Came across the following by environmental journalist Paul Voosen this morning.

“Historically, the push behind conservation has been a love of nature,” said Wiens, the former conservancy scientist. “Translated, there’s a sort of religious underpinning to that. It’s our moral obligation to protect all living creatures. And it’s still a strong feeling in the movement, that everything is important.”

A decade ago, though, the Nature Conservancy saw this love of nature fading. Young, mostly city-dwelling Americans don’t go hunting, fishing or camping as they did in the past. Between 2004 and 2009, the group saw a 10-point drop in self-identified environmentalists.”

Our interviewees are very much in the news of late.  E.O. Wilson has a new book coming out.  Last month, writes Elizabeth Grossman in Yale Environment 360, ‘…12 scientists – including such experts as [Theo] Colborn and the University of Missouri’s Frederick vom Saal – published a paper…their research, based on a review of 800 scientific studies, concludes that it is “remarkably common” for very small amounts of hormone-disrupting chemicals to have profound, adverse effects on human health.’

Torrential rainfall. A rising river. Time passing amidst the drive for survival and direction at the water’s edge. Below, a timelapse created by cinematographer Hunter Snyder. He has joined our visual study of the surrounding landscape. Here, we visit the nearby Ducktrap River in the last days before snowfall on the coast of Maine. Melody is Dirk’s evocative banjo from WATERBOUND (see previous blog entry).

Our timelapse and landscape talent Eleanor is also a history buff. She made some observations about the stonewalls that we found in South Hope with the last timelapse we shot. Building stonewalls are experiences of Americana, of who we are and where we came from, in the big picture of the stone and wood we’ve literally held in our hands over the years. E.O. Wilson differentiates the living creation from the non-living creation. With this lead, my interests in this filmic inquiry are primarily with the living. But the American divorce from nature runs deeper than that.

FROM ELEANOR: “Rarely in need of replacement, constructing stone walls were massive undertakings. This is one reason why they are so familiar in the earliest settled regions of the country, like South Hope Maine, where the frontier mentality had yet to take hold: unlike their children and grandchildren, these farmers expected to spend their entire lives on a single plot of land. A worker could lay between twenty four and sixty four feet of wall per day, assuming that the stones, or “fieldstones,” as they were called, had already been transported to the building site.

Historian John Stilgoe notes that wooden fences, which became the popular barrier among farmers outside of the northeastern US, were replaced every fifteen to thirty years. When in the early nineteenth century, depleted woodlots triggered a timber shortage, it was the stone wall laying farmers that had enough wood to keep their fires burning. Of course, it was also these northernmost people who, hibernating from frigid temperatures, were most in need of firewood.”

For more information on the life and times of stonewalls, see: Robert Thorson, Stone by Stone: The Magnificent History in New England’s Stone Walls (Walker & Company, 2004).
John R. Stilgoe, Common Landscape of America, 1580-1845 (Yale University Press, 1983).

We are fortunate enough to have recent graduate Eleanor Conover (no relation) working with us this summer, and applying her artist’s eye and work ethic to generating new timelapse sequences from the surrounding landscapes… and now also adding to this blog. This morning we recorded sunrise over Penobscot Bay from nearby Beech Hill.

Eleanor is getting to know this hill pretty well, having made several trips now to record time lapsing. The hill is also a location where my crew shot with musician Tim Eriksen and friends for BEHOLD THE EARTH. Her observations…

“We had an Edna St. Vincent Millay type morning on Beech Hill, shooting a timelapse of the sunrise. The bay was flat due to the air from the northwest, and as the sun rose and banked right, the reflection looked almost like the water does when the moon rises in the early night.

I keep returning to the islands, anchored stoically in the landscape. From above, you don’t encounter them face-to-face, but their articulated treetops that stretch across the view is, I think, at the heart of a dramatic encounter with the entire bay. The wind turbines that stretch from their foundations on Vinalhaven granite are the newest—and tallest—break in the horizontal composition. They interact with the natural environment in their own way, picking up the rhythm of the wind, and ceding their macbook white color to the oranges of the sunrise, later silhouetted with the pine trees against a pale, daytime horizon.”

DC NOTE: In 1917 Edna St Vincent Milay published a collection of poetry which included the poem Renascence. The first 16 lines are below. She penned this after hiking up another hill nearby in Camden, Maine.

All I could see from where I stood
Was three long mountains and a wood;
I turned and looked the other way,
And saw three islands in a bay.
So with my eyes I traced the line
Of the horizon, thin and fine,
Straight around till I was come
Back to where I’d started from;
And all I saw from where I stood
Was three long mountains and a wood.
Over these things I could not see:
These were the things that bounded me;
And I could touch them with my hand,
Almost, I thought, from where I stand.
And all at once things seemed so small
My breath came short, and scarce at all.