Emily Salvagna

Blog created for ENVS*3000 :)

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Disclaimer

This blog was created for ENVS*3000 (F24), University of Guelph.

The opinions expressed here represent my own and not those of the University of Guelph.

The University of Guelph is not responsible for the accuracy of any of the information supplied by this blog.

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Unit 10 Blog Post

Describe your personal ethic as you develop as a nature interpreter. What beliefs do you bring? What responsibilities do you have? What approaches are most suitable for you as an individual?

Throughout my life, and now throughout this course, my love for nature has grown and evolved quite a bit leading to the interpreter I am today. I feel that each week through the assigned textbook and supplemental readings, along with the blog prompts and getting to read others’ posts, I have been able to learn a lot about my personal ethic as an interpreter. 

Me out in Lake Erie enjoying nature!

For me, I believe that the interpretation of nature through a variety of goggles is the best way to go about it. In fact, I believe that you cannot only interpret nature under one lens, you need a mixture of outlooks to truly understand and appreciate the natural world. As a science major, it is easy for me to believe that science is one of the most crucial ways we can interpret nature because it brings along an understanding of what exactly we are seeing around us. Understanding why plants are green or why chipmunks may be burying their food helps to provide a deeper understanding and appreciation of our environment. As mentioned in one of week five’s supplemental readings, complicated issues such as the loss of biodiversity gain a lot of support when community members are taught about, and engaged in, the science behind it (Wals et al., 2014). By interpreting nature through a scientific lens we are better able to make sure people are informed about what is really going on around them and hopefully inspire them to take action when the natural world around them is at risk. 

Sea stars I collected for experiments in a marine research course!

Even though I believe that science is necessary when interpreting nature, I do not think it would provide someone with everything they needed to love nature for all that it is. While science provides an understanding of what is going on, it sometimes lacks emotion. I believe that a major part of nature is the emotions that it provides to the interpreter and one of the main ways to feel those emotions is through forging a more personal connection through the arts. Whether that be through painting, drawing, crafts, music, or any other form of art, it is what truly connects us to nature. Taking something as simple as a lone tree in a field and interpreting it in a way that is personal to you, making something physical out of what you are seeing, is the most pure form of interpretation in my mind. Boeckel et al (2015)., mention that there is a disenchantment of the world occurring along with a loss of direct nature experiences. I feel that by taking what we see in nature and making something out of it we are effectively reconnecting with it because we have to take the time to be immersed in it to generate ideas on what to make. 

Park near my house where I like to go and paint what I see!

Without artistic interpretations of nature we lack connection, but without scientific interpretations we lack understanding. This is why I believe we cannot simply pick one method of interpretation and run with it.

As an interpreter I believe that I have many responsibilities. First of all it is my responsibility to ensure that everyone feels included. This involves unpacking invisible knapsacks as learned in week three. Making sure that each and every participant has the same tools available to them, either literal or metaphorical, to truly understand and appreciate what is around them is key. If someone felt like they were at a disadvantage due to a lack of education, experience, or anything else then they would not be properly able to enjoy nature as they may be feeling othered. It is a responsibility of mine to be extra observant and make sure that this does not happen. Another responsibility I carry is making sure that everyone is being respectful with the natural world, myself included. Whether it's leading a hike or a camping trip or anything else outdoors there is a possibility for people to treat nature unkindly. Maybe it's by throwing their food wrappers on the ground or unnecessarily killing bugs around them for being “creepy”. When we are in and around nature it is our responsibility to treat it with care so that future generations can have the same experiences as us. As an interpreter I feel a sense of leadership and responsibility that includes keeping our forests, beaches, and other environments clean. Another responsibility of mine is to appeal to each and every learning style. In the course content we discussed tactile, auditory, and visual, but the textbook goes on to provide many others. Things like logical-mathematical, inter- and intrapersonal and many more were mentioned (Beck et al., 2018). I feel it is my duty to truly understand what each one involves and what strengths/weaknesses someone with that learning style may face when it comes to interpretation. A final responsibility I feel I have as an interpreter relates to what I wrote about above. I feel it is my duty to ensure that all aspects of interpretation are being included when out in nature. Providing the science behind why something is the way it is then going into artistic interpretations of it to make sure that everyone gets the whole picture is key. In the future I will strive to interpret in a way that incorporates it all to give participants the best shot at finding something they can connect to in nature. 

As an individual I feel I am best suited to do all that I have mentioned in this blog. I am a science student which helps me with scientific interpretations, but I also have a love for being creative which would help me with the artistic part. I definitely feel as though these weekly blog posts have helped me better understand who I am as an interpreter and what works best for me. I have learned quite a bit about myself during this course and I cannot wait to use all that I have learned in the future to be the best interpreter I can!

I cannot wait to read everyone else’s blogs this week and I hope everyone has a great rest of their semester!

References

Beck, L., Cable, T. T., & Knudson, D. M. (2018). Interpreting cultural and natural heritage: For A Better World. SAGAMORE Publishing, Sagamore Venture. 

van Boeckel, J. (2015). At the heart of art and earth: an exploration of practices in arts-based environmental education. Environmental Education Research, 21(5), 801–802. https://doi.org/10.1080/13504622.2014.959474 

Wals, A. E.J., Brody, M., Dillon, J., Stevenson, R. B. (2014). Convergence Between Science and Environmental Education. Science 344,583-584. 10.1126/science.1250515

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Hi Francesca! Thanks for sharing such an insightful final blog post.

Like you, I'm very drawn to the idea of interpreting nature through a variety of lenses to fully appreciate and understand the complexities of the natural world. I also believe that a multi-lens approach helps us expand our perspective of the natural world in such unique and meaningful ways. This approach often requires a degree of open-mindedness and creativity but it truly pays off!

As a wildlife biology student, I deeply resonated with your emphasis on the merit of interpreting nature through a scientific lens. Like nature, science belongs to everyone and should be made accessible. As you mentioned, scientific knowledge is indispensable in understanding the underlying cause and effect of any given natural phenomenon. However, while science might lend audiences a valuable rational and logical outlook on the natural world, it frequently lacks the emotional depth distinguishing a good interpretive experience in nature from a great one. Therefore, I appreciated your insight into using the arts to forge more personal and emotional connections to the natural world, as I share a similar sentiment. As someone who values connecting with nature through artistic expression, I similarly gravitate toward combining art and science in my approach to nature interpretation, since it allows the most fulfilling experiences for both myself and my audience.

Lastly, I appreciated how you brought up the point that it is our responsibility as interpreters to ensure our audiences are equipped with all of the necessary tools to make the most out of their experiences in nature. Every visitor is different in terms of life experiences, education, age, and beliefs, so our approach should change according to the needs of each visitor.

Fantastic job!

I sincerely wish you all the best as you continue your journey as a nature interpreter.

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Blog Post 10

Describe your personal ethic as you develop as a nature interpreter. What beliefs do you bring? What responsibilities do you have? What approaches are most suitable for you as an individual?

My core beliefs as an environmental educator stem from the concept of fun and equality. Reflecting throughout my growth in this course and how I’ve been able to define my experiences in environmental interpreting, I realized that what is important to me is how we can use enjoyment to build deeper connections with nature. Initially, when I started this course, I always assumed I would continue my role as a nature interpreter, working with summer camp-age kids and taking them to national parks to experience the beauty of nature and hard work or simply getting them outside and being active. However, while learning more about the different ways to interpret nature and the various challenges presented to other individuals, my goals have changed. 

I have always had an incredibly strong opinion of what is fair. When I was younger, I struggled because so many inherent aspects of life simply weren’t fair. As an adult and a nature interpreter, I realize now that I can use that sense of fairness to bring about change. I was always aware of my privilege when I was younger, but only in growing up did I realize I was so much more privileged than I previously thought. I grew up in a house with a backyard, a park nearby, a ravine within walking distance, and parents who encouraged my siblings and me to explore nature and ask questions. Even more so, I realized my privilege in attending a summer camp where I was required to go to Algonquin Park and take a canoe trip. It taught me fundamental skills and beliefs like the ability to swim, the mindset that I can do hard things and that physical and emotional discomfort is often temporary and rewarding. 

These experiences shape who I am and how I approach problems in life. It was also incredibly fun. This is a part I often forget when sharing my experiences in nature. Not only did I learn a lot about myself and the environment, but I did so because I was having fun. This realization made me realize that the most important lessons I’ve learned in nature have stayed with me because they are tied to memories of joy and laughter. I am so incredibly grateful for these experiences and now want to be able to bring them to more kids. Most of my peers I experienced nature with were financially stable, white, and from emotionally stable and supportive homes. Not everyone has those blessings, but that shouldn’t prevent them from experiencing nature like I did. 

When I think of my responsibilities as an interpreter, I believe it is essential to acknowledge that we deal with kids who have been denied the same experiences we have. They spent their formative years in a pandemic surrounded by screens and the anxiety of being outside. They also have to fight with the dopamine addictions that screens bring in comparison to the joy of being outside. That is where I believe you have to work with kids and not against them. For them to want to be outside, it has to be fun. My responsibilities as a nature interpreter is to facilitate fun activities they can do while they learn: scavenger hunts and games where they learn about nature but can still compete. Sneaking in lessons while they learn new skills. Prompting them to think and reflect about nature while doing outdoor activities you know they enjoy. 

Reflecting on the times I’ve been acting as a nature interpreter for kids, I haven’t fully reflected on how my experience differs from there. When I worked with kids who were born in the pandemic, I didn’t consider the deficits they would have. Many were terrified of being dirty, and some didn’t even know how to play tag. It was a baffling experience but an important one. At the time, I was simply shocked by the fact that they didn’t know tag, a game that I don’t even remember learning but made me run around in nature. Now, thinking on that, it makes me reflect even further on how to almost “dumb down” my basic approaches to getting kids involved in nature. 

Looking back now, my style of interpretation has been very much focused on kids with a similar background as me. Many kids don’t know how to swim especially if they live in lower-income areas in the city. They don’t have access to similar experiences to my own, like going to Algonquin Park, and potentially don’t have parks or nature around them. In the future, I am going to tailor my interpreting with a more basic approach that explains more of the fundamentals of nature instead of what I assume they already know.

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Hi Emma! Thank you for sharing some of your personal insights on how you plan to develop your ethics as a nature interpreter.

Firstly, I admire your desire to use your strong sense of fairness to challenge your previous approach to nature interpretation. Overall, you demonstrate a strong commitment to inclusivity and accessibility, which I believe is one of the most important qualities for an interpreter!

Similarly, I agree that the skills and lessons we learn in nature at a young age significantly impact our relationship with/ outlook on nature as adults. Like you, my early formative experiences in nature have certainly enabled me to carry my love for animals and biology into adulthood.  

Moreover, as someone who also works with children in an interpretive setting, I appreciated how you considered how your childhood experiences might differ from those of the children you work with. As interpreters, it’s irresponsible to assume that children of today are afforded the same opportunities that we had as children, especially in the case of children who grew up during the pandemic. Accordingly, I found it particularly impactful when you expressed how we need to work with where kids are today in terms of technology addictions and outdoor anxiety.

Children need encouragement, and the best way to get children involved with nature is to facilitate positive outdoor memories. Interpreters should empower children to explore and foster deep connections with their natural surroundings. Furthermore, as interpreters, it’s our responsibility to create fun and supportive learning environments that simultaneously teach children the importance of the natural world.

Anyway, thanks for sharing such a personally meaningful post! You did a great job applying your learning throughout the course and I wish you luck in your future endeavours as a nature interpreter.

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Unit 10 Blog Post

As we take some time at the end of this hectic semester to reflect on the unique positionalities we’ve developed as nature interpreters, the personal ethics we each bring to this final discussion are greatly influenced by our individual set of experiences, perspectives, and beliefs.

Likewise, as someone particularly passionate about wildlife conservation, it’s hardly any surprise that my ethics as an interpreter are fundamentally centred around inspiring curiosity and care for the environment. Moreover, since my past experiences working with children have been incredibly fulfilling, I connect more with interpreting nature for children rather than adults.

So, as we undertake our new roles as environmental interpreters, what personally motivates each of us to carry out this type of work? What drives us to facilitate emotionally and intellectually meaningful nature experiences for others?

My primary motivation as a nature interpreter ultimately boils down to a personal conviction to empower younger generations and inspire hope for a more sustainable future!

As we've explored in various units, interpreters can offer audiences new ways of perceiving the natural world through a range of unique lenses to heighten their appreciation and understanding of nature (Beck et al., 2018). Most importantly, if carried out responsibly, interpretation can be an indispensable tool in facilitating environmental stewardship (Beck et al., 2018).

Looking back on my first blog post, where I reflected on how my relationship with nature has evolved throughout my life, my earliest experiences with nature greatly impacted my perception of and interest in the natural sciences. Accordingly, when working with children, I believe it’s crucial to recognize the significant impact that childhood experiences have on the outlooks we carry into adulthood.

Children are incredibly impressionable, and as Rodenburg (2019) points out, while young children may not be cognitively ready for serious discussions on important environmental issues, they are always eager to embrace the wonders of the natural world. That's precisely why, as interpreters, a key responsibility is to create fun, engaging, but ultimately positive learning experiences in nature, offering a spark that can be fanned and developed as children grow into adults (Beck et al., 2018).

After all, environmentally responsible children make for environmentally responsible adults (Beck et al., 2018)! In this way, nature interpreters serve as agents of change, influencing the planet's future by interpreting nature to children of today (Beck et al., 2018).

Yet, as you can imagine, cultivating hope to create lasting positive change is much easier said than done.

As our world grows increasingly urban and anthropocentric, prioritizing technology or innovation over natural resource stewardship, many children have grown disconnected from their natural surroundings (Gienger et al., 2024; Rodenburg, 2019). In a way, environmental educators are primarily responsible for tackling “Nature-Deficit Disorder.” How so? By building interpretive programs that allow children of all ages to nurture their relationship with nature and learn how to interact with their natural surroundings in a respectful yet personally meaningful way.

On a similar note, nature interpreters and other environmental educators are responsible for teaching children environmental literacy, directly or indirectly enabling younger audiences to adopt eco-conscious behaviours/ perspectives early in life (Environment and Climate Change Canada, 2024). I believe exploring our innate interconnectedness with nature can be a highly effective yet often overlooked approach for introducing youth to the critical interplay between human activities, ecological systems, and the changing climate (Environment and Climate Change Canada, 2024).

Additionally, since I have a background in biology, I would love the opportunity to challenge children to use their scientific knowledge to think critically about how we rely on nature in our everyday lives and the ripple effect human actions create in different natural environments/ ecosystems.

As we develop our ethics as nature interpreters, we're accountable for making our services available to everyone. Therefore, a core obligation as nature interpreters is to ensure that our programs can effectively reach a wide range of audiences. Whether you start by acknowledging how privilege shapes one’s responses/ relationship with nature, identifying socioeconomic barriers that prevent certain groups of people from accessing your program, or creating multisensory experiences that cater to a range of learning styles, interpretive services must be made as accessible as possible.

So, what approach to nature interpretation would work best for me as an individual?

As someone who's always been interested in both art and science, I would love to work in a setting where I can combine my two greatest passions in life. From a creative standpoint, I really value art's ability to resonate with audiences on a deeply emotional and personal level. As discussed in previous blog posts, art can be incredibly thought-provoking and convey deep truths that transcend the constraints of words. We also know nature interpretation involves a balance of entertainment, enlightenment, and information, whereby art can help effectively connect facts to feelings (Beck et al., 2018). In contrast, science offers insight into fascinating natural phenomena, enabling audiences to develop an informed perception of their natural surroundings. Science can also effectively cultivate awe and ignite curiosity in audiences, especially when combined with enthusiasm/ visual or auditory components that engage with audiences through multiple senses.

Here's a short clip from one of Bill Nye's science education programs on rocks and soil. If I were to seriously consider a profession in environmental education/ interpretation, I'd draw a great deal of inspiration from his approach. His enthusiastic tone, creative skits, comedic storytelling, and use of sound effects, make learning about science exciting for younger audiences (at least it did when I was in elementary school)! Using the format of a kid's television program also highlights an effective way to combine art and science in nature interpretation. Better yet, this approach shows how we can use technology to our advantage as a means to reach wider audiences/ classrooms all over the world.

Video retrieved from: https://www.youtube.com/watch?v=3HQwYbwmyaY&list=PL1LHolB1n6e4x5Zq7vtuVlzFNGr0beE7n&index=4

Here's a clip from Bill Nye's science education program on evolution. In this video, Bill does a great job of addressing a more serious topic related to how human actions impact the environment (aligning with my personal ethics) while maintaining an engaging/ entertaining tone suitable for kids.

Video retrieved from: https://www.youtube.com/watch?v=xbrVxrsBLuw&list=PL1LHolB1n6e4x5Zq7vtuVlzFNGr0beE7n&index=25

So, do we share similar personal ethics as nature interpreters? What was the best insight or most eye-opening experience that you gained from this course?

I'd love to know!

Overall, I had a blast connecting with all of you each week through these blog post submissions. We had some really enlightening discussions! This course has allowed me to reflect on my relationship with nature in ways I had never imagined, and for that, I'm forever grateful.

Thanks for tuning in!

References:

Beck, L., T. T. Cable, & D. M. Knudson. (2018). Interpreting Cultural and Natural Heritage: For a Better World. Sagamore Venture.

Environment and Climate Change Canada. (2024). Toward a National Framework for Environmental Learning: Discussion Paper. Government of Canada. https://www.canada.ca/en/environment-climate-change/corporate/transparency/consultations/national-framework-environmental-learning/discussion-paper.html

Gienger, A., Nursey-Bray, M., Rodger, D., Szorenyi, A., Weinstein, P., Hanson-Easey, S., … Yoneyama, S. (2024). Responsible environmental education in the Anthropocene: understanding and responding to young people’s experiences of nature disconnection, eco-anxiety and ontological insecurity. Environmental Education Research, 30(9), 1619–1649. https://doi.org/10.1080/13504622.2024.2367022

Rodenburg, J. (2019). Why Environmental Educators Shouldn’t Give Up Hope. Clearing Magazine. https://clearingmagazine.org/archives/14300

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Week 9-Blog 8

Interpret (through this blog) the most amazing thing you know about nature – get us excited. This is your blog – you audience isn’t out in the field with you so bring the field to your armchair reader.

One of the most fascinating aspects of nature is its boundlessness, its vastness that is simultaneously finite, yet we struggle to grasp the full extent of its complexity, from its ecosystems to the various inhabitants it supports. On a more personal level, as children, we often recall looking out into a forest, where the trees and landscape stretched far beyond what seemed like an impossible distance. When really, it was just the local park, but as children, our imaginations couldn’t fully comprehend the boundaries of such an environment. This perception of endlessness, however, is not something we easily grow out of as adults. The perception of infinite landscapes often lingers into adulthood, shaping how we view nature’s scale, despite the fact that nature itself is finite. Recognizing this finitude is essential for humanity to truly understand our place within it.

Take, for instance, the ocean—Earth's largest natural environment. While it may appear endless, the ocean is, in fact, bounded and constrained, and yet, we humans have struggled to fully comprehend its depths. To date, we have explored less of the ocean’s depths than we have outer space (National Oceanic and Atmospheric Administration, 2020). This stark contrast underscores how incredible the concept of infinity and the unknown can be. The ocean, with its vastness and mystery, is an enduring symbol of nature’s power, as well as its limits.

The author H.P. Lovecraft explores the concept of infinity and the terror it evokes in his story The Call of Cthulhu. The narrative centers around an ancient being that predates time itself, embodying the horror of incomprehensible scale and eternal existence. Lovecraft’s depiction of the "eldritch" being (a creature with characteristics of a sea monster, such as an octopus-like face) suggests that the ocean serves as the closest earthly representation of this unknowable, infinite terror. In Lovecraft's work, the sea becomes a metaphor for the infinite and the unknown, as the creature appears to be rising from and returning to its depths in a continuous cycle (Lovecraft, 1928). This illustrates the eerie parallel between our perception of the ocean and the fear of infinity, something vast, unfathomable, and at times, horrifying.

Yet, despite this recognition of the ocean's power and mystery, humanity has treated it with startling disregard, contributing to the estimated 5.25 trillion pieces of plastic waste currently floating in its waters (Jambeck et al., 2015). This waste represents a troubling contradiction: while we acknowledge the beauty of nature, we simultaneously harm it, often with the misguided belief of the "out of sight, out of mind" mindset. The destructive impact of pollution is undeniable and diminishes the beauty and majesty of nature, but it also serves as an unavoidable truth that we must confront.

Equally remarkable is the diversity of life that inhabits our planet, a diversity that is often taken for granted. Without nature, life as we know it would cease to exist. There are countless species on Earth, many of which remain undiscovered that are living in ecosystems that we have only just begun to explore. From deep-sea creatures to microorganisms, the more we discover, the more we realize just how little we truly know about life on Earth. This endless potential for discovery is one of the most beautiful aspects of nature. It reminds us that we are not alone on this planet. The richness of life, much of it hidden in the darkest corners of the world, offers an endless oppoutunity for exploration and wonder.

This sense of mystery (what we don’t yet know) is the most beautiful aspect of nature. The unknown compels us to search for meaning, to seek out new knowledge and understanding. It is this uncertainty, this thirst for discovery, that drives us forward, just as the ocean has for centuries, and will continue to do so long after we’ve explored it.

Literature Cited

Jambeck, J. R., Geyer, R., Wilcox, C., et al. (2015). Plastic waste inputs from land into the ocean. Science, 347(6223), 768-771. https://doi.org/10.1126/science.1260352

Lovecraft, H. P. (1928). The Call of Cthulhu. Weird Tales, 1(2), 1-20. https://doi.org/10.1016/j.strue.2006.06.002

National Oceanic and Atmospheric Administration. (2020). Exploring the ocean. NOAA Office of Ocean Exploration and Research. https://oceanexplorer.noaa.gov/

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Hi Hunter! I found your post this week incredibly thought-provoking and uniquely insightful.

Your post got me thinking about how perspective shapes perceptions of certain natural landscapes. As you mentioned, everything in the natural world is technically finite. Yet, many natural phenomena are beyond human comprehension. Therefore, interestingly, we are more quick to perceive nature as boundless. I appreciated how you brought up the ocean to illustrate this point. Although the ocean embodies this mysterious vastness and the illusion of infinite depth, the ocean is constrained within spatial limits (like all other natural environments).

I also enjoyed that you mentioned how the ocean’s illusion of infinity can evoke a strong sense of fear or terror. Although I consider myself fond of the ocean and the amazing diversity of life inhabiting it, I find its mysterious quality quite eerie. As you explained, we know so little about an ecosystem that comprises 71% of our planet. Similarly, I agree that the enigmatic character of the ocean is so unsettling because of humanity’s insatiable desire to understand the unfathomable. Yet, uncertainty also represents undiscovered possibilities, which can be beautifully motivational!

Lastly, I appreciate that you highlighted how humanity’s history of actions toward the ocean strongly contradicts our fear or acclaimed admiration. The ocean has repeatedly demonstrated that it's a force to be reckoned with, yet we continuously disrespect its power. As we continue to see more dramatic shifts in environmental conditions due to climate change, we'll reach a point where the "out of sight, out of mind" mindset no longer works.

Coral bleaching is a particularly devastating example.

Image showcasing a coral reef ecosystem before and after coral bleaching due to rising sea temperatures.

Image retrieved from: https://medium.com/@elliemanley1/corals-cry-harnessing-ai-to-combat-coral-bleaching-3f3ad45c2f76

Overall, you did an excellent job on this post, and thank you for allowing me to contribute to this interesting discussion.

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Unit 09 Blog Post

Throughout my life, I have been fascinated by evolution. It’s one of the many things in nature that never cease to amaze me.

It's crazy to think of the number of species we’ve uncovered in our fossil record (hint: it’s nearly 250,000). It’s even more mind-boggling once you realize our fossil record is nowhere near complete. It never will be! Species preserved in our fossil record comprise only a tiny fraction of the ancient organisms that once roamed Earth.

In a way, we can interpret fossils as tangible connections to life, landscapes, and climate of the past (U.S. Department of the Interior, 2024). Fossils help illustrate how significantly our world has changed over time and the fantastic ways in which organisms have responded to these changing environmental conditions (U.S. Department of the Interior, 2024).

A peculiar example of evolution that has always piqued my interest is the evolution of whales from sea to land…to sea, again!

The common ancestor of all four-limbed creatures transitioned to life on land around 400 million years ago, but our earliest cetaceans weren’t too keen on remaining there (Dance, 2022).

One of the main indicators of the terrestrial heritage of modern cetaceans is actually the presence of vestigial hindlimbs. Although it may not be immediately apparent, all modern whales have tiny pelvis and femur bones left over from their ancestors who required these structures to walk on land.

Here’s an image showcasing those vestigial hindlimb structures. Notice how the pelvis is not actually fused to the vertebral column. Pretty bizarre, right?

Image retrieved from: https://dragonflyissuesinevolution13.fandom.com/wiki/Issues_in_Evolution_Vestigial_Organs

Better yet, let's look at some of the first known ancestors of our modern cetaceans. You may notice that the earliest cetacean ancestor, Pakicetus, looks nothing like a modern whale and everything like a typical land mammal!

Here are some illustrations of whale ancestors that walked on land, with Pakicetus pictured near the bottom right corner (notice their characteristic sharp teeth and elongated skull).

Image retrieved from: https://knowablemagazine.org/content/article/living-world/2022/evolution-whales-land-to-sea

Over time, cetacean ancestors evolved increasingly aquatic lifestyles, adopting many of the adaptations that we see today in modern whales (i.e., complete loss of hind limbs, nostrils located further and further back on their skulls, etc.) (UC Museum of Paleontology, 2024).

Even though this specific evolutionary process took place over millions of years, there have been remarkable cases of evolution occurring in a single human lifetime (Darwin's finches being the most well-known example).

Here’s an illustration showcasing an example of adaptive radiation in Darwin’s finches. These birds are the same species, yet notice how beak shapes evolve differently depending on what is more advantageous for a particular food source (i.e., blunt beaks for cracking seeds and long, pointed beaks for catching insects) (Burrows, 2021).

Image retrieved from: https://www.bbc.com/news/science-environment-35114681

So, how can we use these amazing stories of evolutionary pasts to inspire our future?

Ultimately, as we enter our sixth mass extinction event with climate change looming as a threat to the existence of countless taxa, now more than ever, let evolutionary histories serve as a testament to the resilience of nature (Beck et al., 2018). In this sense, as we navigate our rapidly changing world, the natural world can serve as a powerful source of inspiration and guidance (Asher, 2024). So, let us evolve our way of thinking, break cycles of unsustainability, and change our patterns of destruction to recover from the adversities we created (Asher, 2024).

References

Asher, H. (2024). Nature’s Lessons: How Observing the Natural World Can Teach Us About Resilience and Adaptation. An Darach Forest Therapy. https://silvotherapy.co.uk/articles/the-natural-world-resilience-and-adaptation#:~:text=Organisms%20constantly%20adjust%20to%20changes,blend%20seamlessly%20into%20their%20surroundings.

Beck, L., T. T. Cable, & D. M. Knudson. (2018). Interpreting Cultural and Natural Heritage: For a Better World. Sagamore Venture.

Burrows, L. (2021). For Darwin’s finches, beak shape goes beyond evolution. Harvard John A. Paulson School of Engineering and Applied Sciences. https://seas.harvard.edu/news/2021/11/darwins-finches-beak-shape-goes-beyond-evolution

Dance, A. (2022). The evolution of whales from land to sea. Knowable Magazine. https://knowablemagazine.org/content/article/living-world/2022/evolution-whales-land-to-sea

UC Museum of Paleontology. (2024). The evolution of whales. University of California Berkeley. https://evolution.berkeley.edu/what-are-evograms/the-evolution-of-whales/

U.S. Department of the Interior. (2024). Fossils and Paleontology. National Park Service. https://www.nps.gov/subjects/fossils/significance.htm

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Unit 7 - Nature in Music/Music in Nature

I think music in nature is only what you make it! If you ask my grandmother what music in nature is, I guarantee she would mention bird songs, as I grew up with her making cardinal noises outside when we heard them singing. My father, on the other hand, would call bird chirping a nuisance that wakes him up at dawn! Either way, there is music in most places for those with ears for it.

I think music in interpretation is a great avenue for evoking emotions in your audiences. Chapter 8 touches on the challenges of mass interpretation, as well as how effective communication can be integrated into interpretation. Music in nature gives an opportunity to tackle both problems! Concerts are a great example of a mass audience being communicated with. While a singer or band may not be the exact same as a nature interpreter, it’s apparent that the audience is being communicated with in a way that evokes a range of emotions! Music is a format that is accessible in various forms, be it listening, making together, or performing! In nature interpretation, music can of course be expressed through animal and plant noises, but it is important to think of how audiences can be more engaged by just listening. Examples such as using pieces of nature to create music (rocks, sticks, shells, etc.) come to mind as a way for audiences to contribute to the sounds of nature.

Musical instruments made of natural materials.

Source: Birmingham Contemporary Music Group

Nature in music is something I am a bit less familiar with. As mentioned in Gray et al’s 2001 article, music can have roots in natural sounds produced by animals. Aside from the direct sounds of nature in music, it is important to also highlight how different cultures integrate nature into artforms. An example would be the Finnish folk music mentioned in Mallarach’s 2012 article, where the relationship between humans and nature is expressed through song. I found this example particularly interesting as it was used in conservation efforts as well as an artform.

I think interpreting music through nature (and vice versa) is extremely important for reaching wide audiences and generations. The ability to communicate across languages, cultures, and age groups is extremely valuable. We can also consider how music can be passed down through generations. Bird calling is a skill my grandmother taught me, and I can think of many others involving the music present in nature that younger generations may benefit from! The same can be said about nature in music, where one may pass down instruments or recordings that reflect their relationship with nature.

A song that takes me back to a nature landscape would be ‘Harvest Moon’ by Neil Young. I think of campfires my family had growing up with the view of a never ending cornfield was across the road from us.

References:

Beck, Lawrence, et al. Interpreting Cultural and Natural Heritage: For A Better World. SAGAMORE Publishing, Sagamore Venture, 2018.

Gray, Patricia M., et al. "The Music of Nature and the Nature of Music." Science, vol. 291, no. 5501, 5 Jan. 2001, p. 52. Gale Academic OneFile, link.gale.com/apps/doc/A69270354/AONE?u=guel77241&sid=bookmark-AONE&xid=fb9366a8. Accessed 24 Oct. 2024.

“In the Garden... Composing at Home (Children) >.” In the Garden... ‐ Learning Resources Hub | Birmingham Contemporary Music Group Composing Activities for Young People and Resources for Teachers, resources.bcmg.org.uk/creating-music-at-home/in-the-garden. Accessed 24 Oct. 2024.

Mallarach, Josep-Maria (ed.). Spiritual Values of Protected Areas of Europe: Workshop Proceedings. Bonn, Germany: Federal Agency for Nature Conservation, 2012. 170 pp. ISBN: 978-3-89624-057-6.

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Hi Amelia!

I thoroughly enjoyed your contribution to this week’s discussion on interpreting nature through musical expression.

Firstly, I think you did an excellent job highlighting how the interpretation of “music” in nature can be quite subjective. For instance, although I may find nature inherently musical, the “musical” sounds of nature differ considerably from our traditional perception of music (i.e., what one might hear on the radio). In this sense, I believe it requires some open-mindedness to fully appreciate the "musical stylings" of nature, where those of us who are more in tune with our natural surroundings may have more of an ear for it than others.

Similarly, I appreciated that you mentioned how music can help convey messages effectively to wider audiences. It’s no wonder that we often refer to music as the universal language! Music transcends time and space to deliver messages to audiences, regardless of age, cultural background, or spoken language. Furthermore, music stirs our hearts, minds, and souls in unexplainable ways. Music inspires us to reflect deeply, uncovering profound truths and wisdom. In this regard, I'd argue that music is one of the most powerful and accessible mediums interpreters can use to evoke meaningful emotional responses in their audiences.

Lastly, I liked how you mentioned that audiences can engage with the sounds of nature beyond listening (i.e., exploring natural sounds through the use of sticks, rocks, and other natural materials as instruments). I thought this was a really unique interpretation of "music in nature," and I’m glad you brought it to my attention!

Great job!

P.S.

I am also particularly fond of “Harvest Moon” by Neil Young. It’s such an endearing song. While listening, I often picture myself on an autumn night, lying in a field, staring quietly at the moon.

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Unit 07 Blog Post

You’ll rarely find a quiet moment in nature. Whether it’s wind rustling through the trees, the gentle patter of rain on your window, crickets chirping in a nearby meadow, or ocean waves crashing onto the shore, it’s undeniable that the natural world is full of sound.

So, where do we find music in nature?

According to Gray et al. (2001), we define music by sound patterns varying in pitch and time. As such, unlike noise, music is ordered and created with intention. Music structures sound in a way that evokes feelings and conveys messages without necessarily involving words. In this sense, we can view music as an intuitive, non-verbal method of communication/storytelling that is both informative and creative (Grey et al., 2001).

So, aside from humans, what animals are known to demonstrate musical expression?

What immediately comes to mind is the drumming stylings of male chimpanzees! For those unfamiliar, while vocalizing, male chimpanzees use their hands and feet to drum on large tree roots to convey long-distance messages to one another (Gill, 2022). What you may find particularly interesting is that each chimpanzee uses a different pattern of beats to achieve a unique drumming rhythm, as showcased in this video below (Gill, 2022).

Video showcasing the different drumming styles of male chimpanzees in Uganda’s Budongo Forest.

Video Retrieved from: https://www.youtube.com/watch?v=w-aXclk0fs8

As discussed in the article by Gray et al. (2001), there are also some remarkable similarities between music made by humans, whales, and songbirds. For instance, although humpback whales could just as easily communicate through arrhythmic noises or unpleasant grunts/ roars, the overall tone, timbre, and structure of humpback whale songs closely resemble human music (Gray et al., 2001). Humpback songs even contain repeating refrains that form rhymes (Gray et al., 2001). How fascinating!

Commentary by National Geographic’s Roger Payne (1979) on the songs of the humpback whale.

Video retrieved from: https://www.youtube.com/watch?v=ya1e_aaLv94

So, we've established numerous examples of music in nature, but where do we find nature in music?

As Gray et al. (2001) explain, the “soundscape” of the natural world has inspired human musical expression for centuries. Our connection to nature is often intrinsic to our need to create, perform, and listen to music (Gray et al., 2001). Some of the greatest classical music composers have drawn inspiration from nature, often using their instruments to mimic natural rhythms. For instance, Nikolai Rimsky-Korsakov’s “Flight of the Bumblebee” famously uses string instruments to mimic the hurried buzzing of a bumblebee. Other musical pieces directly incorporate samples of natural sounds, such as Minnie Riperton’s song “Lovin’ You,” in which you can hear songbirds softly chirping throughout. Lastly, nature offers a rich source of metaphors, symbolism, and imagery used frequently in song lyrics. One of my favourite examples is Simon & Garfunkel’s song “April Come She Will,” which uses the imagery of the changing seasons as a metaphor for the cyclical nature of a relationship.

One song that immediately takes me back to a natural landscape is "Summertime" by The Sundays. It's just one of those optimistic, upbeat songs that put you in a good mood no matter what, making it a quintessential summer road trip song. Thus, listening to this song instantly transports me back to summertime and happy memories with my friends at the beach. Give it a listen and feel free to share your interpretation!

Music video for "Summertime" by The Sundays.

Video retrieved from: https://www.youtube.com/watch?v=Z778slDEsds

As a follow-up question:

Do you have different song preferences during certain seasons compared to others (i.e., more melancholic songs in winter, more upbeat in summer)? Why might you associate different weather/ seasons with different melodies or genres?

As a music lover, I really enjoyed this week's discussion! I'm super excited to read all your stories about interpreting nature through music.

References:

Gill, V. (2022). Chimps show off their “signature” drum beats. BBC. https://www.bbc.com/news/science-environment-62809420

Gray, P. M., Krause, B., Atema, J., Payne, R., Krumhansl, C., & Baptista, L. (2001). The Music of Nature and the Nature of Music. Science, 291(5501), 52. https://link.gale.com/apps/doc/A69270354/AONE?u=guel77241&sid=bookmark-AONE&xid=fb9366a8

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Unit 06 blog post

Hi everyone!

As I read this quote- "There is no peculiar merit in ancient things, but there is merit in integrity, and integrity entails the keeping together of the parts of any whole…", one of the things that came to mind was our relationship with the past. The quote indicates that the past should not be valued simply because it is old, but the integrity of things that exist beyond a certain period of time must still be preserved. It is understanding and remembering what came before that provides the insight necessary to keep a coherent whole, whether in society, tradition, or our own private lives, together. “Integrity entails the keeping together of the parts”, this part of the quote produces interesting questions as to what extent the past continues to have relevance for the present. Take environmental issues, for instance. It is a very modern concern, yet deeply rooted in ancient practices. For centuries, indigenous peoples worked very hard to be in balance with nature, and failure to understand that might cause us to miss out on some key information about how to care for our Earth. Not learning from ancient wisdom compromises our current environmental efforts. On the other hand, not all things passed on from the past are worth preserving. For example, the old ideologies of sexism, racism, and colonialism need to be left behind. The quote recognizes that the value of all things ancient lies not in their inherent worth but rather in the wisdom they teach about what should be preserved and what should be let go. To maintain wholeness in the integrity of living today, we have to carefully pick which elements of the past support that wholeness and which elements do not.

I found the railway station analogy to be very powerful: “To think, feel or act as though the past is done with, is equivalent to believing that a railway station through which our train has just passed, only existed for as long as our train was in it”. This passage of the quote makes me think of a train ride I took last summer in Switzerland, through tiny villages and scenery that seemed to be only a brief glimpse of another world. But that does not mean the towns and people that lived in them disappeared just because I moved on. The past is similar to those towns: it does not get erased just because we have moved on through it, it continues to shape the present whether we like it or not.

This is a picture of one of the beautiful towns I passed by, while on the train.

This led me to think; how do we determine what pieces of the past are worth keeping? I think the answer lies in whether those pieces contribute to sustaining integrity. In my own life, I’ve let go of family customs that felt more like obligations than meaning, but I’ve held on to others, like gathering for family dinners, because they keep a sense of connection and wholeness.

Ultimately, the past should neither be idolized nor discarded. It is but a part of the whole, and integrity means knowing which parts serve us in staying in touch with our selves of today.

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Hi Chloe! I really enjoyed reading your interpretation of Hyams’ quote and thought you brought some great points to this week’s discussion on interpreting nature through history.

Firstly, I liked how you highlighted different ways history is necessary for keeping a “coherent whole.” Whether through the transmission of cultural traditions from one generation to another, understanding why our societies are the way they are, or developing a personal sense of self, history can offer invaluable insight. History informs us of who we are or how certain things came to be, laying the groundwork for us to work together and build a better world. That’s why, in my opinion, part of “keeping together the parts of any whole” entails preserving both the inspiring stories of success and innovation as well as ones full of hardship or oppression. In my view, we need a comprehensive understanding of our past to fully understand what went wrong and what we should incorporate more of in the future.

Similarly, I appreciated how you brought up the ancient wisdom on environmental sustainability and stewardship that has been passed down by Indigenous communities for centuries. As you mentioned, Indigenous peoples have historically maintained uniquely in-tune relationships with the environment. Thus, I agree that listening more to Indigenous perspectives (especially elders within Indigenous communities) could help us implement better conservation strategies and improve efforts to mitigate climate change. Moreover, as interpreters carrying out nature programs on Indigenous land, it’s largely our responsibility to create spaces for Indigenous voices and stories to be heard.

Lastly, I also found the railway station analogy to be the most compelling part of the quote, and I love how you connected its meaning to a personal experience! Experiences like the one you shared remind us that our lives don’t exist in a vacuum, and although we may quickly move from one moment to another, places and memories remain.

Great job!

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Unit 06 Blog Post

“There is no peculiar merit in ancient things, but there is merit in integrity, and integrity entails the keeping together of the parts of any whole, and if these parts are scattered throughout time, then the maintenance of integrity entails a knowledge, a memory, of ancient things. …. To think, feel or act as though the past is done with, is equivalent to believing that a railway station through which our train has just passed, only existed for as long as our train was in it.”

(Edward Hyams, Chapter 7, The Gifts of Interpretation)

Take a moment to imagine what the city you’re currently living in looked like centuries ago. You’d be amazed at how much everything has changed! Consider who may have lived here and what events unfolded to bring you to where you are now. Why does it matter?

In general, building our knowledge of the past enables us to construct a more appropriate and well-informed perspective on the present.

Without historical context, it would be virtually impossible to discuss climate change! For instance, climate scientists often use a period from the pre-industrial era as a reference baseline when projecting temperature anomalies. Hence, using a historical framework, climate scientists can understand how intensely anthropogenic emissions have modified or will continue to modify our climate at an unusually rapid pace.

Here's a graph from an old IPPC report that projects global temperature change using a pre-industrial reference period (1850-1900).

Image retrieved from: https://www.ipcc.ch/sr15/chapter/chapter-1/

Here's another visual representation of temperature anomalies from 1880 to 2022 relative to a 1951-1980 average.

Video retrieved from: https://www.youtube.com/watch?v=LwRTw_7NNJs

As discussed in this week's readings, historical context offers a more in-depth understanding of who we are and how our societies came to be, heightening our experiences while informing future decisions (Beck et al., 2018). For this reason, Hyams' quote from Chapter 7 of The Gifts of Interpretation perfectly captures the importance of history within the context of nature interpretation.

So, let's unpack its meaning!

Hyams begins by declaring that “there is no peculiar merit in ancient things,” implying that without historical context, ancient places or objects are merely “old things” that hold no material significance in the modern age. However, Hyams goes on to say that “there is merit in integrity.” In this first portion of the quote, I believe that Hyams is attempting to emphasize that the merit of "ancient things" is not based on their material value. Instead, the merit lies in the stories/ wisdom embodied by history and the corresponding moral teachings that can be passed down from one generation to the next.

The quote continues, “integrity entails the keeping together of the parts of any whole, and if these parts are scattered throughout time, then the maintenance of integrity entails a knowledge, a memory, of ancient things.” Correspondingly, I interpret this segment of the quote to specifically pertain to the role of the interpreter and how one must responsibly preserve the memory of a particular place (Beck et al., 2018). In this regard, Hyams expresses that the interpreter must uphold the integrity of a place's memory by providing audiences with the most accurate and full account of its history.

To conclude, Hyams explains that “to think, feel or act as though the past is done with, is equivalent to believing that a railway station through which our train has just passed, only existed for as long as our train was in it.” In my opinion, this last segment of the quote was especially thought-provoking. Based on my interpretation, the train metaphorically represents moments in time, often fleeting and passing us by in the blink of an eye. Likewise, the "railway station" or the place where a moment existed does not cease to exist once the moment has passed. Through us, the moment's impact/ memory lives on!

Overall, what I've gathered from this week's content is that we interpret history to remember and derive meaning from past events rather than pretending historical context is irrelevant to our understanding of the world we live in.

Hence, what's amazing about nature interpretation is that, as interpreters, we can enable audiences to immerse themselves in a place's special memory, allowing them to take away meanings that transcend the boundaries of time.

References:

Beck, L., T. T. Cable, & D. M. Knudson. (2018). Interpreting Cultural and Natural Heritage: For a Better World. Sagamore Venture.

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5: Storytelling and science communication

For this blog post, I thought that I would talk a little bit about my experiences interpreting nature through science in relation to this week’s reading, and how my perspective has changed on this topic.

Last semester, I took ENVS*3240 (Creative Writing for Environmental Sciences) which is a course I highly recommend for anyone interested in gaining more writing skills and looking at environmental science through an interesting perspective. As my final independent project, I wrote a collection of short stories based on conversations and research about tree roots.

The first story I wrote for the project was entirely research based. I wanted to write a seed-to-rot account of a tree’s life in as much scientific detail as I could. The result was a three-page story (plus a page of just references) about Syrian Juniper (Juniperus drupacea) that sounded like this excerpt:

While I like the flow of my writing in this piece, the story was bogged down with a lot of vocabulary and minute details that would likely be confusing to anyone who hadn’t taken a biology class somewhat recently. The language used might make it boring even—who wants to wade through all that vocab?

Other stories I wrote were based on interviewees’ personal experiences and utilized much more accessible language to communicate their message. For example, look at this excerpt from a story about someone’s experiences playing on a fallen tree as a child:

Without using much complex vocabulary, I managed to communicate the ecological importance of rotting wood much more clearly than I had in my research-based juniper story.

When I submitted my project, I knew that my strongest stories in the collection were those that avoided relying on too many scientific terms, but I couldn’t exactly articulate why they felt more impactful.

Watching Washington Wachira’s talk about birds in relations to Amanda’s remarks (“While [using scientific names and offering taxonomic history] might be useful in some scenarios, is that what our audience wants/needs? Or is it perhaps better to offer some other way to engage.”) has helped me to understand why this is the case.

Wachira describes many scientific concepts during his talk: ecological diversity, specialization, zoological classification, the connection between habitat and physiology, reproduction, scavenger behaviours, benefits of predation, pollination and more. He also describes human connections to birds (his own personal love for them, history, anthropology, economic benefits from avian tourism) and ultimately connects to environmental education when he talks about threats to conservation, citizen science and conservation efforts in Africa.

The first part of Wachira’s talk couldhave been alienating to those watching who are less familiar with biology if he hadn’t presented it in an engaging and accessible manner. Instead, Wachira’s creates a welcoming, story-driven environment for the audience to appreciate the diversity of birds. I think his approach, which avoids using too much scientific vocabulary, helps him engage his audience on a much deeper level.

Accessible language invites people in. It allows more people to be part of the conversation. And ultimately, I think audiences learn the most when they feel welcomed.

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Great post! I had no idea that a course like ENVS*3240 existed, but it was truly inspiring to hear how the writing projects have significantly strengthened your storytelling abilities in science communication.

As someone who studies biology, when I attempt to explain scientific concepts to someone not as well-versed in the biological sciences, I often struggle to present the information in a simplified yet engaging way. As you mentioned, using convoluted scientific vocabulary/ jargon can impede a person’s understanding of the content you’re trying to explain or even go as far as to bore the reader. For instance, although I had no issues understanding the first excerpt you provided from your writing assignment, I found myself more engaged with the second excerpt, which used simple yet descriptive language. Thus, I agree that using accessible vocabulary according to what information the audience wants to gain from the experience is essential when interpreting nature through science.

Likewise, I believe it’s crucial to actively avoid lecturing the audience or providing unnecessary over-explanations of scientific material. Unless an audience member explicitly asks you to provide detailed context, as an interpreter, I believe it’s more important to focus on laying a solid foundation for their learning. Ultimately, the key is to ignite intrigue, motivating audiences to seek further information about the source material.

Lastly, I appreciated how you highlighted Wachira’s “story-driven” approach to engaging with audiences on a deeper and more interpersonal level. Sharing personal stories can create a more welcoming and comfortable learning environment. Furthermore, stories can make abstract scientific ideas more accessible to audiences by directly relating them to experiences, improving the overall digestibility of the content.

Anyway, thanks for sharing! I’ll be sure to check out ENVS*3240. It sounds like an interesting course!

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Unit 05 Blog Post

With Halloween around the corner, as an avid horror fan, there’s arguably no better time of the year to rewatch some of my favourite scary flicks. So, with this week’s open-ended blog prompt, I thought it would be the most fun and fitting to discuss the interpretation of nature through the lens of one of my favourite subgenres: eco-horror!

For those of you unfamiliar, narratives that employ elements of nature to personify an “evil” or destructive force governing the story (i.e., killer plants/ animals, catastrophic weather events, etc.) fall into the category of eco-horror (Angierski et al., 2021). For instance, Alfred Hitchcock’s The Birds (1963) is a classic example of an eco-horror film showcasing a horrifying depiction of “nature in revolt,” in which a non-human entity is responsible for terrorizing the story’s protagonists. Moreover, Vincenzo Natali’s adaptation of In the Tall Grass (2019) is another fantastic eco-horror film based on one of my favourite Stephen King novels.

Movie poster for Vincenzo Natali’s In the Tall Grass (2019). Synopsis provided by IMDB: “After hearing a young boy's cry for help, a sister and brother venture into a vast field of tall grass in Oklahoma but soon discover there may be no way out...and that something evil lurks within (“In the Tall Grass”, n.d.).”

Image retrieved from: https://www.cinematerial.com/movies/in-the-tall-grass-i4687108/p/lhb1xcvx

As a vast subgenre, eco-horror can also delve into human fears associated with the natural world through the creation of unsettling dystopian narratives, resulting from strained/ exploitative relationships between nature and humankind (Ajani, 2022; Angierski et al., 2021). Correspondingly, in Alex Garland’s Annihilation (2018), a mysterious alien entity invades Earth, suddenly detoxifying the environment, returning it to a self-sustaining state of primal ecological balance, void of any anthropogenic order and filled with otherworldly mutated creatures (O’Donoghue, 2017). Consequently, in this narrative, the restoration of natural balance is at the expense of the civilizational collapse of humankind, whereby any human who ventures into the forbidden zone becomes contaminated by the extraterrestrial presence (O’Donoghue, 2017). In this aspect, rather than humans subduing the environment, the power dynamic is reversed, with nature frighteningly asserting its dominance over humanity.

Movie poster for Alex Garland’s Annihilation (2018), starring Natalie Portman. Synopsis provided by IMDB: “A biologist signs up for a dangerous, secret expedition into a mysterious zone where the laws of nature don't apply (“Annihilation”, n.d.).”

Image retrieved from: https://alternativemovieposters.com/amp/annihilation-by-zi-xu/

So, why are concepts explored within the context of eco-horror so disturbingly eerie? Why do we tend to view nature as something that must be controlled or subdued? What is ultimately the benefit of portraying these uncomfortable, fear-inducing ecological nightmares?

Besides enjoying a good thriller, I believe there are some valuable truths to behold by viewing nature through the lens of eco-horror. For instance, one of the central themes extensively explored in the eco-horror subgenre is humanity's loss of control over nature. In this regard, eco-horror can elicit existential fear in audiences by merely distinguishing nature as something capable of persisting on its own, without human intervention. More terrifyingly, eco-horror can demonstrate that nature can overtake human civilization if our actions continue down an unsustainable trajectory. Thus, although eco-horror incorporates elements of science fiction and surrealism, a world where nature enacts revenge against humanity due to the mistreatment of the planet is not that far-fetched (O’Donoghue, 2017)! Thus, eco-horror can deliver a good scare while fueling conversations about important ecological issues.

References:

Ajani, A. (2022). The Evolution of Eco-Horror. Atmos. https://atmos.earth/the-evolution-of-eco-horror-jordan-peele-halloween/

Angierski, K., Barclay, B., Cortez, M., Davis, C., Heumann, J. K., Keetley, D., Kniss, A., Murray, R. L., Roberts, B. R., Sharp, S., Soles, C., Stevenson, K., & Tidwell, C. (2021). Fear and nature: Ecohorror studies in the anthropocene. Penn State University Press.

Annihilation. (n.d.). IMDB. https://www.imdb.com/title/tt2798920/

In the Tall Grass. (n.d.). IMDB. https://www.imdb.com/title/tt4687108/

O’Donoghue, D. (2017). Eco-Horror, Climate Change And Alex Garland’s Annihilation. Head Stuff. https://headstuff.org/entertainment/film/alex-garlands-annihilation-eco-horror-climate-change/

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Unit 4 - Blog Post

Interpreting nature via art might be intimidating, especially if you don't consider yourself an artist, but it is a liberating process that links us profoundly to the world around us. Nature, with its infinite complexity and beauty, is an unending source of inspiration. So, who am I to represent nature via art? I am just someone who has a personal connection to the natural world and wishes to express that connection via a medium that is available to all: art.

Art enables us to share our encounters with the environment in ways that go beyond the constraints of words. Art, whether in the form of painting, photography, sculpture, or simply textual descriptions, acts as a link between our interior experiences and the outside world. Chapter 5 of the course texts focuses on the emotional and intellectual resonance that art may elicit when understanding nature. It emphasizes how art helps us frame our surroundings in ways that words alone may not fully represent. Art, like nature, does not need to be explained in order to be understood; it simply must be experienced.

Pictured is McMichael art gallery in Kleinberg ON, specifically showcasing the big windows in every room showcasing the beautiful forest scenery.

Growing up I used to always visit McMichaels Art gallery in Kleinburg, ON where I would recurrently look at paintings created by the Group of Seven whilst reflecting on the surrounding nature peering in from windows of the art gallery. This fostered a genuine connection between art and nature for me as both of these things are such prevalent loves of mine growing up, and to this day. The documentary discusses the Group of Seven as an example of how nature's beauty can influence national identity and elicit strong emotional reactions. These artists utilized their paintings to reflect Canadian landscapes in a way that influenced how many people perceived the nation. However, as spectators, we are also expected to analyze these sights, asking ourselves questions such as, "What does this landscape represent?" and "How does it make me feel?" The lack of people in many of their works emphasizes the natural world's loneliness, tenacity, and, at times, overpowering immensity. This interpretation reminds me that nature isn't necessarily about human contact; it may survive independently in its untamed form.

Pictured above is my favourite Group of Seven painting, titled North Shore 1929, oil on canvas, by A.J. Casson of the Group of Seven, which I regularly viewed at the McMicheals art gallery.

When examining "the gift of beauty" in nature, I define it as the natural quality that produces sentiments of awe, tranquility, or amazement. Beauty in nature is sometimes witnessed in brief moments, such as the calm of a dawn, the first snowfall, or the delicate blossoming of a flower. These moments are blessings because they remind us of nature's simplicity and majesty. Art enables us to record and preserve these moments, increasing their impact by allowing us to share them with others.

Beauty has a strong emotional resonance because it strikes something deep within us that is often difficult to describe. As I explore nature, I frequently feel compelled to chronicle my experiences—not just for memories' sake, but also to share the emotional effect with others. Whether through a photograph, a quick drawing, or simply musing on the moment, interpreting beauty in nature helps to cement my connection to the environment. Art therefore becomes a means of sharing the gift of beauty with others, inspiring them to discover their own connection to the natural world.

As I continue to investigate my position as an interpreter of nature via art, I learn that I am not required to be a professional artist or an expert in visual mediums. What is important is the aim behind the interpretation to express my encounters with nature in a meaningful way. We may build shared experiences via art by allowing people to perceive nature through our eyes and, as a result, enjoy the beauty around us.

[esenvs3000f24]

Hi Michelle!

As someone who also developed a strong affinity for art and nature from a young age, I found your post incredibly insightful!

Speaking from personal experience, I wholeheartedly agree that interpreting nature through artistic expression can strengthen one’s connection to the natural world in deeply personal and emotionally complex ways. As humans, we tend to view ourselves as separate entities from nature, yet through art, we can become more in tune with our intrinsic interconnectedness with the natural world. Likewise, I thought you brought up some really great points regarding the emotional resonance art offers to the field of nature interpretation, ultimately promoting an increased sense of environmental integrity in our societies.

I also agree that you don’t necessarily have to be a skilled artist to use artistic expression as a means to appreciate the beauty that nature has to offer. As you mentioned, interpreting nature through art is centered around the intentionality behind the experience. For instance, rather than focusing on the technical aspects of a piece, engaging with art should revolve around how a particular piece makes you feel on an individual level. In this way, art is a brilliant tool for enabling audiences participating in interpretive nature programs to think for themselves and draw their own meaningful conclusions about the natural world.

Lastly, I found it particularly beautiful how you pointed out that the beauty of nature can be demonstrated in the most simple, tranquil moments such as the first fall of snow or the blossoming of a flower. Like you, whether through photography or quick doodles, I find myself capturing more simplistic yet beautiful aspects of nature through art. It’s almost as if acknowledging these smaller moments amplifies their meaning, and I thank you for bringing such a lovely sentiment to my attention!

Overall, thank you for sharing! I hope you continue to explore nature through artistic expression.

[esenvs3000f24]

Unit 04 Blog Post

Although we traditionally tend to view nature interpretation through a knowledge-based or education-oriented lens, our perception of the natural world shouldn't be reduced to dry facts and science.

 As we’ve already discussed, at the heart of every successful interpretive nature journey lies an emotional component that inspires audiences to establish a “sense of place.” Hence, when planning programs, interpreters should consciously try to enrich visitor experiences by incorporating creative elements that will elicit meaningful emotional responses in their audience. In this regard, encouraging audiences to understand nature through art can help people forge more intimate emotional connections with nature, indirectly motivating audiences to become more environmentally conscious.

So, who am I to interpret nature through art? Being quite an artistic person myself, visual art is undoubtedly my most important outlet for self-expression. Since I harbour such a profound admiration for the natural world, it’s no surprise that I gravitate toward focusing my art on natural themes. Thus, I’ve likely interpreted nature through art for as long as I could hold a pencil!  

Here are some of my favourite illustrations I’ve done in coloured pencil.

Likewise, as a visually oriented person, there's no better way to express how something makes me feel than through art. Sometimes, the best way to illustrate your perspective is to literally illustrate it!

Yet, although I have always had a natural inclination to seek out and capture the beauty of my natural surroundings, this isn't necessarily the case for everyone. According to Chapter 5 of the textbook, delivering “The Gift of Beauty” through interpretive programming is centered around enabling audiences to fully immerse themselves in the special beauty of a place and inspiring a desire to protect it (Beck et al., 2018). So, if beauty is truly in the eye of the beholder and what one person deems beautiful often differs from the next, how do we approach interpreting “The Gift of Beauty?” Well, interpreters shouldn't attempt to report beauty to their audiences. More often than not, beauty speaks for itself and thus, rather than instructing visitors, interpreters should allow their audiences to reflect freely on how a place makes them feel. Nonetheless, art can be a useful facilitation strategy to guide the audience’s thinking toward a helpful direction.

Whether via visual art, dance, music, or theatrical performances, art helps connect “tangible” elements of nature (i.e., wildlife, plants, rocks, etc.) to “intangible” meanings, often associated with universal concepts (i.e., love or suffering), helping interpreters convey messages meaningfully to audiences and teach valuable lessons in environmental sustainability (Beck et al., 2018). Thus, art effectively gets audiences to see and feel something through a particular lens. For instance, an artist’s intentional choice of imagery, colour, or symbolism can stimulate audiences to reflect on important topics, adopting nuanced perspectives that may influence their future actions.

On an ending note, this discussion has inspired me to share a moving contemporary piece by Canadian visual artist, Noelle Hamlyn that I had the opportunity to visit at the Royal Ontario Museum (ROM) last September. Inspired by the Titanic, the artist addresses important themes of climate change, using repurposed life jackets as a visual metaphor for fashion consumption behaviours and their impact on the world’s water quality (“Noelle Hamlyn: Lifers”, n.d.).

Here’s a personal photo I took in September 2023 of the “Noelle Hamlyn: Lifers” exhibit at the ROM.

I'll leave my blog here, but if you're interested in this type of conversation, I highly recommend visiting the link below and watching the detailed video on the artist’s website!

Link: https://www.noellehamlyn.com/lifers

References:

Beck, L., T. T. Cable, & D. M. Knudson. (2018). Interpreting Cultural and Natural Heritage: For a Better World. Sagamore Venture.

Noelle Hamlyn: Lifers. Royal Ontario Museum. (n.d.). https://www.rom.on.ca/en/exhibitions-galleries/exhibitions/noelle-hamlyn-lifers

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UNIT 3 BLOG POST

Privilege often operates as an invisible force, the invisible bag metaphor in the unit is a good way to imagine privilege. Privilege is something we don’t see unless we actively work to recognize it. Growing up, I never realized the extent of my privilege. I assumed everyone had similar opportunities and experiences as I did. However, once I stepped into the wider world, I began to understand how fortunate I had been and how my upbringing has shaped my relationship with the outdoors.

I'm a white male who was raised in a stable home, with parents who prioritized exposing me to nature. My childhood was filled with swimming, kayaking, canoeing, camping, and fishing. We frequently took day trips to parks and conservation areas, often joining guided tours where nature interpreters would introduce us to the local ecosystems. These experiences fostered a deep connection to the natural world, and I’m incredibly grateful for the opportunities I was given.

But this access to nature wasn’t just a matter of chance—it was a direct result of the privileges I had growing up. My family had the financial means to purchase outdoor gear whenever it was needed. A new pair of hiking boots? No problem. A kayak or fishing rods? We could afford them. For some, however, this isn't the case. Not everyone can simply go out and buy new outdoor gear, and this lack of access can limit their ability to interact with nature comfortably. While expensive items aren't strictly necessary for outdoor exploration, they certainly make it easier and more appealing.

As mentioned in this unit, swimming lessons are another form of privilege that significantly shaped my relationship with the outdoors. From a young age, I was taught how to swim—a skill that gave me confidence in the water, whether kayaking, canoeing, or swimming in lakes. Yet, not everyone has access to swimming lessons, especially at a young age. This creates another barrier to engaging fully with nature, particularly when water activities are involved. Being a strong swimmer enhances one’s ability to experience the outdoors safely and confidently.

In many ways, my privilege acted as a golden ticket to the outdoors. I never lacked opportunities to immerse myself in nature because of the resources available to me. On the other hand, a lack of privilege can act as a significant barrier to outdoor experiences. People who aren’t afforded the same opportunities—whether due to financial limitations, lack of access to outdoor spaces, or absence of early exposure—are far less likely to engage with nature.

Privilege, in essence, is unearned. It is not something we work for, but rather a "luck of the draw" that provides access to resources, opportunities, or treatment that others may not receive. Recognizing this dynamic is key to creating more inclusive and equitable opportunities for people from all walks of life to connect with the natural world.

Understanding and acknowledging privilege allows us to break down barriers and work toward a more accessible and inclusive outdoor experience for everyone, regardless of their background.

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What a thoughtful and well-written post!

This week’s unit tackled some heavy subjects, so I’d like to thank you for being so open, honest, and respectful about your personal experiences rooted in privilege. As you mentioned, privilege often operates as this “invisible force” that can seemingly go unnoticed in the lives of many individuals. Although acknowledging one’s unearned advantages in life might be uncomfortable, it’s a necessary step in identifying barriers preventing certain groups of people from accessing the same services or experiences others benefit from. Checking your privilege requires a high degree of self-reflection! Overall, I think you did an excellent job of unpacking your “invisible backpack” and acknowledging how your privilege has shaped your experiences in nature for the better.

I noticed you used a few analogies to demonstrate your understanding of how privilege can operate within the context of nature interpretation. I found it particularly insightful when you compared your privilege to “a golden ticket to the outdoors” regarding your family, who provided you with plenty of resources/ opportunities to connect with nature. Similarly, I liked how you interpreted privilege as a “luck of the draw” in the sense that being born with privilege is a mere matter of coincidence. Thus, I think you effectively conveyed that although privilege isn’t something that can be consciously chosen or earned through hard work, it is something that people benefit greatly from in their daily lives.

Furthermore, I appreciated that you highlighted various barriers to accessing nature to add contrast to your personal experiences. I agree that the expense of equipment and gear required for immersive outdoor activities can deter people from engaging with nature. The fear of unpreparedness alone can be very discouraging! Additionally, safety concerns can become a significant barrier when participating in outdoor activities involving water. Thus, I’m glad you mentioned how not having access to swimming lessons can further limit opportunities to connect with nature.

Anyway, I really enjoyed reading your post. Thank you for contributing to this important conversation!

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Unit 03 Blog Post

Why are we addressing difficult socioeconomic themes, such as privilege, in a course about nature interpretation? Well, if you feel compelled to ask this question, I’d argue that there’s still a lot more to unpack to fully understand nature interpretation as an approach to experiential learning.

By now, we have well-established that nature interpretation is centered around providing emotionally and intellectually meaningful experiences to the audiences that visit interpretive sites. Interpretation is an intensely personal process for every visitor. As I mentioned in my previous blog post, everyone enters an interpretive experience with their own values, preferences, life experiences, and interests that directly influence how they conceive meaning in a natural setting or perceive the natural world in general. In this sense, nature interpreters work with “sovereign audiences,” and should engage with individuals within the context of the unique understandings and values that they bring.

So, how does this relate to privilege? Well, whether or not you receive certain privileges in life based on age, race, gender, ability, sexual identity/ orientation, or class status will significantly influence your lived experiences. Perhaps it’s simply the economic privilege of owning a car preventing a person from accessing remote interpretive sites. For others, it may be a lack of encouragement or physical disability discouraging them from participating in interpretive nature experiences. Ultimately, since privilege can affect a person’s outlook on nature, interpreters must recognize the role privilege plays in the accessibility of their programming while taking the necessary steps to remove barriers and create more inclusive spaces.

I’ve included a video that highlights the intersectionality of privilege and illustrates how privilege can impact the lives of individuals in ways that often go unnoticed.

Video published by the Atlanta Journal-Constitution’s YouTube channel titled “What is privilege?” where 11 diverse participants undergo an exercise called “The Privilege Walk.”

Video retrieved from https://www.youtube.com/watch?v=m3AMhtHPKNk

“Sitting in a place of having an unearned benefit because of a particular social identity or social group membership” (Williams & Franks, 2013), constitutes my working definition of privilege.

Following this week’s readings surrounding “underserved audiences" in nature interpretation, I took time to reflect on my mother’s experiences as a Hispanic immigrant. Immigrating to Canada from El Salvador at the age of twelve, my mother juggled far more responsibilities than I did at that age. Besides having to learn a new language/ adjust to Canadian society, my mother had to help out her parents constantly, look after her younger siblings, and despite wanting to attend university, she attended college as a more affordable/ quicker route to stable employment. As a recent immigrant, leaving the city to connect with nature was a luxury she simply didn’t have the time or resources for (at least not until later in life).

Taking a moment to unpack my own “invisible backpack,” I can recognize several unearned assets that I benefit from every day. As an English-speaking, educated, able-bodied, middle-class Canadian, I’ve never been short of resources or opportunities and it would be ignorant to pretend otherwise. I’m beyond privileged to attend this university, pursue my desired degree, be supported financially/ emotionally by both of my parents, and be afforded plenty of opportunities to explore my interests in nature.

In conclusion, as future interpreters, I hope we can continue to unpack our privilege and work toward making interpretive sites more welcoming and supportive to wider audiences.

References:

Williams, O. F., & Franks, C. L. (2013). Privilege. Encyclopedia of Social Work. https://doi.org/10.1093/acrefore/9780199975839.013.305

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Unit 02 Blog Post

When I envision my ideal role as an environmental interpreter, I envision myself working with young learners, and I see myself teaching subjects like zoology and entomology. In previous experiences I've had working with children, I have found immense gratification in fostering an interest in science. In the context of environmental interpretation, I believe that nurturing a love for nature and interest in wildlife would provide me with a similar sense of fulfillment.

This past summer, I had the opportunity to work as a community presenter for the charity Scientists in School, where I traveled around the GTA conducting hands-on STEM workshops for school-age kids. The most rewarding part of that experience was witnessing the eyes of the children I was working with light up as they discovered the wonders of science beyond what is taught in a classroom. I believe that environmental interpretation for children could evoke the same excitement, making it an ideal career path for me.

Today’s children are increasingly influenced by technology and as a result are often spending less time outdoors, likely missing out on many opportunities to create personal connections in nature. I believe this generation would greatly benefit from engaging with nature through environmental interpretation. Teaching them to respect and appreciate their natural surroundings also fosters empathy—an essential component of their development.

To thrive in a role teaching children, several key skills are essential. First, being prepared and understanding the subject matter is crucial. Children are so inquisitive; they are always asking (sometimes unexpected) questions, so being able to answer them in an engaging and age-appropriate manner is super important. Next, strong presentation and communication skills are also necessary to keep young audiences with short attention spans engaged and interested. Patience is another important quality; kids often take more time to grasp concepts, and so encouraging their curiosity requires a supportive approach. Lastly and perhaps most importantly, being passionate about the subject matter is essential. Children are perceptive and can sense when someone lacks enthusiasm for what they are teaching. To truly engage them, one must authentically demonstrate spirit and passion for the environmental facet they are interpreting.

I am particularly interested in an environmental interpretation role that would focus on fields like zoology and entomology, which I have studied while here at the University of Guelph. Specifically, courses I have taken at Guelph that focused on insects have fundamentally changed my perspective on these creatures and highlighted their vital role in our ecosystems. I would love to help children understand that not all bugs are scary and gross; many are fascinating and play crucial roles in the environment. With a focus on those fields, an environmental interpretation role about insects or wildlife could happen in a number of places, such as nature centers, botanical gardens, zoos and aquariums, local parks, or even schools and community centers. One that I think would work best for this role would be botanical gardens, which often have butterfly gardens and insect exhibits — the perfect environment for doing guided tours and showcasing insects up-close. I would love to teach about their physiology, their roles in pollination and agriculture, and help remove some common negative perceptions of insects. I personally have visited many butterfly sanctuaries and have really enjoyed my time there — the employees always have really interesting stories and information to share about the creatures they care for. I just recently visited one this summer with my housemates, so I have included some pictures from that below!

Children possess an innate eagerness to learn and explore, and I am excited by the concept of an environmental interpretation role that would nurture that desire. The prospect that I could inspire even a tiny interest in nature and wildlife would be immensely rewarding. This is why I believe that a role as an environmental interpreter focused on young learners, combined with subjects I am passionate about like zoology or entomology, would be the perfect fit for me.

[esenvs3000f24]

Hi Alyssa! I relate to so many aspects of your blog post.

I currently volunteer as a facilitator in the hands-on biodiversity gallery at the Royal Ontario Museum (ROM), so I have similar experience working with children in a nature interpretation setting. Like you, I find interpreting nature for children incredibly rewarding. I also share your enthusiasm for entomology! At the ROM, we have some live insects and arachnids that we use to facilitate children’s learning. This includes Madagascar hissing cockroaches, darkling beetles, honeybees, and a scorpion named Bubbles (my personal favourite).

Here's a personal photo I took of Bubbles fluorescing under UV light.

I totally agree that encouraging children to foster respectful and healthy relationships with wildlife teaches them invaluable lessons in empathy early on. Working with children also presents some unique challenges! For instance, it takes some skill to navigate what knowledge is appropriate for different age groups, and depending on the child’s personality, you need to know when to make suitable adjustments to your learning approach or tone. Sometimes you’ll have really outspoken and curious kids who bombard you with a million questions (many of which you don’t know the answer to). Other times, children can be extremely shy or nervous to interact with insects/ specimens, and that’s okay too!

Ultimately, when working with children I think it’s key to respect their comfort level, ensuring that you’re maintaining a supportive, safe, and fun learning environment for them. Lastly, I also try to encourage children not to be afraid or grossed out by insects/ arachnids. From metamorphosis to dance language, there are so many interesting things to appreciate about insects alongside their vital role in various ecosystems.

Anyways, I look forward to hearing more about your experiences in future blog posts!