In the Studio

Adrift: At Sea, A Float


Water: Part 1

from Water: Part 1 in a serial exploration of our collective Ecological experiences through photographs and the artist book.

In Seasoned

A Document of place and ecological reclamation.

Annotated Bibliography of Clearcutting Volume 1

true Magic Realism and the Wilderness Mystique: forwarding dialogue of post-structuralist    nature vs. man and the Artist Book.
I dream of the simple truths of intention. Of states of philosophical and actual mass willingness to remain awake in ecological understanding. To apply considerable pressures towards a state of harmony between man and land; of one organism beyond boundary of place and economics that bridge physical and emotional dimension. There is a symposia that defines space uncompressed; not separate from prairie grass, or forest, or bird song, or breeze, or international boundary.
     The outstanding scientific discovery of the twentieth century is not television, or radio, but rather the complexity of the land organism. Only those who know the most about it can appreciate how little we know about it. The last word in ignorance is the man who says of an animal or plant: “What good is it?” If the land mechanism as a whole is good, then every part is good, whether we understand it or not. If the biota, in the course of aeons, has built something we like but do not understand, then who but a fool would discard seemingly useless parts? To keep every cog and wheel is the first precaution of intelligent tinkering.
– Aldo Leopold, A Sand County Almanac and Sketches Here and There
How comprehension of relational ecological states synthesizes action lies the crux of
composing cross-economic sustainable understanding. The “they have” and “they have not” will and is nontransferable in light of present violence preempting police states. No person can enact reaction to persecution in perpetuate.
There is discrete sound in place enacted. I say it is silent and absent.
There is walking on the moon. The soil in a clearcut crunches because it is sunbaked and cannot contain moisture. Once covered by young and developing 200 year old canopy. Fungi and microbes
uncatalogued accompanied by amphibians abounded.

Clearcut: Talladega National Forest; Oakmulgee Unit, long-leaf pine restoration project,
Southwestern Alabama
and Listen.
Bottomland Intact: National Forest; Oakmulgee Unit, Southwestern Alabama
There. Wind:

Abstract: What can be learned about our fundamental relationships, understandings, and perceptions of our ecological conditions (ecosphere or ecosystem or habitat or place and space) and natural (subjective) relationships through studying creative/conceptual expressions of an ecology through time?  From 100,000 year old pattern-incised ocher carved in caves overlooking rippling seas in present day South Africa to transplanted ecosystems, like human organs, on museum floors we have arranged and rearranged our relationship to nature time and time again to reflect attitudes and philosophies placing us alternately within and outside the larger ecology of a shared ecosphere.

Photographs as documents (babies, a flower in bloom, a butterfly) have become, partly, the contemporary currency of the cave wall, the storyteller, the candlelight cast shadow, where (it has something to do with time because of time and space, space and place) our innate need to express connections/conditions lost, of place and space, of time and collective memory, i.e. deforestation, water pollution, food sovereignty, energy policies, natural resource allocation and usage,  culture, and the overarching affects of global climate change (loss of land mass in the south pacific, permafrost reduction in the arctic and carbon release, and rainforest loss, etc.) reside.  Photography and film now defines, expands, and evolves the intersection of art and ecology.

Remember the Birdman of Lascuax, where memory is the record as digital ecosystems beget documentation?

from Textshop Experiments, Tours & Detours, December 2016


PDF version:

Click to access Davenport+Clearcut.pdf

A total of 482 species of rare endemic plants representing 246 genera spread across southeastern United States make it one of the most biodiverse regions on the planet.

Unfortunately, practices such as clearcutting continue to be used and destroy habitat and speed top soil erosion through canopy removal and fragmentation. This image of a 400-acre clearcut was taken from the stump of a 200 year Red Oak off the Coretta Scott King Memorial Highway in the Black Belt of Alabama. Never give up because we must do better. Act in your community, document poor practices, be a witness.

The Annotated Bibliography of Clearcutting, is an ongoing interdisciplinary forest habitat and natural resource focused  ecological database of worldwide clearcutting and deforestation.  This compilation of user-submitted site photographs, GPS coordinates, satellite images, maps, and physical descriptions is available to researchers as a searchable database to facilitate carbon projections, rates of deforestation, levels of mono-cultured areas, and landscape changes for given areas and regions.

~Christopher Davenport, 2016

Textshop Experiments is an open access journal that aims to extend the work of Greg Ulmer and to foster experimental works that invent, operate in, or analyze the apparatus of Electracy.  We welcome innovative and hybrid works in new media and original scholarship on reading and writing, rhetoric, and culture.