One more trip to visit the pines on Örö, by a lucky coincidence, in November as my first visit to the island last year. These ten days I have payed my respects to my old friends, the pines I began performing with in January this year, see here. First of all I recorded my last talk with the pine on the shore (see image above, and the video with the text spoken in Swedish, here) and I also visited the pine next door, daily (see image below).
Moreover, I encountered two more pines, both on the eastern shore, and recorded brief moments together with them, The Pine by the Beach and The Pine on the Beach, both available here.
Besides these exercises with pines that I always indulge in while visiting the island, I brought with me my old action camera and made some experiments with walking along the Pitkä ikävä road that traverses the island from north to south. These experiments are not really about meetings with trees, but rather about ways of performing landscape, something I tried for the first time in the manmade pinewoods in Nida on the Curonian Spit in 2017, see Walking in Nida. The practice is even less predictable than working with a camera on tripod, because walking with the camera on my forehead I cannot see the image and have no real control of its position. As a complement and contrast to working with pines this walking exercise has been both refreshing and exhausting. I will return to the pines, of course, perhaps some other ones, however, because the pine on the shore that I have been talking with and the pine next door that I have been “holding hands” with were both relationships planned to last only one year. I guess I will return to say hello, however, as soon as I have a chance, because this island has now become an important part of my life.
Great to have experienced an extra week on Örö now, in the autumn, when the island is quiet and has visitors mainly on the weekends. I came in order to visit “the pine next door” and the pine on the shore that I talk to in Swedish in the the small videos called ”Tala om det för fallen (tell it to the pine)”, both documented on the RC, here. This time I also wanted to find a few more ”wind pines” and perhaps experiment with the artificial insect lights at night. Instead I bumped into a pine I never noticed before, a real dragon pine that I spent some time with already the next day after my arrival. The results of our encounter are uploaded on the RC, here.
I did meet quite a few wind pines, too, and continued with the basic idea of video recording them (and myself sitting on them) from two opposite directions. One afternoon there was a military rehearsal going on, and the silence was suddenly interrupted with the harsh sounds of guns, once during both sessions, actually. See Wind Pine III (Rehearsal) a and b (here). Otherwise I prefer the two last versions, with a more interesting combination of two perspectives. I also made single sessions with some pines that I have looked at repeatedly during my visits, pondering whether I should do something with them, but never tried anything yet. The Dead Pine, which stands by the road to the residency house is a case in point. I remember looking at it when arriving, in the beginning of November 2020, pushing the cart with my luggage towards the south, looking for the house, and noticing the pine. At least one pine with branches that I could climb up on, I thought. Little did I know at that point that the whole island is filled with strangly formed pines, and plenty of ones that really invite you to climb on them. Another pine that I have often looked at is The Pine Aslant. When I recorded the image I was really excited and thought that might be the first good image this week. When I looked at the recording I was slightly disappointed, however, because my posing in the images is not so interesting, the tree lookes better on its own. These attempts can be viewed on a separate page on the RC, Odd pines in Örö.
This was probably my last chance to stay in the residency house this year, although one never knows what happens. There are many people who would gladly stay for a while, if there is a cancellation of some kind, so it is not very likely that I would have another chance. I might make a short visit and stay at the guest house in the hotel area, simply to end the year in winter, to make images of a full year, and to say goodbye to the two pine friends I have spent time with during each visit so far. I did not say goodbye yet, deliberately, because I hope I will be able to return in a month or two, at least once. But for now, the island will slowly adapt to the darkening light and the cooling weather with other visitors, and I will send warm thoughts to the pines from afar…
Or rather many pines? During my five-day visit to Örö, with the main purpose of performing with a pine for a live audience on 2 September at 9 pm, I also performed for camera with several pines, as I usually do on Örö. First of all I visited my old friend, ”the pine next door” daily, including the traveling days Monday and Friday. And I visited the pine on the shore that I speak with or to, and recorded my fifth talk with that pine, “Tala om det för Tallen 5” (tell it to the pine 5), archivedhere. Interestingly, I met some new pines, too, like ”the Snail Pine” and ”the Wind Pine” as well as sat ”On a Pine among Heather and Grass” and ”On a Pine among Heather and Juniper”. They are all archived on the RC, here. These new acquaintances I posed with for the camera placed in two opposite directions, to get a kind of double perspective, and edited the material into split=screen videos. Not all of the videos are very interesting, although the pines certainly were fascinating. There were many more of them, especially some wind pines that I want to work with when I return.
These small performances with pines were in some sense a side effect of my main performance, included in the event program of the Öres exhibition, that is, the second part of the participatory swinging performance that took place on Midsummer day at 3 pm . In that performance I invited people to swing in a small swing attached to a pine near the hotel area and later edited a video where the swingers change while the movement continues. A short version of that video is available for view online here and here. Now I projected a longer version of that video onto the same site, on the trunk of the pine and the branches of the near by juniper, and tried to swing synchronised with the people on the video. For the projection to be visible the performance had to take place after sunset. What was planned as a live performance turned out to be an action mainly for the camera again, because the group that was to form the main audience cancelled their booking, probably due to the windy weather. To make matters worse there was a rainfall that same evening, right after I had spread the electricity cables, and set up the projector and my computer, which I managed to cover with my raincoat. Luckily the rain stopped before nine, and I performed gladly my 20 minute performance for and audience of two – and the camera. The recording is actually quite nice, available here and (soon) here. Not to mention the magnificent poster (see below). Based on this experience I nevertheless think I probably should stick to performing for camera in the future, or try to find a context with several performers…
Many coincidences resulted in the opportunity to visit Örö again during an extended midsummer weekend 25-29 June, the most important of them being the Öres summer exhibition. My contribution to the exhibition consists of several parts, and my main task now was to organise the participatory performance “Swinging in a Pine” (working title) on Midsummer day 26 June at 3 pm. Hanging a small swing in one of the pines in the hotel area I planned to video record the visitors willing to swing there. All in all 19 people accepted the invitation, and now the next stage is to edit the video in such a manner that the movement continues while the swingers change. When ready the video will be visible on the Research Cataloge, here, and hopefully also on the Öres exhibition pages, probably here. Later, in the beginning of September, I will try to project the video back on the pine and swing synchronised with the people swinging on video. This is a technique I have experimented with on several occasions a few years back, and also described the process in an article in a book which is unfortunately not open access. (“Process as Performance or Variations of Swinging”. In Hetty Blades & Emma Meehan (eds.) Performing Process: Sharing Dance and Choreographic Practice. Intellect Books. 2018, pp 99-118.)
Besides for this performance I also came to install the triptych “On the Edge I-III”, based on still-images from the video, which is part of the online exhibition (see here), created during my Öres residency on the island in November 2020. The triptych could join the exhibition only now, a few days after the opening, because it was on display in the exhibition “How to do things with performance: epilogue” in Hietsu Paviljonki between 23-24 June as part of the University of the Arts Helsinki Research Pavillion #4.
After carrying the works from Helsinki to Örö by public transport, via Turku, I managed to find the space, which was assigned to me in the barrack near the residency house, thanks to the orange sign or name tag left in the room. After some experiments and attempts at placing the triptych in its planned order, I opted for a site-specific solution. The images fitted perfectly into the wooden shelf in the room, and I and III could be placed there. The middle part was placed on the opposite wall, visible from the door, to help people find the work.
Besides these tasks directly related to the exhibition, I alsohad the opportunity to continue my private performances, on the one hand with “the pine next door”, which I began in January 2021, holding hands with one of the two pines growing next to each other daily, every day when I am on the island. And on the other hand my talks with the pine on the shore, recording the fourth “Tala om det för tallen” (Tell it to the Pine), which is already transcribed and edited, available online. Both these recurring performances are documented on the same page, here.
The island is very different in summer time, especially when full of visitors, who nevertheless merged surprisingly well into the surroundings. The party people were probably staying in the harbour and the bar there, and the ones walking or bicycling around the island were here exactly because they appreciate the peace and silence of the place. Some of them might even be interested in finding the well signposted artworks among the army remains. The feeling of summer paradise is nevertheless overwhelming, and I do not feel like looking for new pine trees to perform with, not now. One reason might simply be that I have encountered quite a few of them already. But, there is no lack of more pine trees to meet, to sit on, to talk to, to holds hands with, or simply to admire on this island…
Almost by accident I noticed that the tourist boat traffic to Bengtskär lighthouse and also to Örö Island had commenced, which meant that there were other options than visits from Wednesday to Wednesday with the ferry. Happy, I grabbed the chance to spend a week from Sunday to Sunday with the pines on Örö. Now, when the week is over I can note, with some satisfaction, that I did what I planned to do, and more. I visited “the pine next door”, which I used to pose with daily, holding on to its branch, during my visits in January and February earlier this year. And I went to see the pine on the beach and recorded my attempt at talking to it, speaking with it, in Tala om det för tallen 3 (Tell it to the Pine 3). The transcript of my Swedish words I added to my private blog, here.
I also made quite a few new acquaintances, like the fallen pine tree on the shore that has persevered and insists on growing, and also some trees that invited me to create diptychs, pairs of images, like the two small pines that seemed to be in conversation, and which I had not noticed before. I also posed with a pine bent in the form of a gate at the shore, which probably caught my eye because I happened to approach it from an other angle, and as befits a gate, recorded the pose from both sides.
The amount of morels, which looked like pine cones in the sand at first, was so impressive that I created a small video sitting on two pine stumps among them. Unfortunately you cannot see much of the mushrooms, and you might also wonder whether the stumps really count as unremarkable trees to encounter.
During the last days of my stay I looked for suitable pine trees to swing in, planning for a participatory performance that will possibly take place as part of the Öres exhibition later this summer. The first swinging session I recorded with a pine next to the road, a site unsuitable for any collective event, mostly for myself, and in honour of Beckett and his beautiful monologue, calling it Swinging in a Pine – Örö Rockaby(e).
The two other pines I tried swinging in are located on more suitable sites; the first one close to the residency house, and the second – probably the easiest option to have voluntary participants – near the barracks, the hotel and the restaurant.
Working on the island now, when the season is beginning and there are plenty of people around, has been a very different experience compared to having the place almost for oneself in the winter. And living in a hostel, at times crowded with people, makes concentrating on work more complicated. There are advantages, too, of course, like restaurant services, and the transport that made it possible for me to come here in the first place. And the main reason for my visit, the pine trees, although sometimes looking different in another light and surrounding atmosphere, are nevertheless staying almost the same. Or rather, they are transforming slowly enough for my senses to recognise them as familiar, as friends.
My second visit to Örö this year has resulted in some new acquaintances. I have resumed my daily practice with the pine next door, of course, and I went to sit with the pine on the shore and even recorded a talk or attempt at a conversation, in Swedish. The text, and the text from my first visit in January, are added to my Swedish blog, in a post called “Tala om det för tallen” (tell it to the pine) here.
I have also met some new pines, however, like the spider pine that I recorded briefly from two opposite directions for In the Spider Pine 1 and 2 (see images below).
I wrote letters to pines as well, one letter to the small strangely bent pine on the northwestern shore on 21 February in the video Dearest Pine(with text) (15 min 45 sec), and another letter to the large pine tree on the northeastern cliff on 23 February in the video Esteemed Pine Tree (16 min 15 sec). These two letters, written by hand in English, and added to the videos as text scrolls rather than spoken voice-overs as I did before, are archived here below as well.
I hope you don’t mind my climbing on to your trunk, or branch, like some giddy goat – quite inappropriate behaviour for an old lady, I guess. But you are bent in such a funny and almost inviting way, so I simply had to try if I could get up on your “back”, as it were. Today the whole island of Örö is silent, almost miraculously so. Not only because there are no people – well, there are four people in the residency house in the south, and one woman is staying in her cottage not that far from the cottage where I am staying for now – no, it is because there is no wind, absolutely no wind – and that is rare in the outer archipelago; or is this the middle archipelago, perhaps. And not only is there no wind, there is a soft mist, almost like rain, that dampens all sounds. Here on the western shore the silence is so poignant because the sea is completely silent, too; it is not only still, it is covered with ice, frozen. Usually, the sea is roaring at least on some side of the island and is audible from everywhere. It is very beautiful for human eyes, with the soft greyish white hues conforming by softening all the hues of green and brown and the rust of the pine trunks. I wonder if you would find it so? Perhaps bright sunlight is what you find most beautiful, because that is energy for you, your food. Or then the equivalence of beauty is the pleasure of a soft rain shower. At least it is probably nice when there are no insects trying to get in under your bark, and they should be asleep or dead now. I guess you would not like me to sit here for very long, because my more than 50 kilos mean quite a burden for your trunk. I don’t feel it sway or bounce under my weight, though- I wonder what made you bend like this. Was there another branch that has fallen away, or did this part of the trunk bend in such a strange manner to counterbalance some other part that has now disappeared? Anyway, I guess I should better leave you to “stretch” yourself after my weight, and to be honest I can feel the dampness through my clothes. – There is a duck or something similar sounding somewhere towards the north. I am not completely alone as an “animal” here, after all. Well, of course not. Although all the human footprints in the snow, at least the fresh ones, are my own, from yesterday or the day before, there are other footprints by hares, those I recognise, and then something that could be deer and then the small dog or cat like marks that are probably of the invasive species that has come here and is called raccoon dog in English. They move around mainly in the dark, I guess. The ones I see, or rather hear, are the birds. But they, too, are mostly silent now in the mist. So, thank you for letting me play at being a youngster here on your branch, and I hope you enjoy the rest of the winter and the coming spring. Bye, bye for now…
Esteemed Pine Tree, or should I say esteemed colleague in this business of living on earth. Pleased to meet you this rainy-misty Tuesday afternoon, at the end of February, here on Örö or Ear Island in the southwestern archipelago of Finland. Only a few days ago there was a thick snow cover on the island, and the sea is still frozen – quite unusual in these times of global warming. Now, however, the thaw season seems to be here, and there are heavy drops of water landing on this paper every now and then. From where I it her on your lowest branch I have a beautiful view to the sea on the eastern shore, and the small rocks and islets that rise up from the whitish grey ice. There is not much wind, which is unusual, and makes the place very silent. Normally, you would have the roar of the sea from some part of the island and also the sound of the wind in the trees, now that the sea is silent. Today I can only her the occasional “drip”, “drop”. – We have not met before, you grow here a little to the side from the walking path, and I noticed your beautiful location only a few days ago when visiting another pine in the vicinity. At that time, I mistook the low-growing juniper on the rocks to be part of your branches and decided to return. And that I did, today. When I tried to place my camera tripod, I noticed I had forgotten the memory card – incredibly stupid of me. There was nothing else to do but to return, have some lunch and rest a little, and then start out again. And here I am. Luckily dusk is falling later and later, so there is still time. And after all, I wonder if I have anything special to tell you. Yes, they are killing some of your relatives on the other side of the island, in order to keep the landscape at least partly open. Basically, you can live here in peace because this is a national park now, so nothing to be afraid of, unless they want to restore some earlier landscape on the island, when there were less trees. That is the nature of trees to spread out and grow into woods and forests, I guess. You are invaders, for sure. That is natural, so why combat that? Well, probably because there are some species of plants and animals that need the open landscape in order to survive. So, you will have to endure some restrictions to your expansion, like everybody else. Everybody else except humans, or so it seems. There seems to be no limit to our rights of intrusion and exploitation. And in some manner my sitting here on your branch is an example of that brutal mentality, although there are much worse examples, of course. Anyway, that is another story; that I will not bother you with now. Let me finish by simply expressing my gratitude for your generosity. I really appreciate the possibility to spend this moment here with you, on you, talking (or rather writing) to you. I wish you all the best for the coming spring. Take care!
A week on Örö feels like a good start for the year, and seeing the place with some snow is exciting. I came here in order to perform with a pine next to the guesthouse, as part of the Be-coming Tree event on Saturday 9th January (and celebrate my birthday that way), see here. However, I ended up living in a house in the centre of the island, and decided to “hold hands” with a pine next door as well. I looked around in the vicinity and could not decided, but when I stepped out of the door with my camera, this pine was the first one I saw. I soon discovered it was a twin pine, which was not visible from the porch, but I chose the camera position to highlight that:
This pine tree I will now hold on to daily during the week I am here, and if all goes well I might come back and visit it again for another week later on. The sessions will be documented here. The pine that I will perform with for an hour on Saturday, however, I met already during my stay here in November, and suggested to the organisers based on an image taken back then. Now the pine looks like this:
On a frosty morning at the end of November on Örö I decided to spend one more day with a pine, and chose a peculiarly formed pine on the shore near the residency house to spend time with. This time I would sit and write with the pine, while visiting it once every hour from 9 am to 4 pm, a normal workday, but also the time there is sunlight here at this time of the year. I did not count on it suddenly being so cold, so my sessions with the pine were brief. That is ok, since my small notebook does not have many pages left. In any case I decided to try to listen more and write less, and conduct an interview of sorts. I began with a huge question: What is important? and soon came up with the obvious reply from my perspective at that moment: warmth. This was only the beginning, perhaps the day will get warmer and my sensitivity to the pine better.
Two days later, after editing the videos and recording the texts I wrote I have to admit that my sensitivity did not increase that much. Yes, I spent more time listening to the pine, simply sitting there after writing, but I did not really feel any answers or responses to my questions, at least not ones that I could register or understand. Perhaps I did not even expect any responses and therefore could not detect them. The video including all my sitting in the pine amounts to 50 minutes, while a short version, synchronised with a video of equal length with only the pine (the brief ”empty” images after each session) is only 5 minutes and 53 seconds. The ”real” version, the one with the texts that I wrote recorded as a voice-over is 14 minutes. And unlike my first question, the following ones were more mundane, about light and sound and the wind.
The good thing with this day, compared to my previous experiment with hanging in a pine nearby for a day, was the weather. This time the day was not so dark and gloomy, and there were more nuances in the shifts of light. And the day was shorter, too, I did not begin before sunrise and ended right after nightfall, so this was a short working day of eight hours, from nine to four. – All the videos (except the longest one) are available on the RC, here
On Friday the 13th November 2020, the sun rises 8.23 am on Örö in the Finnish archipelago. At 8 am before daybreak, in the dim bluish grey light I am already down by the shore, placing my camera tripod behind a rock, which I checked last night, in order to start my day’s work with one of the pines. To choose the pine was no easy matter, but this big beautiful pine was standing apart and had a perfect little branch to hang from. That is my plan, to simply hang for a moment on the branch, nine times, on the hour until sunset at 4 pm. There is a soft drizzle, and I cover the camera with a plastic bag before returning to the house.
9 am, the rain has stopped; the plastic bag covering the camera is covered in drops. The clouds on the eastern sky are brightened by the sun, here in the west they still look dark and damp. When hanging in the pine I notice the junipers and the rose hips in front of me. They seem to thrive here on the sandy shore. I feel weak, able to hang on the branch only for a few breaths. And the pine seems impersonal, indifferent, unlike some of the other pines I have encountered here.
10 am, the wind from south-east is rising; the changes in light, however, are minuscule. Looks like the day ahead will be grey and uniform – and chilly, + 7 degrees celsius. For November that is warm, of course, and this island is far south from the mainland. This is the only place in the country where you can find Pasque flowers (Pulsatilla vulgaris), which usually thrive much further south. They bloom in early spring, though. Yesterday I saw some searockets (Cakile maritima) in full bloom a little further north on the beach.
11 am, no visible difference; the sky is grey as before. I hear a strange motor sound and see an orange quad pass by on the dirt track further away, an alien creature from another world. This is actually their world, a former military island transformed into a Nature Reserve. The radar tower to the right further up on the shore is still functioning; its red light discernible from afar in the complete darkness at night.
Noon, and all seems to be like before. The only sound is the prevailing hum or noise of the wind in the trees and the sea breaking on the eastern shore. I walk among the shrubs in the sand, stepping on lichen, moss, all kinds of twigs. This beach must be a paradise in summer time; it still is, although I imagine paradise to be a little warmer. It is a huge privilege to be able to spend the day with a pine here, although our actual moments of contact are very brief.
1 pm, and no changes; perhaps the wind is calming a little. I almost missed the correct moment, being absorbed in reading Eduardo Kohn’s anthropology beyond the human, How Forests Think (2013). The book is more about dogs and jaguars and humans than trees, about relationships of predator and prey, although some of the ideas could be extended to concern the vegetal world as well. Nonhuman beings have made and make humans what they are. (p.134) The pine tree was here before me, like the plants were around long before humans.
2 pm, the first drops fell when I returned to the camera, and the soft rain started when I returned to the house, strangely, because the rain was forecasted only for later tonight. Perhaps this is only passing cloud, temporarily darkening the pale grey sky. As if dusk would set in this early; there are still two hours to sunset. The days are short here this time of year; what counts as a day’s work is much less, too. Or, to put it in another way, the evenings are longer. More time to read and write and edit this video, for instance.
3 pm, the rain has stopped; it was only a drizzle, anyway. Returning from the pine I walk along the stony road towards north, feeling the afternoon coming to an end, slowly. Everywhere there are traces of military constructions; the sign boards describing them alternating with the ones pointing at the specific aspects of the nature on the island. Nature conservationist can be as militant as the Defense Forces, but here their presence feels reassuring; the very particular environment is protected at least to some extent. What to do with all the visitors, like me, is another matter. Now there is nobody else, but what about summer time (see visit Örö)?
4 pm, dusk approaching. The sun is supposed to set at 16.05, but no trace of the sun, no streak of light on the horizon to the left, no purple clouds, nothing to indicate sunset. Often the horizon to the left of the pine is flaming in red, today there is nothing but dark clouds. They are amazingly effective in shading the sunlight. My plan was to end at sunset, but since there is still plenty of light, I leave the camera on the shore for one more visit, covered for the raindrops that start falling again.
5 pm, almost dark, for the camera at least. The human eye easily adapts to the twilight, and the sea reflects the light from the sky which is still dark indigo. It is easy to walk on the shore, among the trees it is harder. I wait for the right moment, knowing that I will be barely visible in the darkness. When, writing this, I look out the window, the darkness is already impenetrable. Darkness, a rare luxury in this day and age, available daily for the pines here and for me as their guest, for now.
The videos edited of the material recorded during that day – Day with a Pine (brief) (54 sec), Day with a Pine (3 min 20 sec), and Day with a Pine (long) (11 min 20 sec) – are all available as small files on the RC here.
An exceptional, completely still and sunny day prompted me to try writing with a pine tree I had previously posed with. I was not happy with the first attempt, however, not being discernible enough among the branches, and tried again a second time. Thus, I have two letters that are somewhat similar and slightly different. Perhaps I will abandon my principle of transcribing the trace of the performance, the act of writing, and recording that as a voice-over to add to the video, and edit some form of mixture of the two letters instead, added to the second video. Or, perhaps I use this material to write a more academic style video essay. Here I nevertheless include both texts as rough, uncensored transcripts of my handwritten notes:
Dearest Pine Tree,
Excuse me for bumping into your ”lap” without notice, and coming to you like this, without forewarning. I was so perplexed hearing a motor sound, an airplane or helicopter in this silence that I forgot what I was about to write, so let me start again.
It is a great pleasure and honour to be able to sit on your branch and address you with this letter, simply to be with you on this island, a former military island that has been turned into a national park and opened to the public only five years ago. The island is full of pine trees, both old and young ones, and many of you are bent in strange contortions due to the constant wind. The reason I came to you today is exactly that, the extraordinary situation that there is no wind. It is so quiet that I can hear the buzz from the “radar” tower, not far from here. I have been here only for a week, so I cannot say for sure, but as I hear it is usually windy here, so let us enjoy this moment of stillness as a beautiful exception! I actually visited you last week and even posed for a video camera together with you, because I was so impressed by your place of growth. Half of your roots are cut off and a portion [part] of your trunk rests in mid-air. There is a big hole where sand has been extracted right next to you, to the right from where I sit, although I chose to place the camera in a such a way that your deformations and your precarious position do not show. Why did I do that, actually? Your “bravery” was what caught my attention to begin with. Perhaps as a gesture of respect, I guess. I wanted to show you at your best, not as the vulnerable creature you are, like all of us. – At this point I probably have to explain why I address you formally like this, and in English. This letter is aimed not only for you, but [also] to other humans to hear, or perhaps read as well. And unlike some other letters to trees I have written, this will be a letter pondering on letter writing and especially writing letters to trees, so a “meta-letter” of sorts, probably, at least on some level. I would not like to bother you with ponderings that have no relevance for you if I did not feel that you somehow accept being part of this attempt. With all your experience of winter storms, military assaults and now visiting tourists, lately, you are of course accustomed to human attention. And I do not really demand any response from you, I simply try to articulate my thoughts in your presence, in writing, as clearly as possible, so that you can sense them in your manner, or then my intentions at least, and my respect, if nothing else.
I have been experimenting with various ways of performing and posing with trees and the idea of writing letters to trees, like the one I am writing to you now, is something I have explored only recently. Earlier I wrote small texts on behalf of trees, and spoke them as the trees, as if the trees would speak, hanging some earphones on the branches of those talking trees. But that is a long time ago, and it was not a very satisfying way of performing together. It was more like using the tree as a puppet [in puppet theatre] to hang stories on. Well, what am I doing now, then? I am sitting on you as if on a wooden bench in a park, and writing “stories” again. Well, not exactly. There is a difference in trying to address you, to talk to you or with you, to engage in a communication with you, however clumsy or one-sided that might be, compared to speaking for you or on behalf of you. Speaking for others is ethically challenging, sometimes necessary, but often misguided. Listening might be the best option in many cases, and that is what I have tried to do previously. Or, if not directly listening, then being in the vicinity of, being nearby, sitting with you or some of your relatives, breathing together, growing together, sharing our participation in zoe, in life, and engaging in trans-corporeal exchanges, with all the chemicals and magnetic or other waves and various substances floating between us and through us. That is probably a more reasonable way of trying to perform together, after all, because this letter-writing is strangely one-sided. After all, letters are usually written to people who are not present. But there is an effort of creating an I-You relationship despite the risk of falling back to some kind of romantic notion of “merging with nature”, or projecting human sentiments on trees and other living beings, or even what they call the pathetic fallacy. But, in another way it would be an even more “pathetic” fallacy, I think, to assume that you would not be able to sense my presence in some manner. Ok, I am not suggesting that you can read this letter. Or even read my thoughts, but by at least trying to address you in this way, I feel there is some contact possibility [possibility for contact] opened between us. Rather than thinking of you as the “Other”, something wholly different and unreachable, I prefer to think of you as a relative, a distant one but a relative, nevertheless. And in some sense, we share the same ancestors, I guess. – Now I have used all my time, and more, and have to stop here. I want to thank you for your patience, and friendly, welcoming attitude and I want you to know that I really, really appreciate the possibility to spend time with you here today. Thank you once more, and all the best for the future!
Excuse me for disturbing you this November afternoon and please forgive me for recording this meeting with a video camera. I am very grateful for having the opportunity to spend time with you on this island, which was previously reserved for the military only, and has been transformed into a national park and opened to the public only five years ago. And I am grateful to you for allowing me to sit on your branch and to appearing or performing together with me for this brief moment. I also have to apologize for addressing you in English, which is not my native language, nor your preferred language, I assume. What your preferred language would be I do not even dare guess, something with (volatile) chemicals, perhaps. The reason for this formal address is that I hope this letter to reach other humans and not only you, that is, humans will hear or probably read this letter as an example of my practice of writing letters to trees, and also as a “meta-letter” of sorts, since my aim is to consider this practice in terms of its ethical and artistic implications, at least I will try to do that. Meanwhile, I also hope that these thoughts will somehow reach you, if not through these words, then through my thoughts. And even though you might not be able to read my thoughts in a strict sense, I hope you will be able to sense my intentions, somehow, and to affirm [ascertain] that they are benign and respectful. Anyway, I hope you are well this lovely afternoon, which is truly exceptional by being completely still. I have only spent little more than a week on this island, and so far, the wind has been heavy [strong] day in and day out. You have spent all your life here, so you should know. Many of your relatives are bent in all kinds of strange contortions due to the wind, being broken in storms and then growing from what was left; remarkable bravery, I must say. You too, have a rather precarious position next to the sand [pit], with half of your roots, or what is left of them, right in mid-air. The branches that I sit on have reached far out on the slope to counterbalance that, I suppose. I came here before, last week, as you might remember, and tried to pose with your roots, creating a small video that I call “On the Edge”. But that is another story. My concern now is this act of writing, of “performing writing for camera” on one hand and of addressing you as a tree with a letter on the other. Usually letters are written to those who are absent, not to those present, of course. Somehow it feels easier to address you in writing than through speech, though, probably because formulating or articulating my thoughts into words could make them somehow “clearer” for you to discern, This attempt at addressing you, however, is a result of various attempts at performing with trees, beginning with speaking “as” trees in a series of site-specific monologues called Trees Talk, using mp3 players with brief texts spoken as if by the trees and hanging them on the branches of those trees together with earphones for passers-by to listen to. That made the tree like a puppet to hang stories on, not a very satisfactory solution. By addressing you in writing I am of course also risking a “pathetic fallacy” of sorts, thinking of you as a [kind of] human being. But perhaps that is not so dangerous. As Martin Buber suggested and I-You relationship to other living beings is worth striving for, and as Efraim Kohak has suggested, our manner of speaking matters. – Now I hear some strange sounds, birds… – Nevertheless, it might be that simply spending time together, listening to you rather than addressing you, would be a more appropriate form of conversation. Anyway, my time is up, and I want to thank you for this moment together, for your friendliness, patience and generosity, and wish you all the best for the coming winter!