Methods

This page includes knowledge points and methods for the Wild Empathy research and production stages. Details on the methods and techniques can be found in the posts on the Production page.

Knowledge points

When the team initially got together, we had a few free-form discussions about our interest and passion of trees. All of us shared a love of trees and forests in our region, and we shared concerns about climate change and the impact of development and logging. We were particularly concerned about how these are affecting old-growth trees and forests. In our discussions, we identified key knowledge points—from the sciences and humanities, and based on our own practical experiences—that could inform the research and production stages:

• Old trees, ‘mother trees’, are hubs of ecological activity in the forest
• Specific species inhabit our Pacific Northwest forests
• Trees in our local forests, and in urban locations, have crucial roles to play providing comfort and habitat to other lifeforms, including humans
• organisms rely on trees to provide food, shelter, and other elements of life
• Trees regulate air temperature and oxygen levels in the atmosphere
• There’s a critical need to preserve intact forests and old growth trees in order to combat climate change
• Large old trees are able to absorb carbon from the atmosphere in much larger quantities than small younger trees
• Trees are beautiful
• Trees provide special experiences, and many of us have relationships with individual trees
• Old trees have deep wisdom about their forest habitats and cultures
• Local indigenous nations have great knowledge and experience with trees and forests
• Immersive art and story-telling can be effective ways to engage people and raise awareness about old trees and forests, leading to greater care.

Research methods

We began by researching the feasibility of creating a VR experience, informed by the knowledge points above, to tell the story of an old tree in a Pacific Northwest forest. Maria has a lot of experience with VR, and the rest of the team was interested in exploring VR methods. We believed we could raise awareness about ancient trees through compelling VR content for public audiences.  If people can’t access real old-growth forests, we would bring a virtual one to them!

We began the project by researching how to create a prototype VR headset experience featuring an old-growth tree. (Later, in collaboration with Science World, we expanded the exploration to include a variety of different immersive art experiences. See Projects.) The old trees depicted in the VR would be Douglas fir or Western red cedar, species that play significant roles in our Pacific Northwest forest ecosystems. Douglas fir is a species well-studied in forest ecology research, and Western red cedar plays a crucial part in regional indigenous traditions. Both species can get very large, surviving to hundreds of years old and become great contributors to the ecological health of the planet. 

To produce the VR, we agreed to use production methods involving a real tree in an existing location, and to story-tell about their role in the forest. We believed that using a realistic approach, audiences would be able to identify with the old tree, and potentially reconsider their own relationships with forests and ancient trees. 

For the research and production, we needed to identify a real-world location that had an old growth grove of trees. We would also need to find a specific tree to be the ‘main character’ in the story. The location and tree had to be accessible in case we needed to make repeated site visits. Dave, Dee and Damien live in Campbell River, Vancouver Island. So they had knowledge of the local forests in their surrounding area. They made a few day trips within driving distance to various locations to identify potential locations. We reviewed this field work and decided on a location that would be suitable for the production stages. The selection criteria was based on accessibility and aesthetic features: a reasonable driving distance to the trail head, walkable to the old trees, have typical undergrowth plants, a variety of big trees to choose from, good lighting, rich biophony, and little (or no) human sounds or interference. 

We agreed that it was important to have the VR depict the ecological role that an old tree plays in the larger ecosystem of the forest—the tree’s relationships with other organisms, with soils, surrounding habitat, and atmosphere. In order to record video and sound, we agreed to use high quality cinematography and sound techniques. We would enhance this material with animation techniques to tell the story of the ‘hidden’ ecological elements. For example, in order to depict the below ground mycorrhizal network, or the water cycle—both invisible to humans in the forest—we’d need to add animation. 

For the production stages on location, we used multispecies methods developed by Julie and Simon in their previous Animal Lover projects. These included noninvasive approaches to record the video and sound material, and nonhuman contributions. We worked on site with as little disturbance to the existing ecosystem as possible—no cutting plant life, no coercing or harming wildlife, no digging in the soil, as little sound-making as possible. We used a multispecies method, involving indeterminacy, to invite nonhuman lifeforms and forces to participate in the production stages. This allowed for voluntary participation by nonhumans, and it meant we did not predetermine the content. For example, in recording the sound of the forest, we moved away from the recording equipment and remained still and quiet, and recorded more than we needed. This was particularly effective for recording the dawn chorus. Staying still and quiet, the birds realized we weren’t a threat, and they resumed their calls. This allowed us to respectfully record the biophony of the forest and a variety of events.

For video recording the trees and grove, we took direction from the sunlight. We recorded in locations where the sun created dappled conditions on the trees and underbrush. As the light changed, we moved to a newly lit location and recorded there. In this way, the activities of the forest inhabitants, and the changing conditions of the day, contributed to the material we recorded. In effect, these nonhuman beings and forces directed and produced the material we recorded.

In addition to these methods, we recorded more material than needed for the final production. In the editing processes, we sorted through this material and chose out the best events. For example, we recorded the dawn chorus for 30 minutes, and this guaranteed that we would have a variety of events to choose from. For video, we recorded in numerous locations in order to increase the odds that we would get at least one good shot that would be appropriate for the final work.

Because we used these multispecies participatory methods, we didn’t have a clear idea of what we had recorded until we looked at the material later in the studio. This review stage required a good examination of the recorded material. The best clips had representations of the ecology of the location, were high quality, good detail and contained movement or change over time. Some questions helped us sort through the material:

• Is the native biodiversity represented ? 
• Is the scene well lit and clearly audible ? 
• Is there movement and change in the scene representing the forest vitality?
• Does the point of view reflect affective qualities of being there ? 
• Does the resolution and definition include interesting details ? 

The selected clips that met the criteria would be the foundational material for the immersive art experiences.

When designing immersive experiences, it is important to take into consideration the experience of the audience, not only their visual and auditory experience, but how they experience their whole body in relation to imagery and sound. This can be approached using strategic movement, change over time, and a compelling point of view. Movement can help the story unfold over time, and situate the audience in the virtual space. For instance, subtle movements of the plant and tree leaves in video can provide a realistic immersive feel for audiences; a moving camera POV can take the audience through a number of scenes, and therefore tell a story; the use of change over time can help give a sense of the vitality of the forest. 

Sound provides an important contribution to the spatial quality, to help the audience experience their physical immersion in the virtual space. For example, the timbre and reverberant nature of the sound can indicate the size and type of space; the diversity of calling animals can give a sense of the liveliness of the forest. Sounds that have these qualities can help audiences feel like they’re in the forest.  

Camera point of view in relation to the nonhuman lifeforms can give the audience a sense of intimacy with the beings in the forest. For instance, a point of view close to an old tree and surrounding plants create a sense of scale for audiences. Being up close to a large tree can evoke a powerful impression of its size. By creating a sense of being fully present and engaged, the project can help the audience identify with the forest and beings represented, and experience a sense of empathy.

Another way to enhance an immersive experience is to draw attention to physicality. For example, in a VR experience, depicting the audience’s body in the virtual scene can give them a sense of being a part of the ecology. Another method is to use visual and auditory cues to invite the audience to look in a certain direction, or move their realworld body in a certain way in relation to the forest and its lifeforms. This helps audiences feel themselves in relation to the ecological surroundings. It creates a sense of connection.

These methods are key to the Wild Empathy project and are used to create experiences that invite audiences to feel connected to trees and forests, and expand their sense of care.