environment

Art on the "Wood Wide Web"

Atlantika Collective Members Gabriela Bulisova and Mark Isaac are currently in Paphos, Cyprus as part of the Episkeptes artist residency program at Kimonos Arts Center. Their project focuses on the ecological threats facing trees and forests, including the climate crisis and the growing number of wildfires around the world. But it also has a hopeful side.

The duo is creating new images devoted to expressing the recent scientific discovery that trees communicate with each other through a “wood wide web” of underground fungal networks. The research of scientist Suzanne Simard makes clear that trees use “wood wide webs” of fungus to send alarms about danger and to share carbon, water and other nutrients. “Mother trees” also act as central hubs to support younger, smaller trees in their vicinity. Now that we better understand that trees are highly cooperative, we can prevent tragic practices like clearcutting that destroy the forest and prevent it from being restored quickly.

The artists are creating panoramic photographs of the tree canopy that strongly suggest the manner in which roots and fungal networks mingle and communicate. Here are some details from these images, in which trees reach out to each other, vibrating with energy, singing, dancing and cavorting. These teaser images are not in the show, which includes sweeping panoramas printed two and a half meters in width, but they give you a sense of the direction of the work.

The new exhibit opens Saturday, December 18th at 7:30 pm at the Municipal Gallery at Ibrahim’s Khan in Pafos, Cyprus. It is possible because of the strong support of the Kimonos Art Center and curator Yiannis Sakellis.

Climate Crisis Project Underway in Cyprus

Atlantika Collective members Gabriela Bulisova and Mark Isaac are already hard at work on their project as part of "Episkeptes, a residency at the Kimonos Art Center," an artist residency program based in Paphos, Cyprus. Much of their attention centers on ecological themes, and their work in Cyprus is focused on the ecological threats facing trees and forests, including the growing impact of wildfires. Around the world, the fire season is longer, more land is burned, and fires are more destructive than before. Of course, each of these events releases more carbon dioxide, worsening climate change. Cyprus is at the center of this new reality, having experienced the worst wildfire in the nation’s history in 2021. In Paphos, numerous smaller wildfires have broken out in recent weeks, and the artists have already visited several of these sites in the hope of incorporating them into the project. Their work simultaneously focuses on two related themes: the rampant spread of wildfires and the scientific discovery that trees communicate extensively through underground networks. Here are several details from the first theme of their work, which is created by treating an entire roll of film as a single image of a burnt landscape.

Mark’s and Gabriela’s work will be presented during the month of December in an exhibition organized and curated by Kimonos Art Center. More information and details will be announced soon. The program “Episkeptes” is funded by the Cultural Services of the Ministry of Education, Culture, Sports and Youth.

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Η Gabriela Bulisova και ο Mark Isaac, οι πρώτοι συμμετέχοντες του προγράμματος φιλοξενίας καλλιτεχνών «Επισκέπτες» του Κέντρου Τεχνών Κίμωνος είναι ήδη σε ρυθμούς προετοιμασίας των έργων που θα παρουσιάσουν στην προσεχή τους έκθεση. Με το έργο τους να επικεντρώνεται σε οικολογικά προβλήματα, κατά τη διάρκεια της παραμονής τους στην Πάφο διερευνούν τις επιπτώσεις των πρόσφατων πυρκαγιών στις πυρόπληκτες περιοχές της επαρχίας μας. Σε όλο τον κόσμο η περίοδος των πυρκαγιών γίνεται όλο και μεγαλύτερη όσο περνά ο καιρός, με μεγαλύτερες εκτάσεις γης να καίγονται και τις φωτιές να είναι συνεχώς και πιο καταστροφικές. Αυτό φυσικά, έχει ως επακόλουθο σε κάθε πυρκαγιά να απελευθερώνεται στην ατμόσφαιρα όλο και περισσότερο διοξείδιο του άνθρακα χειροτερεύοντας έτσι, την ήδη καταστροφική κλιματική αλλαγή. Η Κύπρος δεν αποτελεί εξαίρεση σε αυτή τη νέα πραγματικότητα και τους τελευταίους μήνες έχει υποστεί τις χειρότερες πυρκαγιές στην πρόσφατη ιστορία της. Στην Πάφο είχαμε πολλές εστίες πυρκαγιών τις οποίες οι δύο καλλιτέχνες έχουν ήδη επισκεφτεί και φωτογραφίσει, εντάσσοντας τα αποτελέσματα αυτά στο ευρύτερο έργο τους. Στις φωτογραφίες που ακολουθούν μπορείτε να δείτε μερικά από τα δείγματα του έργου τους, τα οποία έχουν δημιουργηθεί ως μία μοναδική εικόνα από ένα ενιαίο ρολό φιλμ ως μαρτυρία μιας καμένης γης.

Το έργο των Mark και Gabriela θα παρουσιαστεί κατά το μήνα Δεκέμβριο σε έκθεση που διοργανώνεται από το Κέντρο Τεχνών Κίμωνος. Πληροφορίες και λεπτομέρειες θα ανακοινωθούν σύντομα.

Περισσότερα για το έργο των Mark και Gabriela στον ακόλουθο σύνδεσμο:

https://www.bulisova-isaac.com/

Το πρόγραμμα «Επισκέπτες» χορηγείται από τις Πολιτιστικές Υπηρεσίες του Υπουργείου Παιδείας, Πολιτισμού, Αθλητισμού και Νεολαίας.


The Oil Tanker (Part Two)

Atlantika Collective Member Sue Wrbican's show titled The Iridescent Yonder recently opened at the Riverviews Artspace in Lynchburg, VA and was reviewed in this space on July 14. During Atlantika's monthly meeting, Sue walked us through the multi-faceted show, which includes photography, painting, and installation. She emphasized that the exhibit was conceived as a response to the tragic loss of both her brother, Matt Wrbican, and her mother within several weeks of each other. In fact, the exhibit centers around a large-scale collaborative painting of an oil tanker created by her brother Matt and two collaborators, Phil Rostek and James Nelson, in 1991. During the walkthrough, we were introduced to Phil, who not only helped us to appreciate the importance of Matt Wrbican's accomplishments, but also regaled us with tales about collaborative efforts the group initiated in the 1980s under the name "DAX," or Digital Art Exchange. Phil's recollections of their joint efforts and the early responses of artists in the 1970s to 1990s to important cultural developments, including the advent of the internet, proved extremely fascinating, and we invited him to elaborate on the very significant "paradigm shift" that he witnessed in art during this period. We hope that this series of posts will not only shed light on innovations in American experimental art during this period, but also flesh out the relevance and significance of Sue's recent work. You can read Part One here.

By Phil Rostek

The decade of the 80’s brought about dramatic changes that impacted the social order in every conceivable way. Financial markets saw great shifts of wealth, employment became a learning curve that replaced routine, hierarchy in personal relationships saw great migrations of status and recognition. Professions morphed, identities scurried into mythologies, orientations of all kinds stood on their head. These tumultuous times, however, were lived - like all times are lived - day to day. The scale of what was happening was absorbed by the daily pressing details that one must naturally confront in order to get by. Underneath it all was a feeling of uncertainty. An anxiety instigated by the multiplicity of new things that were occurring and new things that had to be learned. On top of it all was a giddy excitement that enthusiastically embraced utopian possibilities. Possibilities that lent themselves not only to personal opportunity - but possibilities that could make the world a better place.

Artistically speaking, America seemed to be punctuated not by large chunks of sensibility that were later called movements; but rather abject change that was moving through time decade by decade. The 70’s were quite different from the 80’s; the 90’s would most likely bring more and faster change. Below is an image of Matt Wrbican starting his work on the Oil Tanker. The year was 1991. It was early in a new decade and it felt like it was early in a new decade. Art was in its primary role - not as a forecaster of what was to come - but as a perceiver of what was Actually transpiring in the present. Matt's graduate studies had resulted in an M.F.A. and Carnegie Mellon University endorsed him as a master of his art. Matt was on the fulcrum of what most of us remember with deeply etched feelings - a time in our own lives when very pivotal decisions are made. All preparation toward a future comes shockingly down to what Actually is going to happen. It was in that zone that Matt found himself in a basement fashioning a modern Minotaur.

Matt Wrbican working on The Oil Tanker, 1991.

Matt Wrbican working on The Oil Tanker, 1991.

I take part of the responsibility for that. Matt and i were close friends. The DAX Group experience that i shared with Matt had me branching out too and i was firming up convictions that took about a decade to distill. I was moving toward a desire to do something more contained, more structured or planned. I had become fatigued by unchartered interactions that stemmed from untethered egalitarian ground rules. I was a relationship thinker who had become suspect of Relativism. Somehow the idea of an absolute seemed a return to something pleasant. i began questioning my own position within a tech-class society. Platitudes about how the world should be seemed to fall way too short. in a rather sober way, i acknowledged that my DAX theories were possible through technical expertise that i did not have at all. I was also seeking relief from the virtual world of a screen. i wanted to be a traditional stick in the mud.

In the 70’s i studied with this man, Robert Lepper, at Carnegie Mellon en route to my MFA:

Robert Lepper lighting a cigarette - late 80’s - from my DVD ‘Robert Lepper / a Personal View'

Robert Lepper lighting a cigarette - late 80’s - from my DVD ‘Robert Lepper / a Personal View'

Lepper pausing to light a cigarette had become a signature gesture. It meant he was pausing to line up his thoughts; he was getting ready to “ think.” It had the quality of a mini drama - a theatrical event. Everybody called him Mr. Lepper, students, faculty, everybody. Mr. Lepper’s course ‘Individual and Social Analysis’ was the soul of the visual art program at CMU; just as it was years earlier when it was Carnegie Tech. One didn’t even have to study with Lepper one on one. His influence permeated the place. Arguably Lepper taught the first course in Industrial Design in the nation. He taught both in the design department and in the art department. Lepper saw little distinction between the two areas in my opinion. Andy Warhol would take his class that was then called Pictorial Design at Carnegie Tech. To put a point on a time frame, Andy graduated Tech in 1949 - the year i was born. I graduated CMU with an M.F.A. in 1973 - the year Picasso died.

Rainier Crone in his book about Warhol would draw attention to Lepper’s course problem: Locate the most significant object in the social flux. I think this is insightful and it should not be roundly dismissed. i think it is a salient factor in young Andy’s education… later to become a soup can, a Marilyn, a Brillo box. Lepper took pride in his ability to analyze. Some associate Lepper’s teaching with behaviorist psychology. He had an uncanny way of clarifying issues. By a spontaneous ability to contextualize, Lepper unveiled the origin of things. He gave reasons why things occurred; then gave reasons why they occurred when they did. My first year at CMU, with exposure to Lepper’s insights, would see me forego painting altogether. In my second year i would come back to school wearing white tie and tails.

The Oil Tanker also is inseparable from this man:

Bruce Breland in 1986 shortly after the DAX Group participated in the 1986 Venice Biennale.

Bruce Breland in 1986 shortly after the DAX Group participated in the 1986 Venice Biennale.

Capturing van Gogh air for Bruce Breland’s “Museum of Modern Air” 1973'

Capturing van Gogh air for Bruce Breland’s “Museum of Modern Air” 1973'

Matt and i both studied with Bruce. Studying with Bruce was same as being friends with Bruce. He imposed no false sense of authority and imposed no academic standards that were purely academic. Bruce thought on high levels of thinking; his standards were measured by profound simplicity. He lived art and life together. In unison. Bruce compared expression, insight and commitment to Faulkner, Janice Joplin, Buckminster Fuller, Black Elk. He inspired others by story-telling about Black Mountain College, The Cedar Tavern, Allan Kaprow and ‘Fluids’ and about the career of his friend Roy Lichtenstein. Bruce Breland spoke from personal experience and personal involvement. He was a clairvoyant pioneer in the world of early telematic exchange. When the DAX Group was written up in an article in New Observations the group looked like this:

Photo by Jeff Breland , 1990.

Photo by Jeff Breland , 1990.

Asking whether all this looping around and memory raking is extraneous or integral to an appreciation of the Oil Tanker is a legitimate thing to ask. Maybe it's a little of both. In that respect i confess that i like Niels Bohr and the whole idea of contradiction. Maybe matter does exist somewhere between a wave and particle and maybe his response to Einstein still stands up. Maybe we should not tell God what He does. i mention those things to you because they were mentioned to me by Mr. Lepper. He called Bohr’s response ‘the put down of the century.' If an artist is asked if he or she likes the color blue - the immediate response will be: “Next to what?” This is relationship not compartmentalized thinking. So i just put a feather in the hat of Relativism after all. In the spirit of Walt Whitman may i repeat this beautiful thought? You say i have contradicted myself? So i have contradicted myself. Within me is multitudes. If any of this makes sense, then the Oil Tanker might make sense. It also moves me to show the next picture. Me, my wife Marcia and Matt Wrbican at the Warhol gravesite:

Photo circa late 80’s

Photo circa late 80’s

Let’s bring eternity into our conversation. After that visit to the graveyard, Matt and i shared an evening with the aging Lepper in his apartment. When Lepper saw our gravesite images he got very interested. The overarching point is that Matt and i were still learning from Lepper. I spent many hours in conversation with Lepper until the wee hours of the morning. His erudition, in old age, was astonishing. Did these discussions have a big influence on the Oil Tanker? Who would know. But by 2002 Matt was curating shows at the Warhol. Essay, co-authored by Robert Lepper and Philip Rostek, was included in an exhibition called Robert Lepper / Artist and Teacher.

ourthinkingatthetime2.jpg

Our thinking at the time of the Labyrinth did not reminisce; it attempted to be contemporary.

EXHIBIT-WITH-MOON2.jpg

And that required the expertise and muscle of many people.

The show was ambitious and such collaborative enterprises were almost expected to fail. We made our deadline. It was not easy but we opened perfectly - dotting i’s and crossing t’s. We had learned the value of positive reinforcement as an empowering agent toward getting things done. An example of that, that pertains to the Oil Tanker specifically, is this note Jim wrote to Matt and i as he was finishing his section of the piece. It is exemplary of the glue that held the overarching and interacting parts together. i framed it not long ago.

BETTER-QUALITY-NOTE.jpeg

We saw ourselves as idealistic and convivial representatives of what a new era could be.

The Labyrinth was perhaps more of a continuation of my grad school days than i care to admit. My graduate thesis, Tailormades, proclaimed that Art had 3 r’s. Ritual, Remnants. and Reminiscing. Remnants remain for me not failures or relics, but what remains after something has been removed. Ritual involves the mutual dependence of the components of a system. (Robert Lepper’s definition of Design.) And Reminiscing is what i am doing now.

I tried to live out those 3 elements while wearing my tails, my art uniform. i tried to re-invent those elements in the Labyrinth show. But the resurrection of the Oil Tanker is more than re-enactment for me. It beckons a search within - for some sense of self.

I had mentioned the term multiple identity in Chapter one. Perhaps the time is right to bring an explanation forward. I will try to do this pictorially as words seem beyond me. I am no match for Walt Whitman’s poetic gifts.

Artist Casting Giacometti shadow , 1972. Photo credit: Roger Dumas.

Artist Casting Giacometti shadow , 1972. Photo credit: Roger Dumas.

By the early 80’s i had become “phriar phil.”

Photo credit: Sue Wrbican

After a heart transplant in 2008 i became “philip the transplant.”

Art Attack, 1972 . Photo credit: Marcia Rostek

It is curious to have an extended life. To be alive via a donor’s heart is as surreal as Dali’s Persistence of Memory. This prophetic 1972 photo of a lip stick incision is probably even more strange to me than it is to you. After a heart transplant in 2008, I consider myself to be the ultimate “remnant.”

The Oil Tanker has arrived to see another day due to the convictions and energy and emotional feelings of Sue Wrbican. My doctors at Presbyterian Hospital in Pittsburgh have also enabled me to see another day. If Art has 3 r’s it would not surprise me. The ritual of bringing something to life, the phenomenon of recovery, and the opportunity to reminisce about the first two things - has happened to me in life and has happened to me in art. I would like to think my friend Robert Lepper would see beauty in the irony of it all. i would like to think that my friend Bruce Breland would hear the Sound and the Fury once more. i would like to think that Matt and Jim would see our Minotaur defeated. Defeated for perhaps a short time only. But defeated for now. Beyond that is too much to ask.

Myself seeing the Oil Tanker in storage after many years. Photo credit: Sue Wrbican, 2020.

Myself seeing the Oil Tanker in storage after many years. Photo credit: Sue Wrbican, 2020.

The Oil Tanker (Part One)

Atlantika Collective Member Sue Wrbican's show titled The Iridescent Yonder recently opened at the Riverviews Artspace in Lynchburg, VA and was reviewed in this space on July 14. During Atlantika's monthly meeting, Sue walked us through the multi-faceted show, which includes photography, painting, and installation. She emphasized that the exhibit was conceived as a response to the tragic loss of both her brother, Matt Wrbican, and her mother within several weeks of each other. In fact, the exhibit centers around a large-scale collaborative painting of an oil tanker created by her brother Matt and two collaborators, Phil Rostek and James Nelson, in 1991. During the walkthrough, we were introduced to Phil, who not only helped us to appreciate the importance of Matt Wrbican's accomplishments, but also regaled us with tales about collaborative efforts the group initiated in the 1980s under the name "DAX," or Digital Art Exchange. Phil's recollections of their joint efforts and the early responses of artists in the 1970s to 1990s to important cultural developments, including the advent of the internet, proved extremely fascinating, and we invited him to elaborate on the very significant "paradigm shift" that he witnessed in art during this period. We hope that this series of posts will not only shed light on innovations in American experimental art during this period, but also flesh out the relevance and significance of Sue's recent work.

by Phil Rostek

The Oil Tanker, a 1991 collaborative work by myself, Matt Wrbican, and Jim Nelson, has seen the light of day after 30 years of storage. Thanks to the energy, commitment, and creativity of artist Sue Wrbican (Matt’s sister), the Oil Tanker now looks like this in the Craddock - Terry Gallery at Riverviews Artspace in Lynchburg, VA. It enjoys a space within Sue’s exhibit entitled “The Iridescent Yonder."

Detail of The Oil Tanker, Matt Wrbican, Phil Rostek, and James Nelson. Discarded plastic objects, paint and tar, 192” x 72”, 1991.

Detail of The Oil Tanker, Matt Wrbican, Phil Rostek, and James Nelson. Discarded plastic objects, paint and tar, 192” x 72”, 1991.

The Oil Tanker was originally part of a larger presentation exhibited at the then Pittsburgh Center for the Arts, National Gallery. It was funded by the Painted Bride / Philadelphia and also was supported by the formidable commitment of director of exhibitions Mr. Murray Horne. The show was called the Labyrinth and it was a “walk through exhibit” - a kind of inventory of effects that intended to stimulate an observer to ponder speculations about what the world was like and where it might be going. In 1991 those conjectures most likely included many of the same thoughts that still plague us today and still require candor and inquiry, i.e., environmental concerns, sustainable resources, reasonable parameters of digital outreach, and the phenomenon of multiple identity.

The book of contributors to the Labyrinth exhibit (pictured below) included the conviction that, as organizers of the show, Matt and i considered ourselves “stewards,” not authors. The exhibit included a spinning tree and microphone which looped anything that was said into it. It included wise sentences from historical personalities that were scribed by hand as small as possible. Other rooms included audio tapes and lazy boy chairs, references to Shakespeare, the Ancient Greeks, Alcoholics Anonymous, and a video of Lower East Side metal banging in the Rivington Street “sculpture garden.”

Installation views, The Labyrinth, 1991.

The backstory of Oil Tanker is rather integral to a collaborative effort that included 14 artists all in all. The thrust of the exhibit attempted to laud the virtues of what i called “structural collaboration.” Quite simply that referred to my bias that overt process orientation prioritizes the participants - observers are for the most part left alone to untangle impenetrable interaction. The Oil Tanker may provide a good example to make this more clear.

I thought our Labyrinth should have a “Minotaur” and that was, in my opinion, oil and the amount of it that suffered catastrophic spills back then. Matt and i agreed on this and we invited Jim Nelson to help us express something, somehow. By consensus we agreed a tanker in high profile would fit the bill and agreed upon a rough thumb nail sketch. Later there was a separation of input. I did the tarry water, Matt worked inside the outline of the boat, and Jim painted a background setting.

Here’s me with the initial idea.

Phil Rostek standing with the original concept drawing for The Oil Tanker, 1991.

Here’s Jim Nelson painting in the background, which evoked The Gulf War. I met Jim at Carnegie Mellon University in 1971. Our graduate student studios were in the basement of the Margaret Morrison Building on campus. We remain very close friends to this day. I’m pictured also - touching up the tar at the bottom of the painting.

Jim Nelson and Phil Rostek creating The Oil Tanker in 1991.

And here is the creativity of Matt Wrbican who saved oil based products for months and then organized them from thin to high dimension within the hull of the Tanker. Neither i nor Jim was expecting the passion that Matt brought to the project; but i was not surprised then nor am i now. Matt Wrbican was a unique and stellar talent.

Plastic (petroleum-based) objects collected by Matt Wrbican for use in the creation of The Oil Tanker, 1991.

There is something ineffable about my experience in Lynchburg. It haunts me in ways that evoke, or perhaps better, reawaken the aspirations of The Labyrinth. Seeing the Oil Tanker but not seeing Matt was telling. The Labyrinth exhibition coincided with the retirement of my mentor and Matt’s mentor - Bruce Breland. I studied with Bruce as a grad student at CMU 1971 to 73. We did mail art and concept pieces together. i had given up lyrical painting and opted to wear white tie and tails to school every day. I was also studying with Robert Lepper - a teacher of Andy Warhol. Between Lepper and Breland is a volatile and heady place to be. Each had a keen sense of the absurd, and at the same time, each had a keen penchant for very pragmatic thinking. Both liked Duchamp. My leanings toward Fluxus would later inform my thinking when i wrote theory for Bruce Breland’s DAX Group (Digital Art Exchange) in the 80’s.

Phil Rostek, from a photograph by Bruce Breland, 1973.

Phil Rostek, from a photograph by Bruce Breland, 1973.

It was in the 80’s that i met Matt Wrbican. Matt was then a grad student working with Bruce in coursework called “intermedia.” During the decade of the 80’s the DAX Group contributed to many distributed authorship pieces during the early days of the internet. La Plissure du Texte 1983, a text exchange organized by Roy Ascott comes to mind - as do contributions to Network Planetario / Laboratorio Ubique at the Venice Biennale 1986.

By the end of the decade Matt was working at the Carnegie Museum of Art during the installation of a Carnegie International, archiving Breland’s legacy at CMU, and doing the Labyrinth show with me -all at the same time. It was stressful for Matt but he succeeded in doing it all. He was, very shortly afterward, hired by the Warhol Museum as an archivist in charge of moving work from Warhol’s factory to Pittsburgh. Matt is identified with the Warhol time capsules as well acknowledged as one of the foremost authorities about the life and art of Andy Warhol in the world. That is not an overstatement.

As i step back now and think about the volatility of those times; i cannot say that i have much to contribute to the understanding of it all. Great turmoil was let loose when “the individual was replaced by the collective’” via technological innovations; innovations that spawned an unprecedented acceleration of information. Information speed-up continues to shape the world and the people who live on it. The relationship between art and life seemed obvious when NYC was a center. The very notion of a center continues to fade into a horizontal world that runs flat. The Labyrinth tried to anticipate what future existence would be, and the Oil Tanker was something that seemed necessary to avoid and replace.

More installation views of The Labyrinth exhibit, 1991.

It seems that having one foot in a national world and one foot in a global one - is a chasm that has not narrowed but widened.

As science takes the place of art and religion, one area seems impervious to any form of apprehension. If i could replace the Oil Tanker in today’s Labyrinth, if i could speculate about Minotaurs today, i would offer this. The one area where there has been no “progress” or even significant conjecture is: an understanding of what consciousness actually is. We know it’s what disappears under anesthesia, but we don’t know much more than that. Science would deny that dead things have it at all. But when it is present as a combination of multi-sensory experience and flux - what we commonly call life - it seems to avoid science’s favorite word: “someday.”

It is curious when the notion of “what” is eclipsed by the notion of “how.” Hyper-individualistic living begins to fear time itself. Humility becomes obsolete. A culture, or the tribal equivalent of it, comes to think that time can be reversed and, moreover, that it can be reversed in the spirit of righteousness. The effect of information overload does not see the imminent dangers of the present; it ironically draws obsessive attention to the past. Somewhere in the meat of the brain there is a capacity to recall times that have gone by - but in today’s culture this can only be noticed in the context of the present.

What do contemporary people do when eternity itself has become a thing of the past? That is what i felt when i saw the Oil Tanker after all these years. That faint glimmer of who i used to be seemed unusually informative. That feeling is connected to the elusive charms of what we call, for lack of a better term, art.

The Crown's Silhouette

Mark Isaac

I admit it. When it comes to the wild proliferation of images in the world, I’m an unreformed offender. Not only do I capture them recklessly and with abandon, but I store endless numbers of images in an ever-expanding battery of costly storage devices with a proclivity to fail.

And there’s nothing I’ve photographed more than trees. Since the very first days of my photographic habit, decades ago, when I started capturing the images of trees on the shiny reflective surfaces of cars, I’ve returned to trees with more frequency than any other subject. 

Why? I consider trees among the most beautiful things in the world. I know it’s considered unfashionable by some to prize the appearance of the natural world, lauded endlessly by so many for thousands of years, over objects that humans craft in this technological age with an intense focus on the perfection of their design. 

But the monsters of the plant world, clasping with an immense ball of roots deep into the earth, sending a monumental trunk skyward, and spreading a sheltering crown above our heads, offer ageless and undeniable visual delight. The diversity of species, shapes, sizes, barks, leaves, flowers, seeds. The manner in which branches seek the sunlight in imperfect symmetry. The wabi sabi of peeling bark, dead branches, knots, and burls. In some, the exquisite contradiction of stretching upward, then cascading downward in weeping fronds. 

And now comes word that, no fake news about it, something miraculous is happening. There is scientific confirmation that trees are not solitary, but instead communicate in huge, extended, complex underground fungal webs (known as mycorrhizal networks), sending alarms about danger, and sharing carbon, water and other nutrients. This impressive level of collaboration even extends beyond species. 

More than 5 years ago, I started making panoramic photographs of the tree canopy while walking underneath with my iPhone. The phone camera is prone to making “mistakes” as it strives to knit the images of the treetops together. But the fortuitous accidents it records seem to express the truth about trees better than the more representational image that the phone’s camera is designed to produce. They are images of trees reaching out to each other, vibrating with energy and motion, dancing and cavorting.

They are also images that capture the darkness that is upon us in the age of climate crisis and environmental collapse. The trees’ crowns appear as silhouettes of foreboding darkness, taking on anthropomorphic shapes, groaning in disbelief and pain, and whispering truths and organizing rebellion. After all, as a tree, there is much to fear: drought, extreme weather, the spread of wildfires, rampant legal and illegal logging, deforestation, the list goes on. These problems are worldwide and colossal in their implications.

I devoted only sporadic time and energy to the project until recently, while in lockdown in Prague. During the pandemic, our mental and physical health relies largely on spending long periods outside, running along the Vltava River or strolling through Prague’s impressive parks, such as Stromovka (named for its trees), Letna, Vitkov, or Krejcarik. The grandeur of the trees is always on prominent display, often alongside a demonstration of their fragility: the Slavic obsession with trimming them or cutting them down.

The final product of this effort will be panoramic images, but paranormal panoramas: images that reveal the trees in all their “vegetality,” as living, communicating beings with intention, expressing the magnificence of natural creation, as well as the fragility of our contemporary, interconnected world. They are images that capture the enormity of what is at stake, and the intense danger that plants and animals now face in the wake of catastrophic environmental damage.

The panoramas, which are difficult and time-consuming to create, are still in progress. But today I’m sharing one of them in addition to a series of details from the larger images that offer a window into the ongoing project. I hope you will enjoy them and that they will whet your appetite for the full panoramas to come. And I hope you’ll share your thoughts about this latest body of work in progress. 

An example of a full panorama of the treetops, as part of a body of work currently in progress.

The Ways We Imagine The Future

Mark Isaac

Visual Catalysts is an international exhibition that appeared earlier this year in Tampere, Finland.  Focused on the worldwide climate crisis and other forms of environmental degradation, the exhibition sought  to promote new ways of visual representation that help spur real action toward a green and sustainable future. I was very pleased that several of my images from the series “Like Water Through Plastic” were included. 

Now, the catalog for the exhibition has been issued, including several important essays that focus on the included work. One essay in particular, titled The Ways We Imagine the Future, is focused very intensively on my series, and I wanted to share that here. 

Earlier, I’ve written in this space about the challenge of plastic pollution, which continues to be a daunting problem throughout the world. And I explained my process, which involved using found waste in the landscape, primarily plastic and glass, as a sort of “supplemental lens” to create photographs that call attention to the environmental degradation these objects cause.

The essay, however, doesn’t focus extensively on the negative impact of this form of pollution. Instead, the authors, Hanna Lehtimaki & Siiri Poyhonen of the University of Eastern Finland, chose to focus their attention on the transformative power of imagination in helping us bridge to a sustainable future.

According to the authors, “our imagination is in fact often rather limited,” because our experience of past events compromises our ability to project into the future. This limits  our focus to a “dystopic narrative” that “evokes emotions of despair and frustration and justifies passivity.” 

However, in the view of the authors, artists have the potential to break this cycle and direct us on a much more hopeful path. By shaking up our ways of thinking in ways that are both big and small, artists in the post-pandemic world can help us build on our strengths and proficiencies rather than remain passive in the face of overwhelming problems. “Artists are vital agents in encouraging imagination and opening challenges to participate in changemaking. They encourage us to realize possibilities, [and they] use hope as a lens in exploring what alternative ways of perceiving and acting we have.”

I am surprised and humbled and honored that the two professors believe my photographs are an example of this process, and I am indebted to them for reflecting on my work and sharing their ideas. But more importantly, it is extremely inspirational and encouraging for all artists working in this difficult time to receive this feedback and to be able to use the power of these sentiments to rededicate themselves to imagining a better future and contributing to real and lasting change. 

The text of the essay follows:



Visual Catalysts Exhibition Showcases Artwork on Environmental Transformation

Mark Isaac

Visual Catalysts is an exhibition focused on the worldwide climate crisis and other forms of environmental degradation. It seeks to promote new ways of visual representation that will move artists beyond the task of '“raising awareness” and more firmly into the realm of spurring action.

As the curators noted, “We are living in a slow-motion climate crisis. Old ways of seeing got us here. Our way as consumers needs to be seen from fresh perspectives in order to move towards sustainability. Visual representations are a powerful global language and through a process of international co-creation, artists can be future change makers, creating new visual catalysts that can speak across cultures.”

I’m pleased that several of my images from the series “Like Water Through Plastic” have been included in the exhibition, which opens today at the gallery Laikku in Tampere, Finland, and runs through October 18. The work will also be included in an upcoming book that is being produced as an outcome of the Backlight 2020 Triennale. All of this work is part of larger projects that I’ve created in recent years with close collaborator (and life partner) Gabriela Bulisova.

Plastic pollution of our waterways is a critical issue facing the entire world. Approximately 300 million tons of plastic is produced yearly, and less than 10 percent is recycled. As many as 8 million tons per year ends in our oceans and waterways, where it entangles marine mammals, birds and fish and lodges in their stomachs, causing death. As plastic starts breaking into smaller particles, it is consumed by humans and may cause cancer and fertility problems. A recent study by the World Wildlife Fund found that most people consume the equivalent of one credit card of plastic per week. Plastic refuse is found in almost all waterways and has formed massive floating islands in our oceans.

After encountering numerous plastic and glass objects on land and in water, I chose to begin incorporating these found objects directly into our work as a sort of "supplemental lens." The distorted view of the landscape created by these objects is emblematic of the negative impact they have on the environment. At the same time, the subtle beauty of the images reminds us of the resilience of nature and the capacity of humans to solve this problem if there is enough will.

Examples of the types of “supplemental lenses” employed in the Like Water Through Plastic series. These objects were found in the immediate vicinity of Lake Baikal in Eastern Siberia, the world’s oldest, deepest, most voluminous, and most biologically diverse lake.

In years gone by, I used to think it was sufficient, as an artist pursuing socially conscious projects, to suggest that “raising awareness” was my primary goal. In the last several years, as the worldwide climate crisis worsens and makes its early effects known, we know that raising awareness is not sufficient. Not only artists, but all those who are aware of the significance of the challenge, must at least do their small part to contribute to advancing change.

Today, the task is even larger. In the face of obstinate opposition to change that enhances the chances of a cataclysm, we must do our part to link our efforts together with environmental activists, scientists, students, and other allies around the world. The goal must be to create a motivated, powerful and committed movement that can prevail over time. Only through worldwide cooperation and concerted action can we hope to prevail.

The Visual Catalysts exhibition is a good step in this direction. It suggests that all of us must be catalysts for meaningful action. Now it is up to us to persevere in the long-term and turn that initiative into accomplishment.

Don't Freeze on Warming

Gabriela Bulisova & Mark Isaac

One day, we woke up and an African-American man was President. One day, we woke up and gay marriage was legal. One day, we woke up and the majority of Americans supported Black Lives Matter. When will we wake up on climate change?

You’ve probably already tuned in to one of the many commentators saying the pandemic can be an inflection point, and we don’t have to go back to the way it was. But on the other hand, isn’t a return to normal what most of us want? Shouldn’t we use the car now because it’s not safe on public transit? When can we drive to the beach or get back in an airplane? When will things get back to the way they were?

When fear of the virus finally lifts, when it’s truly safe to drink in a bar, eat in a restaurant, pray in a church, take in a concert, and go to a football game without a mask and without distancing, we could pretend that things are back to normal. But it would be magical thinking. 

In June, it was 88 degrees in a small village on the Arctic Circle called Russkoye Ustye. Most summers, they use snowmobiles to get around. In Siberia, where temperatures are increasing almost twice as fast as other parts of the world, temperatures were almost 20 degrees above average in May. The latest research shows that, even with strong climate action, there will likely be a total loss of summer sea ice in the Arctic before 2050.

The Irkutsk skyline in Eastern Siberia is darkened by smoke from distant wildfires in July 2019. Also shown is the damage done to nearby forests by wildfires. In the summer of 2019, forest fires the size of the nation of Belgium destroyed precious woodlands across Siberia. Similar fires this year started much earlier and threaten to compound the damage.

Last July, as we finished our Fulbright grant focused on Lake Baikal in Siberia, wildfires the size of the country of Belgium were consuming Russian forests. The smoke wafted across thousands of kilometers and entered Irkutsk, the city we were living in, turning the skies into a murky haze. This year, after we won a second Fulbright to Russia (already delayed due to the pandemic), the fires got off to a much earlier start, consuming vast swaths of these precious forests as early as April.

And the melting of permafrost is accelerating. In Siberia, Canada, Alaska, and other northern territories, roads are buckling, buildings are cracking, and most threatening of all, vast quantities of methane risk being released, with the potential to accelerate warming in a “feedback effect.” 

Shallow Frieze is a collection of experimental photographs that we created of Lake Baikal’s landscape that were frozen in ice and then rephotographed during a melting process. These photographs directly comment on the problem of global warming, which is occurring more rapidly in Siberia than most places in the world. Research by Russian and international scientists demonstrates that Baikal’s ice cover, critical to its many endemic species, is significantly shorter and thinner than a century ago. These warming trends are already contributing to changes in the Lake’s precious ecosystem, from tiny plankton to the world’s only freshwater seal.


It’s comforting to think of getting back to normal, but we’re already marooned somewhere quite distant from that. And rather than try to get back, we need to fight our way forward to a new place. Normal must be lashed, scraped, smashed, eliminated, excoriated, demolished.

And to do that, we need new paradigms, a leap forward, in our thinking. We got a glimpse of quieter, cleaner cities during lockdown. In the New York Times, Farhad Manjoo recently asked, "What about cities without cars?" Not as fanciful as we think, this solution has the potential to simultaneously clean the environment, save lives, expand park space, and improve health.

In the political realm, there’s always a tension between what we know we should do and what’s “politically realistic” given the power of the fossil fuel industry and its allies. But there’s considerable evidence now that the economy is moving faster than politicians. Recent studies show that solar and wind plants are already more economical, in every major market around the globe, than existing coal-fired plants. While regressive leaders cling to archaic paradigms in the hopes of solidifying their base and preserving dying jobs, a report issued in 2018 by, yes, the Trump Administration, makes it eminently clear that climate change could have a devastating impact on the American economy, eliminating as much as one-tenth of the nation’s GDP by the year 2100. 

The Green New Deal is often criticized for being too sweeping and unrealistic in part because it links climate change to social justice issues. But isn’t that exactly what the pandemic demonstrates? “I can’t breathe” are not just the dying words of George Floyd on the streets of Minneapolis, but they are the words of people of color dying from COVID-19 in disproportionate numbers, and they are the words of poor and working class people who are more frequently exposed to contaminants and pollution in the environment, causing serious health problems and premature death. (If this sounds like hyperbole, then be aware that more than 90 percent of people in the world breathe unhealthy air, causing 7 million deaths per year.)

Greta Thunberg is outspoken about the fairness issues at play in the climate crisis. She is quoted in Time Magazine recently saying, 

On average the CO2 emissions from one single Swede annually is the equivalent of 110 people from Mali in West Africa….The vast majority of the global population...are already living within the planetary boundaries….The climate and sustainability crisis is not a fair crisis. The ones who’ll be hit hardest from its consequences are often the ones who have done the least to cause the problem in the first place.

And while we all need to do our part and be willing to compromise on our lifestyle to limit greenhouse gas emissions, there’s a firm case to be made that the rich have outsized impacts, and need to be at the head of the line in making changes. Around the world, regardless of country, the wealthy often own several large houses, drive multiple cars long distance, fly frequently, and use energy at a rapid clip. As British scientist Kevin Anderson put it in the Guardian recently, “Globally the wealthiest 10% are responsible for half of all emissions, the wealthiest 20% for 70% of emissions.” 

If the rich were forced to cut their emissions to the level of an average citizen, Anderson estimates, we could cut greenhouse emissions by one-third. The catch, of course, is that wealthier citizens, industry leaders and top policymakers are among the most powerful and don’t easily embrace far-reaching changes, choosing to sublimate the fact that their own children are the ones who will be paying the proverbial piper. Anderson says, “Many senior academics, senior policymakers...have decided that it is unhelpful to rock the status quo boat and therefore choose to work within that political paradigm – they’ll push it as hard as they think it can go, but they repeatedly step back from questioning the paradigm itself.”

If climate change is not just an environmental issue, but a social justice issue, it forces us to consider how to claim more power so we can accelerate change. Recent history in the United States sadly does not suggest we’re good at maintaining meaningful movements. After all, what happened to Occupy Wall Street, The Women’s March, the March for Our Lives on gun violence, etc.? We don’t hear much about them anymore.

But it’s possible we’re in the middle of something a tad different. The Black Lives Matter protests, which occurred in hundreds of cities across America, are variously estimated to have included between 6 and 10 percent of all Americans, making it potentially the largest protest movement in US history. (That’s not counting the many solidarity protests abroad, including the one we joined in Bratislava, Slovakia.) 

Thousands gather for a Black Lives Matter solidarity protest in Bratislava, Slovakia, on June 13, 2020. Peaceful protesters gathered at the Square of the Slovak National Uprising, an important historic spot related to the fight against fascism, and marched to the US Embassy, where they heard speeches from African-Americans living in Slovakia and musical performances.

Although we don’t have the same revered leaders as we did in the 1960s in the heyday of the Civil Rights movement, we can learn from their strategies. Dr. Martin Luther King, for example, was indefatigable in pursuing protest and non-violent civil disobedience to demand and bring about lasting change. Less known is the fact that King himself was one of the first to closely link social justice and environmental justice issues. Now we need to follow through on Black Lives Matter, making desperately-needed and long overdue change in our criminal justice system, but we also need to go further, sustaining a long-term movement around environmental and economic justice.

Yes, we all need to vote, the presidency is especially important this time around. Just think about the American response to coronavirus, in which the president gathered fossil fuel moguls suffering from reduced demand and promised them he’s with them 1000 percent, versus the EU, which quickly pledged $800 billion to rebuild their economies differently. But our problems are too big to be resolved by one election. We must join our voices, create a lasting movement, and pursue paradigm-shifting changes through ballots, sustained protest and King’s (and Gandhi’s) powerful method of civil disobedience. 

There’s not a single thoughtful person who can’t step up their game, at least a tiny bit, during this demanding time. And artists, who can be meaningful influencers, are among those who have a responsibility to lead the way. Leaving room for a wide variety of approaches, Atlantika Collective has long prided itself on embracing a contemporary humanism and tackling socially conscious issues. In this time of coronavirus, Black Lives Matter, climate change and other pressing issues, you’ll see us take on more in this regard. You’ll also see some of us embracing direct action to accomplish change instead of relying solely on our artwork. Difficult times challenge us to do more. 

It’s tempting to freeze up and go back to the way things were. But this may be the most important moment in our lives. We must demand a share of power big enough to enact cathartic, transformational change: to eradicate the impact of racism in our justice system, revolutionize our environmental paradigm and save the planet. We must act and believe as if the politically impractical is not only possible but imperative. We must do this with rigor, consistency and perseverance. Only then will we wake up to a nation that is democratic and just -- and an economy that is clean, prosperous and fair.

Embers and Effluents: New Video About Lake Baikal’s Emerging Threats

Gabriela Bulisova & Mark Isaac

During our sojourn in Siberia, one of the most important tools we used to depict Lake Baikal was multi-channel video. The Second Fire, which was screened in Irkutsk’s Bronshteyn Gallery in late Summer, is a three channel video that focuses on the impact of climate change and pollution on the Lake. A Russian student described it as “truly frightening.” If it scares her and her classmates into action, we will take it as a compliment.

The Second Fire is inspired by a native Buryat legend about Lake Baikal. According to this origin myth, there was an enormous earthquake, fire came out of the earth, and native people cried “Bai, Gal!” or “Fire, stop!” in the Buryat language. The fire stopped, and water filled the crevice, creating the Sacred Sea. Now, the Baikal region is one of the areas experiencing the most rapid increases in temperature in the world. The video suggests that the warming of Baikal is a “Second Fire” that threatens the Lake and the people who rely on it.

Now, we’ve produced a sequel...another three-channel video, called Embers and Effluents. This video goes beyond the most obvious challenges that Baikal faces to depict emerging threats that have the capacity to create a “feedback effect,” rapidly accelerating warming and environmental damage. Scientists know that these threats are approaching a tipping point more quickly than current climate modeling anticipates.

Vast territories of previously frozen permafrost are melting, discharging enormous quantities of carbon dioxide and methane. Rampant summer wildfires are causing dramatic loss of forested area. Widespread legal and illegal logging is also contributing to rapid deforestation. And as temperatures increase, the flow of the Lake’s tributaries is dwindling, reducing water quality and releasing additional methane.

We were inspired greatly by the “environmental ethics” of Baikal’s first environmental stewards, native Buryats and Evenks. They lived in harmony with nature, taking only what they needed to survive. These indigenous people lived their lives in deep concert with the natural world long before the environmental movement developed in the West. Now, despite the serious threats that Baikal faces, the Siberian tradition of sustainability offers a reminder that we can restore balance in our relationship to the natural world.  

We witnessed and filmed multiple ceremonies of native Buryat shamans appealing to the gods for harmony and healing in the natural world. The shamans correctly insist that the Sacred Sea is powerful and resilient. But is this enough to turn things around? True hope will only emerge if the world is able to embrace transformational change, avoiding the feedback effect and the worst impacts of climate change and pollution.

Like The Second Fire, our new video features original electronic music composed from scientific data about the impact of climate change on Lake Baikal. In particular, we used studies of the impact of temperature changes on some of Baikal’s smallest and most important organisms: tiny amphipods that inhabit the shallow banks, the deepest crevasses, and everywhere in between. The amphipods are heavily affected by temperature changes, and the film’s music gives them a voice that they wouldn’t otherwise have. As temperature data rises, the notes also rise and become more shrill, as if the amphipods are crying out for help. 

During our year in Siberia, we had almost daily encounters with the power and majesty of Baikal’s crystalline water, the looming white-capped mountain peaks that tower over its banks, and the endless forests that surround it. But we also witnessed endless trucks and trains hauling away the taiga’s precious trees. We breathed in the smoke from raging forest fires and witnessed the charred remnants of past fires. We photographed piles of rotting algae on the beaches, and we documented the shriveled banks of tributary rivers, running dry from the heat.

That is our choice now: reverse course and care for Baikal sustainably -- or resign ourselves to a future of embers and effluents. 

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A few important acknowledgements: The music in Embers and Effluents was composed from data about climate change collected by scientists at Irkutsk State University. The music was enhanced in collaboration with Evgeny Masloboev, a highly innovative Irkutsk-based composer and musician. The video also includes footage of underwater life courtesy of the Baikal Museum’s live web-cams and native bird calls captured by Professor B.N. Veprintsev. 

Surface Tension / Water Samples

Todd R. Forsgren

“Water, water everywhere, nor any drop to drink,” goes the famed line in Samuel Taylor Coleridge’s 1798 epic poem, The Rime of the Ancient Mariner. Coleridge was inspired by the voyages of discovery that were occurring during the era, such as those of James Cook, Thomas James, and George Shelvocke (and similar to later expeditions like the U.S Exploring Expedition or Darwin’s The Voyage of the Beagle). It is a poem full of all the twists and turns characteristic of a quintessential epic.

Inspired by that poem, and the breadth of emotional responses that it elicits, I set about to make this series. I aim to create a similar emotional range through the photographic exploration of the surface of water. Water, which so unassumingly covers approximately 71% of the earth’s surface.

I have sought out some of these bodies of water that are unique in their purity and clarity, or for their incredibly high levels of toxins and pollutants. Other images mine the history of photographic technology and the ways that it can alter the appearance of water’s surface. For most of the history of photography, it has been a wet process, and I seek to connect that with these images, as I’ve likely spent as much time staring into darkroom trays as I have spent looking at the sea.

I want to push that connection between photographic material and liquid surfaces. This involves delving into early techniques use to make color photographs as well as obscure photographic materials, such as color infrared film. The results can be sublime as well as grotesque. I seek to show how infinitely varied and monotonous similar this familiar subject matter can be. An easily overlooked material that is as mundane as it is precious and essential.

Cyberian Dispatch 20: A Swift Departure

Gabriela Bulisova & Mark Isaac

Pacific swifts that spend the summer in Siberia migrated in August to their winter home in Australia and Indonesia.

Pacific swifts that spend the summer in Siberia migrated in August to their winter home in Australia and Indonesia.

The swifts lived in the roof above our apartment. They often woke us in a cacophony of sound at about 6:00 a.m. They swooped and cavorted and dive-bombed in the treetops just outside our windows. But the Siberian summer is warm, exquisite, and brief, like a sun-ripened fruit. And its time had already passed. As temperatures also swooped lower, we woke to find that the birds had vanished...already traveling an exceptional distance to winter in Australia or Indonesia. And it was time for us to take flight also, leaving behind a very unexpected and welcoming homeland in the Far East (see Cyberian Dispatch 19). 

As we left, the complications of climate change were at play around the globe. Unprecedented wildfires in Brazil and the Arctic captured headlines around the world and were a topic among heads of state. A major hurricane, rated among the most powerful in the North Atlantic of all time, decimated part of the Bahamas and raked the coastal United States and Canada. Alaska’s sea ice melted completely for the first time in history. Iceland’s Prime Minister officiated at a memorial for a lost glacier.

Unfortunately, Siberia and Lake Baikal are in the vanguard of these changes, with temperatures increasing two times faster than other parts of the globe. In our final weeks, multiple challenges punctuated the news, emphasizing Siberia’s leading role in climate change. Wildfires in Siberia, accelerated by high temperatures and extremely dry conditions, consumed an area larger than the nation of Belgium, sometimes sending thick blankets of smoke into Irkutsk and raising air quality alerts to the urgent level. Also, areas north of Irkutsk -- especially Tulun -- suffered severe floods in which dozens lost their lives, and Greenpeace Russia attributed the catastrophe to climate change. Scientists once again reported that Baikal’s precious small organisms are vulnerable to rising temperatures and will suffer, disrupting the Lake’s entire ecosystem, if water temperatures continue to rise.

Our parting weeks were filled with nostalgia for the mystery, power and enormity of Baikal, not just as a body of water, but as a living being, a space where spirits rule, a territory where the power of the natural world pervades all the human senses. We said goodbyes to the Angara River, Baikal’s only outlet and the site of exquisite encounters with winter “tuman” or fog (see Cyberian Dispatch 9). We traveled again to Olkhon Island, witnessed a very special ritual in which more than 40 shamans prayed for rain to extinguish wildfires, and paused to reflect in one of Baikal’s most sacred sites (see Cyberian Dispatch 3). 

If the spirits of Baikal had the only say, all would be well. Unfortunately, greed, folly, and indifference also hold sway. Our year in Siberia has given us ample understanding of the main threats facing the world’s most important lake: climate change and various forms of pollution that have already damaged shallow areas and now threaten the entire Lake. But the final weeks of our stay also revealed the extent of new, emerging hazards that threaten an exponential increase in harm. These new concerns have unique attributes that reinforce each other and have the potential to rapidly accelerate warming in a “feedback effect.” For example:

  • Melting Permafrost: Temperatures in Siberia are increasing twice as rapidly than other parts of the world. As a result, vast territories of previously frozen permafrost are melting, discharging enormous quantities of carbon dioxide and methane -- enough to result in “catastrophic” warming.

  • Spreading Forest Fires: According to prominent scientists, the growing number and intensity of forest fires is causing “dramatic loss of forested area,” further accelerating climate change. 

  • Excessive Logging: Widespread legal and illegal logging is also contributing to rapid deforestation that accelerates warming; and

  • Deteriorating Rivers: As temperatures increase, evaporation intensifies and the flow of the Lake’s tributaries is reduced. Dwindling water levels reduce pressure at the Lake’s bottom, releasing additional methane and harming sensitive species. 

Many of our most memorable moments at Baikal involved sound or music (see Cyberian Dispatch 10). Evgeny Masloboev, an Irkutsk-based experimental composer and musician, can elicit music out of almost anything, including coat hangars, plastic bags, or the leaves of plants. He favors improvisation, and before we left, he very memorably asked us to pull out our phones, hold them near each other, and create music from...a feedback effect. 

Scientists know that these emerging threats can quickly approach a tipping point that accelerates environmental degradation much more quickly than current climate modeling anticipates. Artists like Evgeny Masloboev sense it and intuitively find a way to express it. The natural landscape already signals distress: people choke on smoke from mega-fires and die when their homes are inundated by flash floods. But in Russia and around the world, many people are not fully aware of how serious the problem is, and policymakers are in denial, immobilized or unsure of how to act on a scale large enough to be consequential. 

The swifts departed suddenly one August day, darting into the sky because they knew the environment will soon not be hospitable. Following a small visa snafu, we also took flight to Central Europe on very short notice, uprooting ourselves from our Far Eastern homeland and finding a roost near the Danube River, another threatened body of water. 

Time is precious now. How can we speed the pace of change on ending the use of fossil fuels and embracing clean energy? How can we embrace the use of alternative energy sources -- ones that are in ample supply in Siberia and many other places around the globe? How can we turn the corner on simple changes like ending the use of phosphates in detergents or stopping the endless stream of bottles that clog our waterways? 

Our year long Fulbright experience proves that we can build alliances across cultures and among diverse stakeholders who share common values and goals. It was an exceptionally meaningful, moving and beautiful experience, and we are forever grateful to our warm, welcoming, and kind Russian hosts, who selflessly ensured the project’s success. 

But can those of good faith and good mind work together quickly enough to safeguard Baikal? Can we chart a new course as swiftly as the swifts?

 







How is Lake Baikal Threatened?

Gabriela Bulisova & Mark Isaac

Especially in its depths, Lake Baikal is still relatively clean. But extensive research by Russian and international scientists shows that it is severely challenged by two pressing threats: rapid climate change that is disrupting its complex ecosystem, and pollution from ever-expanding tourism and development. Also of concern are specific development or regulatory proposals that could accelerate damage to the Lake. While several recent threats have been successfully thwarted, new ones are always emerging, and it is unclear whether activists can stop them all. 

A Rapidly Changing Climate

Scientists have ample evidence that the Baikal region is one of the most affected by climate change in the world. One study demonstrates that summer surface water temperatures increased 2.0 degrees Celsius between 1977 and 2003 (Izmesteva et. al. 2016). There is also strong evidence that winter ice cover has decreased in duration and thickness compared with a century ago (Shimaraev et. al. 2002). 

Changes in the transparency and yearly duration of ice as a result of warming have the potential to affect Baikal’s entire food chain. A recent study reveals that small native diatoms (or single-celled algae) that are critical to the food chain are already declining in the southern basin of the Lake (Roberts, et. al., 2018). These organisms provide much of the food for the tiny copepod, Epischura baikalensis, that filters Baikal’s water. Moreover, there is considerable data showing that Baikal’s magnificent amphipods (small crustaceans that are a food source for fish species) are susceptible to severe stress in warming conditions (Axenov-Gribanov et. al., 2016). At the top of the food chain, changes in the ice cover have the potential to harm the world’s only true freshwater seal by negatively impacting fertility and subjecting the young to predators. Moreover, changes in wind speed and direction have the potential to alter the process by which the Lake’s deep waters receive oxygen, with consequences for the entire ecosystem (Moore et. al., 2009).

Growing Levels of Pollution

Pollution is Baikal’s other great threat, creating a range of problems, especially in populated areas and those that draw the most tourists. A variety of pollution sources are already creating  negative impacts on sponges, snails, amphipods, and other Lake creatures.

Nutrient inputs are contributing to massive blooms of non-native algae in the coastal areas of the Lake. These blooms choke out endemic species and pose a risk to humans, wildlife, and livestock. There is also a growing epidemic of sickness and death of endemic Baikal sponges and a mass mortality of snails in some areas of the Lake. (Timoshkin et. al., 2016). 

Studies show that these problems result primarily from sewage and detergent waste that flows into the Lake from hotels, houses, and tourist destinations. Wastewater treatment in populated areas around the Lake is either lacking or outdated. Moreover, many small homes and businesses rely on unlined pits rather than lined septic tanks, allowing human waste to leach through the soil into the Lake. (Timoshkin et. al., 2018).

A variety of chemical pollutants are also entering the lake, including pesticides (Tsydenova, et. al. 2003) and PCBs (Mamontov, et. al., 2000). Some reach Baikal by air from nearby industrial facilities, but there are also significant discharges of petrochemicals from boats, and dangerous pollutants entered the water when rail cars were washed in Severobaikalsk. 

There are inadequate means of disposing of garbage in the Lake Baikal area, and accumulating solid waste is a growing problem in areas around the Lake. Also, tourists are responsible for erosion, damage to trails and campsites, and negative impacts on local flora and fauna. Some of this damage results from inappropriate transportation such as ATVs, which have been banned in some parks. 

Synergy Between Climate Change and Pollution

An unfortunate synergy between climate change and other anthropogenic changes poses special challenges the Lake’s future. For example, scientists believe that melting permafrost in the Baikal watershed is a possible source of increased phosphorus and nitrogen in Lake Baikal, contributing to algal blooms. Increased melting of permafrost from climate change may also increase the release of dangerous industrial pollutants such as PCBs into the Lake (Moore et. al., 2009). 

Forest fires have also increased in numbers and intensity in the areas surrounding the Lake. Most fires are caused by careless conduct or arson, but they are worsened by a warmer climate. The ash and soot from these fires is likely contributing to blooms of algae in the Lake. In general, a warming climate is likely to exacerbate threats from increased tourism and development, erosion, and other factors. 

Damaging Projects and Proposals

Environmentalists have successfully blocked some of the most damaging proposals to exploit Baikal or pollute its waters. In 2008, environmentalists convinced President Putin to re-route an oil pipeline originally planned to come dangerously close to Baikal’s shores. In 2013, one of the most dangerous polluters, the Baikalsk Paper Mill, closed its doors forever, but left behind huge pools of dangerous sludge that are leaking into the groundwater and in serious danger from flooding or earthquake.

A Chinese-owned water bottling plant was recently built on the southern shore of the Lake in Kultuk, in an important wetlands for migratory birds. After protests across the Baikal region and Russia, the plant was blocked from opening because its environmental impact had not been properly studied. 

Mongolia has proposed to build up to 8 hydroelectric dams on the Selenga River and its tributaries, the source of 50 percent of Lake Baikal’s surface water. Fortunately, these plans are currently on hold in light of concerns expressed by the World Bank and UNESCO, but Mongolia is intent on achieving more energy independence. There are also proposals to divert water from Baikal to China by way of a massive pipeline. If approved, these projects would lower water levels in the Lake, damage precious flora and fauna, and block migration routes. 

But the most important threats facing Baikal at the moment are regulatory ones. In 2018, the water protection zone for Lake Baikal was substantially reduced, allowing considerably more development to occur in protected areas. Now, under the guise of “modernizing” the rules about discharges into the Lake, the Ministry of Natural Resources and Environment is proposing that allowable releases of dangerous pollutants into the Lake can be increased by as much as 32 times the prior limits. Scientists at the local Limnological Institute and their allies have weighed in with ample evidence that the change would be catastrophic, but no final decision has been made. 

Further, some locals bitterly complain that rules about building new structures and boundaries of protected zones are unclear or conflict at different levels of government, so their efforts to create businesses or homes that benefit their families are endlessly blocked or mired in confusion. Rules to protect the Lake must be consistent, strong and fair.  

Mobilization Needed to Save Baikal

The combined threats of climate change, pollution, and proposals for harmful developments and regulatory changes not only threaten the health of the lake, but also represent serious risks to future economic activity and human health. A major mobilization is needed to save Lake Baikal, including urgent action by scientists, NGOs, government, and citizens. Here are some action steps that make eminent sense right now:

  • Regressive regulatory changes must be blocked and instead replaced with clear prohibitions against damaging discharges into the Lake. Also, policies regarding building in sensitive areas must be clarified so that they can be easily understood and implemented. 

  • Trash collection in the Baikal region must be dramatically improved, and major education campaigns should be initiated to reduce litter in coastal zones.

  • Strong steps should be taken to enhance eco-tourism opportunities, to provide support for businesses that adopt environmental principles, and to create standards that will help consumers validate their claims. A push toward eco-tourism should include expanded education about best practices for the use of the Lake and its surrounding trails and recreation areas.

  • The moratorium on dam building in Mongolia should be made permanent, preventing tragic harm to the Selenga River and Baikal.

  • Strong steps must be taken to prevent widespread illegal logging and forest fires, both of which are widespread. 

  • Action is required to prevent the worst effects of climate change by adopting worldwide policies to reduce carbon emissions and limit the rise in temperatures. Individuals can assist by limiting their energy use and pushing for rapid expansion of alternative energy sources such as solar and wind energy.

  • Additional study is urgently needed about anthropogenic changes in the Lake and the impact of climate change, including careful monitoring of coastal and deeper waters. It is essential that Russian and international researchers have ample resources to continue monitoring a wide variety of concerns. It is also urgent that scientific findings be communicated to policymakers and the public in a form that is easily understandable.

Right now we face critical tests of our commitment to preserve the world’s most important lake for future generations. It will be impossible to save Baikal overnight, but an alliance including scientists, environmentalists, artists, and concerned citizens can help make a real difference in safeguarding what Vladimir Rasputin called “the eternity and perfection” of the Sacred Sea. 




Why Care About Lake Baikal?

Gabriela Bulisova & Mark Isaac

Why should people all over the world care about Lake Baikal? 

A lot of superlatives are attached to the crescent-shaped marvel in remote, southeastern Siberia. Oldest. Deepest. Largest by volume. The richest in endemic species. Among the clearest. But we propose a new one: most important.

Other lakes are larger in surface area, but Baikal surpasses them all in depth, with a lake floor, formed as a rift valley 25 to 30 million years ago, that’s 1642 meters (5387 feet) below the surface. All of that depth means that Baikal is deceivingly monstrous, containing more than 20 percent of the entire world’s supply of unfrozen fresh water. And unlike most deep lakes, Baikal is heavily oxygenated even near the bottom because the Lake’s water, which flows in from as many as 330 surrounding rivers, mixes thoroughly from top to bottom. 

Baikal’s enormous water supply supports thousands of plants and animals -- as many as 80 percent of them unique species living nowhere else in the world. This includes everything from the tiniest single-celled algae, to tiny organisms that filter the Lake’s water, to bright green sponges. It also includes spectacular crustaceans, unique fish species, and the world’s only true freshwater seal, or nerpa. There are more than 236 species of birds in the region, and the surrounding forests and dense taiga, much of it protected parkland, are home to bears, wolves, foxes, and dozens of other animals. 

But Baikal is not only special because of its size and its rich and diverse ecosystem. Its importance also stems from its cultural and spiritual significance. Baikal is called the “Sacred Sea” by native populations of Buryats and Evenks, who consider it a living being that must be afforded the utmost respect. These native peoples, practicing Shamanism and Buddhism or both, lived their lives in deep concert with the natural world long before the environmental movement developed in the West. And they carry out ceremonies to this day in tribute to the spirits that inhabit the Lake and its surroundings.

Whether they believe in these spirits or not, local residents and visitors respect them because they can feel Baikal’s special power, its majesty, and its ability to change from moment to moment. Its different winds are so powerful that they have their own distinct names. Its fog sweeps in and out in moments, obliterating and then revealing the landscape. Its waves can rise 4 meters during stormy conditions. Its small creatures, each one a masterpiece of creation, float and wriggle and dance hundreds of meters below the surface. Its ice forms endless patterns and textures that are miraculously complex -- and sounds of cracking that range from sublime to terrifying.  

These ineffable qualities are why Baikal is a cultural phenomenon for all of Russia and beyond. The classic ecologist and novelist Valentin Rasputin drew a connection between the “eternity and perfection” of the Sacred Sea and the vitality of rural village life. Contemporary Moscow-based composer Marina Shmotova is inspired by Baikal’s history and magnificence, and Irkutsk-based experimental musician Evgeny Masloboev creates unexpectedly beautiful music from its water and ice.

Baikal is exceptionally deep, both literally and figuratively. It is hard to imagine another waterway that inspires such reverence and awe from those who encounter it. 

It is, indeed, the Sacred Sea. And we must (re)learn how to treat it that way. 









Cyberian Disapatch 18: Rituals by the Riverbanks

Gabriela Bulisova & Mark Isaac

As the summer days grow longer and warmer, Siberians of all ages are drawn to the water -- to cool off, relax, and sometimes, perform ancient rituals. And so we found ourselves repeatedly on the banks of the Irkut River, encountering age-old rituals with decidedly contemporary implications.

Among the many peoples who emigrated or were exiled to Siberia, Poles and Belorussians are very prominent. We sadly missed the Polish celebration of Ivana Kupala Night, a pagan fertility celebration associated with the summer solstice. But we were relieved to be invited to the Belorussian version, reputed to be more mysterious and even shocking.

When we arrived along the banks of the river in the suburbs of Irkutsk, women of all ages were already gathering wildflowers and making them into garlands. A huge pile of wood promised a massive bonfire, and elaborate picnics on blankets and in makeshift tents made it eminently clear that many participants would stay until dawn, despite the promised heavy rainfall.

As darkness fell, the rituals got underway. Women crowned with elaborate wreaths of wildflowers formed a massive circle from which men were excluded. As the bonfire was lit, their faces flushed with color, and riotous dancing ensued. Next came games in which men chased women and tried to capture them. As the night wore on, drizzle escalated into rain and rain intensified into a downpour that soaked completely through clothes and shoes. The bonfire leapt ever higher, scattering sparks in all directions, and everyone bathed in the water, light and heat. 

Traditionally, it is a night for couples to test their bravery and faith to each other by leaping over the roaring fire. It is a time for women to float their wreaths on the river, and for men to catch them, winning their affections. It is also a time when women enter the forest, followed by men, to seek flowering ferns -- and the possibility of a new relationship. (If a flowering fern is found, it is a truly magical event, since ferns are not flowering plants.) In short, Ivana Kupala is an ancient fertility rite -- connected closely to nature and the seasons. And as our Siberian Belorussians proved, it still resonates very strongly today.

There are two Russian language films we can recommend that touch on Ivana Kupala. For a psychedelic, Soviet-era take on this holiday, try Vechir na Ivana Kupala, created in 1968 by Ukrainian director Yuri Ilyenko. He based his film on a classic story by Nikolai Gogol (which may have also inspired Mussorgsky’s “Night on Bald Mountain”). 

For more of a sense of what Ivana Kupala may have historically meant, there is a scene in Andrei Tarkovsky’s masterpiece, Andrei Rublev, in which the painter monk Rublev stumbles upon this pagan ritual, complete with furtive nighttime coupling, in the year 1408. The scene suggests the manner in which pagan worshippers resisted Christianity for generations after it was imposed on Slavic lands from the 8th to the 13th century. For example, some icons of the Virgin Mary were disguised representations of “Damp Mother Earth,” a pagan deity adorned with distinctive six-petaled roses characteristic of pre-Christian faiths. Slavic folk religions, particularly as a synthesis of Russian Orthodox and pagan beliefs, persist to this day, and there is a revival of Slavic native faiths underway in Russia.

Only a few days later, we found ourselves at the spot where the Irkut empties into the mighty Angara -- a sacred spot for Buryats that is used by local shamans to perform their rituals. More than 15 shamans gathered for a very important task. Severe flooding had occurred in the northern part of Irkutsk Oblast, killing approximately 25 people and displacing thousands. The shamans gathered with the purpose of asking the gods to stop any more flooding and to safeguard local people from the rising waters.

During Ivana Kupala, faces flashed in the night with bright colors, vividly bringing the ritual to life. Here the shamans donned traditional vestments, also in dramatic colors, that help them enter into a trance state in which they can communicate directly with the gods, intervening on behalf of local residents. The shamans prepared offerings of tea, milk, vodka, cookies, and the meat of a sacrificial sheep. They lit special herbs and infused the area with their scent. Arrayed in a long line, they beat on ceremonial drums and chanted special prayers. And one by one, assisted by helpers, they entered into trances, hopping up and down and speaking in voices.  

The rituals of Ivana Kupala and those of the Buryat shamans are both closely linked to nature, to the seasons, to the natural rhythms of life. They also rely heavily on the forces of fire and water. 

When nature is in balance, fire and water help create fertility. The rain feeds wildflowers, couples leap over bonfires to underscore their bonds, and women’s garlands float in the current. But when nature is not in balance, the results are not the same. Right now, in northern Siberia (and other Arctic regions such as Greenland and Alaska), massive wildfires are raging unimpeded across the landscape, burning huge forests to the ground. In Southern Siberia, endless rainfall -- likely accentuated by excessive logging -- is posing a mortal threat, collapsing roads and bridges, and dumping raw sewage directly into Lake Baikal.

The traditional ecological knowledge of long-ago traditions, Slavic and Buryat, teach us to find peace with nature, feel its rhythms, and apply them to our lives. Buryat traditions in particular urge us to take only what is needed and to respect all living things around us as sacred and precious to future generations. 

The banks of the Irkut are a fine place for the “good humor mischiefs” of Ivana Kupala. But they are also a welcome spot to relearn the lessons of traditional culture and commit ourselves to basic principles that were never questioned in the past: to live in harmony with Damp Mother Earth and to preserve her fertile treasures for our children.

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Cyberian Dispatch 17: Warming Northern Baikal

Gabriela Bulisova & Mark Isaac

At the far north of Lake Baikal, where few venture, an alliance of small tourism businesses created a slogan designed to lure more visitors: “Warm Northern Baikal.” It was a small stroke of genius, since the north is, at least in terms of temperature, noticeably colder than the south. While the ice melted long ago in the south, it’s still visible now at the northern tip of the Lake. And people are fond of joking, “We have two months of cold, and 10 months of real cold.”

The slogan works on several levels. First, it’s meant to convey that you will be welcomed warmly by the local populace, who bring a homey and personal approach to their dealings with visitors that’s different from what you will encounter in bigger cities. Second, the area is home to numerous hot springs that create oases of comfort, even when it’s -50 Celsius outside. And in July and August, the shallow edges of the Lake actually heat up, creating ideal conditions for swimming and kayaking.

But the inaction of the world to the reality of climate change is lending the slogan yet another, unintended meaning: despite its isolation and low population, northern Baikal has indisputable environmental problems associated with warming temperatures and pollution.

On the one hand, the region is eager to take the lead on turning Warm Northern Baikal into an exemplar of environmental protection, in part because they hope that will help draw more tourism. In Severobaikalsk, the largest northern city with a population of 25,000, activists hope that an emphasis on ecology will help the region stand out as a destination. They are cleaning up garbage and creating disposal stations for used plastic and batteries. The young mayor is fighting the abundant growth of spirogyra by seeking an end to the use of phosphates in detergents, a key factor in its spread in recent years.

Some innovative local residents also saved 17 hectares of land and prevented the mass development of houses by creating large plots for a small number of eco-friendly dwellings, many of which use composting toilets, water purification, solar energy, and recycled materials for insulation. The project was difficult to get approved, but the instigators hope their model will inspire others to join a new movement toward eco-friendly living.

And environmental activist Yevgeny Mariasov is leading an effort to expand the Great Baikal Trail, a network of paths that will eventually allow hikers to circumnavigate the entire Lake. The next step is creating a new, 24 kilometer section that will connect existing trails north and south of the city. His dream, along with other locals, is that the GBT will expand low-impact eco-tourism while safeguarding the Lake. The leadership of Buryatia approves of the plan and may devote funding.

At a city meeting on this subject, there were no dissenters, and work will begin this summer on the new section of the trail. But some residents complained that critical environmental topics are being overlooked. There is considerable new construction in Severobaikalsk, all connected to the city’s aging and inadequate wastewater treatment system, meaning much of the waste ends up in the Lake, contributing to the spirogyra outbreaks. One of the chief builders of Severobaikalsk vocally insisted that this is the most significant environmental threat, but it is receiving scant attention. And there was no mention of the role of the BAM, or the Baikal-Amursky Magistral Railway, in polluting the River Tyya, which flows directly into Baikal. A taxi driver told us that years ago, “only a lazy man couldn’t pull a fish out of the Tyya.” But now, he noted wistfully, there are no fish at all.

And the owner of a local guest house insisted he doesn’t need to see monitoring results to know that the water is warmer than before, contributing to the spread of spirogyra, which in recent years turned lush, sandy beaches (“We have your Thailand,” one local billboard reads) into carpets of odiferous, decaying sludge. Although scientists have warned that removal of the algae is important, there is not always enough money to do that, and it may take as much as 40 years for affected areas to recover.

Further north, in the small village of Nizhneangarsk, the local Evenk population also has warnings for the future of Baikal. Like Buryats, the native Evenk people lived nomadic lives of hunting and reindeer herding in extremely close concert with the natural world. But now, of 330 Evenks in the town, only 10 speak the native language. And with the language, the culture of respect for the natural world is also threatened. A small center for the preservation of Evenk culture struggles to teach the language to a new generation of young people, but it is a quixotic effort.

Artist Valery Kondakov, a longtime resident of Nizhneangarsk, whose father was Evenk, enumerates a long list of environmental problems facing the region: new construction of three-story apartment buildings that drain untreated wastewater into the Lake; reduced and diseased populations of omul fish in Baikal; and more frequent forest fires. But he saves his harshest words for the “barbaric cutting of trees only 100 meters from the Lake.” All around Baikal, trees are falling at an alarming rate, legally and illegally, with incalculable costs to the ecosystem. “This all happens fundamentally because of people’s indifference,” he laments.

Kondakov’s art responds to these modern problems through the lens of long-ago history. Hieroglyphs along the northern coast of Baikal prove that this region has been inhabited since at least the Stone Age, and Evenks have conducted holy rituals along its shores, on hills and in caves, for countless generations. Evoking the spirits of his ancestors, Kondakov carved a sculpture from a piece of a fallen “holy tree,” or one that was used as a sacred burial place for deceased Evenks in times gone by. He doesn’t usually paint or sculpt Baikal itself, since he’s more interested in the people who have lived and died by its shores. But one intricate sculpture, adorned with multiple time pieces, is meant to convey Baikal’s situation now, after generation upon generation of environmental equilibrium. In this piece, clocks are ticking for the Lake’s future...or worse still, have they stopped?

“Evenks have profound feelings for everything alive,” Kondakov notes. Everything has its own spirit, and everything is animate, including the fragment of a holy tree that has been transformed into an art object. As we stand with him, in the tiny village where few understand the import of his work, we recognize that the wood is not only alive, but it is speaking to us. Long-ago ancestors are speaking to us through the natural world, and the message is not comforting.

We end our trip in the far north village of Dzelinda, the location of one of the region’s hot springs. The natural spring is risky to patronize because of the prevalence of disease-carrying ticks and hungry bears, so we visit the man-made pools for a long and relaxing soak. There are three basins to choose from...lukewarm, warm, and scalding hot.

A man who drove more than 2000 kilometers from Novosibirsk bravely enters the hottest pool. He emerges smiling, but with beet red legs that were burnt by the intense heat. Then he urges his son, about 7 years old, to go in also. We cringe, hoping the small boy won’t be injured, but the father insists, “We didn’t drive all this way to avoid the hot water!”

We are reminded of the man, in the city meeting in Severobaikalsk, who insisted on enlisting young people in a patriotic effort to declare the city the cleanest around all of Baikal. It was a noble idea, but we looked around and noticed that very few young people were in attendance. We know that some, like Yevgeny Mariosov’s son Simon, have returned to the city to create innovative and eco-friendly businesses, like Simon’s coffeeshop, “Geography.” The future may indeed lie with this cadre of young people, willing to commit to the future of tiny, distant but environmentally critical locations around Baikal.

So far, Warm Northern Baikal has resisted construction of massive hotels and other outsized developments for large numbers of visitors, but it is said that the governor of this region is interested in allying with China to build a landing strip for jets, along with large hotels to accommodate a major new influx of tourists.

At the hot spring, the father pushed his son toward the scalding water, and the young boy looked at the father quizzically, as if to say, “Why would you want me to burn myself?” And he pulled away repeatedly, resisting his father’s entreaties.

In Warm Northern Baikal, environmental activists like Yevgeny Mariasov have pointed the region in the right direction, but the next generation will ultimately make the most important decisions.

At the Dzelinda hot spring, each pool represented a possible future. Who are the young people who will choose that future? And which pool will they choose?