A chance to hear Bill McKibben of 350.org popped up. No one wanted to sit in the front row, but I DID! To think, if only oil companies and governments had invested in renewable energy 25 years ago…He quoted scientists from a couple years ago saying, “Our oceans will be hot, sour, and breathless,” in regards to the rate we are pumping carbon into the sea. We’re already at 403ppm. We have no time to waste.
BUT, in the shadow of that gravity, it was completely motivating and inspiring, the way he delivers his vital message. Seeing all the powerful images of people in places like Haiti, the Maldives, the Marshall Islands, China, and India using mass scale public art and other creative ways to stake their claim to “350” parts per million as our limit to carbon emissions against the backdrop of the stern reality was moving. I have cried the biggest shame about the US (the government, not the people) pulling out of the Paris Agreement. It’s a crime against the planet – humanity and all life.
And still, I didn’t walk out feeling depressed, as I easily could. Bill called upon people to get their solar panels up, divest of fossil fuels, and get arrested if you’re retired! Don’t leave it all to the next generations. We have to keep fighting the pipelines and violence against Earth and each other. He’s a true hero and leader. And he offered to connect me with some renewable people for the coral cause. With corals being so temperature sensitive and slow to adapt, I feel the heat.
Before I arrived in Mexico late December 2014, I was already anticipating COP21. I had marched with the Climate March in New York in September, and am in the wave of humanity doing something to address and reduce our carbon crisis.
My initial aim was to work with interactive technologists to projection mapZOE, our Living Sea Sculpture in Cancun, onto a unique building in Paris during this important Climate Change event. With a live-streaming webcam from View Into the Blue, not only would people online be able to tilt, pan, and zoom to observe and interact with our underwater project, we would interpret the visuals and the data, incorporate animation and effects, bringing this DNA-inspired coral reef ecosystem into the conference to reflect our dynamic ocean-human interface in dire need of attention and direct action.
When the Monterey Bay Aquarium invited me to be part of their Art and Climate Change campaign leading up to the conference, I was thinking it would be great if our plans to install ZOE in the sea the week of December 7th-11th would go through, synchronizing our coral regeneration work here with the mass global intention rippling across the planet. Working with Karla Munguia, a documentary filmmaker with years on Animal Planet, gave us some comraderie around conservation as we made this short video.
Corals here in Mexico have been feeling the heat this year. Bleaching is happening all through the region. I had a good talk with one of my collaborators at INAPESCA about what they are discovering recently. With so many variables, including an intense influx of sargassum seaweed since May, the usual onslaught of improperly treated sewage, and other contaminants from development, and the added heat this year, they see rises in algae and bacteria that severely affect the immunity and health of the corals, large and small. It is a big mix of damaging ingredients, and yet, resilient corals stay strong and are dominating communities where less hardy strains are deteriorating.
I’ve been designing the layout for planting 10 native coral species we would like to populate onto ZOE once it’s installed in the ocean. It’s exciting to envision how they might grow, and how other organisms and fish will come to animate the habitat. Just as I was getting ready to make a photoshop depiction, Somyaku found me through Instagram. He’s a kindred spirit, passionate to create beautiful and functional coral habitats with a reverence for closeness with nature and a desire to express our creativity in harmony with living beings. Here’s one of his renderings of ZOE with corals . ZOE was made in 2011. This is an actual photo of the completed sculpture (on land) taken by Mike Gerzevitz and now being immersed digitally for us to imagine.
Somyaku’s background in Ikebana ties with lots of concepts I’m having lately about my Bauhaus Design training at UCLA – this layering of schools of thought and practice that are our heritage and how they all intersect in the field of Art as Ecology. I’ll share more about that fusion in another post. Back to COP21…!
We joined #ArtCOP21 through their online events all the way from Mexico. People everywhere are making art and statements, fueling the tide for renewable energy and a healthier world based on awareness of finite resources, cycles, and our dependence on Earth. Our ZOE Reef reFORMed project (you can see us if you zoom in over Cuba on their map) came together really quickly with the most amazing people. Truly grateful to Miranda Oriz at Centro Bek for spearheading the “coalition” to help us create art and educate kids about the science in time for COP2. Our inaugural workshop on December 10th was successful. Kids and their parents were invited through this collaborative project into longterm solutions for healing coral reefs, to participate in protecting and rebuilding our vital connection with them and all Life.
I’m studying Spanish while here in Mexico, and had the fortune to meet Dr. ‘West’ Marrin in class last week. Through our raw Spanish conversation, we realized we had a mutual fascination with the ocean, not only in the macro sense, but in the micro, sonic, geometric, and chemical. We got lazy (or real) and spoke in English to discover we had a number of mutual friends and colleagues in common back in the US, and that Art and Science are core to our work.
As I’m developing new design ideas for Living Sea Sculpture reefs, sound waves of music permeate. Music is the ultimate art form in its temporal nature yet eternal ability to effect us on a cellular and emotional level. We can always turn to a piece of music and be transported, moved, energized, saddened, hyped…the waves of sound are powerful, and of course, the ocean waves can take you under, take you somewhere far away, or lull you to sleep. How are sound waves of music and waves of water related, both the physical movement, the structural components and geometries, and the concept of rhythms and cycles.
West Marrin was a guest contributor to SciArt in America last June with this article, Functional Art and Water Science p.34 (scroll to p.18 in the pdf at the link). As a proponent of the genre, Art as Ecology, I am invested in raising the bar for functionality of art forms to the place where (once again) art is considered of equal value to math and science by world leaders and in the classroom because someone at the top realizes that without the ability to perceive your surroundings, discern the world with all of your senses, and imagine myriad juxtapositions and connections with your self as the common denominator, the common identifier that makes meaning to be offered to the world, then we as a civilization will erode powerful sensitivities and problem solving abilities within our species needed to evolve.
So back to the music idea before I rant about how much time, money, and resources are spent to produce a violent society rather than a creative and farsighted one.
“I envision combining a piece of music’s sound-waves with ocean sound-waves into a large sculptural coral reef. La Cumparsita, the last piece played at every milonga (tango party), is symbolic to me because dance is a well-known metaphor for life, and the idea of coming to the end of a fabulous time again and again and again at the end of each party, while we are facing the 6th mass extinction, there is something poetic, hopeful, and morbid united. Is it too far of a stretch to link the end of a dance to the end of a species? A dance that will happen again, but never the same. I want to embed that idea of the dance of life in a non-literal way, and music and sound epitomize that concept. Something transcendent or essential…Breaking down this narrative of cycles into sonic visual patterns for the purpose of regenerating endangered coral reefs and biodiversity through art and science investigation gives me a ground and rhythm to engage with such complex abstractions and information.”
That was part of my email to West today, to which he replied, “…As far as the rhythms of tango and the cycles of nature, they have a common source that is inherent in everything from the regeneration of coral reefs to the birthing of galaxies. All are based on the same fundamental geometry of nature that is expressed spatially as patterns and temporally as rhythms.”
And so, I’ll keep recording live music with my iphone. I like to watch the sound waves while envisioning a living reef composed of musical algorithms with the help of Autodesk software and scientific consultations into a score tuned for the sea.
From the opening reception of the exhibit, TrashTara: It Starts with an Inhale on November 6th, until the closing reception on December 2nd, the Co-Create residency with James Tunick at THE IMC LAB + GALLERY continued in the backdrop. Unlike conventional gallery spaces, the 6th floor venue is a mixed-use morphing environment for artists and a few other small businesses to share. The Respire prototype and immersive installation truly gained a life of its own as James added interactive audio and visuals of data and living reefs projected onto the wall, ceiling, and kinetic sculpture.
Fellow artist-in-residence, Dan Baker’s, hanging art pieces made of retrieved plastic from local waterways were synced with data streams from an Alaskan tidal buoy in preparation for his upcoming exhibit, Ebb and Flow. A monitor showing the tides looked like an EKG. Though conceived separately, they added naturally to the concept and sensory media exploration. I brought over a small mineral accretion experiment I was working on at NYU in Natalie Jeremijenko’s XClinic to directly link coral health and innovation elements visually and physically to participants.
Motion tracking was triggering the inhales and exhales of the Respire sculpture. The electricity to the biorock mineral accretion tank was on the same outlet, so anyone moving in the space activated or deactivated the electricity; it was like watching life support go on and off. When the sculpture was idle, black and white images from iron lung artificial respiration projected onto the sculpture representing the bleached state of coral and the need for human action to restore vitality and prevent increased mortality. James and I will continue R&D to evolve the project, tying interactivity and effects more intimately with climate change, coral restoration and life support, and interdependent interspecies health.
And what about TrashTara? I had proposed to produce video and photos from my excursions to receive an LMCC grant. My first experience editing with final cut pro, it was a sweet feeling to observe the raw results, far from pro but close to my heart. Colby Cannon, Rob Bregman, and Dan Baker all gave me some quick tutorials. I grabbed poignant GoPro clips from my street outings together with some footage of me collecting butts day and night. Watching my selected snips of documentation linked together randomly led to a meaningful string of spontaneous interactions I had with people throughout Manhattan. I knew people would be receptive to cigarette butt recycling and pollution conversations if they were first uplifted by someone in a costume embodying a compassionate artwork. The face to face experience and kind moments were proof that impressions and attitude, perceptions and expectations are always operating consciously and subconsciously. Everything about the experience was socially enlightening for me and others, and hardly anyone I met knew that they could recycle butts in New Jersey at TerraCycle.
The photo I used is from Scotland a few years ago when I was intrigued with arty butt shots before I was thinking about how that tiny remnant could harm marine life. NOTE: I WANT $1 (or more!) to go towards coral restoration, but it is an ideal not yet real. Something to work towards.
I was walking in the East Village with my dog, stopping for him to pee and for me to take a photo of a cigarette butt flattened in a crack in the sidewalk, when it struck me – are these recyclable? They’re everywhere. Beyond grabbing my attention for arty butt shots, they really shouldn’t be everywhere I look. Turns out, yes, they are recyclable. And that was it. I finally knew WHAT TrashTara would be collecting in her Catch-All…
Since late April, I’ve been a Co-Create Artist in Residence at The IMC LAB + GALLERY, owned by James Tunick and Carrie Elston-Tunick. Loving it! While here, I’ve created my latest alter ego, TrashTara, and been out on the streets of Manhattan. She/me has been hand-collecting those butts, the most littered object in the world, while talking to people and gathering footage with a GoPro.
Most people don’t know that cigarette butts are such a huge problem for the environment or that they can be recycled. After the last relaxing drag, there’s satisfaction in flicking them to the ground to roll their way into cracks, storm drains, and gutters.
It needs to seep into the mainstream knowledge that cigarettes have non-biodegradable plastic filters, and that nicotine is a very toxic pesticide. Each butt could spend 10 years tossing around in the ocean and water supply killing wildlife and polluting ourselves. One cigarette butt can kill fish in a liter of water. TerraCycle has initiated placing receptacles in cities around the world, and inviting people to join their butt brigades to send in cigarette butts. I’d like to set up a TrashTara Butt Brigade so that every pound of butts collected by those collaborating with me will result in $1 towards Living Sea Sculpture coral reef habitat.
The tar-filled filters can be cleaned and transformed into plastic pallets, anti-corrosives for steel, and textiles. If we can get the 4.5 trillion of them off the ground and into the up-cycling circuit – I heard SF spends $11 million each year on cigarette collection alone – we can save lots of lives and money.
When TrashTara is out at night, her headdress, or as synthetic biologist, Oliver Medvedik, co-founder of GenSpace calls it, her “GMO Tiara,” has fluorescing proteins that come from corals and jellies. With the addition of Ultra Violet LEDs, the GFP and RFP glow. I wanted to avoid plastic resins, and am fascinated with bioluminescence and fluorescence in nature, so we collaborated to create a potentially controversial object. Synthetic biology is complex; the layers of ethics, philosophy, politics, and science involved in genetic research are many and divisive, so I’m grateful I had the opportunity to experiment with proteins as paints to get closer to the reality of how vast this field is and how the concept of “GMO” is completely unknown to most of us in a hands-on way.
Also for the upcoming show, James Tunick and I have been developing the first prototypes for Respire – The Coral Corollary, an interactive, multimedia immersive exhibit correlating coral health with human health incorporating data, kinetic sculpture, audio and video so that through their senses and emotions, participants feel connected to corals, the living, breathing animals and plants that share our world with us and take care of us in so many ways. They need us to redesign how we perceive and intersect with their habitat if they are to survive. James is programming micro-controllers that sense human participant and ocean data to trigger responsive movement, lighting, and effects in the sculptures and space.
I hope you can come to the show! TrashTara will be at the opening.
I opened my window just as we were flying over Punta Nizuc where we plan to install ZOE. There is a lot of ocean in the photo, but I was so focused on Punta Nizuc, it was a great surprise to see the reefs and aqua clear waters where we plan to put our coral refuge. Without Google-Earthing, I could get an idea of the broader seascape of the area. We plan to locate ZOE near the resort in shallow waters. There are species of corals that like being very close to the surface. Actually, while snorkeling in the area, the healthiest coral reefs seemed to be in the shallows.
Not far out from the dock is the site where we will anchor the sculpture. The rest of my August visit entailed meetings with the Director of the Marine Park and the MUSA directors, as well as scientists at Universidad Nacional Autonoma de México (UNAM) in Puerto Morelos to develop our proposal for a scientific research collaboration between Comisión Nacional de Áreas Naturales Protegidas (CONANP) and UNAM. Growth monitoring is our main focus, as well as observing differences between neighboring natural corals and those on the Biorock® mineral accretion reef.
Autodesk has generously offered to come to Mexico to train us in their latest photogrammetry process, the cutting edge in 3D digital modelling. They’ll train me, my team, including a group of university students, in how to capture the photos of our coral transplants and neighboring corals.
Coral scientist, Serguei Rico of UNAM, is working with me on our proposal to ensure ZOE is a conservation experimental project of the National Marine Park as well as a tourism attraction for MUSA. He was telling me that another PhD student wants to start experimenting with taking photos to digitally model corals for monitoring coral growth as his thesis. As he was describing it, I couldn’t help but jump in and tell him that part of the project was to offer free training for just that! Perfecto.
Serguei has been following how corals have been effected by nitrogen run-off and other pollutants since the emergence of mega-tourism. Sewage from all those hotels along the Hotel Zone in Cancun and down the Riviera Maya is deep injected. It seeps into the aquifers and ocean causing corals to suffer new diseases. There were only 3 inhabitants on Isla Cancún in 1970. Now there are over 722,000. With no treatment plants, you can see how this is an epic problem with all that untreated shit running into the sea. Corals are much more sensitive to the bacteria in sewage than humans, and the parts per million are well-beyond their standards.
While I was in Mexico this trip, I witnessed baby turtles being released on a full moon. (next post.) I wish I could’ve joined the small group of scientists watching corals spawn at night, but they want to protect the animals while they are making babies from too many intrusive people. I understand needing more privacy, and wanting to avoid the potential for humans to get crowded and bump into the reefs.
The dream to plant some corals onto ZOE is getting closer to being realized. Working with the scientists, meeting the resort manager, connecting with other artists who want to be part of the local team to install and create future works…It was a wonderful process and we took many steps forward.
Look closely and you can see where we plan to install as soon as we do.
I wanted to make an art installation on 6th street here in New York’s East Village. Using the Gossamer community crocheted and needle-felted reef, I would attach the textile corals and fish to the white undulating fire escapes, like Biorock sculptures, and project video of underwater coral reefs onto the building. Live music would play. Perhaps the instrumentalists would be on different levels of the fire escapes immersed in their steel boats adrift like such unusual organisms populating the sea.
So many ideas and projects run through me all the time related to corals and how to convey their beauty and their endangerment, their need for life support and healthy habitat, and of course, OUR need for them. When my dog walks me down a new street, it often seems as if he’s guiding me to a place or a thing to spark my imagination that unites urban life with nature’s presence, such as the idea I just described for Fire! Fire! Corals are Feeling the Heat!
What about an app that responds to your geolocations, where it appears that fire escapes, bridges, and other inspiring architectural forms are accreting with minerals, colonizing with corals or oysters, and marine life? I really want to put my energy into creating the living sculptural reefs and nurseries in the ocean, but while I’m in the city, I can’t turn off my inner vision of all this aquatic fluid atmosphere that permeates my mind. And once we get the webcams onto the sculpture, ZOE, in Cancun, the resulting projections and live feeds will tie in positively to this evolving land and sea revival experience that will hopefully lead us away from this grim end as described by scientist, Charlie Veron, in Iain McCalman’s new book – The Reef: A Passionate History (reviewed by Rob Nixon in the NY Sunday Times)
Without an abrupt decline in greenhouse gas emissions, “there is no hope of reefs surviving to even midcentury in any form that we now recognize. If, and when, they go, they will take with them about one-third of the world’s marine biodiversity.” Bearing witness to this gradual annihilation, Veron concludes, is “like seeing a house on fire in slow motion.”
A consuming conflagration metaphor. I can’t have Veron’s prediction take hold in my mind or it throws me off center and off my positive focused trajectory, but perhaps politicians, businesses, big corporations, and anyone unaware of the true bottom line, will start to listen and begin cleaning up dirty industry if a renowned scientist points this gun, already smoking, to their heads, threatening their homes with this horrifying image.
If the message stating that all is already lost gets louder than the message inviting you to think of how to get involved, what effect does that have on you? What combination of lightness with darkness motivates shifts in behavior and values? I can’t tell you how many times I meet someone who assumes corals are doomed based on hearing snips about bleaching and acidification. They smile and share personal stories or offer strategy when I tell them that from pollution to restoration, there are things that CAN be done. It isn’t time to pretend the house is already burnt to the ground and just stand there drinking beer on the sidelines like you might be doing this month watching the World Cup. (What a finish for Portugal last night tying in the last seconds!)
Seriously, Veron does say “slow motion,” and that’s an opening for optimism in the midst of despair. If that somehow gives the endangered animals more time to adapt and people more time to develop new energy, rescue activities, and to stop injecting sewage, fertilizer, and carbon into the sea, it remains to be seen what 2050 holds. My concept of the fire escapes with the corals growing over was to symbolize both the urgency and the potential to escape the heating oceans caused by climate change. To find a way out of the burning building into the air to survive the disaster.
Additional note for perspective, I recently read the book, Reef Madness: Charles Darwin, Alexander Agassiz, and the Meaning of Coral. The “coral reef problem” illuminated how recently we had no idea about how coral reefs are formed, and it intimately illustrates just how controversial and political scientific theories and quests can be, then and now. How egos take the stage and discoveries are intertwined with layered cultural and societal beliefs and systems. Some philosophies and styles are in the process of dying off; it’s like new species of understanding, expressing, and technology emerge with evolution and that directly impacts our ability to see and discern our reality. Even though corals create bone-like stone, our ideas and assertions about them are much less solid. There’s space in the world to explore working together to escape the “fires of hell” and create cooler, collaborative coral conservatories that will teach us much more than we know now.
I was invited to Genspace the other night to listen to a lecture by Ingeborg Reichle, Art Historian, and Pinar Yoldas, Artist-Researcher, although at one point she said, “I am just an artist,” during the Q&A when the focus had turned to activism to end plastic pollution and policy discussions. I felt her frustration, or it was my frustration, about someone saying that her work was “whimsical,” and therefore a less impacting or meaningful way to address our current situation in the toxic plastisphere nurdle soup that Captain Charles Moore and others have been revealing since the late 90’s.
With so much plastic in the ocean that “there is more plastic than plankton,” Pinar has been designing an Ecosystem of Excess complete with all kinds of imaginary organisms that feed on plastics. I asked if she intends to work with geneticists to realize her creatures, and she said she’s interested…it’s a complicated reality and I don’t think she or any of us take the plastic situation lightly . There are researchers and actual microorganisms already evolving along with the progression of enormous masses of synthetic waste in the ocean. With so many shapes and sizes of plastic host bodies everywhere, how can life not take advantage of this opportunity to mutate and migrate?
My take away is that so many of us creative beings are being asked to get stuck telling people to change, as if activism has only one face: telling people a problem and what to do about it. But what is static about life and innovation? We need to allow for paradigms to shift and hope that fearful feelings of insecurity about the future lead to breakthroughs. There are many ways to shift perspective and expand the conversation while maintaining grounded in the confusing possibilities of every day. Listening to your own visions and inner voice in this time of rapid climate change is crucial. How else can we bust out of traps of collective blindness and work through the denial and guilt to get to new discoveries? Pinar was not highly positive about the situation; she is an activist shining light on a serious issue, but she is doing it in a way that brings beauty and horror together through artistic, visionary skill. Making the work is therapeutic for Pinar. Watching our oceans become wastelands is too tragic to handle without an outlet.
Recently I asked for more water in my plastic cup on an airline. The flight attendant took my cup and said, “I’ll get you a new one,” as if she was doing me a favor when I wanted to use my perfectly good plastic cup. Since airlines are such huge carbon polluters, it seems like such an easy thing to have people reuse their cups. At coffee shops, why not bring in your own cup and get rewarded with a discount? All of this policy rule stuff has no appeal for me, though, as a career. It drives me nuts, so I need to do something else with my fantasy for a healthy world.
I don’t like getting stuck in feeling guilty and overwhelmed. It’s too righteous and blocks the flow of imagination to keep learning and bringing new ideas and solutions into form so that more and more people can choose how to build the now that will become the future.
A man in the audience asked if Pinar could build a huge plastic reef with 3D printed corals that could survive climate change. I couldn’t help it, I plunked my sample chunk of Biorock from a project in the ocean onto the chair by him.
Later we talked a bit about how there is already one process with electrified steel reefs that intentionally addresses the environmental stresses threatening corals. While talking to Ingeborg about plastic pollution and oceans, she introduced me to two professors from the National University of Mexico, Mexico City. They offered to look into locations and partners for art and science coral restoration projects in Mexico. The evening had many layers of organisms interacting, from science fiction microbes to modern day humans doing what all life does, connect and spread ourselves into the world through thoughts, words, and actions.
Today I’m in the middle of my second day as a co-create resident artist at IMC Lab + Gallery. I’ll be working on alter ego TrashTara – Compassionate Deity of the Dregs culminating in a photo/video show resulting from interacting with the public on the streets thanks to a grant from LMCC, and Respire: The Coral Corollary, a multi-sensory interactive installation correlating human health with coral health through the context of artificial respiration and life support. Genspace will be helping me with some fluorescing dead bacteria for TrashTara’s headdress to avoid using plastic resin as a translucent material in exchange for the latest in bio-arts. Plastics, with their consumer model of planned obsolescence, were once considered the best thing ever, and people got out of control with that. I really have mixed feelings about genetic engineering, but for this small-scale project, I will see what I learn and keep sifting through all the difficult choices.
I was recently in Mexico again. From Cancun to Akumal to Isla Mujeres, I was working on clearing our way to install the DNA-inspired sculpture into the ocean. I brought a friend and technical adviser, Jennifer Indovina of Tenrehte, along to help me scout out the best locations for wifi and power sources since we are now going to be adding webcams to this coral, fish, and biodiversity refuge. She is building a custom website so you will be able to watch the evolution of the coral reef ecosystem as a virtual aquarium.
I rented a camera to capture some of the underwater life and to document potential sites for this sculpture or possibly future ones. We were swimming out from shore to look at the set up for the TurtleCams they have in Akumal Bay,
and that’s when green turtles began to appear right below us. They were grazing on the sea grasses. I didn’t know what to expect of their behavior. They had a very casual easygoing style. From my short experience observing, I’d say they are calm, mildly curious, and like to socialize with their other grazing companions. When they swam up to the surface for gulps of air, they glided like graceful, slow-flying birds. They seem like gentle beasts that have become trusting from so many tourists, yet are not interested in interacting in any way.
Busy finding food under the butts of each other and saddled with scavenging fish on their backs and bellies, the turtles brought peaceful inspiration as I admired their beautiful shells and daily activities.
The area needs a new sewage treatment plant, which is one of the reasons the water gets so murky. If you visit the Yucatan Peninsula and stay at a hotel, ask the managers if they deep inject their sewage. Long story, but water treatment is a huge issue in Mexico. Corals are much more sensitive to certain pollutants than humans. The movie, Angel Azul by Marcy Cravat, does a beautiful job sharing about the pollution through the intersection of art and science working for the environment in the underwater museum, MUSA. She started with the story of artist, Jason deCaires Taylor, and like any good detective, she followed emerging clues, piecing together a puzzling and illuminating truth about our unsustainable systems and areas ripe for transformation.
It has been almost 3 years since we made the DNA sculpture in Cancun, so it was slightly bittersweet (chocolate) to see the steel sculpture making cameos in the background at Puerto Cancun as Jason’s and other cement sculptures were being deployed by boat. More sweet than bitter, actually, since I was so moved by the excellent filmmaking and knowing all the people and places in it. It made things even more real. I’m committed to completing this project and to growing relationships in the region through this journey. The sculpture is not in the water yet because of complications with land permits for the power source, but the ecosystem of diverse, caring people involved in this important ecological story is evolving, and so are our visions. A few years isn’t that long in geological and bureaucratic time. BUT, since I’m a human trying to help save corals dying at rapid rates~ IN THE WATER IN 2014!