Photo Credit:USFWS |
David’s federal career began with the U.S. Dept. of Agriculture, Forest Service on the Chippewa National Forest in northern Minnesota in 1978. David transferred from the Forest Service’, Hiawatha National Forest in Michigan ’s Upper Peninsula to the Fish and Wildlife Service in 1990 as a Fire Management Officer/Forester for refuges in the mid-Atlantic states, based at Great Dismal Swamp National Wildlife Refuge in Suffolk , VA. In 1999, David assumed the Regional Fire Ecologist role for the Service’s Southeast Region, based in Tallahassee , FL and more recently Atlanta , GA until coming to Monomoy.
Monomoy National Wildlife Refuge, established in 1944 as a sanctuary for migratory birds with an emphasis on threatened, endangered species is recognized internationally as a truly special place, a wonderful place to come to re-connect with the natural world of which we are all a part, and to “recharge one’s batteries”. In 1970, Congress designated most of the refuge as southern New England ’s only coastal Wilderness. The refuge received Western Hemispheric Shorebird Reserve Network designation in 1999 and was also designated an Important Bird Area (IBA) by the Massachusetts Audubon Society.
The mission of the National Wildlife Refuge System is, “Working with others, to conserve, protect, and enhance fish, wildlife, and plants and their habitats for the continuing benefit of the American people.”
Q: Why were you interested in participating with Aldo and Leonardo initiative?
Q: Why were you interested in participating with Aldo and Leonardo initiative?
D.B. The Aldo and Leonardo initiative and the whole concept
I found to be different. Also it is very needful to bring the idea of
wilderness as art, as well as wilderness as almost like a bench mark for
science and the environment. I found that incredibly appealing, and something
that really has not gotten a lot of attention in a practical or tangible way,
and that’s what I thought the Aldo and Leonardo concept was really doing, was
bringing art and science together around the common denominator of wilderness.
Also because Monomoy is uniquely positioned to be able to do that in part
because we actually do have a fairly well developed long standing art community
here on Cape Cod.
Q: Why is the intersection of Art and Science so important
to you and your work?
Photo Credit:USFWS |
I particularly enjoy
being out in remote areas, most of my career I spent in fire management and
fire ecology which often took me too many of the wilderness areas across the
country and a wide variety of them. Maybe under less ideal circumstances-but
seeing that process, the process that is fire in wild setting relatively
unrestrained is itself aw-inspiring, and at certain times, particularly at night it’s
both frightful but also absolutely beautiful at the same time.
There’s probably something primal in the genes that we all have as people that is artistic, as well as our ability to just be put in awe by the world around us. This is one of the things that I think wilderness strives to keep. Monomoy is a relatively seasonal place with a high population, heavily trafficked waters, roadways, and village centers. Monomoy was uniquely positioned to retain a little bit of that, surrounded by people. It being an island situation hard to get to its accessibility in a highly populated area, is part of what helps it keep that attribute there - I call it the magic of Monomoy, it’s the magic that is Monomoy. You know you’re somewhere different than you were thirty minutes ago at the dock. That’s part of Monomoy’s magic, and the uniqueness of the wilderness preservation. Its proximity of high density development and people, yet it still retains most, at least some of the wilderness character attributes that are embodied in the legislation.
There’s probably something primal in the genes that we all have as people that is artistic, as well as our ability to just be put in awe by the world around us. This is one of the things that I think wilderness strives to keep. Monomoy is a relatively seasonal place with a high population, heavily trafficked waters, roadways, and village centers. Monomoy was uniquely positioned to retain a little bit of that, surrounded by people. It being an island situation hard to get to its accessibility in a highly populated area, is part of what helps it keep that attribute there - I call it the magic of Monomoy, it’s the magic that is Monomoy. You know you’re somewhere different than you were thirty minutes ago at the dock. That’s part of Monomoy’s magic, and the uniqueness of the wilderness preservation. Its proximity of high density development and people, yet it still retains most, at least some of the wilderness character attributes that are embodied in the legislation.
Q: What are some of your first reactions to the Monomoy
National Wildlife Refuge?
D.B. I think it was probably not realizing it right away, it
took a few minutes or even a day or so for it to register, was that this place
has a magic of its own, which is unique. It was like no other place I had been
before even though I had actually really spent a good part of my time living
and working along the beaches of the Atlantic and Gulf coast in the mid
Atlantic states and subsequent down to Florida were I was stationed in
Tallahassee. I covered the entire Southeast region which is most the Southeast Atlantic
seaboard and the Gulf Coast plus Puerto Rico. I was able to get too many of the
refuges that are in coastal settings. They had many similarities in some
respects, between those and Monomoy but also there is something that was
absolutely and completely unique about Monomoy, which is virtually impossible
for me to put into words. It was more of a feeling that was a result of the
surroundings that I put myself in. It was the internalization of that. I think
that’s what artists are actually striving to capture in their work with whatever
media they work with. There’s probably equally one of exploration as that of
the scientist but for a different end purpose.
Q: What do you believe to be a highlight to your time spent
at Monomoy?
The thing that just stayed with me is that all three artist
collaborated on a very simple token of their visit.And that was they custom
made a thank you card using their paper making skills and their combined
collaborative talents. They just left hand written notes on paper in a card
that they had made during their visit here. And they gave these cards to each
of us as a keep sake leave behind. The card itself was more of a
tangible artwork product that came out of their visit. For me it was the most
meaningful experience from the residency.
As far as on the ground we tried to get them out for an
orientation visit and we were able to take them out into the tern colony after
we had told them what they were going to be exposed to and what they would experience. We made light of the fact that Monomoy is where the
concept for the game angry birds was invented. They all got a kick out of it.
Then we walked into the tern colony, and they got to experience getting dive
bombed. This is where Jeremy was able to
capture the colony in his video segment that he posted in the blogs and
Elisabeth as well, posted and captured in her mosaic stills, terns in motion.
Just seeing their eyes light up and listening to how animated they suddenly
became after we had gone to three or four places was great. They really just began to get
their own taste themselves and to personalize that Monomoy magic for each one
of them individually. That was so much fun to see and observe.
Q: Did you experience any change in your perception or
experience any form of enlightenment at Monomoy?
D.B. I think I would actually describe it as more of a
reawakening for the artistic side of the scientist. I think the artist,
particularly in their blogs were absolutely right. Deep down inside everyone of
us has an artistic component that’s not always developed or in the forefront. I
think the experience interacting with the artist over thirty days did that, not
just for myself but for everybody here on the staff. So everything we look at,
we look at with more of an artistic eye, or listen more with an artistic ear
then we did in the past. It has been a very sensory thing; we use our senses
scientifically to gather scientific data. We probably less so inclined to do so
before the Aldo and Leonardo artist came to join us for a month. So I think we
are changed as scientists probably more because of their visits than we were
able to change them, and I think it worked here.
Q: As a scientist do you feel like you influenced the artists that you worked with?
D.B. I think we did,
based on what happened at our very informal but wonderful closeout at the end
when we gathered and we basically said thank you, and goodbye to each other.
It was very light, it was very comfortable, and there was no awkwardness that
things didn’t go well or leaving uninspired, they all seemed to be indicating
that they were going home with far more creative ideas than they knew they had
time to be able to generate. The hard part for them was going to be narrowing
down which of the ideas they were actually going to pursue upon return. The
problem for them was they got too many ideas on what they could do. A couple of
them were adjunct faculty so they were looking at ways of incorporating what
they did this summer into their construction of the upcoming year. Paying it
forward to the next generation of inspiring artists.
Q: Did you experience any unusual occurrences at the Monomoy
Refuge residency?
Photo by: Artist - Elizabeth Nickles |
D.B. I wouldn’t say that we had anything that was way out of
our prior experience realm. What I would say is some of the rarer kinds of
events were reported a little more frequently, in part because we had three
more sets of eyes and ears out there, that were just simply out there trying to
drink in and observe that natural world that’s around them. And they were
looking at it with artists’ eyes; I know Elisabeth spent a lot of time lying on
her belly with a camera for long periods of time trying to just get that one
shot. As a result she got a lot of rather close up encounters with some pretty
concise critters. She had a far number of encounters with seals that were
absolutely completely interested in her presence. Just simply because she was
just so still just laying there, and she just got some absolutely marvelous
photographs of seals because she was there, and she was there a very long time.
Elizabeth basically was the one that would go out and lay there just to see
what came her way. She had some of those events that actually spoiled her
wilderness experience or sense of solitude. Her solitude was actually spoiled
and impaired by someone else doing something that was not really keeping with
wilderness character. That stayed with her; at first her initial anger response
was - how could you spoil this for me? But then she would become more reflective as she blogged on it. She would kind
of take it in stride as one of the indicators of human condition and
differences in values and goals. Everybody values wilderness differently in our
culture and as a result everybody uses it and treats it differently. Some are
far more aware that its wilderness and others have absolutely no clue that they
just landed there boat with a motor on it in wilderness, and in doing so they
violated the Marine Mammal Protection Act Harassment Provision; but it’s
because they really didn’t know. They were ignorant for whatever reason of
those things, they have never been taught, or they have been taught and they
don’t care which goes back to value systems. Not everybody is able to use
wilderness physically themselves but many people still derive value from simply
knowing it’s there, and appreciate that there is wilderness that is being
preserved.
Q: What were some of the beneficial outcomes of the
experience?
D.B. I think partly the biggest one as far as benefits to
the refuge would be what I alluded to earlier. The refuge staff particularly
the scientifically inclined refuge staff actually look at the world a little
more artistically then we did before the artist were here. I think we learned a
lot about how to look at the world differently from the artist. I think that’s
actually very healthy, very beneficial.
It wasn't widespread awareness, but some of the folks in the local community were able to get news coverage in the local newspaper about the artist in residence, describing why they were here and what they were doing. The artist themselves were able to get downtown and talk to the local artists and merchants about what they are doing in the area,to get a sense of place. I think that’s a very important aspect of wilderness. That is, when you have wilderness locally it’s important that you develop that as part of your sense of place. But I think the artists getting into the community downtown and sharing their experience, and why they were here was a little bit eye opening for a small segment of the community, and this is what in part we are trying to build upon and expand next spring during the 50th Celebration of The Wilderness Act.
It wasn't widespread awareness, but some of the folks in the local community were able to get news coverage in the local newspaper about the artist in residence, describing why they were here and what they were doing. The artist themselves were able to get downtown and talk to the local artists and merchants about what they are doing in the area,to get a sense of place. I think that’s a very important aspect of wilderness. That is, when you have wilderness locally it’s important that you develop that as part of your sense of place. But I think the artists getting into the community downtown and sharing their experience, and why they were here was a little bit eye opening for a small segment of the community, and this is what in part we are trying to build upon and expand next spring during the 50th Celebration of The Wilderness Act.
Photo Credit:USFWS |
I’ll tell ya, this
part of New England; there’s probably as many that are openly outwardly hostile
toward the concept of wilderness, toward the existence of Monomoy National
Wildlife Refuge, and in particular towards some of the species that we focus
our management on. They become hostile towards the concept because it has adversely
impacted their livelihoods in the fishing community. We spend a lot of time
talking with the scientists about the local commercial fishing community, and
trying to get across to the artist that we recognize that there have been
adverse impacts on people’s way of life. Long standing ways life, commercial
fishermen are losing their boats, which they are on a trajectory that we have
already been through with the small family owned farms. There on their way out
of existence and the only ones that will be commercially fishing might be large
corporately owned conglomerates. That was a way of life, that was 300 years of
New England coastal town culture that is threatened with extinction. They are
part of the problem, and they don’t want to admit the problem. They’re the ones
responsible for over harvesting various fish stocks that there now prevented
from harvesting. Or they can’t make a living at it anymore because of overharvest, so they don’t catch many every time they go out, and it cost them
money every time they go out, so they are losing money when they fish. That
whole tension, that whole dynamic is painful. So there are probably as many
openly against to the concept of wilderness as there are those that would be
more willing to embrace the artistic value of having wilderness in their
backyard.
It’s important but it’s going to be a difficult
conversation, and it’s happening right here in the community. In a small
community you have very much diametrically opposed sets of values, all of which
are legitimate sets of values. I think everyone of them even if they don’t
publicly outwardly express it- if you were to get them out on the island on
the same day, on one of those perfect fall days - 70 degrees waves crashing on the
beach, sunny, sky blue, water, dunes, grass blowing in the breeze-everyone of
them would probably say we had a really good day at that place at that time
even though we don’t agree about what’s valuable about it. I think you actually
would be able to get those folk to at least agree- you know what, this was a really neat day, and it’s a really magical
place. I think they would all experience the Monomoy Magic.
Photo by: Artist-Megan Singleton |
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