SHARED LANDSCAPES
english texts

Stefan Kaegi

(Click on names for English version)

Chiara Bersani & Marco D’Agostin

(Click on names for English version)

Sofia Dias & Vítor Roriz

(English audio available. Ask the guide for the English channel)

Émilie Rousset

(Click on name for English version)

El Conde de Torrefiel

(English audio available. Ask the guide for the English channel)

...

Stefan Kaegi


Welcome to Shared Landscapes. Please find a comfortable place to sit on your blanket somewhere among the trees. But don’t go too far. The first performance will start soon. Now please find a comfortable place to lie down on your back. If it’s wet, put your poncho under your blanket.  This piece is not made to be listened to while sitting on a chair. Make sure you are lying down with your face up.  Please make yourself comfortable and relax.
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The performance will start in a few minutes. It is a conversation with a psychoanalyst, a child, a forest ranger, a meteorologist and a singer.  This conversation is in Portuguese but you can read the English translation here. Lie down looking up at the trees from beneath and take your time to read. 

I see different strata here.

I hear the trees swaying.

Yes, it’s like a cushion made of leaves.

What are these insects called, flying up there?

Right up here.

It's gone.

There it is.

It’s back, it’s back.

It’s back.

Oh, it looks like a small wasp.

Oh, I'm scared of wasps.

No, it's not.

This is just the visible part, right? Then, underneath the roots, we have a whole different world. Fungi linked to roots, right? They travel kilometres, if needed. And they also help this whole structure...

Hold up, right?

Yes.

Hold up and build up.

Some fungi are able to attach themselves to the roots and travel hundreds of kilometres, and they provide some kind of protection and nutrients for the plants. And the plants also end up benefiting from it, and they provide other types of carbohydrates.

Why do your patients lie down when... in their psychoanalysis sessions?

Lying down allows a suspension of time, a state of contemplation. So, it invokes the possibility of looser, freer and, at the same time, deeper thoughts, that are less attached to perspective. When you're sitting down, what happens is you don’t allow yourself to dream, to be carried away by dreams, right? Sort of.

Now, who is the patient here?

Now, here?

Is it the trees watching us now? Are they analysing us?

Look, why not? It sounds like an excellent idea.

It looks like the pine cones are the eyes and they're watching us.

It really does.

And does closing your eyes help, or not?

I think it’s helpful for some people, for others it’s scary.

Naíma, what is a landscape to you?

When we see things that are on the horizon.

To me, a landscape is a place where you can find the horizon, inside and outside yourself.

But this here is a landscape. I can't see the horizon.

I can, but looking upwards.

The horizon has depth. But to me there's always that thing of the vanishing point.

It's funny that here, where we’re standing, there’s one kind of landscape. And if we move 100 metres, we'll have a totally different landscape...

Completely different.

This is more of a wooded area, and next to it you have the bushes.

Every image is a landscape. A landscape lies in the ability to see the landscape.

The frame?

Yes.

Is there a landscape at sea, too?

At sea there's only sky and horizon. Here we can be camouflaged. Anyone watching us wouldn't see us. We would be occluded. We're insignificant. But at sea we become an almost unique point of reference. And we can’t find shelter.

It doesn't look like we're camouflaged. Because we can see the sky. But people can't see us.

It depends on the perspective.

Right. If you're on an aeroplane…

An aeroplane with binoculars.

Or a drone.

What will the climate be like when I'm your age?

If you go down in latitude towards the equator, you'll notice the changes taking place. That’s what’s spreading now to higher latitudes.

Drought?

That's one of the effects. Drought, a major one. For example, a cluster of Pyrenean oak, which used to do perfectly well at a certain latitude, is starting to have some trouble, and we probably won't have that species there in a few years. We might have to work with different species that currently occur further south, in drier environments.

But that's only because you have all this diversity of trees, right?

Yes, in this area you can see lots of pine trees and cork oaks and blackthorns. But all around us, if you move away a little, you can already see some areas that have been invaded by acacias and other invasive species.

What we're hearing here, the birds and the insects, maybe we won’t hear it in those areas, because they like to be where there's more food, where there's more diversity. Some people call acacia areas “green deserts”.

Really?

Because there's no... It’s all there is, right? There isn’t anything else.

I was thinking, that’s just like human relationships. The greater the diversity, the richer the relationships we build.

Right.

And that's the worst place, because to top it off it has that terrible thing: it looks green, right? It looks green, but then it isn't.

Right.

Some things are like that, isn't that right, Naíma? They look beautiful, but then they're not so beautiful.

Yeah, I've been told...

Have you been told that?

... that tarantulas look scary from a distance, but up close they look cute, and butterflies it’s the other way round. So sometimes I'm scared of butterflies, because I've seen their faces magnified.

They're scary.

Yeah.

Which trees will no longer be here?

Certainly some of these pines, but of the ones we're seeing here, I'd say that the cork oak is probably the most resilient. Although some of these pine trees we’re seeing here also work quite well as what we call pioneer species, right? They enter areas that are more disturbed, and they grow faster, and later give way to other trees that grow more slowly.

And how do acacias operate in these underground routes?

There's one, for example, that doesn't have deep roots at all, whereas another one is very difficult to uproot and contain, precisely because it grows...

Deep roots.

... a very strong root system. Those underground fungi, mycorrhizae, which then end up circulating nutrients between them, almost like the internet of trees, they’re all connected. When will the forest we’re planting now become an actual forest?

The oaks will maybe take thirty years.

That long?

Maybe in ten or fifteen years a maritime pine tree will already be decent-sized.

 

Is this one dry? No.

All the pine trees that are dry, that are misshapen, that are tilted, those will be the first to go.

No.

You're the only one who can't do this, come here. You're injured.

He's debilitated.

You can see that this one’s dry and rotten.

I've slept in many forests. And it's always a safe place, despite the spiders.

I've gone camping.

And what was it like?

There were lots of ants and spiders. I was also bitten by a wolf spider.

And do you think the forest… the ants and the spiders, what do they think of you when you go there?

They think I'm a giant and that I'll hurt them too.

Will you?

Right, but...

Who's more afraid of whom?

I think it's them. But I'm also very scared. All the animals that are here, except for a few plants, they do good. But I think everyone here is scared of some animal here.

I don't like snakes.

Yeah. Sometimes I’m afraid of human beings too.

A bit of fear also protects us, doesn't it?

Yes, no? Cortisol rises.

Exactly.

It's better to be afraid than not.

It helps protect us from a few things, doesn't it?

Right.

Some people say: Oh, this snake isn't poisonous, right? And then they go and get bitten.

The hardest thing is to control our fear.

Exactly, that's right.

Just now, when you were talking, I saw a red or orange spider.

Let me see.

I've already blown on it.

Oh, nice! See? You managed to blow the spider away.

Are we human beings also nature?

Look, I feel we are.

I think all living beings are.

I think we're all born more on nature’s side, but then over the course of our lives we maybe lose a bit of that...

Awareness.

Yes.

Oh, a beetle. By the...

It's all right.

Oh, my God!

That one’s my friend, too.

No, no, no, no.

No, no, no, stop!

There you go.

But it's not a cockroach, don't worry. No.

It was just another bug.

Taking a walk.

I had a dream once where I was in a lift and the doors opened and a forest appeared...

Really?

... with a waterfall, and lots of animals. I didn't know most of the species. I think I just made them up in my head. And then, in the distance, way in the distance, there was water and a sunset.

We dream because otherwise life would be unbearable. During the night we can digest all the day-to-day things, work on them...

And what happens?

... get creative, so that the next day we're a bit little more emptied of that weight. With more alternatives.

Yes, but when the dream is bad...

When it’s a nightmare? In a way, nightmares help you go through the fear without experiencing it completely, isn’t it? If you’re faced with something that’s very distressing, when you're awake, it's unbearable. If it's at night, it's true that nightmares can be unbearable, but even so, you have some distance…

Yes, yes, yes...

... and so you’re more able to work on it.

What is the forest like in Romania?

Cold. Damp. Not very clean. The green is a lot more intense there.

Since this is very intense, it must be a lot more there.

Yes.

I can't picture it.

Yes, yes, it's a lot more intense.

 

How do you read the sky?

I see... the way the sea breeze gradually increases every day... And... this is news from the sea. Although I can't hear it, no matter how hard I try, these are its signals.

The clouds passing overhead.

Yes.

It's these effects that create the local weather.

To feel the effects of something you can't see.

What are the things you can't see?

It’s things, for example, like thoughts, dreams and thinking. You think a lot too, don't you?

I do.

I thought so.

And I ask questions.

Can you make me a cloud?

 

You're creating almost like an anticyclone. In a small world, it could be a cloud because it's saturated with water. Which means that, with the change in temperature, while rising through the atmosphere, it could form a cloud.

Why is it that satellite images are always from above, and we're always looking from below?

Here’s the thing, the satellite can give us an image that we can never obtain. Even on an aeroplane, we don't have a wide-angle view. Only the satellite can truly tell us that the planet is blue. The borders that we talk about so much, they don't exist after all.

Which satellites are best?

To me, it's the constellations that allow us to save people.

Allow?

They allow you to raise the alarm about things that happen.

For example?

Both at sea and in wildfires.

If there’s one now, will they be able to see it or not?

The satellite will be able to see us. It will be able to hear our alert and send help to us.

Do trees know if it's going to rain?

There are animals that, by sensing changes in pressure, can anticipate the weather that’s coming.

Do you have patients whose psychological problems anticipate society's problems?

I’m not sure they do. Above all, they show that something isn't right. And what often happens is that the person in pain is hushed. They're silenced, right? You just look at the individual, as if the problem only belonged to the individual. Whereas most of the time the individual is saying that there's a bigger problem. Like in a family, right? Usually the person who gets sick, in inverted commas... Sometimes it's the person who hasn't forgotten how to feel.

Hm-hm.

What do you think of that, Naíma? What do you do when you're sad?

Sometimes I sing.

Are there spirits in this forest?

I’ve come across…

Vibes?

No. But I've come across some stuff, candles...

Hm-hm.

Food. Coins.

Weird.

Traces of rituals, ceremonies, that they do in the middle of the forest at night. Yes.

This means that there are people who... who believe there are spirits here, who are summoning them.

I suppose so.

Has anyone died here?

I don't know. There are some houses nearby. Increasingly, there are houses in areas that are...

Restricted?

Yes. There's the Pisão Social Support Centre, which is down there. It's a facility for people with issues...

Mental health issues?

Yes, and it really is a kind of house in the middle of the forest. And they don't get out much.

This idea of isolating people as a way of protecting them can have quite the opposite effect, isn’t it?

Right.

What about isolating the forest? Will it protect the forest?

Right.

Or is bringing people to the forest going to protect it more?

Usually, direct contact with things is what really allows us to protect them, isn't it?

We have seen that, in the case of wildfires, for example, in many instances they are started by humans, and they are often associated with areas that are more densely populated. On the other hand, the people who live here probably end up being... They live closer to the forest...

They’re more aware, right?

Yes.

Because the idea of building walls around things is always the most dangerous one, isn't it?

Yes, I think the way this was designed works well, it's an open space.

Hm-hm.

Fifteen years ago, we didn't have much of the infrastructure we have now, and the animals and...

Which animals do you have here?

Look, there are rabbits, which we hadn’t seen for a while, foxes... There are badgers...

What?

Badgers are smalls animal that wander in the bush. One of the ways we can see that they're out here is by mounting cameras on trees, and whenever there's movement they’re triggered.

Are there squirrels?

Actually, there was squirrel a few months ago, near this place, but then there were no more, just that one.

And in Romania?

Bears.

Bears?

Bears?

Bears. No? “Bears” is the word.

Vulpe. Fox.

Fox.

Fox!

Wolf?

Wolf.

What is “wolf”?

Wolves.

Are we animals?

No, because we have a conscience.

But we used to be, why are we no longer animals?

Because we have evolved.

Some people say we're still animals.

I don't think we are.

I would tend to say yes, we are, but...

Sometimes, at home, I’m like a monkey.

When we remind ourselves that we are, we're a little better.

Right, in a test I answered that we weren't animals.

And the teacher marked it wrong.

Yeah. That's why I got 99%.

You only got that one wrong.

Are there any hunters here?

In some places, yes. This place isn’t a hunting area, although hunting is necessary, isn't it? In some places. Here, for example, we've been introducing some animals recently, such as roe, deer.

Roe?

Yeah, it’s similar to Bambi.

And these animals, they can be quite useful in helping us manage the forest, they eat the plants, they manage to reduce the fuel load, the vegetation, as a way of preventing fires. But then there's also this part, which is maybe frowned upon by some people, but hunting is actually necessary, as a way of managing, of controlling stocking density. Yes.

Can it also be a passion here?

There's the sport aspect, right? Some people do it just for the fun of getting the trophy. And they pay a lot of money to do it. It’s allowed in some areas.

But not in the Pisão park. Or is it?

No.

Oh, good.

In theory, we won’t get shot.

Hugo, can you shoot?

I've fired a lot of guns, but fortunately it wasn't to kill anyone, or any animals. It was just for training.

Phew.

In the woods?

It was in a place where the animals no longer find the sound of guns strange, because they're used to it. In Mafra, the wild boars and all the other animals...

They're already fully adapted to the sound.

... to the noise. So they didn’t find that abnormal activity strange.

So you're in the military?

I have been, I have been.

Look, here's one.

Take that.

Nice!

Why do we feel small in the forest?

Naíma. I think we realise that things are much bigger than us, don't we?

Right.

When we feel very small in the forest, it also means that we're alone there, doesn't it? And so we take our ghosts, our fears, and put them all in the forest. Because the forest kind of represents the unknown. Most of the times, when we dream of forests, they're places that we’re not quite familiar with yet, that can hide things that scare us. For example, the sounds of the forest at night. And then we begin to try and understand what they mean.

Sometimes I'm scared.

Sometimes you're scared, right.

Of the sounds of the forest at night?

Yes. Sometimes at night, it seems... like the trees have scary faces. Because sometimes at night, when it's very quiet, we’re afraid of the things we don't know yet.

And then in daylight everything is OK.

In daylight, everything is OK.

Right. What are you afraid of?

One thing I think I'm afraid of is dying before my parents.

Huh?

Yes. I have a thing about that.

Dying before your parents?

Yes. I don't want to die before them.

I'm afraid of dying. Very afraid.

I’m afraid of dying before my time.

Yes.

Whatever that means.

I'm afraid of being murdered.

I don't feel ready.

I’m afraid of hatred. I'm afraid of hatred.

I'm afraid...

Of people who aren't afraid of the forest?

Huh, of suffering. I'm afraid of that.

What do you mean?

Not death. I'm not afraid of death.

But some people are afraid of dying.

I think all living beings, all of them, are afraid of dying. Because that's not our purpose, so we always try to...

It's instinctive.

... overcome... Our instinct is always to overcome. To try and survive. One more time.

How would you like to die?

You would be immortal.

I would like to die in peace. That's all.

Exactly.

Sole requirement.

I would like to die... when I’m...

A very old, very old, very old lady.

When it’s my time. My time to pass on.

Do you lose your fear when you get older?

I think that when you age well, you lose some of your fear.

I don't think so.

I think it depends on the fear.

I've seen young people happily risking their lives.

How?

Oh, fear in that sense.

And the elderly... they're barely breathing, but they still won't give up. Barely any nails, no teeth, and they're clinging to that light that hasn't gone out yet.

No teeth? Some old people have teeth.

Some do.

Like my grandmother.

And others have dentures, and they do just as well. They still hold on to that spark.

What do you do with these trees?

For example, these shorter ones, they’re dominated by the others that have grown more.

Like that branch?

Yes, those crooked branches.

We can cut them down so that the tree grows better. And the trees that are too thin, dominated by the others, we cut them down. And since it's not a huge amount of wood, what we usually do is...

Do you make paper?

Not from these ones. The eucalyptus trees, yes. When there are a lot of trees together, a company comes and cuts down the eucalyptus trees, and takes them to a factory. The pine trees, since usually there aren't many of them, they’re also cut down. We leave the wood, we have it match the contour line, as we say. It stays on the ground, which also serves to control erosion in these steep areas.

How much is a tree worth?

Around twenty-something euros per cubic metre, maybe.

What does it depend on?

In the case of eucalyptus... the price is lower, 11 euros. In the case of pine, it's used more for the sawmill industry, or to produce biomass, wood chips. Some years there are more fires, and less raw materials available, so their value increases. And some years it decreases. There are always trade-offs that the logger who comes here has to ensure.

 

What's this?

What's this?

I think it's a bee.

A racing. A cursă?

It’s probably motorcycles?

No, I think they're cars.

It's an invasion.

Oh! There's a bee there.

It’s gone.

 

Do you sing in the forest?

Yes.

What do you sing?

I sing my Romanian songs.

Will you teach us a song?

Yes. So, this is a song about the forest.

Ce te legeni.

Let’s just do the pronunciation.

Ce te legeni.

"Why do you sway, forest?" Codrule,in Romania, is a way we personify the forest.

Ce te legeni, codrule?

Fără ploaie, fără vânt

“No rain, no wind.”

Ce te legeni, codrule?

Ce te legeni, codrule?

Ce te legeni, codrule?

Ce te legeni, codrule?

Fără ploaie, fără vânt

Cu crengile la pământ?

Cu crengile la pământ?

 

Is the forest in Portugal growing?

The fact that there is more woodland doesn’t mean that the forest area is increasing.

Isn't a eucalyptus grove a forest?

If we go back to the concept of forest in the book, it's enough to have a space with trees with over half a hectare, with more than 75% tree cover, and we say it's a forest. But in order for it to be a forest, there has to be a little more complexity, and strata, and species.

So you're saying this isn't really a forest?

This here, I would say it is. What we did was cut down the eucalyptus trees that had been planted many years ago for timber production, and then we planted oak trees, chorleywood, Mediterranean buckthorn. And in a few years, we probably will have a forest there, because we'll have many more species. It won't grow as fast as the eucalyptus did, right? Ten or twenty years later, we looked at it and it seemed like a well-developed forest. But in terms of diversity, it wasn't developed at all.

 

Spiders.

Thin sticks, dry leaves.

A lot of “caruma”.

Caruma?

Is that what it's called?

What is it?

The pine needles.

A lot of dirt. It's not really dirt, it's...

Dry leaves, but some of these sting a little, these sting a little.

This is part is cooler.

That's a bit of bark from...

From a pine tree, it seems.

But it's true that it's cooler down there.

The caruma... helps to conserve moisture... in the soil.

Leaves that aren’t dry.

And are they good or do they sting?

Ouch!

Yeah, these sting a bit.

Take a look at this.

What's that?

I don't know.

It looks like cotton wool?

Rubbish, that’s rubbish.

Look, I've found a stone.

Are there stones?

Who has gone deeper, who…?

Would you like to be buried?

Only after I’m dead.

I've never thought about it. I think I'd rather be buried than burnt, or what do you call it?

Cremated.

Back to the earth, like this.

There’s a greater communion, right? I'd prefer that.

Buried.

I want to be cremated.

Why?

I watched a lot of films.

I wouldn't mind being buried here.

Exactly. We’re still a part of life.

The spiders would eat me.

How long would a body take to decompose here?

Larvae, caterpillars...

Twenty years?

We need a few good years, don't we?

Twenty years? Or more?

Twenty thousand years!

I think in Romania we have this tradition that you can come out of the tomb after seven years.

That's about right, five or seven.

Normally we only find bones.

I found a dead animal once.

Why?

Near one of those ritual sites. They got a chicken or...

For the ritual part.

Yes. I've also seen a cat near one of those sites. I’m not sure if...

That's wrong.

Yes.

Why isn’t it illegal?

I think it's actually illegal, it's just that there's no enforcement, there’s no way we can find these people every time they... It's like wildfires, right? It's illegal to start a fire, but people go and start fires anyway.

What about in Romania?

We have the custom of making barbecues in the forest.

Barbecues?

Barbecues.

Usually, that’s illegal here. If someone starts a fire, there could be a fine, etc.

What's it like when you see fire in the forest?

I've seen a lot of wildfires, and I've tried to put some out, or at least to keep people safe. It happened up there... It started up there, by the Yellow Stone, and... it consumed about 8 hectares. And there was another one close by, just over this road, which went almost all the way down, to Cascais. That one consumed 200 hectares.

Was that last year, or before?

It happened in the blink of an eye. There were gusts of up to 76 kilometres per hour that day. And it spread so fast...

At breakneck speed.

And when you lose control, people panic.

The heat is unbearable.

When you watch, say, your trees burn down, in some circumstances, you cut ties with the past. In places where these events are recurrent, obviously nobody is going to invest their time, their taste, their care, in something that they know is going to vanish overnight. You just don't know what year it will be, but you know it's going to vanish. So people tend not to return to the forest. Near the head of the fire, first you can see the animals go by, the birds, fleeing the fire. You see thick columns of smoke appearing. There are moments of odd panic, because of spot fires in different places. It’s a chaotic event. There’s a lot of noise, but there’s also silence. People are kind of absorbed. But there are moments of, let’s say, indescribable beauty. Flames that are hundreds of metres high.

That's not beautiful.

Embers spread throughout the land. Cities appear. Then it all ends in an absolutely funereal, black landscape.

Awful.

Where you can see the dead trees, still standing. Property lines, marks reappear. Little details that were hidden by all that vegetation.

Dead animals.

Dead animals. And that dead nature will soon change into its opposite. Because although fires usually occur in the middle of summer, when there’s no humidity, nothing, a new spring ensues. Nature restarts itself. In a few days, everything will turn green again.

Naíma, how do you think human beings turn into trees?

When they're dead, I think... And when they're buried or cremated... You put them in the ground and then...

Yes.

They grow back into trees.

And they grow again.

And when they're still alive, and they eat a seed from an orchard. And then trees grow.

 

Ce te legeni, codrule?

Ce te legeni, codrule?

Fără ploaie, fără vânt

Și frunzișul mi-l răreșt

...

Over here

Over here, please

Come

Come, please

Come forward quietly

Come forward carefully

Here

Watch out for obstacles on the ground

Continue slowly

Please, come forward

Over here

Silently please

Be careful while you walk

Keep going, please

Slowly

Keep going, please

Keep going

Wait for everyone to arrive

Don’t stay stuck to each other

Watch out for the others

Make room

Move if necessary

Make room, please

Wait for everyone to arrive

In silence, please

In silence

When you are all in the clearing, the voice asks:

From where would you like to watch?

Think about it, don’t choose right away.

You can move around. Try different things.
Make sure everyone can see.
Take care of each other.
In a few minutes, you will have to stop, but not yet.

So: from where would you like to watch?
Really ask yourself the question.
///

Perhaps you can see better from behind a bush…

Did you notice this rock, below to the right?
Does it look comfortable?

You can turn your back, if you want.
You can move further away.

Visit the sides.
As lateral as possible.

Look for a slightly outlying place, if you find one.

Or you can occupy the centre.

Watch from afar
From very far even
or from closer up

You can sit on the ground or stay standing. You can stand next to a tree or find something on which to lean.

If you’re not sure of the position you have chosen, try another one, for the last time.

Train yourself to remain like this.
The world is not immobile, but please try to remain still.
-

How are you doing?

Are you comfortable?
Have you chosen?

Taking up a position is important.
Occupying a space from which to watch is important.

A space on the edges.
It’s from the edges that one is able to contemplate.

Now that you are still,
concentrate on the details!

Look

The light here is a bright white spot

The sharp grey pierces the sky

The surface gleams
for an instant
it looks like the sea
then it disappears
then the branches
the leaves, up there

A cloud goes by.
There.
It’s already gone by.

What could possibly fall from up there

an airplane maybe
a pelican
a ray of light
a meteorite
it could rain anything

What would it be like to let yourself roll down the slope?

What would it be like to immerse yourself?

Tumble down

Anyone could cross it
Climb up there
Take a photo
Then lie down
and look up


Looking at the landscape is a secret act
The landscape is a secret place

How many landscapes have existed here before this one?
One on top of the other
superposed, lost.

Which landscape is this one?

Where does it take place?

Does it happen on the skin, in the mouth or in the eyes?

It happens in thoughts, sometimes

Sometimes you see it, sometimes you feel it. Sometimes you remember it. Sometimes you invent it

What is your landscape?
Is it a seascape or a lakescape?



There are an infinity of ways in which you can cross it


Ropes pulled taut, descending down cliffs

Bridges between shores
Moving staircases


Now that you are looking at it, don’t you think that anything could happen?
For example, that you could enter?

Do you feel that desire?
That desire to move through?
To draw near
to leave the edges
to go.

If you want, the moment is now.

Perhaps someone might come forward from the audience, and the voice will ask:

Did you see how the light changed?
Where is it coming from?
What is it illuminating?
To where is it spreading?
Where is it resting?

There are theories that say that the useless beauty of birdsong is the proof that animals also produce works of art.
But all those birds…
All those birds that don’t fall into that category.

Do you feel them?
Do you feel it?
That call? That new desire?

Where do you feel it?

Which scent makes you turn around?

If something catches hold of your gaze, are you able to remain where you are?

It’s hard to resist, isn’t it?
To stay here, to remain still when everything is calling you.

Do you feel it?

Beyond the frame.
Beyond everything.

Do you feel the desire to enter the landscapes?
All of them.
Those that are framed and those that are borderless.
This one, and all the others.

Do you feel them?

Do you feel those birds calling each other and answering?
They answer each other, they leave
They leave and never return
They fly
they don’t stop
they get tired
they resist

Not all
Some get tired
stop
fall
die
of loneliness
of a broken heart
some die

Not all
some resist
fly
keep flying

They fly
they fly
they call the others

Do you hear how they’re calling you?
How everything is calling you?

Everything is bigger than this.

Until where can you cast your gaze?

Until where do you arrive?

Can you imagine what is beyond the horizon?

Beyond the sun?

Can you see the stars during the day?

Can you try to look up, together?

If only your gaze
now
could pierce the atmosphere
just above you
your eyes would meet those of John

John McFall is the first ever parastronaut.
John is orbiting the Earth

John knows how all this began
It began in the same way it does for a lot of people:
by looking at the moon
at first, it was just a tale
then it became a desire
then desire met reality:
a body with disabilities
had never landed on the moon.

That’s when it became stubbornness.

The stubbornness of leaving
to be himself for once, the one who leaves everyone behind.
To see what no-one else can see.

When he got up there
the first thing John thought
was that he was light now.

The second was that
from space
from up there
you only see spheres.

It’s no longer the complicated shapes
of things seen from close up
those of details
of furrows
of protruding roots

Just spheres.

The sphere is the most reassuring shape
it has no claws
it has no cracks

It is smooth
You see it from afar and you know it isn’t concealing any surprises.
You embrace it with your gaze and you feel like you have conquered it completely.

The landscape of landscapes

John went far away from the centre
he reached the furthest edge
a magnificent solitude
no complications
he is floating lightly

and yet…

And yet, John feels that desire.
The desire to stop contemplating.

To drop his gaze towards Earth, towards you.
To rediscover the landscape of sharpened details.
To feel the weight of flesh.

Of the blonde girl with half-closed eyes.


Of the man near the tree trunk: he is scratching his leg.

Of the hand grazing a neck

Of that young couple lying on top of each other, who love one another
and John thinks back to the person who told him one day that when two people
love each other a lot, they start resembling each other.

Would you give up on the moon to meet each other?
Would you change the direction of your gaze to meet someone else’s eyes?

-

You know, don’t you, that you’re about to leave?

There is always a person who stays and becomes a pivot, and on the other hand, a person who leaves

Is ours a duel or a duo?
What is the relationship between leaving and staying?
What distance can we put between us before loneliness arrives?
The loneliness of the person who stayed
And the loneliness of the person who decided to leave

The person who is a pivot knows how to stay
They have been learning it forever
The person who is a pivot can even become a mountain
A rock so big you can see it from far, very far away

Here, time goes by
Thoughts become pictures
Desire pulses.

Over there, stretches of grass
escalations
tropical forests

Soon, someone will leave, will go back to exploring
Someone else, however, will stay.

 

Hello, my name is Inês, and actually, I am from here, more specifically from Sintra, and it is a pleasure to finally be able to work without having to face the road IC19, wonderful really.

 

I don’t really like Brussel sprouts and to being constantly asked about what happened. What happened to you?

I like cinema and having unexpected conversations with interesting people.

 

This place is curios to me because I have a memory of a before and a present.

I would say that there are two spaces here.

It is the same place, but it is a different place, inhabited by two different people.

 

If you're wondering how I got here, let me introduce you to the QUADRIX.

 

(If there is anyone with a disability in the audience) Me and this lucky spectator, like myself, have the privilege of using this wonderful Quadrix. I use the word “lucky” because there are only two on this Quinta, so if anyone has a friend with a disability who wants to come see the show, we are sorry.

 

Actually, I even went online to see if I could buy one for myself, but they cost between fourteen and twenty-five thousand euros and as the state considers it an unnecessary privilege for me to be able to come here to be with you on this picnic... It won't be possible.

 

Oh, and of course, Catarina. Thank you, Catarina. Caty brought cakes and tea for everyone. I really like Caty, I've known her for ten years and I like having this picnic with her. She likes nature, but she doesn't really like people.

 

I know you're going to have to leave now, because you have other things to see, but I'd like you to stay with me, we could have an unexpected conversation and maybe you'll be interesting. I have biscuits and tea, if you want to stay, I'll be here.

...

Part 1 - Interview with Faustine Bas-Defossez, director for Nature, Health and Environment in the European Environmental Bureau

 

Faustine: For sure it’s not Oxford British english that we are… that we are speaking here. It’s a sort of a… yeah EU, mix of languages… But in meetings, in the institutions, you have interpreters. So you have people who are there translating live, and I must say they do a marvellous job.

Faustine: So, my title is director for Nature, Health and Environment – as you can imagine that means quite a lot... – in the European Environmental Bureau, the EEB, so it’s the largest federation of environmental NGOs.

Faustine: We have around 180 members in the EU, but also in er… Europe in geographical terms. We also have members now outside of the EU, because what we do here in the EU of course has impact on the world, outside of the “bubble”, as we call it.

Faustine: And… what we do? We try to influence as much as possible the pieces of legislation that are adopted in Brussels, because, people don’t necessarily know that, but most of the EU environmental legislation comes from Brussels.

Faustine: So I oversee our work on things like air quality, on things like water, water pollution, water quantity as well, now with the droughts and with the climate change this is quite a high topic, very important for all of us, of course, and for our kids. I cover things like biodiversity as well, so the Birds and Habitats Directive.

Faustine: I’m also of course working on the big beast, as I call it, the Common Agricultural Policy,

Faustine: which is the big beast because it represents more than 30 per cent of the EU budget; so it’s not nothing, it’s more than 55 billions of euros spent annually on this policy,

Faustine: And it’s a beast also because it’s always being reformed every seven year there is a reform, but it takes more or less, 3 to 4 years for the reform to be adopted, so it’s always under reform, so it’s, you know, an endless cycle,

Faustine: And the problem of this policy is that even though it’s a lot of money, what has been adopted like last year is not helping farmers to transit to more sustainable practices. It is maintaining business as usual and status quo.

Faustine: It is maintaining business as usual, why? Mostly because of direct payments which are based on hectares, and it’s purely math – mathematic – the bigger you are, the larger you are, the more you get money, regardless of what you do on your land.

Faustine: Of course I have a lot of frustration, because when I see the Common Agricultural Policy… I mean, have come through two reforms, and it’s almost as if the second one was worse than the previous one!

Faustine: So we take an example which is very telling in the case of agriculture: pesticides reduction.

Faustine: I mean, we all know pesticides, chemical pesticides are bad. I mean, there is lots of evidence out there, they are bad for soil, for biodiversity, for pollinators, but also for us, and for the farmers themselves.

Faustine: I mean, we have that money from the Common Agricultural Policy which is there, which can help farmers to shift from the use of chemical pesticides to alternatives, organic or biocontrol.

Faustine: So there is that proposal from the European Commission to cut by half pesticides used in the EU by 2030.

Faustine: Of course, you know, some people in the Parliament and in the Council representing certain interests were already not so much in favor of that.

Faustine: but with the war in Ukraine now they’re saying that the Commission is crazy … to come up with such a proposal at the time of the war, to threaten food security …, but if you look at science, what is threatening food security is the way we farm today, and they are using the drama that is happening in Ukraine, and instrumentalizing that, for their own interest, and to freeze everything which is urgently needed

Faustine: And we see that – we actually, when I say “we”, NGOS and civil societies and progressives in the Parliament, we are losing, we are losing. 

Faustine: So we are defending that… that… that law; we’re also…there is also another one that is ongoing which is the nature restoration law. This law was approved a few days ago and Portugal voted in favor. So it has targets to restore nature because, I mean, we have two huge crises now in the world, it’s climate change of course, but biodiversity collapse. Scientists talk about the sixth mass extinction, it’s dramatic. And of course, it’s also...

Interpreter: The sixth mass?

Faustine: The sixth mass extinction, yes. Basically, after the dinosaurs! It is as bad as that. And people don’t really see it, because of course with climate change, you know, the floods and…, you start seeing it, but with biodiversity it’s a bit more difficult. Even though farmers, it’s interesting, because they’re big unions, you know they speak on behalf of all farmers, but they don’t represent all farmers, you know, the big unions I mean KCAP, all this words, and COPA COGECA here. But if you talk to them separately, I’ve been in events, in CNA or…, and they say “of course we see the problem, of course you know we don’t have larks in our farms anymore, we don’t hear the birds anymore”. Like 20 years, 30 years ago, they would hear the birds, now it’s silent.
 

Part 2 -  Interview farmer

 

Teresa: Hello Edgar, how are you?

Edgar: I'm fine. I'll go this way.

Teresa: Did you bring the red tractor?

Edgar: Yes, we have two here, and I brought the newer one, it's more comfortable, easier to drive. The other one is twenty years old, it's difficult to shift gears, it's very stiff. With this one, I have a nice air-conditioned cab...

Teresa: What make is it?

Edgar: It's a Case tractor that we bought four years ago. It does the same things as the old one, but it's much easier to drive, it's easier to shift gears, it has a noise-proof cab, and it's air-conditioned, which makes all the difference! And it has a passenger seat, so I can go with a colleague who helps me hitch up the machines back there: the mower, the rake, the baler, everything you need. And this tractor can fit that gadget...

Teresa: Can I get on?

Edgar: Yes, come on. Check out how comfortable the passenger seat is.

Teresa: Oh yes, it's quite nice. There's loads of electronic stuff. What's that handle for?

Edgar: To move forwards and backwards.

Teresa: What about this, what’s this button, for? Are these the headlights?

Edgar: For example, this one is the firefly...

Teresa: Oh, okay... What is the firefly?

Edgar: The firefly is that orange light...

Teresa: The one on the roof?

Edgar: Look over there, next to you...

Teresa: Oh, that's right...

Edgar: Usually when the tractor is in operation we have to turn this on...

Teresa: Oh, it's like the emergency light, the police siren.

Edgar: Exactly.

Teresa: What about the others? Is this the indicator?

Edgar: Yes. You've got everything, the right one, the left one... The horn.

Teresa: And you have hazard lights? If you're stationary?

Edgar: Yes, we have everything. Take a look.

Teresa: What about headlights?

Edgar: Yeah... You've got headlights. I think there are high and low beams too... I've never actually driven the tractor at night.

Teresa: And what's this gadget you mentioned?

Edgar: It’s the kind of gadget you plug into the cigarette lighter, the radio, you connect the Bluetooth and you can listen to whatever music you want.

Teresa: Did you get training to do this job, to learn how to drive the tractor?

Edgar: Learning here works more on a day-to-day basis, you make mistakes and that’s the way it is, I made a mistake today, I'll do better tomorrow. We have compulsory training, for example for working with machinery, with chainsaws, and I got my licence to drive the tractor.

Teresa: And tell us about your work. What's your daily routine like? What do you do in the morning? 

Edgar: There's not much of a routine. Basically, the ranger's job is to look after the animals. The first thing is looking after the animals. Feeding them, making sure they're all right, that there's water in the troughs, that the electric fences are working, that there's water in the tank for the troughs. Next, it’s looking after the farm. We're in the straw baling season now. We cut the grass, left it to dry, then gathered it in rows... and then we use the machine and we get the bales. But we're a team, and each ranger is doing a different job.

Teresa: And which animals are present in the park? Are they used for milk, for meat? What kind of farming model are they on?

Edgar: We have ten horses, plus a few wild horses, we have six cows, but that’s in another part of the natural park. We have goats, about 200 sheep... All these animals help prevent fires, control the undergrowth and fertilise the soil.

Teresa: Oh, you must have fires here...

Edgar: Yes, there have been a few... And the donkeys are used for activities with children and therapy.

Teresa: How many donkeys are there?

Edgar: About 30... And a month ago, in May, the sheep were sheared and we’re going to take that wool to Beja to a cooperative, and we exchange it for money, but we barely make any money. It's more about the animals’ welfare.

Teresa: And what is the farm's economic model? You sell the wool, but do you also sell meat?

Edgar: Yes, we sell the lambs... And we've won some awards at a European level, and that brings us some subsidies. We have nature conservation projects, hence the wild horses, cows and donkeys. Donkeys are an endangered species, and so we get aid from the state, from the Ministry of Agriculture.

Teresa: So Europe and the state pay for the donkeys?

Edgar:  Yes, and the state pays the ranger.

Teresa: When did you drive a tractor, a machine like this one, for the first time?

Edgar: At 39, two years ago.

Teresa: Oh yeah? I thought your parents were farmers?

Edgar: No, my father worked at Nokia, at a TV and video factory, that sort of thing. My mum was a nanny, a childminder. She looked after children. My grandfather kept goats, sheep and cows. And when I was five, I used to come with him to Quinta do Pisão, to graze them. Teresa: You used to come here with your grandfather, with the goats?

Edgar: Yes, yes. We’d bring the dog, and we'd each take a staff and a bread bag, a piece of bread with crackling and an orange. We'd spend all morning and some of the afternoon. It was more during the summer holidays.

Teresa: And what happened between those two moments?

Edgar:  Why did I come to work here?

Teresa: Yes.

Edgar: I worked at the airport for ten years and I worked right next to the aeroplanes. I managed the aeroplanes’ loads. Intellectually, it was very stimulating, I earned three times as much, but I had crazy hours, it was very noisy… I didn't see my friends, I didn't see my family. The first two years of my son’s life… I hardly saw him. Have you seen this place? The office is amazing.

Teresa: From time to time there's a lot of noise here, because of the Formula One circuit...

Edgar: Yes. When there's practice at the race track, when there are practice sessions, it's... Zion turns into Babylon.

Teresa: And have there been any acts of vandalism or gruesome stuff? How far can Babylon go?

Edgar: Yes, we've had some strange things... Once I showed up for work early in the morning and found dozens of dead sheep.

Teresa: Dozens? That's awful. And where did you find them dead? Here?

Edgar: Right here, under our feet.

Teresa: What about your son, does he prefer Nokia or donkeys?

Edgar: Both, I'd say.

Teresa: And which animal do you prefer?

Edgar:  Donkeys.

Teresa: Donkeys. Why is that?

Edgar: Donkeys have a very strong personality. They're not dumb at all. There’s a wild side to them, but they're also really docile. Most of them.

Teresa: Do your donkeys have names?

Edgar: Yes, they all have names. Each year has a letter. For example, this year, 2024, it's the letter U. So all those who were born are... There’s Uva, Único, Ulisses…

Teresa: Urtiga?

Edgar: Actually, there is a Urtiga, but she's very old. In fact, she might already be dead, I’m not sure. And then there's Upsy, Urano. Urano is mine, because I was the first human being he saw.

 

Part 3 - Interview with Fanny Ribak, bioacoustician

Fanny: That’s the fly.

Emilie: The what?

Fanny: The drosophila fly. I did my thesis on the drosophila actually – on the sound signals of the drosophila. Do you know what a drosophila is?

Emilie: No.

Fanny: You often see them around ripe fruit.

Emilie: Oh right, yeah.

Fanny: Overripe fruit in kitchen fruit baskets. They love overripe bananas actually. They eat the yeasts that develop on overripe fruit.

Emilie: What do you hear in this extract?

Fanny: So, if you pay attention, there are at least four different types of signals. First you hear “oooouuuuuuouuuuu”: that’s the sinusoidal song, which is at a frequency of about 155-160 hertz. Then you hear “frrrrrrrt” – something like that – that’s the pulse song. Both are produced by the male. And sometimes you hear “vvvvt!”, like that: that’s the female. And at the end you hear something quite different: “ouurruuouuggg”, like that. And what’s happening here, is that these are actually the songs produced during mating.

Emilie: So we just heard flies mating.

Fanny: Yep, we did.

Emilie: Can you tell me about your profession, your practice?

Fanny: Of course. I’m a teacher-researcher in ethology. And my research activity is bioacoustics. That means I study sound-based communication in animals, to understand what animals are saying to each other when they’re exchanging sounds, and how they’re saying it – meaning I research systems of information coding and decoding: what is the nature of that information, and how is this information decoded by the recipient individuals?

Emilie: And what exactly is ethology?

Fanny: Ethology is the scientific study of animal behaviour.

Emilie: And do you also lead outdoor research into other species?

Fanny: Yeah so I worked on the drosophila during my thesis – my thesis was a while ago – and after my thesis I started working on birds, and birdsong, and songbirds in particular. So that’s part of the models that I study in the field. To take common birds, um… I worked on skylark song, and also robin song.

Emilie: So how does that work? Where did you go? How did you… what are the protocols?

Fanny: Skylark song is extremely diversified; it’s made up of tons of sound units. And since we already knew how the skylark was saying “I am a skylark”, we were looking for other types of information. Analysing the songs helped us to realise that between the birds of a same locality, who were neighbours – all these neighbours were producing syllables in their songs that were the same, and they were producing them in a certain order. And then if we recorded birds from another locality, locality B, they also shared syllable sequences – sound units in a certain order – but which were different from those of locality A.

Emilie: You mean that a group of skylarks from a certain field and a group of skylarks from another field don’t speak exactly the same language?

Fanny: Exactly. They don’t speak the same – well, actually they do – they speak skylark. But that’s precisely the definition of a dialect. Meaning there is a dialect – which we define as micro-geographic, because it’s really only a few kilometres away, right, it’s not very far.

Emilie: Are there any translator skylarks, who move from one to the other?

Fanny:  Not to my knowledge, no.

Emilie: Can we hear some skylarks?

Fanny:  So... Skylark... There. Here we go, a little extract of skylark song.

Emilie: Can you tell us what you’re hearing?

Fanny: So, whatever I’m hearing, you have to know that I’m seeing it too. Because I’m watching an oscillogram and a spectrogram of this song at the same time. So what I’m seeing and hearing is that the sound units that are being produced are very diverse. You see, each individual skylark produces on average 300 to 350 different syllables. In its repertoire, the number of different sound elements that are being produced is 350. This is huge when you compare it to another pretty common bird – not from the same area, this one is a forest dweller – the common chiffchaff’s repertoire is between 2 and 5.

Emilie: Oh, right.

Fanny: So skylark song really has a lot. It’s super diverse. We hear… it sounds like “goulouloulouou”. It sounds like it’s never the same. But when we look at it on the oscillogram, we see there are things that repeat and that we can analyse, that we can quantify. Which is what was done: 350 different syllables. I’m not sure I can identify them with my ear. But what we demonstrated is that the birds are able to identify them.

Emilie: Do you call it a language?

Fanny: Yes, you can call it a language, I don’t find that shocking at all.

And to add to that, there’s something I wanted to say actually, because if you’re interested in landscape, well landscapes are full of noises created by humans, which have an impact on the lives of animals, and on the exchanges between animals through acoustic signals, and that’s been demonstrated for all kinds of species. It impacts the sound signals of birds: the birds change their sound signals to overcome the noise, either they modify the frequency of their song, or they shout, actually, they sing louder.

Fanny: And it’s been demonstrated in insects too, and in aquatic environments, in marine mammals, who are terribly affected by our noise.

There are also animals who produce sounds in freshwater aquatic environments: little insects which spend all or part of their life cycle in freshwater and that produce sounds. And it’s been demonstrated (that was another thesis that I supervised) that these insects – like little aquatic stinkbugs that produce stridulations, “kss-kss”, like that – are affected by noises in the water of anthropic origin. For example, in the experiment we conducted, the bugs would delay producing their own signals, because of noise.

Emilie: “Anthropic” means produced by humans?

Fanny: Yeah, of anthropic origin, for which humans are responsible.

And that’s one example among others. Some noises become potential masks, because they’re on the same frequency. And this was a very basic occurrence: it was the noise of a pump, which was installed to pump water from a very pretty pond to water a golf course nearby. And although the pump was gone, the motor was left, and it would go off regularly. And you can record that: you put a hydrophone in the water, and when there’s no noise you can hear the insect stridulations, and when there’s noise, you can hear the noise very very clearly. So our noises are everywhere actually.

Edgar: And maybe one last question, what does “listening” mean for you.

Fanny: It’s a lot of things… It reinforces… the way in which I pay attention. Why listen? Listen to try to understand what they’re saying to each other, how they’re saying it. Meaning trying to enter into their world. I want to come back to that thing about paying attention because actually understanding what they’re saying to each other, how they’re saying it, that allows me to heighten my attention, to heighten my consideration towards all these universes. Because I know how it works. And a simple thing, before knowing how it works, I know who is there.