VANISHING VOICES

Ongoing trans-disciplinary art-design project that translates disappearing local soundscapes from vulnerable ecological areas in Wild Europe (Sweden in this first phase of the project) into visual imagery. Sound and soundscapes, or biophony (the sounds generated by more-than-human organisms in a specific biome) in natural areas are changing radically worldwide. This project captures the acoustic change in ecosystems as a direct translation into two-dimensional visual work.

Humanity is influencing it’s ecological environment on an unprecedented scale, with noise pollution being one of the most invisible yet highly harmful factors for flora and fauna worldwide. This body of work explores how these often invisible consequences of human-produced noise pollution in times of a multiple ecological crisis can be made visible and tangible in a poetic way. The technique used includes Suminagashi, a Japanese printmaking technique—in this project influenced by Cymatics (the science of making sound visible in water)—representing the frequencies of the recorded disappearing soundscapes. Water of the local ecosystem was used as the basis for creating the Suminagashi prints. The charcoal drawings are direct translations of the English term ‘psithurism’: the sound of the wind in the trees, in this project the sound/vibration of the leaves of various native trees in the wind. Research and sound recording were conducted at various locations in Sweden.

We can establish an intimate relationship with our natural kin by listening as we can literally feel their voices as vibrations. As soundscape ecologist Bernie Krause says: “We are earwitnessing biodiversity loss, when the voices of specific species disappear, as they are displaced or go extinct, this particular intimacy goes too”. Our entire being is experiencing changes in biodiversity, vibrationally.

Listening to the heartbeat of Earth is what we have to do.

Deeply listening to the land and our natural kin is what we have to do to re-member our own indigeneity. Probing the land with all our senses, cultivating kinship with all of Creation. How do we truly reclaim an intimate connection with the land, with a tree, a stone, a lake, a river or ice?

The old ways and wisdom are not lost, it is not only remembered by the land, the water and our more-than-human kin, but we carry it in our bones, in our DNA, in our cell memory ourselves. Because we are an embodiment of Nature herself, our entire biology is set up for vibrational resonance.

Can this knowledge guide us today? And can we re-learn to listen and relate to the living language of the land, the water, again?

We need to remember that that deep relationship and connection is still there, but it requires an innate unfolding and decolonization of the soul. By reclaiming our own indigeneity, we are healing the wound of (perceived) separation.

I believe re-activating this knowledge that is held within our cell memory and DNA can be done via resonance, we are electromagnetic beings, entraining our heart field with the heart field of Earth, Gaia and all her inhabitants. This is the start of a new project called Vanishing Voices. Capturing disappearing dialogues from fragile ecosystems. Stay tuned.

“So much of the old ways, that wisdom has been forgotten. But it is not lost as long as the land endures and we cultivate people who have the ability and humility to listen and learn. What knowledge the people have forgotten is remembered by the land. Nature echoes our oldest teachings.”

“Even a wounded world is feeding us. Even a wounded world holds us, giving us moments of wonder and joy. I choose joy over dispair. Not because I have my head in the sand, but because joy is what the Earth gives me daily and I must return the gift” Robin Wall Kimmerer

Materials used: Live Soundscape and recordings translated into charcoal and ink drawings on paper 30 x 40 cm and Suminagashi prints; ink on Japanese paper, 25 x 25 cm