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Excerpt from Nature of Enclosure, edited by Jeffrey S. Nesbit, published by Actar Publishers.

An expanded version of this essay previously appeared in the special section of Log 51 guest-edited by Sanford Kwinter and entitled Excursions in the Ecosphere. See Aleksandra Jaeschke, “The Song of the Banyan Tree,” Log 51 (Winter/Spring 2021): 183–199.

[1] Bernie Krause, The Great Animal Orchestra: Finding the Origins of Music in the World’s World Places (New York: Little, Brown and Company, 2013).

[2] This account is based on following sources: Ira J. Condit, Ficus: The Exotic Species (Berkeley: University of California, Division of Agricultural Sciences, 1969); Edward Allen Herre, K. Charlotte Jandér, and Carlos Alberto Machado, “Evolutionary Ecology of Figs and Their Associates: Recent Progress and Outstanding Puzzles,” Annual Review of Ecology, Evolution, and Systematics 39 (December 2008): 439–458; S. G. Compton, J. T. Wiebes, and C. C. Berg, “The Biology of Fig Trees and Their Associated Animals,” Journal of Biogeography 23, no. 4 (July 1996): 405–407; Francis E. Putz and N. Michele Holbrook, “Notes on the Natural History of Hemiepiphytes,” Selbyana 9, no. 1 (October 1986): 61–69; Martin H. Zimmermann and P. B. Tomlinson, eds., Tropical Trees as Living Systems: The Proceedings of the Fourth Cabot Symposium Held at Harvard Forest, Petersham, Massachusetts, on April 26–30, 1976 (New York: Cambridge University Press, 1978).

[3] Krause, The Great Animal Orchestra, 215.

[4] Kevin Kelly, Out of Control: The Biology of Machines, Social Systems, and the Economic World (Reading, MA: Perseus Books, 1994), 164.

In Praise of the Open

Attracted by its apparent stillness and boundless emptiness, I used to dream of traveling into outer space. I am now afraid that it is looming upon us down here on Earth. But I am getting ahead of myself.

In the early spring of 2020, just before the COVID lockdown, I got to spend many days in an old botanical conservatory. It was at once exhilarating and eerie. A promise of a perfectly sealed world—that could one day be sent out into space—was right in front of me. Yet the underlying feeling that I had was that of the calm before a storm, a palpable sense of stillness. But there was something else contributing to it that I struggled to name. I only later realized that it was the thick silence.

Stillness and silence—relaxing as they were—brought a feeling of apprehension. I couldn’t tell why—the storm obviously could never come; I was enclosed in a greenhouse. Yet, as I recall it now, I realize that the stillness represented an excess of human control, and while the flora proliferated lavishly, the silence—surprisingly—communicated an actual “undersupply” of life. Packed with plants, the greenhouse felt empty. Except for an occasional screech of a caged parrot or the chatter of a disengaged visitor, there was an almost complete lack of vocal animals. Animals, of course, are hard to control, as is complexity.

It was only after I started to read The Great Animal Orchestra by Bernie Krause [1]—recommended by a friend upon my return from the interrupted research trip and during the lockdown— that I realized I had paid no attention to the visited soundscapes! And yet my apprehension was inescapably triggered by a blaring silence.

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Excerpt from Nature of Enclosure, edited by Jeffrey S. Nesbit, published by Actar Publishers.

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