Double prints and blueprints

Birdsong

This spring, I participated in several walks with bird expert Kees de Kraker. We walked between the dunes and the wood along the nature reserve the Zeepeduinen in the Netherlands. Often we halted, listening to blackbirds, tits, tomtits, robins, wrens, meadow pipits, woodpeckers, ovenbirds and more. 

Why do some birds sing so beautiful and do present themselves so exuberantly? Philosopher and biologist Vinciane Despret asked herself that question when hearing a blackbird every early morning. She describes her thoughts on birdsong and much more in her book ’Living like a Bird’. Does the blackbird sing to define his territory, a knowledge that has been created and accepted by mostly male biologists, or might there be more reasons for the bird to sing? Would it only scare intruders with its song or would the song be a way to invite neighbors and future partners, or just to be a bird on its best?

Vinciane Despret argues that the territory of a bird can be more than a known place where it searches for food and that is defended with aggressive behavior. Birdsong and the drumming of a woodpecker do show not only that the territory is taken but also that there is a safe and known place where the bird can show itself, be itself, after the quiet winter months.  And In spring, the birds create a melody to get in tune with others that are singing in its surroundings

Many animals defend their territories by soiling it with urine or other excrements or by spitting on food as human animals do, as described by philosopher Michel Serres in Le Mal Propre. The songbird does not claim property by soiling it on order to spoil it for others. The songbird sings. 

Other disciplines as bio- and eco acoustics even ask if birds might be singing together, as an ensemble.  Kees de Kraker calls early birdsong in spring a concert, but he would not go so far as to confirm that birds might be singing together. However, Vinciane Despret describes research into the choir or collective sounds of territories. Every bird and frog has its place and makes a distinctive sound for a location. A composition around territories is formed. The question remains, if this is coincidence or not.

Bio- and ecoacoustician Bernie Krause did research based on the hypothesis that animals create compositions, like we hear them as an ensemble, from birds, frogs and insects together. Every animal has its own niche of sound and space. Insects have a very specified spectrum, and amphibians and birds choose their own bandwidth. All together they create an acoustic collective in a certain area. They are animals that vocalize together in mutual kinship. Seen that way, territories become sung harmonious melodies and compositions. The songs of various species overlap each other and take each other into account- except maybe for the solitary robin.

Photographs

Transgression- Saproxylic Organism

These indexical, analogue photographs were taken in 2018 in a part of the forest in Kop van Schouwen, a nature reserve in the Netherlands. They were printed in 2019 by Michael Windig on barite paper, in Purmerend. The sensorial qualities of the print invite the viewer to conceptualize this photograph as a sensorial assemblage, a coming-together of various entities. Examples of the entities that form this assemblage are walking in the woods, the time-span of thinking and taking the photograph, the weather, the light, the Canon Eos 300, the film, the saproxylic organism.

The saproxylic organism lives on and off a dead tree. It transgresses its own borders and that of the tree. This fusion of materials can be seen as abject and entropic. Abject, in how bodies are experienced that do not stay within their borders. Entropic, as this transgression of the border between tree and the saproxylic organism leads eventually to dissolving separations of space between tree and mushroom, and into chaos. All these entities form the assemblage, that is the photograph.

Transgression was exhibited at the Royal Academy’s Summer Exhibition 2020, and featured in Gallery VII.

Trangression 2


Out of Order

Christine van Royen

Aesthetics of Death

Photographs

Transgression- Saproxylic Organism

These indexical, analogue photographs were taken in 2018 in a part of the forest in Kop van Schouwen, a nature reserve in the Netherlands. They were printed in 2019 by Michael Windig on barite paper, in Purmerend. The sensorial qualities of the print invite the viewer to conceptualize this photograph as a sensorial assemblage, a coming-together of various entities. Examples of the entities that form this assemblage are walking in the woods, the time-span of thinking and taking the photograph, the weather, the light, the Canon Eos 300, the film, the saproxylic organism.

The saproxylic organism lives on and off a dead tree. It transgresses its own borders and that of the tree. This fusion of materials can be seen as abject and entropic. Abject, in how bodies are experienced that do not stay within their borders. Entropic, as this transgression of the border between tree and the saproxylic organism leads eventually to dissolving separations of space between tree and mushroom, and into chaos. All these entities form the assemblage, that is the photograph.

Transgression was exhibited at the Royal Academy’s Summer Exhibition 2020, and featured in Gallery VII.

Trangression 2


Out of Order

Christine van Royen

Aesthetics of Death

Miscellaneous or how other animals might see

One reason that artists in the 17th century painted little creatures might have been to show off their skills as artists, more than attractive subjects could. Realistic works about maggots eating dead bodies were made to induce respect for the soul and also to warn the viewer. Memento mori, remember you must die, so you were warned for a life filled only with carnal pleasures.
The bible described plagues as showers of frogs, plagues of locusts, mosquito’s and stinging flies. King Solomon advised to look well at the ant, that has no commander, no overseer or ruler and yet stores its food in summer and gathers its food at harvest.
 
Protestants were told to worship God not in relics and saints but in His works. The observation of Gods creation of nature became an inspiration for many albums and watercolours. ‘Because all creatures great and small are as letters to make us ponder the invisible things of God, his eternal power and his divinity’ as the apostle Paul says in Romans 1: 20. The lesser esteemed or small creatures were maybe neglected and ignored at times, but as part of Gods creation they could not be despised, as they were all thought to be made with great wisdom and art.
 
In order to study and paint creatures like butterflies but also salamanders and lizards, they were killed and put on pins or caught in nets. The bible instructs respect for animals as they are part of Gods creation, but very often the Holy book is interpreted as giving responsibility for the animal kingdom to human animals and thus, allowing the use of animals in the name of God, art, science or pleasure.
 
Humanity was the final and greatest of Gods creations, that ended with Adam and the creation of human animals. Adam recieved power from God to give animals their name and that settled man’s dominion of the natural worlds. In this way, anthropocentrism was created. The knowledge created through painting Gods creation of bigger and smaller animals was not only a genuine interest of artists, but also confirmed their superiority as human animals. As a result, we see what they saw. But what would animals have seen? How did they see each other?

Habitats