Monday, December 15, 2014

Musing





     It rained and the desert seems softer now. The warm temperatures and moisture have caused some of the plants - like brittlebush - to bloom early.

     This morning I decided to hike around the “back forty” of the Arboretum. Up the steep slope that empties itself against Arnett Canyon, I waded through damp beaten grass and marveled over the brilliant green spikemoss (Selaginella arizonica) growing low against volcanic tuff. Few animals were around; only my shadow and small twittering birds flitted amongst the shrubs. Along the crest of the ridge I stared directly across to Picketpost Mountain and down into the Arnett drainage where autumn still hung on the yellowing leaves of cottonwoods. No breeze, no passing jets. I imagined that there was some tone – some deep humming accumulation of life and geology – that I couldn’t quite hear.  
     I prefer the small near things to the large distant vistas and I can’t sufficiently explain why. Perhaps I find comfort in what I can touch. The smallest things are their own cosmologies. A spider’s web bejeweled in dew drops compares favorably to the crystalline rocks that litter this hillside. Both web and rock reflect the sun’s light, encapsulating it in round or faceted frames, glittering and thus becoming small stars cast to earth. I wonder how a spider perceives a web full of shining beads of light?



     On one side of the ridge is wilderness; on the other side is the Arboretum with its parking lot and trails and nearby highway. There are no trails where I am on the hill, no simple geometry suggesting which direction I’ll go. I meander. Saguaros and ocotillos twisting up to the sky are my only guideposts. Does it matter where they lead me? 

     Being in nature, I am aware of mortality. My eyes see the immediate environment but my mind dwells on the past and future – the Alpha and Omega. I say: nothing before and nothing after. It should be a comfort to be temporary. It should be a comfort thinking that I won't always be thinking. In this place my shadow is hardly less substantive than the body that casts it. Who am I when I’m alone in an indifferent landscape? “One day”, I tell myself, “I’m going to keep walking 'til the horizon runs out.” 


 - T. Stone

Sunday, December 7, 2014

Hedgehog Cactus Salvage



When I was invited to be the official photographer for the third Arizona hedgehog salvage project that the Arboretum has taken on in the past six years, I jumped at the chance to have all the fun without any of the real work. After all, this project was expected to take two days and required hauling heavy, multi-headed hedgehogs in terrain that had more ups than downs, and the downs were too numerous to count. The elevation was about 4000 feet, which meant that coarse, often impenetrable, chaparral vegetation was jutting out of every location that wasn’t already occupied by looming, bus-sized boulders. It’s the kind of terrain where cattle rustlers hide, and mountain lions contemplate their good fortune when visitors come a calling.    

It was a job for thirty somethings, yet most of the Arboretum crew had already matriculated past that age over a decade ago. For me, it was a couple of decades, but all I had to do was snap a few photos and watch the rest of the crew work. I joined everyone in wearing long pants, hiking boots, gloves, a hard hat, and a bright orange vest, but that was where the similarities ended.  The others divided up the real tools-of-the-trade, including shovels, steel pry bars, rock hammers, climbing ropes, canvas slings, tape measures, maps, gps units, and clipboards. Three of the crew also carried specialized pack frames, the use of which I will explain later.

This project had been planned for months, beginning with a signed agreement with the Arizona Department of Transportation (ADOT) in September of 2014 to “supply definitive information on methods of salvage, transplantation, and modes of reproduction of growth” of the Arizona hedgehog cactus over a five-year period. A new passing lane was soon to be built along US Highway 60 and thirty of these endangered cacti were in the direct line of fire.


Because of the aforementioned steep, nearly inaccessible terrain, a helicopter was briefly considered to fly out these thirty valuable specimens. But in the end, the capable staff members chosen for this project were either experience hunters, hikers, or both. So, on a cold Monday morning on November 3rd, at 7 a.m., seven hardy souls gathered on a mountain top along Highway 60 to begin. When I arrived at 8 a.m. (late, as usual), they were already hiking towards me with specimen #1, a five-header that rested comfortably in the bottom of a large plastic storage container. 
The crew brought three of these containers, plus a sturdy backpack frame for each. These frames were specifically designed to accept and securely hold the roomy containers that would ultimately be filled with bare-rooted hedgehogs. Though a helicopter would have made life much easier (next time!), these backpacked containers proved invaluable for allowing hands-free boulder hopping, cliff scaling, and bushwhacking through the hedgehogs’ preferred habitat. Before the plants could be carried, though, they had to be found. 

Several months earlier, in April, Cathy, Gonzalo, and two people from Logan Simpson Design, an ADOT sub-contractor, did a 100% survey of the Arizona Hedgehog plants in the project area. Each plant was assigned a GPS coordinate, labeled, and notes such as number of stems, condition, and fruiting/flower status were recorded. From this, detailed maps and lists were created, and these documents were carried with us as we tried to relocate each individual plant. It took some searching, but all thirty plants were eventually found.

The word “digging” is the word often used when transplanting a typical plan, but because these thorny hedgehogs were mostly imbedded between tightly-packed boulders, more colorful verbs were more often used, like: prying, chiseling, hammering, levering, and cursing. Before removal, the south side of each plant was marked with a dot from a Sharpy marker or a dab of White-out, and the plant was photographed in situ. Field data such as slope aspect, number of arms, size and height of plant, percent shade or sun, and associated plants were recorded. We used canvas slings to carefully move the plants into clearings where they could be staged for further transport. 

Getting the plants back to the trucks, especially on the first day, involved scaling an insanely steep talus slope of sharp, broken rocks. The bearers of the backpacks with the strapped-on containers full of hedgehogs had the roughest time, often pulled back by gravity, unable to lean forward far enough to maintain stability. Everyone made it back safely, though, and the salvaged and labeled plants were transported back to the Arboretum where they were placed on several shaded nursery tables to heel over.

Three weeks later, most of the plants were potted up into nursery containers with a mix of cactus soil and pumice.  Some of the large mature plants broke apart during transport and had to be potted into two or three separate pots, while a few of the very largest (that held together) were planted directly in the ground because of their size. The horticultural plan calls for the plants to be kept in the nursery for at least two to three years. 

Kim Stone

Monday, November 17, 2014

Wild Berries and Pineapple Guavas - A Meditation



    
     When Boyce Thompson founded the Arboretum way back in the days before penicillin and Starbucks, it was with the idea that arid plants should be studied for their value to humans. With that in mind, I have generously undertaken the odious task of sampling various plants around the park to better “understand” their edibility. It’s a difficult job, full of possible danger and woe, but as you might expect from someone who used to listen to Jimi Hendrix at full volume on Klipsch speakers, I am comfortable with danger. I want to share this information with you, dear reader, regardless of the consequences. (And, no, I don’t expect a Nobel Prize for Grazing – if they had one – but would feel a tad thankful if you would submit my name anyway because the prize money could pay for a longer ladder to better pick the ripest fruit.) 

     Here at the BTA there are common plants such as prickly pear cacti, olive trees, carob trees, cattails, and roses that can provide you with delectable comestibles. (Never had rose petal jelly? Steep two quarts of fragrant pink – not red – petals in hot water and then add pectin and sugar.) But there are also less common plants with more exotic flavors such as Texas persimmon, hackberry, wolfberry, and pindo palm.

     It's completely irresponsible for me to say this and there are lawyers who would advise against it (thus the subtle qualifiers), but it is fairly safe to taste (not eat) almost anything in small quantities except for water hemlock, death camas, Albert Camus, and certain mushrooms of the Amanita and Galerina families. Those red berries on the pyracantha? Perfectly edible, but the seeds are, like apple seeds, apparently toxic. Myrtle berries? Not really that tasty but they won’t kill you. Manzanita berries? Now, they are very good to eat. A freshly picked olive is unbelievably bitter until it is “cured” by either salt or poisonous lye. I guess what I’m intimating here is that, in general, people are unreasonably horrified by the idea of tasting unknown wild fruit, just as they are unreasonably horrified by spiders, mice, snakes, clowns, and folks from foreign countries.  However, with a little knowledge and curiosity, the world can be your oyster and - who knows? - maybe you can get a pearl out of the deal. (Then again, when it comes to oysters, there’s also a chance of getting vibriosis. That’s the problem with using metaphors - taken too far, they become unrestrained.) 



     Let’s now move on to the topic at hand – the pineapple guava - which is, confoundingly, neither a pineapple nor a guava. (Pineapples, also misnamed, are neither pines nor apples, so go figure.)  The pineapple guava could have just as ridiculously been called a “crocodile pumpkin”, but no, it’s a pineapple guava and the binomial name is Acca sellowiana.  This plant is in the myrtle family.
 
     The pineapple guava is either a small tree or a large shrub depending on whether you are a “glass half full or glass half empty” kind of person. It originates in South America which is, to my understanding, where piranhas and llamas live. In the spring, this large shrub-like small tree produces some exotically beautiful blooms that look vaguely like passion flowers. The succulent red and white petals are a sweet delicacy and add nicely to salads provided you eat salad and not just meat and potatoes. So, in the spring, by all means, eat some of the flower petals, taking care not to destroy the flowers entirely in your gluttonous rage because, ultimately, you want them to turn into fruit. In the fall, the fruit develops into something similar in appearance to small green eggs. Since the fruit is green, it is hard to tell by sight when it is ripe. A sure way to get ripe fruit is to lightly shake the limb. What falls to the ground is ready to eat. It is advised not to pick the fruit as it may not yet be ripe. Collect the freshly fallen fruit, cut them in half, and scoop out and eat the pulpy middle (leaving only the skin to compost).  You can eat it “as is” or cook it into a jam of some sort. Pineapple guava has a slightly citrusy taste and mealy texture. It’s good but it’s not “mortgage the house and start a pineapple guava farm” good. Would I cross the street to have one? Well, if Selma Hayek (dressed as Frida Kahlo) were handing them out for free then, yes, yes I would. 

(tstone)


Thursday, November 13, 2014

QR Code Access. Find us on Social Media!

If you have been here recently you may have noticed a few small signs with a funky looking waffle-thing on them. Many will know what these are right away. It is the ever so common Quick Response (QR) Code. In conjunction with a smartphone one may scan a QR Code using a QR Code reading app to access the website the QR Code leads to. To put this all in simple terms, a QR Code is like a website link you can click in real life! – with your phone.  

What’s great is that whether or not you own a smartphone, this concept illustrates a very important idea.  Visitors have been able to discover our media along the trails through these QR code signs. However, a related response may be observed in social media itself, and that involves you! Whenever you comment, like, or especially share anything we post, it is much like putting a little sign up for your friends to find us through. This helps the Arboretum grow as it increases our potential to share what we have in order to spread a greater appreciation of nature on the web. If you are yet to discover our vast online presence feel free to click the links provided below. We would love to have you. :)

FB, Twitter, YoutubeInstagramFlickrOfficial Website 


Question of the week: Is Technology integrating with Nature a bad thing? Comment below!

Wednesday, November 5, 2014

Arboretum featured in video production



As I write this on a crisp morning in early November it’s still dark, and a blanket is draped across my bare legs to temper the chill of the 69 degree temperature inside my house. Had this been mid-summer, I would have been more than half way through a four-mile run. The sun would just be peeking over the mountains, and I would feel the extra degrees of heat immediately, as if a switch had been thrown. The usual dogs would bark from behind the usual fences—fresh from their morning constitutionals— and I’d pull the brim of my hat down till it almost touched my nose to block the sun.

This past July, a film from Arizona Public Media came a-calling. They didn’t just show up, mind you; this had been prearranged for about a week. They are based out of Tucson at the local PBS affiliate, and even though they left the station at 5 am, they weren’t finished unloading their cameras, tripods, and other equipment in the Arboretum parking lot until well after 7:30. I could already feel the heat of the asphalt parking lot through my shoes.  

“Does everyone have water? ” I asked. Tony, the producer, said that he drank a lot on the way here. The videographer and still camera person let the question kind of bounce off of them, too distracted with readying their equipment to think about dehydration and potential kidney failure.  They were from Tucson, after all, which is the same elevation as the Arboretum, so they certainly knew what they were getting themselves into. We finished loading up the golf cart that I had waiting and headed down into the Arboretum.

Earlier in the week, Tony had sent me an example of another video that he had produced so that I had an idea of the style of production that he had planned. He wanted to identify a small handful of Arboretum highlights and focus on those. I was acting as the field producer, of sorts, and tasked with identifying these locations and chauffeuring the crew to them. Because the videos he produces don't use a separate narrator, he wanted to interview several BTA staff members on camera and let their voices tell the story.

Ready to fill that role was Cathy Babcock, Director of Horticulture, and the first two hours of the morning was spent interviewing her about the diversity of plants in Boojum Cove and the Chihuahuan Desert exhibit. Director Mark Siegwarth was next and he took on Arboretum history and administration, his shots appropriately staged on the suspension bridge with a commanding view of Picket Post House. 

As compellingly charismatic as our staff is on camera, the crew had to break away here and there--including a few extra hours at the end--to capture what is called B-roll, a jargonish term for the backround footage that's always needed in any production. In our case, it was comprised of the flowers, plants, exhibits, and scenery that would be blended together with the prerecorded interviews of the “talent” (Mark and Cathy) during the editing process back at the studio in Tucson.

What about the heat factor? By ten o’clock, the day had warmed as expected—with the concomitant human suffering—and one of our supporting staff had already made a cold drink run to the Gift Shop to bring everyone’s core temperature down to a survivable level. At least one other hydration halt was required not long after that.  Later, during the b-roll phase of the production at mid-day, the primary video camera even shut down from the persistent full sun and heat and required some down time in the shade to get it to restart.  Such are the effects of the summer we all know and love.

All of this back story is really just to introduce the final product: a video that was shown on local public television stations in both Tucson and Phoenix in mid-October, then posted online. Several hours of video footage and hundreds of still photos were edited down into a succinct and entertaining 5:46 minutes. The video also included some archival black and white photos from the 1920s that we later sent to them. They "photoshopped" many of these to give them a unique three-dimensional effect, a time-intensive technique that I've never seen done before in a local production. For the film crew, it was a ten-hour day of filming and travel, plus untold hours of editing and post production back in Tucson. Many thanks go out to the crew for their time and effort, and to Arizona Public Media for featuring the Arboretum in this production. 


Kim Stone