Welcome to “Making Tracks,” one of the longest running series on Seeing the Woods. This project developed around the European Society for Environmental History (ESEH) Conference 2013. The Rachel Carson Center invited all former and current fellows to attend the conference. In return, the… Continue Reading “Making Tracks: Introduction”
By Dominic Hinde From around the age of 15, I think I had wanted to be a journalist, and in the pre-Amazon time before print publishing’s great data-driven reckoning I would go to the branch of the British book chain Waterstones in my local town and buy autobiographies and memoirs by foreign and war correspondents.
By Marcela López Since I was a child, I have had the opportunity to travel around Colombia with my family and friends and explore a wide variety of ecosystems ranging from tropical rainforests to deserts, savannas, and páramos. By traveling through these remote landscapes, I became fascinated not only by nature’s “pristine” character, but also by the large-scale infrastructure projects that were crossing, dissecting and (dis)connecting these landscapes.
By Claiton Marcio da Silva The Brazilian Cerrado made me an environmental historian. My interest in the agricultural transformations in Brazilian savannas—a biome located in the central part of Brazil that extends over an area of approximately 2.000.000 km²—started when I left the southern and subtropical regions of the country to seek employment in the mythical Brazilian backwoods.
By Jennifer Carlson My journey to the Rachel Carson Center began in the 1980s on Texas’s blackland prairie, where my family spent weekends on an old farm that my father’s parents owned east of Austin. While my father, mother, and grandfather cared for our cows, fixed fences, or bought supplies in town, my grandmother swept and scrubbed the old house she and my grandfather had built before work led them elsewhere.
By Birgit Schneider I have been interested in representations with a focus on visuality for a very long time. In fact, it wasn’t my early childhood experiences with the outdoors that led to my interest in environmental issues in the first place, but rather my mediated experiences with nature. Like most others, I frequently encounter current environmental issues as they are presented to me through various media—in nature movies or documentaries, weather reports, maps, and even apps—making these mediated experiences even more likely than unmediated ones.
By Lynda Walsh I’m not 100 percent positive, but I believe I may be the first rhetorician who has been a fellow at the Rachel Carson Center. This impression was corroborated by the confused squints that frequently greeted me when I introduced myself in the corridors or at a Works-in-Progress meeting: “Rhetoric?” my new colleagues would echo, and their undulating eyebrows added: “What’s that? And what’s it got to do with the environment?”
By Charlie Trautmann Have you ever received a paperback for Christmas from your mother-in-law that landed you a fellowship at the Rachel Carson Center in Munich? I have. My journey to the Carson Center was more like an odyssey—long and circuitous.
By Chris Cokinos Intention is a funny thing, especially when it comes to creative work. Intention can become something forced; it can become an attachment to outcome at the expense of actually giving into the work itself. There’s a phrase from Taoist philosophy—wu wei. Wu wei means working without effort. Flow.