TO SEE THE SEA.A documentation book by Aditya Bharadwaj.

This project is one that would not have achieved what it has, if not for all the scrutinizing discourse, and poetic dialogue bartered amongst people influencing itself and in turn myself.

To begin with, I’d like to express my sincere gratitude towards Anupama Arun and Rustam Vania, whose unflagging enthusiasm helped sustain my own. I would also like to thank my friends and family, without

whose support I could have never contemplated this project.

A C K N O W L E D G E M E N T S

“Nature doesn’t change, although the way of viewing it changes from age to age.”

- Masanobu Fukuoka

INDEX

Getting comfortable... 1Konkan coast... 13Ripple to water... 20Expression... 27Epilogue... 63Bibliography... 65

Getting Comfortable.For many years, the Center for Environmental Education, has been attempting to familiarize the public with various notions of the environment using educative means. This entails using Art and design to support the science being talked about.

The beginning of the project involved getting comfortable with the marine world. A world of multiple colors, forms, and phenomena. A world unfamiliar to the human mind. The project began by trying to filter through the existing bank of information provided by various people, institutions and other resources. Documentaries, readings, talks, activities/exercises were some of the ways we engaged with this topic.

1

2

3

4

5

Visiting fish Markets of the locality. Grasping the economics behind fluctuating marine ecosystems.

6

7

Viewing multiple documentaries that discuss this complex marine life.

8

9

The BBC ‘Blue Planet’ series has been a highly influential one, in terms of obtaining a vast range of information about the state of the oceans today. In one of the episodes, David Attenborough says, “Plankton and water form a living soup for all creatures underwater”. Fascinated, I began extrapolating the “living soup” concept and found myself exploring plankton, the basic building block of a large food web. The research involved studying the various types of plankton (Zooplankton, Phytoplankton, Bacterioplankton), their various forms, photosynthetic abilities, mobility, reproduction and more.

Image of Iridescent Ctenophores plankton.Image courtesy: www.planktonchronicles.org

10

11

Just short of a field trip to the Konkan coast, the focus shifted to the movement of plankton, which involved secondary research about gyres, eddies, light, temperature and many other factors instrumental to the churning of this living soup.

Image courtesy: NASA Imageery of the Gulf of Mexico.

12

Konkan Coast.A short visit to Goa helped get a glimpse of the ocean and the various creatures thriving of it. The journey was refreshing and informative. A few places that were elemental to the project are the National Institute of Oceanography, Aguada Fort, Mandovi fishing jetty, the local Goan bundhs, Bird sanctuaries, Mandovi estuary, and Charao Islands.

13

14

15

Meeting Plankton.

At the National Institute of Oceanography, I got to meet a creature from the plankton family. Amongst all the fascinating scientific experiments, this little guy was kept in a tank, in the corner, entitled as feed for the other fish.

16

With multiple views on different phenomena surrounding the oceans, it was clear that the marine world was complex. But, amongst all the unknowns there was even more estrangement toward plankton. After much rumination, it was evident that plankton required an elaborate science; not as much a creative expression to interpret it.

17

18

19

At this point there was brief stagnation in the project. This stagnation lay in this question: If the movement of plankton meant the movement of other sea creatures, what moved the plankton? Soon it was clear that there was a missing layer binding all the happenings in the marine world. This missing layer was water. She is indeed the building block of the foodweb; The source of all life and forms; a universal matrix to thrive upon. Her pulsation across the planet feeds creatures small and large. She had very quickly become the most predominant thought.

RIPPLE TO WATER.

I began rummaging for information about this peculiar substance; working out experiments, reading books and articles, studying documentaries and working out little projects along the way. Researching ebbs, flows, evaporation, and other such headings under the broader umbrella of hydromorphology took place. Learning how she has the ability to fracture and fissure lands; branching far and wide, from

sea to the hill, percolating all of the land and the living.

She is the center of harmony and conflict in many matters like philosophy, biology, politics, culture, social sciences, earth sciences and more. She transcends the spiritual world and oddly enough, our

explorations in space also seek water. The very movement of water has a profound effect on life.

21

22

23

Observing a single drop of ink amalgamate with drinking water.

24

Surface tension experiment. Looking at water through a microscope.

25

Exploring the science behind water.

Whether it is getting a view of water under a microscope or blasting sound vibrations upon the liquid, working out experiments helps one gauge the plurality of features within water.

Many online and home experiments were conducted highlighting different singularities of water (Ex: surface tension, temperature, vibrations etc). Playing around with water further crystallized the readings from different texts.

26

Expression.

27

Water has been widely discussed and explored. After having gone through a fraction of this information bank, it is evident that there is an urgency to empathize with something so elemental to life. Although, we have studied it in many ways, the cyclic nature of this ubiquitous entity seems to become more subtle and mysterious with every passing day. Here onward, the project sought to put together a fraction of this global data coalescent with a personal voice.

28

29

For millenia, drawing has been a tool to comprehend and communicate. It serves as a touchpoint between understanding the subject seen and using the body to express. It helps understand aspects like volume or the lack of, activity or stagnation, color or none and many more. A wide range of entry points to understand water opened through drawing. Constantly visualizing thoughts surrounding the

movement of water provided for a deeper meaning.

30

31

32

33

34

Using illustrations upon objects to represent water.

Working on barks of wood hinted at the scale at which water fucntions. It moves molecularly through plant xylem, and radiantly around the planet. The imagery on the bark is a representation of a linear pattern of geometry applied against nature’s bends.

35

36

37

38

Creating different aquatic and terrestrial microcosms to observe water at work. Getting comfortable with the Flora and Fish, the masters of water.

39

40

Experimenting with different aquarium set ups.

Now, the means to express were varied and the topic in thought, global. There seemed to be a clutter of many disparate ideas. There was need to filter down this broader umbrella of “water” to something more precise and clear.

The most sensible filter to add was Goa; a place. Goan waters seemed like a good place to start, given that, the place was visited before. This gives the individual a reference to rely upon and it helps boil down the arduous task of scrutinizing the planets waters in such a short time. From here on the project focused on the Konkan waters and its influence culturally, geographically, economically, spiritually and temporally.

41

43

43

Although there was thought, there was a sense of disconnect. The project was majorly informed by digital data and assorted texts, which is not always effective or true. For instance, when one looks up the length of the coast of Goa, he/she will find many reports claiming that it is somewhere between 100-120kms. This is untrue, when in fact, it is about 200kms in length. What happens most of the time is that we linearly measure the coast from top to bottom, disregarding the bends that form the coast. The digital world is an array of multiple standpoints; standpoints that inhibit intimacy. This made the disconnect even more apparent. The project was lacking a personal voice; something hard bound between the individual and water.

44

45

Soon after, I decided to go back to Goa and rely on an experience personally witnessed and captured, gaining perspective outside the digital world.

The journey would be from the north-most point in Goa, Terekhol, to the southern most point, Polem.

46

Most of the coast was traversed over 12 days, many hours of walking, countless bottles of drinking water, and multiple views of picturesque landscapes. Water fed tropical environments to vast stretches of coastal ecosystems; Goa is pregnant with waters, diverse. The Goan

borders encapsulate a land that is segmented into places that bustle with anthropocentric activity and contrarily, spots that mother pristine ecosystems. Using cameras and sound equipment as tools, the journey was recorded in film, sound and image formats. One of the most prominent methods

used to capture the geography, was clicking an image every 50 steps of the way. Put together, these images simulate a sense of movement through the landscape showcasing the dendritic features of the coast. Simultaneously, the project became a documentation of a moment in time along the Goan waters.

47

48

49

50

51

Multiple frames from a section of the coast.

52

53

54Writing was also used along with image and sound documentation to help articulate the plurality of thoughts spinning through my mind. Water is a broad topic. The information about her was vast, but the empathy was subtle. Using poetry allowed for a voice that is suggestive and empathetic, and not extensively explanatory. Soon, the project sought to articulate both image and text in order to express a certain the sensitivity missing when comprehending water. Now, there were many types of inputs, like photos, videos, sound, illustrations and writings which needed to be cohesively put together.

55

Initially, the project was bound toward making a film, that encapsulated a personal experience talking about an intimate encounter with water. Although, film is a powerful medium I lacked the technical abilities and time to make a

potent film. At this point, I was also looking back at our client and thinking about what learning meant to me. I realized that education might be ephemeral but learning is certainly timeless. In India, most of our education is

done through textual means, disregarding other kinesthetic means of learning. Walking with water certainly enabled this kind of learning and through expression, I am hoping to share the same.

56

57

58

As mentioned earlier, our current education systems rely heavily on textual information as a means of facilitating learning. Although, this is powerful, it lacks the potency and meaning derived from a more kinesthetic approach.

With the advent of technology, even a simple book has the potential of tapping into the other senses. A digital book allows the viewer to access videos, sounds, images, links and much more, providing a deeper connect with the topic at hand. Using suggestive poetry and imagery the project aimed at creating a digital book along with other artefacts to help the viewer sensitize themselves to water.

59

Using programs like Photoshop, Premiere Pro, Abelton, and Indesign to piece the digital book together.

60

Wha

t do

e

s it t

ake

to ch

ange

a m

ind?

Con

stru

cted

an

d

conf

used

by

eyes

, tru

ly

, I’m

blin

d.

A h

int t

hro

ugh

boo

ksan

d le

arni

ng

on

desk

s.D

iscer

n

i

ng c

ues,

with

out s

eein

g

the

rest

.

Wat

er th

e m

a

tter.

A g

reat

str

an

ger.

All

of o

ne

s tho

ught

,no

t a se

nsi

tive

eye.

Pry,

Pry

Pry

!Ye

t, w

ater

is

forg

ot.

Mea

ning

in

mem

ory,

Wat

er,

thus

soug

ht.

A w

al

k by

her

bay

.Se

eing

it, S

e

nsin

g it,

Sal

vagi

ng it

.A

n al

o

ofne

ss to

th

e w

at

er’s

way

.

Sens

itize

an

d

see;

wal

k by

the

an

om

aly.

To se

e th

e

sea

and

de

fer.

Diff

er in

t

hou

ght,

Mea

nder

s

ays t

he ri

ver.

From

the

early

risin

gs o

f the

mor

ning

To th

e st

ar

gar

nish

ed n

ight

,In

tran

sie

nt,

unlik

e w

ater

,Pe

rman

ent,

is

our

line

of l

ight

.

Sand

onc

e tr

a

mpl

ed b

y fo

otis

now

tram

p

le

d by

tyre

.Fi

sh o

nce

cau

g

ht b

y ho

okis

now

mec

han

ized

, dire

.

A

w

alk

by th

e se

aW

itnes

sin

g lif

e’s n

eces

sity.

Wat

er, a

cyc

le

intr

insic

ally

intr

icat

e,fe

edin

g be

ings

l

ar

ge, t

o be

ings

del

icat

e.

The

clou

ds a

bove

,a

quot

ient

o

f

the

ocea

n.do

ts p

rodd

ing

t

he g

roun

d,sift

ing

thro

ugh

the

co

mm

otio

n.

Th

e ra

in n

u

rs

es.

The

land

sp

a

wns

.Th

e ha

ze

u

plift

s.O

n a

leaf

, a

d

ew o

f daw

n.

S

he sa

ys:

W

e

appl

y lin

esan

d

cal

l it a

shap

e.In

cons

id

e

rate

of m

eani

ngth

e ge

ome

try

is d

rape

d.

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ne so

d

ivi

ne,

with

the

qual

ity u

n

k

now

n.Th

e ge

omen

try

o

f

wat

ersu

m o

f the

spira

l

a

nd co

ne.

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a se

e

d

sink

sin

wha

t I

thin

k.A

thou

ght b

ey

o

nd li

near

.M

ore

dend

r

iti

c lin

ks.

A h

az

e

or

blu

r,I

m

uch

pref

er.

T

han

the

rigid

lines

o

f pr

efec

ture

.

I wal

k a

n

d w

alk

Hea

ring

ever

y

thin

g sh

e to

ldw

alk

w

ith h

eran

d le

t the

jo

urn

ey u

nfol

d.

To se

e t

he se

aSe

t me

free

Unb

ound

B

y Ti

me

Eter

nal

gle

e.

Wh

at d

o I k

now

of th

e g

r

eat v

ast s

hore

?Ev

eryt

hin

g

that

I sa

wis

ever

ythi

ng

t

hat I

kno

w.

To se

e t

h

e se

e.th

oug

ht f

ree

We

mo

ve in

line

sA

nd w

a

vte

r lik

e a

tree

.

Wha

t do

e

s it t

ake

to ch

ange

a m

ind?

Con

stru

cted

an

d

conf

used

by

eyes

, tru

ly

, I’m

blin

d.

A h

int t

hro

ugh

boo

ksan

d le

arni

ng

on

desk

s.D

iscer

n

i

ng c

ues,

with

out s

eein

g

the

rest

.

Wat

er th

e m

a

tter.

A g

reat

str

an

ger.

All

of o

ne

s tho

ught

,no

t a se

nsi

tive

eye.

Pry,

Pry

Pry

!Ye

t, w

ater

is

forg

ot.

Mea

ning

in

mem

ory,

Wat

er,

thus

soug

ht.

A w

al

k by

her

bay

.Se

eing

it, S

e

nsin

g it,

Sal

vagi

ng it

.A

n al

o

ofne

ss to

th

e w

at

er’s

way

.

Sens

itize

an

d

see;

wal

k by

the

an

om

aly.

To se

e th

e

sea

and

de

fer.

Diff

er in

t

hou

ght,

Mea

nder

s

ays t

he ri

ver.

From

the

early

risin

gs o

f the

mor

ning

To th

e st

ar

gar

nish

ed n

ight

,In

tran

sie

nt,

unlik

e w

ater

,Pe

rman

ent,

is

our

line

of l

ight

.

Sand

onc

e tr

a

mpl

ed b

y fo

otis

now

tram

p

le

d by

tyre

.Fi

sh o

nce

cau

g

ht b

y ho

okis

now

mec

han

ized

, dire

.

A

w

alk

by th

e se

aW

itnes

sin

g lif

e’s n

eces

sity.

Wat

er, a

cyc

le

intr

insic

ally

intr

icat

e,fe

edin

g be

ings

l

ar

ge, t

o be

ings

del

icat

e.

The

clou

ds a

bove

,a

quot

ient

o

f

the

ocea

n.do

ts p

rodd

ing

t

he g

roun

d,sift

ing

thro

ugh

the

co

mm

otio

n.

Th

e ra

in n

u

rs

es.

The

land

sp

a

wns

.Th

e ha

ze

u

plift

s.O

n a

leaf

, a

d

ew o

f daw

n.

S

he sa

ys:

W

e

appl

y lin

esan

d

cal

l it a

shap

e.In

cons

id

e

rate

of m

eani

ngth

e ge

ome

try

is d

rape

d.

A li

ne so

d

ivi

ne,

with

the

qual

ity u

n

k

now

n.Th

e ge

omen

try

o

f

wat

ersu

m o

f the

spira

l

a

nd co

ne.

Now

a se

e

d

sink

sin

wha

t I

thin

k.A

thou

ght b

ey

o

nd li

near

.M

ore

dend

r

iti

c lin

ks.

A h

az

e

or

blu

r,I

m

uch

pref

er.

T

han

the

rigid

lines

o

f pr

efec

ture

.

I wal

k a

n

d w

alk

Hea

ring

ever

y

thin

g sh

e to

ldw

alk

w

ith h

eran

d le

t the

jo

urn

ey u

nfol

d.

To se

e t

he se

aSe

t me

free

Unb

ound

B

y Ti

me

Eter

nal

gle

e.

Wh

at d

o I k

now

of th

e g

r

eat v

ast s

hore

?Ev

eryt

hin

g

that

I sa

wis

ever

ythi

ng

t

hat I

kno

w.

To se

e t

h

e se

e.th

oug

ht f

ree

We

mo

ve in

line

sA

nd w

a

vte

r lik

e a

tree

.

63

Epilogue.

64

Water is a cyclic phenomena, replenishing a universal thirst. Her form functions with divinity. She consitutes of multiple elements, and is everything but blue. Her ways are old and noble. She is a universal blood stream provoking life while simultaneously instigating death.

The digital book is far from being a complete view on her, but is a step into her cyclic nature; an intricacy, seemingly, beyond human knowledge. This project seeks to aid the audience with different ways to observe her. Obtaining multiple perspectives shines light upon the urgency to sensitize with her; a way to see and not look. At this moment in time, the very beginning of a long term endeavor, I have merely introduced myself.

Below are a few links listing some of the sources of information for this project.http://crcleme.org.au/Pubs/Monographs/regolith98/18-eggleton%26taylor.pdf - Lateritehttp://www.planktonchronicles.org/en - Database for plankton videos and imagery.http://www.oceanicresearch.org/education/films/planktonscript.htm - Planktonhttp://earthobservatory.nasa.gov/IOTD/view.php?id=84870 - Upwelling currents and plankton.http://news.bbc.co.uk/2/hi/science/nature/4955398.stm - Running uphill.http://science.jrank.org/pages/1182/Capillary-Action.html - Capillary action.http://news.nationalgeographic.com/news/2009/11/091112-drinking-water-cocaine/ - Cultural influences on water.http://environment.nationalgeographic.com/environment/freshwater/embedded-water/- Water footprint.http://bigthink.com/design-for-good/the-first-billboard-in-the-world-to-make-drinking-water-out-of-thin-ai - Water billboard.http://www.cymatics.org - Cymatics studies.http://www.buylifestraw.com - Products regarding water use.http://www.scientificamerican.com/article/the-impacts-of-relying-on-desalination/ - Desalinisation.http://www.sciencealert.com/this-ancient-egyptian-practice-can-cheaply-purify-dirty-water - Water purification.http://www.bbc.com/news/magazine-27186709 BBC slow death of puposeless walking.https://dublin.sciencegallery.com/surfacetension/aqua-nu/ - aqua Nu.http://www.smithsonianmag.com/science-nature/aerial-views-of-our-water-world-6364686/?no-ist - Water views.http://www.lightnet.co.uk/frontier/viktor.htm - Viktor Schaubergerhttps://shagdora.wordpress.com/what-is-slow-learning/ - Slow learning.

Documentaries and talks :

http://topdocumentaryfilms.com/the-world-without-water/http://topdocumentaryfilms.com/how-earth-made-us/

Bibliography..65

https://www.youtube.com/watch?v=rXepkIWPhFQhttp://topdocumentaryfilms.com/flow-for-love-of-water/http://topdocumentaryfilms.com/satoyama/https://www.youtube.com/watch?v=tNz_9BRm_5chttps://www.youtube.com/watch?v=d44LW6KZ_iU&spfreload=10

Artists : William Pye: http://www.williampye.com/workJason deCaires Taylor: http://www.underwatersculpture.comJoel James Denvis: http://www.joeldevlin.comEdward Burtynsky: http://www.smithsonianmag.com/science-nature/aerial-views-of-our-water-world-6364686/?no-istRichard Long: https://vimeo.com/6244507Blaker - Desomma: http://www.blakerdesommaglass.comMassimo Margagnoni: http://www.massimomargagnoni.itViktor Schauberger: http://www.lightnet.co.uk/frontier/viktor.htmRuben Margolin: http://www.reubenmargolin.comDean o’Callaghan: http://www.coroflot.com/deanocallaghanZimoun: http://www.zimoun.netRainworks: http://rain.works

Books :

One Straw Revolution - Masanobu FukuokaChasing the Monsoon - Alexander FraterThe Energy Revolution - Vikto Schauberger

66