Categories
Issue 17

The trees are dead! Long live the forest!

What does one do about dead trees? The question has been pondered time and again. But before we get into that, it’s important to understand tree death in general. How do trees die? Let us count the ways. Often, a tree dies in situ, standing where it is. Sometimes, its roots weakened by soil erosion, it is felled in a storm. And sometimes, disease takes away a tree, hollowing out its core. A wounded tree falls prey to parasites. Fungus and bacteria, along with insects and worms, eat away the soft living tissue. Fires may singe and scar the bark. Rising water levels often flood tree roots, choking them. Nesting birds like cormorants paint them with copious quantities of caustic guano from their droppings, killing the trees in due course. In the forest, an opportunistic usurper may strangle it. Animals like elephants turn to tree bark when food is scarce, and excessive raids may tear the tree to shreds. Humans may murder it and saw away the wood, leaving nothing but a hole in the ground. 

As we can see, when trees die, they don’t go to heaven. Death itself is a long-drawn-out process, often lasting years. After a lifetime of service, a dead tree is pressed into retirement, but the work doesn’t stop even after death. When left alone in the wilderness and not cleared up by foresters, dead trees serve a vital function. 

Pause to consider the irony of that sentence. 

An Oriental Honey-Buzzard (L) and a Shikra scan their surroundings for prey in a tangle of dead trees.
Image credits : Bijoy Venugopal

Life feeds on life. But life thrives on death, too. 

So, what good is a dead tree? Is it a threat to living trees? Is it an eyesore? Should it be removed?

I am part of an enthusiastic community of nature-lovers in eastern Bangalore. Most of us are fascinated by birds and wildlife. Some of us fancy trees. Others spiders and bees. When we are not sharing nuggets on our Signal group, we are hanging out singly, in pairs, or in small and large flocks at our neighbourhood wetlands. One lockdown brought us all together; now we’re enduring another cooped up at home and aching to return to our urban wilderness. 

A few months ago, we began an intense discussion on the utility of dead trees at Saul Kere, one of the lakes that we frequent. Besides offering a variety of wetland habitats that harbour over 150 species of birds, Saul Kere also has a woodland on its eastern flank, so dense that it can without much ado be called a secondary forest.

Working its robust bill like a drill, a White-cheeked Barbet excavates a nest hole in a dead tree trunk. 
Image credits: Saravana S

Bordering this woodland, where the grounds of the lake share a wall with the campus of a well-known information technology company, is a copse of dead trees. How they died one really does not remember, but the sight of them standing there like oversized deer antlers, bare of leaf, their trunks picked clean of bark and cambium, evoked mixed reactions. 

Some people wanted them to be removed. Others – particularly the photographers – thought they made aesthetic backdrops for their pictures. A few pondered if they would fetch any money if they were sold. Most wondered why we were making such a big fuss over a few dead trees. Live and let live; live and let die. 

For many of us, dead trees are just wood. We use the term deadwood metaphorically to describe things or people that no longer have any utility. I learned that foresters have a word for dead trees, too. They call them snags. Not a pretty word, it suggests that dead trees are obstructions to some sort of imagined progress. The truth is that forests and woodlands without dead trees would not be as full of life. In fact, without dead trees, a forest would slowly and surely lose its pluralistic character and die.

How much life can a dead tree support? Often as much, or more, than a living one.

German forester Peter Wohlleben, known for propounding fascinating but controversial ideas about trees talking to each other through a ‘wood-wide web’ in his book The Hidden Life Of Trees, draws attention to the vast underground fungal networks that intertwine among the root systems of trees in a forest. Scientists know these subterranean systems as mycorrhizal networks. The root-tips of living trees have fine, hair-like strands, which are linked by tiny fungal filaments. Trees in a forest, Wohlleben says, share information, water and nutrients through these networks. Fungi thrive on sugar and the trees produce a lot of it through photosynthesis. For the services rendered by the fungi, the living trees pay a tax: up to 30% of the sugar they produce goes to the fungi. A dead tree is prime loot.

Wood-ear mushrooms colonise the bark of a dead tree. 
Image credits: Bijoy Venugopal

Fungi are first to know when a tree dies. There’s no mourning, no wake. Instead, it’s a party. A feast.

As fungi and bacteria get to work digesting and decomposing the tissue, insects colonise the fallen wood, attracting insectivorous mammals, birds and reptiles. Beetles, which relish tree tissues even while they are alive, lay eggs that hatch and live within the innards as grubs, which are a great source of food for questing woodpeckers. The hollow innards of a dead tree are highly prized real estate. Hole-nesting birds stake their claim, but they are careful to let the heavy lifters make the first move.

This pair of Rose-ringed Parakeets have occupied a nest hole vacated by a barbet
Image Credits: Saravana S

Woodpeckers and barbets are the builders of the woodland. They have a knack for seeking out the ideal nesting sites. Woodpeckers are often seen clambering up and down the length of a branch, probing intently for chinks in the tree’s armour. Tapping and drumming against the bark, they listen for the sound the wood makes. A hollow echo may be the cavity made by a burrowing beetle larva. The bird’s probing bill morphs into a power tool. In goes the drill, boring through the bark to get at the morsel. In due course, some of these excavations result in permanent hollows, offering an access point for moisture and fungal growth. The tree may fight back, but repeated attacks leave it vulnerable. On live trees, wounds may heal and scar over time, but in dead trees, they present opportunities to be exploited.

A male Oriental Magpie-Robin explores a nest-hole in a dead tree
Image Credits: Bijoy Venugopal

At Saul Kere, Black-rumped Flamebacks and White-naped Woodpeckers have been observed on occasion, but it is the White-cheeked Barbets and their smaller cousins, the Coppersmith Barbets, that are the most prolific builders. Over time, the holes they make in the deadwood are taken over by Rose-ringed Parakeets, Oriental Magpie-Robins, Common Mynas and Jungle Mynas. Dead coconut palms, beheaded by lightning strikes or disease, offer attractive short-term co-living accommodations. The hollowed-out core of the palm allows for multiple apartments with separate entrances and often, shared common areas. Privacy may be a concern, but good behaviour and tolerance are essential for coexistence. We have observed parakeets and barbets coexisting quite harmoniously with large families of Spotted Owlets.

Rose-ringed Parakeet on a dead tree, tidying up a claimed nest hole.
Image credits: Saravana S

Hoopoes, White-throated kingfishers, Spotted Doves and Green Bee-eaters favour the bare branches as perches. Sometimes, the odd Shikra or Oriental Honey-Buzzard can be seen in the woodland, scanning the surroundings while perched atop a dead tree stump. 

Eventually, completely eviscerated and eaten out hollow by termites and other insects, the trees collapse. The space they vacate in the woodland is occupied over time by shrubs and grasses, even other saplings. The remnants nourish the soil, creating fertile beds for wind-blown seeds to plunge roots. From death, the forest springs to life.

In late March, before the second wave of the pandemic drove us indoors, I stood in the woodland at Saul Kere, watching a pair of parakeets engaged in studious home inspection. They had picked out the used nest of a White-cheeked Barbet, which had raised a brood recently. Patiently, and with great diligence, they scoured out the hole and took out the previous occupants’ garbage. This went on for hours, even days, and eventually the pair moved in to raise their own brood.

Green Bee-eaters favour open perches on dead trees as they offer little obstruction while making sallying flights to capture insect prey
Image Credits: Bijoy Venugopal

As I watched them, ignoring the squabbling Jungle Mynas behind me, a party of green bee-eaters sailed through the air like oversize butterflies and alighted on the deadest, barest bough, trilling the very words that were music to my ears: Tree-tree-tree-tree

Feature image credits: Saravana S

This article first appeared in the Green Ogre India and has been republished with their permission. You can see more of their work here.

Categories
Issue 16

In the year of the crypto-creators raking it in, what about the energy bill?

Photo by Old Money on Unsplash

More than a decade had passed since American writer Blake Butler tried to sell his novel. Ironically titled Decade.

In February 2021, he sold it as an NFT for 5 ETH (short for cryptocurrency Ethereum). At the time, 5 ETH was worth approximately $7,570 (INR 5.5 lakh). It was more money than what his previous books, published the traditional way, had made together. Value is up since. This one in GIF mode is downloadable to read as a PDF. 

In an interview with Literary Hub, Butler says of NFT, “It feels like a moment for reinvention, where the field is as wide open as you could want,” But before getting to what it means for the environment let’s see, what in internet heaven is an NFT? Here is a hypothetical story to explain this.

Give me those cards,” says the teacher while snatching the action superhero cards from the students in the classroom. She then locks up the cards (not the kids)It’s not fair,” one student cribs to the other. “I wish nobody stole our own cards from us,” says another, ready to howl.

In 2021, digital versions of these cards or books can be kept as Non-Fungible-Tokens or NFTs. These are unique digital files you cannot touch or put in your bag but just see on a screen. So, no teacher can take away a superhero action card, if it is in the form of an NFT. But how does someone own one?

One student feels that the other student has a card they want. They exchange cards. Many others follow suit. Now, to avoid confusion, everyone writes down who owns which cards in each of their notebooks. They keep updating their notebooks real-time. This notebook is a ledger. 

When a student tries to cheat by showing more cards in their notebook than they actually have, it simply does not match with the other notebooks. So no cheating. But what if a student without any cards wants to get their first one?“Those who update the notebooks will get yellow coins,” a smart chap puts an idea forward, “people can use these coins to buy the superhero action cards.” 

Those writing on notebooks may find it boring to maintain, but cryptocurrency is the reward for those who maintain a ledger. You get it? This is not just child’s play, but an internet model for buying and selling things, in a virtual marketplace worth millions. A collection of such notebooks, action hero cards and children, online is like a blockchain network in operation. 

Every computer is constantly creating copies and maintaining such ledgers in a decentralised way. While regarded as low on error, this system is heavy on energy use. Harvard Business Review says, “Bitcoin (the most common cryptocurrency) currently consumes around 110 Terawatt Hours per year — 0.55% of global electricity production, or roughly equivalent to the annual energy draw of small countries like Malaysia or Sweden.” Yet, people are increasingly using it

Writers like Indian self-help author Arun Batish, published EKA, as a paperback in 2019. It is available as an NFT too. In 2020, N.E Carlisle published a young adult book, Mermaid Eclipse. In the same year, she announced it as the first NFT Novel in collaboration with cyber artist, Lori Hammond.  They have launched this magic tale as an NFT with the book’s manuscript and a signed copy of the original artwork. An Indian and a global example, but you get the drift? NFT is helping writers.

Continuing with the student analogy, what happens next? One student puts forth a demand, “Everyone has to write this condition in their notebooks, I will pay for this action card only if it allows me to win the card competition tomorrow.” The seller can choose to sell the card if the other party agrees to this condition. The buyer too knows the terms. A condition like this is called a smart contract.

RVRS, one instance of a cryptocurrency, is using such a smart contract. When someone is buying or selling using this token, they are asking its users to agree on a condition. Which in their case is, “we will be using a tenth of your transaction amount to remove carbon dioxide from the atmosphere.” RVRS says they support tree planting projects around the globe.“Does anybody need a shovel?”, asks a volunteer, in their PR tree-planting drive video

As the first year of a new decade wind down, NFT sales and creativity for its collaborators will define the upcoming decade. But so will the uncryptic truth that Terms and Conditions are the only major superhero action card the industry has authored, in exchange for its carbon footprint. So far.

Cefil is a student of Mathematics and Environmental Studies at Ashoka University. 

We publish all articles under a Creative Commons Attribution-NoDerivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis). 

Categories
Issue 16

India’s Climate tales: Graphic [novel] approach can give a fuller picture

Picking up a book lying on the table, you flip through absentmindedly. Stopping at the tenth page. Sketch and picture, cover to cover. Is this a kids comic, you wonder? Stories usually told through words, now spill in action sequences which don’t seem very kiddo-friendly in use of words or color? More panels like the still photography of a movie follow. Image dominates. Less wordy. But distinct from newspaper comic strips read by adults, where the action goes from start to finish in one go.

This complete narrative – the adult graphic novel, which as a lovechild of cinema and literature is hoping to go from it’s alternative status in the 20th century, to the mainstream, in India of the 21st. Orijit Sen’s The River of Stories published in 1994 was India’s first to step away from the devotional, the mythical and the historical hero and slam dunk straight into environmental politics of the then present, the controversial construction of the Sardar Sarovar Dam on the Narmada river. Twenty six years later in 2021, Sen is the editor-in-chief of Comixense, a quarterly magazine, which at Rs 1600 for a two year subscription is specifically aimed at twelve to seventeen year olds. In an interview with The Hindu, Comixense contributors shared recently how the stories hope to break a biased narrative children have of certain communities and show the issues people are fighting for, by telling relatable humane tales.

Framing Climate Change ‘Panels’

Climate change is often a toughie to wrap one’s head around, not only because it is vast, but also because it happens over time. Often the connection between causes and effects of climate change do not register clearly either, as we go about our daily life. Can its effect be understood then in an instant?

Yes, panels in graphic novels are able to compress time and space in cinematic flashback and forward. In The River of Stories, Sen used the panels to juxtapose the voice and thought of the displaced. While over the rest of the page, a canvas unfolded, showing the dense forests, by the Narmada. He didn’t have to then state their role in the ecosystem. It became visually obvious by connecting the distant with the near.

Like good cinema it can also make the invisible visible. Clever page design often in fact makes some connections graspable. Like Figure 2 here, from the 2015 comic, The Fragile Framework: Can Nations Unite to Save Earth’s climate?

What helps most though is positioning people as part of the story. Through the experience of the protagonist, the reader can be more willing to explore unfamiliar situations. A 2017 study conducted at US’ Pepperdine University, in fact confirms that when a graphic novel is used as teaching material, it advances visual literacy and deepens student engagement. A reader gets to actively participate in the story, while the blend of image and text, breaks the continuous monotony of either. Quite like the underdog in movies cinegoers identify with, but here there is time to stop and reflect, go back and forth and then perhaps root for.

For instance, the second issue of Comixense has a graphic adaptation of the title story from the award winning short story collection by Hansda Sowvendra Shekhar, The Adivasi Will Not Dance. Set in one of the nine districts where coal is mined in Jharkhand, it takes you into the racha, the inner courtyard of a Santhal adivasi home. It tells you the story of the conflict between the adivasi and development as the governments see it, from a Santhali point of view. The adivasi gets a face one can see and a context unfolds like a tale. Not dry facts and figures in otherwise well meaning school textbooks.

Colouring in the gaps

While the impact of both sequential visual art and graphic novels dealing with climate change on readers is quite an understudied area, a 2017 study by Sweden’s Lund University did explore the issues with perception. With creators and readers, through in-depth interviews of authors and focus groups with two groups of fifteen students each.

Results showed that graphic novels helped become a relatable conversation opener to discuss problem areas. While some used to reading text did not pay attention to the images, some others looked only at the visuals, with only a few doing both, for perhaps more complete meaning making. The participants also expressed the importance of integrating art with science to better visualise the aftermath of climate change and natural disasters. Communications thinker McLuhan back in 1964, associated comics with games and with the social in the human. Later thinkers saw its potential for instruction and entertainment. While comics are often derided historically for not being serious, several experiments continue regardless. 

The Economist in 2018 attempted a graphic novel approach on Instagram to make the work of data journalists understandable through Data Detectives. Comics Uniting Nations routinely partners with UNICEF to help the young connect with Sustainable Development Goals, goal by goal. NASA in September 2021 came out with a fictional interactive graphic novel to showcase the story of the first woman on the moon. At the ongoing CoP26, 5×15 brings together authors, activists, entrepreneurs, slam poets, graphic storytellers and a singer who has been concerned about the environment since she was 3! The aim, an art and science combo event. Creating a buffet of skilled storytelling to provoke thought, stir the imagination and take the climate change conversation forward. 

With cli-fi getting as young as climate activism around the world and with screens dominating India, Comixense and the visual world seem in timely cahoots. Whether young or adult in India, climate change can be as graphic as they come.

Devanshi Daga is a fourth year undergraduate student at Ashoka University. She has completed her major in Psychology and is currently pursuing her minor in Sociology and Media Studies.

We publish all articles under a Creative Commons Attribution-Noderivatives license. This means any news organisation, blog, website, newspaper or newsletter can republish our pieces for free, provided they attribute the original source (OpenAxis).