them to open their eyes to others’ interpretations; however, what they will inevitably take from an art-based nature experience will be truly their own. In this case, the interpreter's role is to inspire audiences to view nature from an artistic lens, opening their minds and hearts up to these deeper emotional connections that come with art appreciation.

References:

Beck, L., Cable, T. T., Knudson, D. M. (2018). Interpreting Cultural and Natural Heritage for a Better World. Sagamore Venture.

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This post inspired me to do some self-reflection and think about the privileges I have been fortunate enough to have in my invisible knapsack. I like how this blog post focuses on the privilege of having access to and enjoying nature. Of course, when I reflect on my privileges, I think about the colour of my skin, the country I was born, the depth of my education, and the ease of my childhood. However, I tend to overlook the privilege of being able to surround myself with nature and the positive effects that this privilege has had on my life. Accessibility to nature is limited to many individuals due to factors beyond their control. These factors can be anything from growing up in a city to having a physical disability that impairs one’s ability to go outside and enjoy nature. Additionally, nature interpretation parks see substantially less attendance from minority groups, which is largely attributed to cultural, economic and language barriers (Beck et al., 2018). So, indeed, this privilege of having access to nature is one that nature interpreters must acknowledge.

Nature itself is not a privilege, but unfortunately, accessibility to nature is. I agree that we, as nature interpreters, should learn how one’s access to nature can be affected by privilege and find ways to increase its accessibility. Nature is something that everyone should have access to, and should not be restricted to specific people based on their privileges.

References:

Beck, L., Cable, T. T., Knudson, D. M. (2018). Interpreting Cultural and Natural Heritage for a Better World. Sagamore Venture.

McIntosh, P. (1989). White privilege: Unpacking the invisible knapsack. Peace and Freedom, 10-12.

Unit 3: Risk vs Reward: Recognizing Privilege

A very important factor that may influence our approach, and overall feelings towards nature interpretation comes in the form of privilege. Privilege to me refers to the various opportunities people have access to due to factors that are outside their control, this can be things such as race, socio-economic status, or language that can influence the access a person may have to enjoy activities in nature. The privileges I’ve had access to throughout my life especially with regards to nature is something I feel that I often take for granted, and as it talks about in the text, people often assume the privileges they have are “normal” or “standard” for others, and it takes a lot of honest self reflection, and conversations with others to fully recognize the privileges you’ve had. Having the time, and resources to go out in nature and enjoy it through activities like hiking, camping, or canoeing is already in itself a privilege that millions of people don't have access to. 

I myself have grown up with the privilege of being able to spend my summers as a kid going on camping trips, and being able to participate in many outdoor activities. This is something that I have always been grateful for, and I definitely consider myself privileged for being able to spend a lot of time in nature. I know that without having these privileges many things in my life would likely be different, and my love for nature and the environment may not be the same if I didn’t have access to the same opportunities growing up and in the present. However, as we have learned in this unit, privilege can be like an invisible backpack and different people have access to various tools based on their life circumstances, and due to this there are many forms of privilege that we may not realise influence our access to nature. This can come in the form of being fluent in English, being middle class, or growing up in a country like Canada which offers access to outdoor recreation in a way that many parts of the world don’t. These are things that I didn’t realise had such a profound effect on my access to nature, and how they serve as barriers for others. As nature interpreters I think that it is very important for us to recognize how our privilege has influenced us and our ability to enjoy the nature we love. I believe that as we learn to recognize our privileges more we can use that knowledge to try to make things more accessible to others in the future, and adapt strategies in our work as nature interpreters that allow for a more inclusive environment. Recognizing privilege does not diminish the hard work, and the things that you have achieved throughout your life, it simply recognizes the tools you may have had due to factors outside of your control that may serve as barriers to others. It is only through learning how privilege can affect our access to nature that we can find ways to make things more accessible for everyone.

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Privilege and Nature Interpretation

Privilege is a set of societally determined advantages or opportunities bestowed upon an individual at birth based primarily on uncontrollable and circumstantial factors such as physical, ethnic, sexual, financial, educational, and cultural characteristics. I like how Peggy McIntosh relates privilege to “an invisible knapsack of unearned assets” (1989). Nature interpreters often carry knapsacks with items such as a first aid kit, supplies for activities, maps, and supplemental information or resources. These items are things that help the interpreter along the way. These are things they can rely on and call upon if needed. An invisible backpack is similar in that it gives us a leg up: things or advantages we can depend on and take from as we grow and learn. The difference here is that we cannot take off this knapsack, and the items in it cannot be misplaced. Thus, we get used to having and using the things in our knapsacks. We then assume our items' normality such that we cannot recognize when individuals may lack an item or have different items than ourselves.

An example is how white middle-class individuals seem to believe they have no culture. This belief is because of how their culture is so normalized in society. Since most of these people cannot perceive their upbringing as different or unique to that of the rest of the white-middle-class-dominated society, they cannot acknowledge themselves as having ‘culture.’ By assuming the normality of our situations, we become insensitive to understanding the difficulty or convenience that differences in specific items may have had on various aspects of other people’s lives and understandings. Furthermore, such assumptions may prevent us from adapting our approach to better suit the specific items that others may have available.

In the context of nature interpretation, addressing this idea of privilege is essential. The whole point of nature interpretation is to ‘interpret.’ Interpreters are there to explain a topic in a way that is to be understood by the audience. This requires a sort of ‘translation’ of nature-related information into understandable terms, but how is the interpreter supposed to know what can be understood by their specific audience?

I am going to use a different type of interpretation to illustrate this concept. Language interpretation requires knowledge of both the language you are translating from and the language you are translating to. Nature interpretation can be looked at in the same manner with respect to the variable items in both parties’ invisible knapsacks. In order to effectively ‘translate’ information that the nature interpreter can understand into information that the audience can understand, the interpreter must be able to acknowledge the potential differences in education and background between both parties. Nature interpretation is meant to inspire. To do so, interpreters must acknowledge their privilege and encourage others to do the same. By collectively unpacking our individual knapsacks and making our items visible, we can create greater positive relationships with nature, elucidate a sense of responsibility towards nature and inspire action toward goals regarding nature.

As a nature interpreter, you must be willing to interact and adapt to the items in your audience’s invisible knapsacks so that you can communicate information clearly and apply relatable tangibles and intangibles, allowing for effective nature interpretation and facilitating deeper connections with nature.

References:

McIntosh, P. (1989). White privilege: Unpacking the invisible knapsack. Peace and Freedom, 10-12.