Tuesday, August 18, 2015

Connecting dots between "Blued Trees," the Newton Creek superfund site and parts unknown

Last Friday evening I got two pieces of seemingly unrelated information. The good news was that I have been offered and accepted an ISCP/NEA residency, beginning on October 1st until December 31, 2015, to work on the Newton Creek problem. The Newton Creek problem is that it is a superfund site in New York.

Within hours of that news, I also learned that the Spectra natural gas pipeline corporations, in charge of the Algonquin expansion that would pass near the Indian Point facility, also in New York, the site of the Blued Trees overture launch has moved a month earlier than we expected to condemn the land and take it from private landowners by eminent domain. That news has accelerated pressure to expedite the legal process that would protect Blued Trees, the land it's on, and the community it's in with the fund raising through Rockethub that would support that process. The news came as I was also preparing to leave for the UK, for the Society for Ecological Conference, in Manchester, where I will be presenting about trigger point theory and launching the Blued Trees film in the Whitworth Gallery, at the University of Manchester.

Back in 1997, when I first daylighted the Ghost Nets site to restore the estuarine system, I took a shot of the moment when fresh water passed through the highest known storm surge line, indicated with granite chips left over from the granite industry that had buried the former wetland rocky intertidal patch, and met salt water for the first time in about 100 years. I called that shot, "Connecting the Dots."

"Connecting the Dots" 1997
Friday night, I began connecting a much larger set of dots, between the thinking that creates a superfund site, the site of a possible even greater ecological disaster, between natural gas and a nuclear facility with a history of problems, on the banks of the Hudson River, miles from several major East coast cities, and the people I look forward to meeting in Manchester. Each of these sites, are locations I would identify as trigger points: places where a small area could impact entire bioregions. Connecting these dots of trigger points will lead to parts unknown: parts where we will all rescue the earth from ourselves, or witness a great loss for all life.






Wednesday, August 5, 2015

Earth Guardians and the artivism of "Blued Trees" a guest post by Aidan Ferris, Earth Guardian

From left to right: Christian Lockwood, the author- Aidan Ferris, and Samantha Bostic: three Earth Guardians participating in the Blued Trees overture launch June 21, 2015 Photo by Susan Rutman
All across the globe, youth are rising to the challenge of protecting our earth so that we may pass down a healthy and sustainable world to future generations. 

On June 21st 2015, I had the opportunity of doing just that by participating in a creative and tactical way to halt the construction of the AIM pipeline expansion. As representatives of a youth-driven organization called Earth Guardians, a couple friends and myself went to lend a hand with the Blued Trees Project. From the very beginning I was excited and intrigued by the idea of using art as a way of not only shining light on important issues but also as a non-violent direct action that could truly make a difference. This project felt unique. It incorporated music, visual arts and legal components that all tied together to create a really powerful action.

Today, as we continue to strive towards a better world, creativity and imagination are some of our best allies. This is because we cannot fix the problems we face by using the same tools that created them. We must look outside the tool box. Blued Trees is an amazing way to show youth that it's okay to be tactical and artistic.

Artivism” is art plus activism; it harnesses innovative strategic organization and combines it with the creativity and imagination needed to make art of any kind. The Blued Trees Project falls perfectly under that label and it is projects like this one that appeal to young people who are looking to make a difference. This type of work shows youth that harnessing passion is not only acceptable, but encouraged. 

Earth Guardians are showing the world that young people are making positive changes by being who they are and doing what they love, whether it be art, music, poetry, business, dance, writing, or any other form of expression. I believe that in the future we will see many more projects arise similar in nature to this one.  



Monday, July 20, 2015

State of the art for the art of "Blued Trees"


Judy Eddy http://www.radio2women.com interviewed Linda Leeds, of Frackbusters and myself about Blued Trees for the live Radio2Women show. It aired on Tuesday, July 28 between 4-5: PM on WBCR-lp Great Barrington: 


http://audiblecafe.com/2015/07/blued-trees-creative-resistance-makes-waves/

The five minute film on Blued Trees, will have a world and European premiere in 'Gaia: Resonant Visions,' an exclusive one day event at The Whitworth Art Gallery, Manchester, UK, alongside screenings of films by Ursula Biemann, Oliver Ressler, and Basia Irland. Curated by James Brady. The public is invited to view the Blued Trees launch on line: 


In discussing the moral legal questions this project addresses on Judy Eddy's show, I touched on how fossil fuel industries violate the ideas of ecofeminist pioneers like Donna Haraway, author of Primate Visions, that point to parallels between the oppression of women and the exploitation of other species to our global detriment. 

The Blued Trees conceptual symphony and site-specific ecological art is filing for copyright protection against eminent domain takings by fossil fuel corporations in Peekskill, NY. Crowd-sourcing has begun to assert this protection in the Supreme Court, which may take six years and cost six million dollars. Additional participants are invited to continue to “make waves,” by joining the Greek Chorus. Paint a tree; make waves in the woods!  

In their own words, "In February 2015, a team of New York State residents, angered by the abuse of eminent domain in service to fossil fuel corporations and frustrated by the lack of success using prescribed methods, were inspired to use art and copyright law to counter this abuse. They enlisted eco-artist Aviva Rahmani who created the Blued Trees Symphony- installation. Rahmani is an internationally known, exhibited and published ecological artist and an Affiliate with the Institute for Alpine and Arctic Research at the University of Colorado at Boulder, Colorado."

The Summer Solstice Blued Trees launched June 21, 2015 as an overture to a public symphonic opera and a site-specific installation. The proposed pipeline corridors were seen as possible lines of music and opportunities to compose music for those lines. 

The Blued Trees launch took place within view of a public road in Peekskill, New York, on private land, along a 1/3 mile measure of 50 woodland acres in the path of the proposed high-pressure Algonquin Incremental Market (AIM) pipeline expansion. AIM’s expansion would transport volatile fracked gas within one hundred five feet of the Indian Point nuclear facility. The full symphony will be performed September 23, 2015.

Approximately twenty trees were painted along the AIM corridor over the course of two days for the launch. About twenty-six participants included local children and elderly residents, and others who joined from as far away as Switzerland, as well as members of the Earth Guardians. After the painting, participants performed a chorale as they passed through the woodland. When the human performers left, the installation remained with the trees as a permanent work of art. A Greek Chorus launched in simultaneous international locations, including Lisbon, Portugal and Seattle, Washington. It included works by composer Maile Colbert, Deanna Pindell and Jesse Etelson.

Blued Trees asserts the language of the Visual Artists Rights Act (VARA), for the moral rights of the art over condemnation of private land. In Peekskill, pipeline construction would threaten the rights of Blued Trees. The art cannot be destroyed by moving, or otherwise destroying the trees with which it was created, without infringing on VARA. Protecting Blued Trees as a work of art will test corporate eminent domain takings in the name of “public good” in the judicial system. If that copyright suit is successful, it could impede the proposed AIM expansion. Blued Trees initiated a conversation about public good and morality, earth rights and environmental justice.

Help Us Make Waves!
Any willing landowner may join the “Greek Chorus,” as part of the Blued Trees Symphony, by painting a wave “note” on ONE tree or more, preferably roadside for visibility. Send a photo of your “blued” tree with GPS coordinates to Rahmani, who will continue -- throughout 2015 -- to gather and map our Blued Trees.

Preview comments for Blued Trees overture film:

“It is powerful and beautiful.” –Betsy Damon, ecological artist

Blued Trees is a brave and consequential work. It’s remarkable and compelling in this juxtaposition of luscious aesthetics and desperate ecological threats.” -Carolee Schneemann, media artist

We need nature - now nature needs us.” – Nancy Vann, property owner

“How exciting to see you walking down the woodland path in defense of a bunch of trees!” -Alison Knowles, Fluxus artist

“The images are beautiful, the camera work excellent, the idea great!” -Anthony Ramos, videographer and painter

“… good and slow enough to get the point without the emotionalism that has sparse content. Simple, common sense. Fast and speedy is what got us into this mess.” R. Eugene Turner, ecological scientist

“Very cool. Such a soothing artistic video for such an in your face bold type of problem/issue.” –Crystal Day, film student

In Latin, conspire means to "breathe together," which is what we're doing when we work, organize as a team in harmony. The notes of Blued Trees also require an in-breath to sing which is what we all did at the June 21st launch.” Gusti Bogok, performer in Blued Trees overture

Love the soundtrack. Elegiac and ominous. Good editing. Film was informative and moved at a good pace. Thought the map was very important. Need it to visualize how close the pipeline will come to Indian Point. Seems incredible.” –Marcia Annenberg, ecological artist



Friday, July 3, 2015

"Blued Trees" overture launch

Storyboard sketch for Blued Trees video trailer edited by Denise Petrizzo
Over the next few days, I will add to this post to describe the Summer solstice event that has launched the overture for the Blued Trees symphony, in the style of a personal diary. In this account, my goal is less about the legal, political or scientific aspects that underpin this project, but rather to convey a sense of what the personal experience of the launch was for me. - July 2, 2015

It was a long trip to the Blued Trees site. I headed down from Maine to New York Thursday June 18, 2015, leaving my cat, Bliss at 6:30 AM, in the care of my studio manager, Daisy Morton. I caught the 7: AM Ferry from Vinalhaven Island to the mainland, a taxi to the airport at Owl's Head, boarded a 6 seater little Cape Air plane down to Boston about 11: AM, where I took the shuttle to South Station to catch a Greyhound Bus down to Penn Station and then a taxi home to the Upper West Side. 13 hours after leaving my home in Maine, I unlocked the door to my apartment, back in Manhattan.

Early morning in Maine June 18, 2015. This is the world I want to save with Blued Trees.

I prepared myself for the event by making the rounds of alternative care providers to maximize my stamina to get through the weekend. There were dire warnings of Hurricane Ed hitting us hard with driving rain, floods and lightning predicted for the Sunday launch, so I bought a sturdy rain hat. I had already decided that this would be another opportunity to research whether CFS might model how to make efficient choices to reverse environmental degradation, regardless of the scale of the challenge. Hard weather always activates my Chronic Fatigue Syndrome (CFS), leaving me extra exhausted and struggling to concentrate but I was already pretty pumped with adrenalin, even without a B12 push and a shot of a gamma globulin chaser on top of acupuncture. The night before I left, Jesse Etelson and Deanna Pindell had already sent me material from their Greek Chorus events as part of the overture.

Peekskill, I speculated, might be a confluence of "natural" gas and nuclear power that could either signal disaster or trigger awareness of the danger we are in with current energy policies. Peekskill is a modest, primarily working class community. demographically, it includes a high proportion of people of color. It is the prototype for where environmental injustice often occurs: where populations are vulnerable, often economically desperate and politically disenfranchised. My personal perception of Blued Trees in response to this reality is simple: no means no. The allusion to sexual rape is deliberate, and comparable.

As far as the weather, it would be sentimental romanticism to presume that Mother Nature would make this easy just because a few humans might be in jeopardy. After all, the consensus amongst many is that she has been very angry with people for sometime. I thought this launch would be another example of learning to collaborate with nature rather then trying to dominate or exploit her.

Early Saturday morning I headed crosstown to catch the train from Grand Central to Peekskill. I was running late, so caught a taxi. In the taxi, I had a conversation with the cabdriver from Hong Kong, and told him where I was headed and for what purpose. He listened and then said, "you must be rich. Only rich people can afford to do these things. Poor people can only think of where their next meal will be. It is the responsibility of rich people to help us all. No matter how much money you have or don't have, you are rich compared to others and must take that responsibility."

An hour later, Linda Leeds picked me up with Tania Barricklo. Tania shot a good video pan of the other side of the Hudson River to the Indian Point nuclear facility before we left the station. We went on to Nancy Vann's house to drop off my stuff, and take a quick look at the maps of the site and the proposed pipeline expansion to orient ourselves between the measure I had designed, company easements and satellite imagery before heading to the launch site.

Videographer Denise Petrizzo drove up from the city and met us at the site about 2: PM. There were a few minutes of panic when we realized none of us at the site had Denise's number but she found us without any trouble. As we organized ourselves to begin the site examination, two cars of local residents with young families came by and asked what we were doing. We explained and they seemed delighted, promising to return the next day.

Then the four of us began walking the 1/3 mile measure to mark which trees would be painted. At first I felt very disoriented trying to jive where the trees were that needed painting with the satellite images I'd been studying for weeks. Eventually, I began to feel the pattern of logical distribution. by gauging the rhythm of our walking.

Soon, as we walked the site, the rain began in earnest. I was walking in lakes, sopping wet. Before we quit, Linda wanted to paint at least one tree, at the entrance to the site. We walked to the turn in the road that led to the site, chose a tree to make an opening note in the overture and began painting. As we worked, a tall man with a German accent jogged up and unlike the previous friendly residents, demanded we immediately stop painting. Denise turned her camera on him as he yelled at us. He screamed at Denise that she had to give him her video card, but she turned off her audio and told him he hadn't been recorded. Disarmed by our previous experience with residents, I briefly tried to explain our mission but soon saw he wouldn't be charmed or cajoled. Instead, he threatened to go to the Supreme Court to stop our work, declaiming that we were defacing nature like children making graffiti, he shouted at us about the authority of his opinions, exclaiming that he understood nature, what it needed and what art is and should be. We smiled and continued to paint. Eventually he left and we finished the evening's work. Both incidents with residents were heads up about what might come from a full symphony: the good and the bad, delight and hope vs. rage and efforts to control and dominate.

About 7: PM, Linda, Nancy and I went back to Nancy's to study the maps again. Denise stayed with us to shoot a bit more and then she went home to Brooklyn until 9: AM the next day.

From left to right, myself, Nancy and Linda trying to make sense of company maps that were very confusing to read, to confirm how the measure would be laid out between the easements. As I told them, if I could sing the spatial relationships, I would know the distribution was correct. Still from Denise Petrizzo's video documentation of Blued Trees.
About 9: PM, Linda and I quit working on the maps. Nancy had already retired. Linda and I were both exhausted. We went out to find me rubber boots for the expected rain the next day, and dinner.  It was already raining hard. We found a pair of boots for $13. on sale at Marshalls and then a dive of a Chinese restaurant for veges & brown rice with fortune cookies for dessert. I went to bed willing to roll with the punches of whatever Mother Nature would dish out the next day, trusting that whatever was to happen would be perfect.

I woke early Sunday morning to birdsong and sunshine that would segue back and forth between steamy clarity and light rain until midday and bursting with excitement. We headed to the site for the launch to meet the performers shortly before 9: AM.

To be continued. - July 4, 2015

If Blued Trees represents a paradigm of what needs to happen to change our relationships to biosystems, then part of that paradigm is accepting limitation while having faith in a larger community. Two weeks after the launch, I am still recuperating from the exertion that launched the project. This tells me that efforts to create change and avert disaster costs high levels of energy investment, periods of patient rest despite the urgency of circumstances, and tolerance for and acceptance of the frustration that comes with the subsequent delays. Today I am back in Maine. It is sunny and beautiful and things are moving along, albeit a bit slower than I'd hoped. And what I am only beginning to fully absorb is the implications of all the people who participated as well as the experience of "embracing" the trees to make music with them.

The day of the launch, I was tremendously excited to see load after load of folks arrive from various places to participate in the painting. There was light rain but my shoes were still soaked through from the previous day. I was grateful for my $13. boots. Linda had the situation well under control, armed with water for everyone, she was soon efficiently mixing a vast vat of beautiful blue paint slurry and dispensing it in bright ultramarine buckets for the painters. We walked the site again and I double-checked the trees we had marked off to be sure they were accurate to the notes of the measure. We were joined by small waves of people, who were immediately set to work. I was delighted to welcome a cohort of Earth Guardians. I gave them all instructions as they joined us and as the morning progressed, my heart swelled with the excitement of the day: art might effect change. We could collaborate with nature to save us all. people really don't want to continue destroying the earth.

We had two confrontations, building on the tension of the previous day's experience with the jogger. One was from a property owner along the corridor, whose land was leased to the pipeline company. The second was with our German friend from the day before, whose wife joined in screaming abuse, as they both threatened to call the police on us,whom never arrived. Presumably they had greater threats in the community than a modest group of tree huggers traipsing through the woods with buckets of blue slurry. We were soon joined by other local residents, including two young children, all of whom were very concerned about the potential impacts oft he planned pipelines expansion, the health dangers and the threat of a nuclear accident.

Earth Guardians (Christian, Aidan and Sam) pose with Nancy Vann and the trees they just painted as part of the overture launch for Blued Trees.

To be continued. - July 5, 2015

Approximately 3:30  PM, we began the last event of the Blued Trees launch: a performance. I changed from my work clothes to a silky gray tunic, took off my rain hat, let my hair down, coached to performers in singing the measure we had just laid out along the 1/3 mile measure and led the remaining participants who had stuck with the event since 9: AM in the morning despite rain and heat, on a meandering walk through the installed measure. Denise Petrizzo, photographer Susan Rutman and the reporter Peter Rugh, of Vice, shot our passage through shaded woods and high grasses. We walked in a measured cadence, in the 1/64 rhythm of the composition, singing the musical iterations of the overture. Each "note" was visited, sung by each tree of the spatialized melody and joined by all the voices of the performers. I have seen few stills from this event and none of the video yet.

The performance took place spatially, acoustically, visually and psychologically. The "audience," besides the performers, were the trees whom had been the designated "soloists" in the musical measure we had just installed on the site and their non-human denizens. I continue to wonder about the sentience of the trees. We know that trees "communicate" through their root systems, for example, to warn each other of threats. However, fewer people "speak tree," than speak dolphin or whale language in the sea, to know what the content of those communications might be. If those trees could have spoken, as Mother Nature seemed to have spoken, what might they say, healthy, vulnerable and threatened as they are, to the small band of humans passing amongst them, marking their surfaces with something that might grow moss. listening to the "songs" each tree sang, even as they heard our song?

The aesthetic perception of the whole on the day of the launch was in the capacity of the performers to hold that synesthetic structure in their own minds. It was a conceptual structure intended to defy the fragmentation and over-simplification humans have become accustomed to. That fragmentation and over-simplification permits us to cut down swathes of ecosystems and water resources humans depend upon for our own survival. It allows us to proliferate toxic fossil fuel infrastructures, such as the Algonquin pipeline 105' from a nuclear plant, on the edges of a working class community, rather than honor the other species who give us life. Fragmentation and over-simplification is a seduction I succumb to myself, when I drive myself to "perform," despite CFS. But then I embrace the connectivity and complexity, when I accept my dependence on every person or other being I encountered from start to finish to effect this launch.

Photograph by Susan Rutman

- July 7, 2015

Now that the launch is complete, I am thinking about what comes next. First, I need to thank everyone who participated, who taught me about the issues, obstacles, and opportunities, who gave me this opportunity to, as the artist and colleague Eleanor Antin once put it, "be part of the conversation." Today, much of the world is engaged in a grand conversation about whether the human condition will survive the human species. I am still listening to that conversation, even as I assemble the vast amount of materials for the copyright filing for Blued Trees that would initiate the phase of legal work. While that is assembled,  after sending out as many individual, personal  thanks as I can, my next task will be helping a widening circle of others to experience this Overture measure for the Summer Solstice and appreciate n a full symphony at a later date.

-July 8, 2015



Monday, June 29, 2015

Post-launch, parsing common good, public good, public use and moral rights for "Blued Trees"

Detail from the June 21, 2015 overture launch of Blued Trees for the Summer Solstice in Peekskill, NY, where the projected Algonquin "natural" gas pipeline expansion would intersect the Indian Point nuclear plant. The slurry of ultramarine blue pigment and buttermilk that would grown moss, began the sine wave on each painted tree at the base of the trunk and reached as far as our tallest participant could paint, to evoke the course of precious clean water from roots towards the sky for the good of all life.
Last weekends' launch went very well, with about 26 participants, press, 6 international venues for the Greek Chorus and about twenty trees painted on the overture site in Peekskill. It concluded with a performance, which has been documented and will become part of a video. Soon, I will be assembling the documentation of the day. It will be filed for copyright protection with the purpose of redefining the moral rights of the art, where it intersects the contemporary meaning of public good.
Today, the Supreme Court should be ruling on the scope of the EPA's powers to regulate emissions. This morning, someone reminded me that today is also the anniversary of the notorious Kelo case on eminent domain takings for public use and questioned whether the phrase public good in referring to what Blued Trees address is appropriate? The Kelo case in the Supreme Court was a landmark case in the history of ruling that private land could be take for public use. The Kelo case and the EPA ruling both address this crucial question of what is public good in todays world?
Pope Francis has addressed these concerns about public good by asking the world to consider the common good as something beyond greed. Recently, some young people in the Netherlands have sued their government for endangering the common public good by not doing more about global warming.
The legal definitions of public good and use go to redefining the economic benefits of public good in public use. In an ideal American courtroom, a witness should be Robert Costanza, an ecological economist who has written extensively about factoring in the value of “natural resources” when calculating a fair price on the use of those “services.”
"The services of ecological systems and the natural capital stocks that produce them are critical to the functioning of the Earth’s life-support system. They contribute to human welfare, both directly and indirectly, and therefore represent part of the total economic value of the planet. We have estimated the current economic value of 17 ecosystem services for 16 biomes, based on published studies and a few original calculations. For the entire biosphere, the value (most of which is outside the market) is estimated to be in the range of US$16–54 trillion (1012) per year, with an average of US$33 trillion per year. Because of the nature of the uncertainties, this must be considered a minimum estimate. Global gross national product total is around US$18 trillion per year.  Costanza et al 1997 http://www.esd.ornl.gov/benefits_conference/nature_paper.pdf
If the goal would be the Supreme Court, then Scalia’s love of verbal specificity is critical. I think Blued Trees might be in good company going forward, with many others setting new precedents. Today’s ruling on the EPA may be especially critical.
….
Re: Kelo decision: "the Court held that the general benefits a community enjoyed from economic growth qualified private redevelopment plans as a permissible "public use" under the Takings Clause of the Fifth Amendment.” -wikipedia
"In economics, a public good is a good that is both non-excludable and non-rivalrous in that individuals cannot be effectively excluded from use and where use by one individual does not reduce availability to others.[2] Gravelle and Rees: "The defining characteristic of a public good is that consumption of it by one individual does not actually or potentially reduce the amount available to be consumed (used) by another individual” '. -wikipedia
…..
"In philosophyethics, and political science the common good (also common wealth or common weal) is a specific "good" that is shared and beneficial for all or most member of a given community.
The good that is common between person A and person B may not be the same as between person A and person C. Thus the common good can often change, although there are some things — such as the basic requirements for staying alive: food, water, and shelter — that are always good for all people.” -wikipedia
…..
"In its 5-4 majority opinion, the U.S. Supreme Court stated in Kelo that the government can never take property from one private party for the sole purpose of giving it to another, even if just compensation is paid. On the other hand, the government can always do so if the general public acquires some actual use of the property. The court has been defining the ground between these extremes since the late 1800s. From the start, "it embraced the broader and more natural interpretation of public use as 'public purpose,'" the court said in Kelo, and deferred to legislative declarations about public use and purpose. 

The Public Good vs. Public Goods

Economists recognize a difference between "private goods" and "public goods." Private goods are both "rival in consumption" and excludable. Rival in consumption means that one person's consumption of a private good denies others the opportunity to enjoy the good. The price of a private good is essentially a result of the good's scarcity, and some individuals will be excluded from consuming the good because they are not willing to pay the price of the good. Unlike a private good, a public good is both non-rival in consumption and non-excludable. The textbook example of a pure public good is national defense because if one U.S. citizen receives the protection of national defense, then others will necessarily benefit from that protection. One person's consumption of a public good does not deny others from consuming the good, and people can use the public good without paying for it. Because the additional cost of providing the good to another person is essentially zero (since all people can use the good once it is provided to one person) the market price for additional users would be zero, which would not be practical for profit-making firms, and the good would tend to be undersupplied in the market."

Saturday, June 20, 2015

Paint a Tree; join the "Blued Trees" Greek Chorus


How to Paint One Tree for the Greek Chorus

Whisk or mix until uniform:
3 teaspoons ultramarine blue pigment
and 12 oz full fat buttermilk (thick, spreads well)
Here's an alt: Squeeze a TBSP of lemon juice
into 12 oz of whole milk -- 
wait a bit for milk to thicken.

Outline the wave --- we used blue sidewalk chalk.
             The wave shape on each tree should be tall,
Wide, wrap around the tree and in proportion 
to the dimensions of the trunk.
(see pics on previous posts: www. pushing rocks. blogspot)
A three or four inch brush works well. Have a rag handy to wipe off the drips. (Or don't)
One coat produces a translucent wave,
A second, touch-up coat will make the color stand out more boldly.

See details for pigment and buttermilk sources in previous post.

Please send your documentation of your painted tree (trees) to: ghostnets@ghostnets.com.

Painting trees to make waves in the forest with Nancy V., Earth Guardians: Sam, Aidan and Christian. The Blued Trees  launch site is in the  corridor for the proposed Algonquin pipeline expansion for "natural" gas that would be installed 105' from the Indian Point nuclear plant facility in Peekskill, NY.
The Greek Chorus for Blued Trees is whomever is resisting the proliferation of additional fossil fuel infrastructure, anyplace in the world. The recipe to make waves with trees or the musical measure to make music with a forest as part of the Greek Chorus, is in the previous post on this blog.

Note: I am trying to be careful to use the word with about the entire project, rather than on or in because as long as we remember we must live with other species, humans have a prayer of survival on this planet, as Pope Francis' encyclical on climate change as a matter of the "common good."

In the next days, I will load examples from the Greek Chorus. From Florida, Jesse Etelson sent this description of two sites he will be painting with:

"Blued Trees Site: Mangrove Park, Indian River Lagoon, Stuart, FL. Mangrove Park is a mangrove tree forest preserve on South Florida’s Indian River Lagoon, one of the most bio-diverse and threatened estuaries in the world. The site is being encroached on by suburban development, poisoned by toxic water from Lake Okeechobee discharges, big agriculture and local runoff. The toxic algae blooms suffocate oyster beds, sea grasses and wildlife. Public health warnings at beaches and waterways plague economies based on tourism and send people to the hospital with infections, coined “River Rot”. EcoArtist, Jesse Etelson is currently working with community, scientists and engineers to develop EcoArt collaborations/interventions on the site to protect and promote expansion of mangrove habitat on the lagoon.


Blued Trees Site: Torry Island, Lake Okeechobee, Belle Glade, FL. Torry Island wildlife preserve is known as the headwaters of Everglades National Park and connects the lakes of Orlando, Kissimmee River, Lake Okeechobee to the Everglades, coastal estuaries  and Florida Keys. Torry Island preserve is the last 10% of glades marshland habitat remaining in the EAA (Everglades Agricultural Area), a clear cut wasteland of factory farms and shanty towns. The EAA and supporting water management structures exasperate Florida’s toxic water issues by blocking the southward flow down the watershed, fragmenting fragile habitats and adding GMO fertilizers into the ecosystem. Like Torry Island, land purchased/protected in the EAA can restore natural flow and interconnection of the entire watershed and provide economic opportunities for glades communities through permaculture (sustainable farming practices) and Ecotourism. In 2012, EcoArtist, Jesse Etelson directed, “Welcome Home Wildlife, Torry Island EcoArt Project” a collaboration with residents and landowners in the EAA to restore habitat and educate community through continued art intervention/engagement."