Four Mile Creek: Interdisciplinary Reactions to a Local Community Resource

This topic submitted by Zoe Brickley, John Neborak, Dustin Daugherty, Katherine Cheney, Jason Thompson ( bricklze@muohio.edu ) on 4/29/03. [ Rivers Team: Zoe Brickley, John Neborak, Dustin Daugherty, Katherine Cheney, Jason Thompson-Section: Blaisdell/Wolfe]

Diverse Auditory Reflections

Our original idea for this project was to compose an operetta inspired by our love of theatrical rock operas such as ÒTommyÓ, ÒQuadropheniaÓ, and ÒThe WallÓ. However, due to a lack of equipment, we had to resort to more Òlow-fiÓ production values. We modified our idea to incorporate a range of songs in various styles, focusing on the lyrical content and emotional expression in order to make that coincide with the findings from our interviews and testing of the creek. The lyrical subject matter of our songs ranges from amounts of fecal bacteria and foreign chemicals found in the creek to plans of a highway bypass construction project that would affect the status of the creek. To compose the songs we drew on a wide variety of influences such as our personal reactions, the information gathered in interviews, and test results.

Attempting to represent and speak for nature through music is certainly not a new phenomenon. Composers such as Philip Glass, John Cage, and Brian Eno ÒWho wants his music not to evoke landscape, but to be landscapeÓ (Rothenberg 10), as well as musicians like Paul McCartney, Joni Mitchell, Pete Seger, and others have been calling our cultureÕs attention to various aspects of nature and the aesthetics, as well as the problems, therein. These artists have attempted to broaden our cultureÕs view of nature, especially in our synthetic post-modern world. But, as David Rothenberg points out,

The expanding of our listening acceptance and the imitative powers of our machines have led some people to claim that music, in some of its current states, is closer to the whir and thrum of the world process than anything humans could make previously. This supports the currency of the aesthetic principal that something can be good if it sounds like nature. And if itÕs especially good, it will change the way we hear nature, define nature, and then live in nature. Hopefully the trajectory of Western culture has taught us to hear more, not less, and to hear enough to make us question the whole course of that culture. By listening, by dancing, by grooving,
music itself can become an agent for change. (9)

Thus, we employed many different musical styles, from tradition country to electronic dance, in a broad attempt to Òsound like natureÓ or at least reflect it, and, thusÈsuccessfully awaken some new perspective within the audience. We hope that at least one or two of our songs are moving enough to achieve this goal, which is one of realizing what Reimer and Wright deem greatness:

A striking characteristic of musical experience is its ability to provide a sense of depth and profundity of meaning. Music that does so is often said to exemplify greatness. Great music enhances human consciousness by plumbing the essence of the human condition. Full experiences of such music are imbued with awe, in that one feels in touch with the core of human being, of being conscious of ultimate concerns. It may be this potential of music that causes us to regard it with a profound respect transcending more ordinary endeavors. (259)
Whether or not we achieved this goal is, of course, up to the objective listener, and our aim was certainly high considering the limitations of our individual musical abilities.

Specifically, we sought to express the importance of Four Mile Creek with engaging, memorable, and, hopefully, enjoyable songs that will invoke feelings of reverence within the listener. The role of music as an incredibly active form of artistic expression is undeniable, and we hope that our songs may aid an expansion of awareness regarding the aesthetic and cultural value of Four Mile Creek. Many people disregard such common landforms as Four Mile Creek in exchange for more awe-inspiring masses, like mountains and canyons. We feel that aesthetics is in essence an all-inclusive abstraction, and that Four Mile Creek, when viewed through this lens, can be as inspiring and as moving as the Grand Canyon. To quote Arnold Berleant, ÒNo longer confined to the safe precincts of gardens and parks, the boundaries of the aesthetic must be redefined to encompass all of nature, city as well as countryside, factory as well as museum, desert wastes as well as glacier-fed fjords.Ó (11)
Songs on the tape:

Tape 1. Mystery Riffle (Daugherty/ Neborak)

Things are crazy in the Mystery Riffle,
You donÕt know what you will find,
Time stands still in the mystery riffle,
Close your eyes and leave your troubles
Behind.

Macro-organisms everywhere,
Like caddis fly nymphs and worms of all kinds
Life abounds in the Mystery Riffle,
Close your eyes and leave your troubles
Behind.

No one knows about the Mystery Riffle,
A magical place of dreams and wonder
Come and find the Mystery Riffle,
Close your eyes and leave your troubles
Yonder.

ÒMystery RiffleÓ is an expression of the intrinsic value of nature. There are many people who traipse along the quiet banks of Four Mile Creek to escape the rat race of human society. The creek and the surrounding foliage are, for some, a perfect environment to Òclose your eyes and leave your troubles behind.Ó This song, complete with woodland sound effects, is a reflection of the kind of sentiment that we found among certain residents of Oxford, Ohio.

2. Jilene (Neborak)

My sweetest Jilene
Lies asleep in the calm,
The river, it passes and the river rolls on
While I cry.

I am that river
So somber and true.
Its cool water splashes and runs over you
And your life.

This little secret
So hard to confess.
My Jilene lies peaceful hands crossing her chest
As I sigh.

The water it babbles
The trees how they shake.
In this perfect spot where IÕve drowned you today
Now itÕs night.

The river runs wide
And the river runs deep
It dwindles and winds till it reaches the creek
Where it dries

I am that river
My blood it is old
It puddles and pools while my skin it turns cold
As I die

Reprise 1st verse section 1

The use of the story song is almost limitless. While using an overlying narrative, one is able to express certain themes and images that correlate with events and scenes that take place outside the song, all the while calling attention to prevalent ideas and symbols which enrich the experience and meaning of the work. ÒJileneÓ was written in response to a particularly gloomy day at Four Mile Creek. Attempting to convey the depressing emotions, which were felt that day through other linguistic imagery other than a storm at the creek, I decided to use the metaphor of an angry natural scene (shaking trees, babbling water) in contrast to the peaceful images of the death of Jilene. There is also noted personification in the metaphorical relationship between the killer and the river. Overall, this song is an attempt to convey the aesthetics and mood of a day within the story of a folk/traditional song.

3. Respect FoÕ Mile (Daugherty/ Neborak/ Martin)

WalkinÕ up Four Mile, see an empty beer can, all this littering is more than I can stand.
SuckaÕs be trashinÕ, cigarette ashinÕ, MuckinÕ up the river is a new form of fashion.
I donÕt understand it, this is your planet, you got to respect it, kid, you canÕt wreck it.

Chorus
Respect Four Mile like itÕs goinÕ out of style.
Mother EarthÕs frowninÕ, kid, so make her smile.
Now itÕs up to you, whatchaÕ gonnaÕ do?
Keep on trashinÕ it and actinÕ like a fool?

ItÕs approachinÕ crunch time, the riversÕ flowinÕ off track, the waterÕs turninÕ black, so how you gonnaÕact?
Keep on pollutinÕ the river that youÕre lootinÕ, of every nutrient, abusinÕ it, youÕre loosinÕ it.
The truth is, there is no Captain Planet, so once you abandon it, thatÕs it son, youÕre riverÕs done, time to find another one!

Chorus

So keep on dumpinÕ your benzene, tceÕs, pcbÕs, with no regard for the younger GÕs.
Or you can take off that bling, put on your heart ring, try to do a good thing.
So quit lining your pockets, and take your brain off the shelf.
When you dis the river, you dis yourself!

Chorus

No one in our group can rap, so we got a friend and Oxford resident, Christopher Martin, to perform this song. The lyrics are basically an environmental justice viewpoint on the misuse of Four Mile Creek. Lines such as Òkeep on dumpinÕ your benzene, etcÉwith no regard for the younger GÕs,Ó and ÒThis is your planet, you gotta respect it,Ó express a popular environmentalist opinion that the primary problem is the effect of pollution on the wellbeing of mankind. There is no mention of wildlife or plant life in this song, because we wanted to reflect the stance of a more ethnocentric environmentalist. We wanted to explore various musical styles, and Hip-Hop was one that was definitely alien to us until we did this song, hence, its amateur nature. We also referenced ÒCaptain Planet,Ó because kids love the environmental cartoons. Songs like this could possibly engage popular culture in more meaningful endeavors than accumulating Òbling.Ó

4. Rio de Primavera (Daugherty)

(Instrumental)

I wrote this song while sitting in solitude on the babbling banks of Four Mile Creek in the stirring days of spring (primavera). It is a simplistic reflection of the feelings I experienced that day. The song is very introspective, and it surreptitiously came to me while I was daydreaming by the creek. It is almost as if the flow of the water possessed my hands and wrote the song for me. This recording also features Kat on the flute, a perfect instrument to compliment ÒRio de Primavera.Ó

Songs on the Compact Disc

Track 1: Watch Where You Go (Daugherty/Neborak

My favorite recreation
Might have some consequences
Pollution from the stables
Might cause some deadly illness

Well I never thought
While ridinÕ old horse
That we could do damage
As a non-point source

I donÕt wannaÕ stop aÕ ridinÕ
But I donÕt wannÕ be a pest
I care Ôbout the Ôviernment
This is surely not in jest

Wow, wow, gottaÕ watch where yaÕ go
The damage were causinÕ isnÕt irreparable

This song is in response to our scientific findings and the hypothesis that we formed as to why this pollution is occurring. We found elements of fecal matter in the areas of the creek where we tested for pollution. We believe that this problem stems from the recreational/educational use and storage of horses near the horse stables located on 73 near the creek. The song expresses the sentiment that one could make after learning that their Òfavorite recreation might have some consequencesÓ.

Track 2: Come to the Water (Daugherty/Neborak)
(Instrumental)
This piece, by far the most avant-garde song that we attempted in this song writing process, represents the complete and total washing of the human psyche in the divine aesthetic experience of the waterway. This song is meant to express an otherworldly relationship, a connectedness to the spirit and qualities of nature. Electronic music, specifically drum and bass and ambient, were chosen because of the almost symbiotic interaction of suspension of constructed awareness and acceptance of the natural unconscious states of reality produced by prolonged dance and ecstatic celebration experienced by most ravers. There is an evident connection between the rave music scene and its subculture and natural venues and experience. This song, like the waves and ripples of the water, is meant to usher you into an uncharted experience. As a disclaimer, we would like to note that we (except for Dustin) KNOW that we (humans) are NOT 95% water, as stated in the song. We chose to exaggerate this fact to exemplify the importance clean water holds to our (humanÕs) existence.

Track 3: Big Business Man (Daugherty/Neborak)

Big business man wants to build a highway
Right through natureÕs keep
Big business man, do you see it my way?
I am Four Mile Creek

Your highway plans are killinÕ my buzz
MakinÕ me wanna dry up
I canÕt understand why you donÕt understand
How this road will mess me up

Business man donÕt develop this land
The creek it just donÕt understand

The trucks start rollinÕ into town,
The animals start rollinÕ out
It ainÕt what the creek had in mind
But the moneyÕs what itÕs all about

This hard rock protest song is a response to the proposed Oxford bypass that will undoubtedly cut through the Four Mile Creek area. The highway will mean more chemical runoff from automobiles, more sodium runoff in the winter, habitat fragmentation, as well as aesthetic degradation. ÒBig Business ManÓ personifies Four Mile Creek and relates what we assume the creek would have to say about the bypass. Mainly, the creek would express its cynicism and chagrin with the stereotypical business manÕs insatiable desire for money, convienience, expansion, and, of course, business.

Visual Imagery Response to Interdisciplinary Observations:

To accompany these auditory delights, I (Brickley) composed a series of photographical images using black and white developmental techniques. It was difficult for me to be objective, as I have a great affection for the areas we are studying. The Four Mile Creek area occupies a significant portion of my leisure time. I decided to be subjective instead, and attempt to express my appreciation, and that of people who use the creek for other purposes.
This use, however, has become increasingly apparent and I tried to exemplify sentiments of associated problems. At first glance, most of the scenes may be described as natural landscapes. Upon further examination, evidence of human interference may be detected in every frame. Many of these impositions are quite obvious elements of the aquatic habitats: bridges, dams, riprap or telephone poles for example. More subtle infringements would include species diversity from new growth conditions, channeling effects, and disrupted root systems. Along with the documentation of humanÕs explicit relationship with their environment, I also tried to capture moods that correlated with those expressed by the musicians and by the interviewees as well as people I observed in and around the creek.

Most people I encountered used the trails for cross-country running. I occupied the second largest population: people who belonged to dogs. Next, were the fisher-people; they were a diverse crowd ranging from young children to fully outfitted anglers. Finally, there were the lazier students on leisurely strolls, and older folks enjoying their golden free time. I shied away from human documentation, unless a scene was particularly evocative. This was in an attempt to show the results of my quest for solitude, of which achievement was frequent and significant.
While on these enjoyable excursions I did make some disturbing discoveries. First, I was venturing off-trail when a Miami-owned pick-up stopped to warn me that my dog could get sick from the insecticides they had been spraying in a riparian zone. (Fig. 1, Site 1) This practice is either indicative of a previous species imbalance, where insect-eaters were rare, or a future imbalance of the same nature. Either way, this is damaging to habitat integrity as well as recreational opportunities like fishing, swimming, and hiking with hungry pets. On another occasion, my dog was romping with a new friend, when its owner informed me of a seventy-five dollar fine he received. Apparently, the friendly beast had startled a skiddish passerby. She contacted the police, who then waited at the end of the trail with a seventy-five dollar fine. (Fig. 1, Site 2) Apparently, there is a mandatory leash policy in Ohio, and the trails are on state-owned land. This was disappointing, but my informer obviously thought that the infringement was worth the risk, and was confident that he was responsible enough to control his animal. My dog found the last surprise; a sandbar covered with dead sunfish. He helped clean up this aesthetically unpleasing site by eating a good portion of them. This phenomenon is apparently due to the flooding of a velocity-slowing impediment in an otherwise hydraulically simple section of the stream. (Fig. 1, Site 3) (Everard/Harper, R. Vol. I pg. 397) *See appendix ?, site A.

This documentation of my observations was an interesting process for me. In my previous photographic pursuits, IÕve tended to focus on human portraits, or architecture. Natural landscapes, even altered ones, helped me develop my craft by presenting me with dynamic lighting situations, intricate framing possibilities, and the difficulty of expressing simplicity while implying complexity. The enrichment of my artistic identity is yet another reason that I owe Mother Nature my gratitude.

Conclusions:
It turns out that the fears of our interviewees were confirmed. Creeks, especially Four Mile Creek may pose a threat to children, who are more likely to ingest water while experiencing nature. Our creek system isnÕt perfect. It does, however create an appreciated environment for human recreation. Natural area have inspired and comforted people through the ages, but their poor treatment of it suggests different sentiments. By viewing nature as a commodity, or an property to dominate, the integrity of ecological systems is compromised, along with our prospect for a sustainable future.

Figure 1:

Annotated Bibliography

1) Sarah Price- Senior at Tallawanda High School resident of Oxford, Ohio
2) Matthew Shepard- First Year student at Miami University of Ohio,
3) Rachel Shatten- Senior at Shaker Heights High School resident of Shaker Heights, Ohio
4) Eloise Morris Canzater- Grandmother resident of Shaker Heights, Ohio, former resident of White Plains, Alabama

Keats, Daphne M. Interviewing: A Practical Guide for Students and Professionals. Sydney: University of New South Wales Press, 2000.
This book outlines interviewing styles and techniques for different age and social groups, as well as other things in the interviewing process. Question formation and structure are explained as well as question order in terms of relevance. Research methods are also discussed.

Opdyke, George Howard. Art and Nature Appreciation. New York, The Macmillan Company, 1932.
This book describes the connection between visual arts and nature and how the inspiration of nature has led to many influential and classic works of visual art, from paintings to architecture. Art and nature are presented as inextricably linked in a symbiotic relationship of inspiration and output.

Huth, Hans. Man in the Landscape: A Historic View of the Aesthetics of Nature. New York: Knopf, 1967.
This book explores the relationship between man and nature as it relates to the aesthetic views of man and why they form the way they do. Artistic views of nature are explored in terms of aesthetic appreciation of the surrounding of the artist. The view of natureÕs influence is explored in depth as inspiration for art, specifically visual in this case.
Tuan, Yi-fu. Passing Strange and Wonderful: Aesthetics, Nature, and Culture. Washington D.C.: Shearwater Books, 1993.

This book takes into account cultural views on nature and how they are represented and understood as well as formed. It shows and explores the interconnectedness of the three title topics and how they feed off of one another in a quest for representation of an idea, specifically a creative idea or an idea of identity within nature and the environment.

Tobias, Michael. A Vision of Nature: Traces of the Original World. Kent, OH: Kent State University Press, 1995.
This book looks at perspectives on nature and peopleÕs surroundings. It focuses on the connection of modern man to his/her historical roots in nature. It delves into the connection of modern views on nature with views in the past and how man can gain a better working idea of himself in nature by combining what we know now with what we knew then; to fuse our ideas and feelings towards nature into a working comprehension of life within nature.

Heidleberg, Michael. Vistas of a Continent: Concepts of Nature in America. Heidelberg; Winter, 1979.
This book expounds upon the changing view of nature within American society by looking at science, social and artistic movements. Different ideas of nature in America are explored as an overview to the idea of and reaction to nature which is constantly shifting and changing within this country.

Heller, Chaia. Ecology of Everyday Life. Montreal, Canada: Black Rose Books, 1999.
This book discusses how, because of society, humans have become separated from nature. The natural world is necessary for physical survival as well as emotional well-being. In this book there are methods for people to become more conscious of their place in nature, and why this is necessary for people to understand how they need to live their lives so as not to harm nature.

Grossinger, Richard (ed). Ecology and Consciousness. North Atlantic Books, 1992.
This book explores the connection of human consciousness to the environment and how we react to this phenomenon through social and artistic means. The book also explores environmental consciousness and the degradation of our natural environment.

Berleant, Arnold. The Aesthetics of Enviornment. Temple University Press, 1992.
This book shows the interdisciplinary approach to environmental aesthetic representation. It shows how the artist, as well as others, gain influence through their surroundings. It brings into question the formation of environmental beliefs for the artist, whether reactionary or political response or solely based in aesthetic representation such as ÒatmosphereÓ or ambient music.

Carter, Erica et al. Space and Place: Theories of Identity and Location. Lawrence & Wishart, 1993.
This book deals with identity theories and how humans gain a sense of identity through their surroundings and how this can affect human theories and stances on the environment and the inspiration that comes from that understanding. The book deals with how artistic interpretation of the environment can form or deconstruct peopleÕs view of that environment and their connection to it.

Rothenberg, David. The Book of Music and Nature: An Anthology of Sounds, Words, and Thoughts. Wesleyan University Press, 2001
This book and compact disc explores the instrumental reaction to nature and environment from a wide variety of modern composers such as Philip Glass and John Cale. It is mainly a modernist/post-modernist take on the merging feelings of industrial man and nature and how they can be integrated into a synthesis, much like we are attempting to do with this project.

Bohm, David; Peat, David. Science, Order, and Creativity. Guernsey Press Co., 2000.
This book makes observations about levels of orders in relationships between science and society. It theorizes about how creative dialogues can create a more harmonious relationships between people and nature.

Cantrill, James; Oravec, Christine; Editors. The Symbolic Earth. The University Press of
Kentucky, 1996.
In certain articles, environmental problems facing humanity are addressed from an ecological perspective. It assumes that our environment is a product of how we talk about it. This will help us integrate scientific and social findings.

Hooke, Anne. Basic Microbiology for Biological Concepts. McGraw-Hill Co., 1999.
This guide to microbiological concepts will help us better understand and interpret results from bacterial and chemical tests. There is also information about how the presence of certain bacteria can affect human and other important organisms to the ecosystem

Campbell; Reece. Biology. Benjamin Cummins, 1999.
This source will help us to identify the presence and importance of organisms whose habitat surrounds the creek. The principles of conservation biology are presented, as well as the significance and effects of any observed pollutants. The information bout ecology and habitat structure will give us an ideal model for comparison to our findings. There is also information about how to detect stream health by noting key biological indicators.

McPhee, John. The Control of Nature. Farrar, Straus and Giroux, 1989.
John McPhee gives an account of humanityÕs interference with the course of the Mississippi. This information will help us understand how and why stream systems are altered and what this implies about ecological and human health.

London/Upton/Kobre/Brill. Photography. Prentice Hall, 2002.
This is a comprehensive guide to documentation using black and white SLR cameras or digital color photography. Techniques that can be used to best capture subjects artistically and symbolically or realistically and accurately are presented, as well as developmental methods for maximum desired affect.

http://projects.edtech.sandi.net/staffdev/tpss99/processguides/interviewing.html
This site is very helpful for the inexperienced interviewer. With this site, the interviewer will get step- by-step instructions on how to properly contact participant, how to interview them, and even how to conduct themselves during the session.

www.restore-earth.org/restearth.ecores.html
This site makes people aware of their connection with nature, how they can get reconnected with life, reconnect with each other, and restoring the earth. It explores the aesthetic value of nature and how it is connected to humanity.

www.cia.gov/csi/books/1910////////4/art5.html
This site first defines what a personÕs perception is with regards to the world around them. The site also describes the experiments that were done to asses how people perceive events as small paper flowing around them

www.ourplanet.com/imgversn/112/noor.html
This site defines the importance of biodiversity as an indicator of the health of an area. Later it says that people should not take biodiversity for granted and that they should not exploit the land around them for their personal gain.
Harper, David and Everard, Mark. Aquatic Cinservation: marine and Freshwater Ecosystems, 8, (1998). ÒWhy Should the Habitat-Level Approach Underpin Holistic River Survey and Management?Ó Rivers Reader Vol. 1 Pg. 125-143

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