Yet Another Unitarian Universalist
A postmodern heretic's spiritual journey.
Our congregation’s Ecojustice Camp, a week-long summer camp, just finished its overnight. We left no trash ourselves, but we scoured our campsite for trash that might have been left by others. The campers carefully arranged the trash on a picnic table. Here’s a photo of all the trash we found:
When they saw this photo, the campers said, “Hey, it looks like art!” (Shades of Kurt Schwitters and Robert Rauschenberg….)
Anyway. There you have it…trash art.
Not many blog posts recently, as my spare time has been taken up with revising religious education curriculum.
I just completed a version of my full-year middle school “Ecojustice Class” curriculum for southern New England. Congregations in similar climates in the eastern U.S. should probably be able to use this curriculum as well. This is a beta test version — entirely teachable, but the curriculum is still a little rough around the edges.
Much of this is adapted from the northern California version of the curriculum, which we developed over ten years at the UU Church of Palo Alto. For New Englanders, I adapted this curriculum to a four-season climate. I added several proven session plans which have been adapted from Ecojustice Camp, as well as from my summer eco-spirituality workshops that I’ve led off and on since 2006 (mostly at Ferry Beach Conference Center).
Read about the Ecojustice Class concept on my curriculum website. Then if the concept works for your congregation, you can click through to Ecojustice Class Southern New England.
Today I discovered a peer-reviewed journal, Urban Naturalist: Natural History Science of Urban Areas Worldwide (Eagle Hill Publications). This journal offers free and open access to all articles.
So far I’ve read two articles:
“Effect of the Edge on Eastern Cottontail Density: Urban Edges are Harder than Agricultural” studies Eastern Cottontail density in urban preserves in Mexico City, and concludes that this species of rabbit avoids the edges of urban preserves (perhaps due to noise, light, etc.). This effectively reduces the amount of land habitable by these rabbits in an urban preserve.
“The Bee (Hymenoptera: Apoidea) Fauna of a Transmission Right-of-Way in a
Highly Developed and Fragmented Landscape of Central New Jersey” sampled bee populations in a power line right-of-way. The authors conclude that power line rights-of-way probably offer habitat for bees that would otherwise be lacking in a highly developed landscape. Unfortunately, 13% of the species found by the researchers were introduced or invasive bees. I was also struck by the observation that highways result in high bee mortality: “Roads can be substantial barriers to the movement of bees, and can cause high mortality that increases as roadway speed and traffic volume rises….”
As urban areas increasingly dominate our landscapes, obviously this kind of research is increasingly important. Since most of you reading this live in an urban or suburban area, it’s worth dipping into this journal to learn about some of the unforeseen effects our urbanized lifestyle has on other organisms…if we’re gonna feel guilty about eating meat, maybe we should also feel guilty about contributing to worldwide bee decline every time we drive on a highway.
The past couple of weeks, I’ve been experimenting with cyanotype as a way to get people to look more closely at plants. This post is some notes to myself about cyanotype resources.
Lawrence Hall of Science sells “Sunprint Kits” with 12 pieces of 4 inch square cyanotype paper and a clear acrylic overlay sheet. Cost buying direct from them is US$5.99 per kit (do not buy from Amazon where the price is higher).
Lawrence Hall of Science also sells refill packs of 12 sheets of cyanotype paper for US$3.99. The kits and refills are ideal for class use — inexpensive enough to allow people to experiment. You can also purchase kits and refills with 8-1/2 by 11 inch cyanotype paper from them. The larger sheets are more expensive (about US$1 per sheet), but if your class gets serious about cyanotypes the larger size allows for more possibilities.
Jacquard Products sells cyanotype sets — two plastic bottles with cyanotype chemicals that you fill with water, then mix the resulting solutions 1 to 1 when you’re ready to coat your paper. (I bought my set at an independent art supply store, but haven’t yet used it. You have to coat the paper in a low light setting, and dry the paper in darkness. I haven’t yet figured out a place where I can dry the paper.)
Kit for an alternative cyanotype process — this is a different chemistry, and supposed to be a superior process.
Finding paper that’s good for cyanotype can be a c allenge, since not only must the paper stand up well to repeated wetting, but the pH of the paper is also important. Christina’s Anderson’s 2018 article on paper choices is probably dated by now (paper companies change things over time), but worth reading. Freestyle Photography sells Hahnemuhle Platinum Rag, which both Anderson and Annettee Golaz (see below) mention as one of the best heavy papers for cyanotype. Dick Blick sells Hahnemuhle Sumi-e, which both Anderson Golaz say is an excellent lightweight paper.
Be warned: many of the books on cyanotype available online are self-published. But here are two books from a reputable publisher.
Cyanotype Toning: Using Botanicals To Tone Blueprints Naturally by Annette Golaz (Routledge, 2021), part of Routledge’s Contemporary Practices in Alternative Process Photography series, is an excellent introduction to toning cyanotype. It also contains an entire chapter on the basic cyanotype process. It’s expensive — US$66.99 — but for me it was worth the price.
I haven’t yet seen Cyanotype: The Blueprint in Contemporary Practice by Christina Anderson (Focal Press, 2019), but Annette Golaz refers to it repeatedly in her book.
Many of the cyanotype websites appear to be “AI”-generated slime. Others are too basic (“Expose the cyanotype paper, put it water, look at the result!”). But I found these websites to be well worth visiting:
Cyanotype by Angela Chalmers, a PDF, gives instructions on making cyanotype photograms using plants. Great ideas, and the author’s photograms are gorgeous.
“How To Make Cyanotypes of Flowers” on the Nature TTL website includes very useful instructions on a specific form of wet cyanotype process.
A digitized version of Anna Atkins’s book of botanical cyanotypes is online at London’s Natural History Museum website. A scholarly article with an analysis of Atkins’s book from the point of view literary analysis can be found here.
Atlas Obscura has samples of a 12 year old’s botanical cyanotypes here. Interesting for educators to look at.
Jacquard has a guide on toning cyanotypes to produce different colors here.
Vinegar-developed cyanotypes on the Alternative Photography website describes how to develop in vinegar so that your cyanotypes are less contrast-y. Alternative Photography has other articles on cyanotype, which I haven’t had time to explore yet.
A team at the University of California in Davis, headed by Tom Maiorana, has developed a game that models evacuations in the face of wildfires. (Apparently there was a story about this game on National Public Radio (NPR), but I don’t listen to NPR and read about this online somewhere.) They’ve set up “Prototyping Resilience,” a website for the game.
As someone who has been doing ecojustice education on the side for nearly two decades now, as soon as I heard about this game my gut response was: Wow, what a great teaching resource. Then I has to stop and think about why this would be such a great teaching resource. First, the game raises awareness of a new phenomenon, massive wildfires, which result from climate change and to a certain extent from land use change. Second, the game empowers people to know what to do in case of a wildfire (i.e., it’s akin to the tabletop exercises long used in emergency prep circles). Third, the game educates people about community cooperation. Raising awareness, empowering, building community — all key precepts for ecojustice education.
The current iterations of the game are specific to actual communities in California. But the game developers plan to have a generic “Evacuation Boardgame” ready by October, 2024. I signed up for the generic game using the “Game Request Form” link at the bottom of this webpage.
The invasive species problem remains one of the top threats to Earth’s life-sustaining systems. Yes, global climate change is scary, especially now that it looks like we’re now on track for a 2.5 degree increase. Sigh. But it’s also scary to watch familiar landscapes rapidly lose their biodiversity as they are overrun by invasives — native trees literally being pulled down by Oriental Bittersweet, native songbirds being driven out their nesting sites by invasive House Sparrows, native plants being killed off by the chemicals released into the soil by invasive Garlic Mustard…. Anyway, I decided to write a song about what we can do to Garlic Mustard.
(Yes I claim copyright, but I hereby grant you permission to sing it, reproduce it, record it, etc.)
I’ve started reading an article about combining ecojustice education with music education. It’s kind of theoretical, but there’s good content buried beneath the academic prose style. I’m fascinated with the topic, because our ecojustice camp curriculum includes singing and natural soundscapes as crucial curriculum components.
Below is the abstract of the article (followed by a full citation and a link to the full article):
“Children who are supported throughout childhood and adolescence to both
maintain their sense of wonder in nature, and honor and explore their
wild human nature, are well positioned to mature into soulcentric adults
capable of living into their purpose in service to both their culture
and the whole of life. However, our society’s ecocidal culture and
unjust institutions often replicate oppressions and promote egocentric
behaviors that preclude thriving. Additionally, many children are
alienated from nature and are thought to have nature-deficit disorder,
which can include both mental and physical maladies. In this article I
explore conceptions of ecojustice education to further illustrate
pathways for curriculum development in music education that might
encourage children and adolescents to maintain their sense of wonder in
nature, fully develop their sensory capacities, support their mental and
emotional wellbeing, attune more carefully to their wild nature and
soul’s purpose, and contribute to the environmental and social
commons — all which might support human flourishing and the continued
survival of our species.”
Citation: “Music Education for Surviving and Thriving: Cultivating Children’s Wonder, Senses, Emotional Wellbeing, and Wild Nature as a Means to Discover and Fulfill Their Life’s Purpose,” by Tawnya D. Smith, Music Education, School of Music, College of Fine Arts, Boston University, Boston, MA, United States. Frontiers in Education, 16 April 2021, Sec. Educational Psychology, vol. 6, 2021 — https://doi.org/10.3389/feduc.2021.648799 — Link to the article.
(1) This pocket plant press is made from a stack of 3 x 5 index cards, salvaged corrugated cardboard, cheap watercolor paper, and rubber bands. Cut two pieces of corrugated cardboard to 3 x 5 inches. Cut two pieces of cheap watercolor paper to the same size. Find a flower, and blot it dry with paper towels.
(2) Place one piece of corrugated cardboard down. Stack half the file cards on top of it. Place a piece of watercolor paper on top of that. Arrange the flower on this stack. Then make another stack of corrugated cardboard, file cards, and watercolor paper.
(3) Assemble the stack with the corrugated cardboard on the outside. Wrap the assembly with the rubber bands. If the stem of the flower is sticking out, you can trim it off with scissors.
Now let it dry for at least a week. Longer if the weather is humid, or the flower is especially moist. If you want the flower really flat, stack some heavy books on top of the plant press.
The watercolor paper takes the place of blotter paper in a real plant press. In some cases, the pressed flower may leave a colored image on the watercolor paper, so with some experimentation you should be able to use this technique to make pressed flower monoprints.
The stack of file cards makes the plant press stiffer, and helps spread the pressure of the rubber bands out evenly. You can also press several flowers in this plant press by using alternating layers of file cards, watercolor paper, and flowers.
(This is a follow up to this post. And for the finished product, see this post.)
I’m in the process of developing curriculum for a couple of different eco-spirituality programs I’ll be co-leading this summer. One of the people I’ll be working with, Jessica, a former environmental educator who’s now the DRE at the Northhampton UU congregation, floated the idea of pressing plants.
Now, plant pressing is usually done to prepare specimens for an herbarium. But Jessica found a lesson plan in the Project Wild Aquatic curriculum book which uses a plant press for a process art project. You assemble a collage of aquatic plants (or really, any kind of plant) between sheets of porous paper, and press in a plant press. As the plant is pressed, the paper absorbs some of the colors of the plant. Wait a week till it’s dry, and you have a cool collage.
This activity kind of resembles flower pounding (see lesson plan #24 on this webpage). It also introduces participants to the use of a plant press — a standard botanical tool/process — which is a nice addition.
Still working on refining this activity for use with kids in a summer camp setting. We’ll see where this leads. In the mean time, a couple of resources: Plant presses for the classroom | Herbarium Supply Co.
Update, later the same day:
Here are my instructions for a cheapo plant press, cobbled together from several online sites:
You’ll need fifty 3×5 file cards, two pieces of corrugated carboard cut to 3×5 inches, and two strong rubber bands. Place a flower in the middle of the stack of file cards. Put the rubber bands around everything (see the drawing). Let dry for a week or more. When dry, glue the dried flower to the index card using white glue.
Snowdrops are starting to bloom outside our front door, so in a couple of days I’ll be able to give this a try in the real world.
(And here’s the follow up post where I actually make one of these.)
Back in 2004, Brian Donahue, an environmental historian, noted:
“Beginning in the seventeenth century England was able to rationalize the production of its own countryside partly by genuine improvements, partly be replacing scarce firewood with boundless coal, and partly by drawing on its new colonies and on trade with the wider world, whether cattle from Ireland and Scotland, sugar from the West Indies, tobacco from the Chesapeake, or cod from the Grand Banks exchanged for Madeira wine. All this marked the birth of twin forces that have since transformed the relationship between people and their environment all around the world and that have remained closely related. The first was the increased substitution, via the market, of imported resources for local resources. The second was the unlocking of fossil energy, which has provided the power to both fetch and manipulate all other resources on the modern industrial, global scale and which has also had enormous environmental consequences.” — Brian Donohue, The Great Meadow: Farmers and the Land in Colonial Concord [Mass., U.S.] (Yale Univ., 2004), p. 72.
The first of Donahue’s twin forces has resulted in the spread of invasive species; the second has resulted in global climate change. Yet as Donahue points out, these twin forces were in part human responses to seventeenth century ecological challenges. Human population in England increased during the seventeenth century, so that humans had to either figure out how to produce more food or face famines. Humans began burning coal in England because there wasn’t enough firewood to keep them warm during the Little Ice Age, and part of the reason there wasn’t enough firewood was because woodlands had been cleared to create more arable land to grow food crops.
England had faced similar problems a few centuries earlier. Donahue says that during the High Middle Ages in England:
“…it appears that a population in the neighborhood of two million (and surely well under three million) in 1086 more than doubled to something like six million by 1300…. The ecological expression of population growth was the steady expansion of the arable fields to produce more grain, at the expense of other important elements in the interlocking agrarian economy. This imbalance resulted in scarcity and degradation….” (p. 65)
In 1346, the bubonic plague put an end to England’s population growth — which temporarily solved the problems of food production and firewood scarcity.
All this is worth remembering when we’re trying to figure out the origins of the current environmental crises: it all comes back to human overpopulation.