Int. OCEAN FILM TOUR Volume 3 - Magazine

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ADVENTURE DIANA NYAD: SWIMMING FROM CUBA TO FLORIDA ACTION JOHN JOHN FLORENCE: VIEW FROM A BLUE MOON and MY OWN PRIVATE MONSTER OCEAN LIFE PROTECT WHAT YOU LOVE: SONIC SEA, THE EDGE AND BORN TO I N T E R N A T I O N A L O C E A N F I L M T O U R V O L U M E 3 presented by

K E L LY S L AT E R Photo by: Kelly Slater

EDITORIAL

It’s just a few steps away. Our toes dig into the sand; with every move we feel the waves straining against us. Soon the sea sweeps us off our feet and takes us into a world of wonder and zero gravity. To experience the ocean, we simply become part of it.

With the third volume of the International OCEAN FILM TOUR, we continue to explore the ocean. It is a playground for the curious, audacious, and adventurous among us, with a plethora of life, adventure, and stories. It’s these stories we want to share with you.

Growing up on O’ahu, John John Florence’s backyard was the ocean, literally. It was his childhood playground and has since become his arena and the stepping stone of a remarkable career in surfing.

The ocean is also a proving ground for the human spirit. Much like the ocean, Diana Nyad is a force of nature. A long-distance swimmer and in the prime of her life at the age of 64, she says she is “in love with the ocean” despite knowing the grueling dark side of the sea all too well. Her motto for her 53-hour swim from Cuba to Florida is simple and unwavering: “Find a way”. This stands as a guide as we embark on new adventures at sea, but it also reminds us of the challenges we face to protect what we love. The big blue is rich with stories we want to tell and with life we want to protect. So, let’s find a way!

Cover Photo: Mark Choiniere; Photo: Domenic Mosquiera

Find more information, tour dates and tickets at www.oceanfilmtour.com

INTO THE BLUE 3

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PROGRAMMe

S even stories from the seven seas

In our third year we experience the sea with all senses: We have close encounters with sharks, explore the ocean by night and listen closely into the deep. The long distance swimmer Diana Nyad teaches us how much will will is required to conquer the ocean and surf prodigy John John Florence takes us on a surfing trip around the globe.

S onic S ea The deafening deep

The ocean has never been a quiet place, but by now military experiments, seismic probing and shipping noise drown out everything else in the ocean. Sonic Sea shows how noise pollution causes incessant stress for whales and leads to devastating mass strandings. Through the narrative of former US Navy Officer Ken Balcomb, filmmaker Daniel Hinerfeld tells the story of a neglected issue and how to solve it.

H ola S unshine On the sunny side of the sea

Leila Hurst is Little Miss Sunshine: In HOLA SUNSHINE the surfer travels to one of her favourites spots on earth – Salina Cruz, Mexico. Home is where the ocean is and Leila shows just how at home she feels on her board.

Hang loose and hang ten.

M y O wn P rivate M onster

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Photos: Mike Pagan, Daniel Hinerfeld, Chris Carey

Windsurfing beyond the comfort zone

They are enormous, intimidating and gnarly: Twenty-six kilometers off the Tasmanian coast, the waves are monsters with the power to breaking surfers’ legs. But the Australian Alastair McLeod wants to accomplish something no one has ever done before – windsurfing the monster. In the interview Alastair talks about his first encounter with the wave and why windsurfing is sometimes a matter of how long you can hold your breath.

PROGRAMMe

T he E dge

A sharklover’s guide to the sea The probability of getting struck by lightning is much higher than being bitten by a shark. Despite their bad reputation these impressive creatures need our help. Joe Romeiro shares his fascination for sharks in this poetic short film. THE EDGE lets us see sharks in a new light, with unprecedented footage shot by night.

V iew F rom A B lue M oon Surf action deluxe

For three years, the legendary Brain Farm filmmaking and production team the biggest talent in surfing around the globe: The 23-year-old Hawaiian John John Florence is the only one who can hold a candle to the great Kelly Slater. With his progressive style, Florence pushes the sport in a new direction.

VIEW FROM A BLUE MOON showcases the talent of an exceptional athlete and takes us to the best surfing spots in the world.

Photos: Steer Films, Karen Christensen, Juan Oliphant, Ant Fox

B orn to

T he O ther S hore

Freediving with sharks

103 miles through the sea

Ocean Ramsey’s passion is one of the most infamous creatures of the sea.

The young marine biologist devotes her life to sharks and founded her own marine research and conservatory institute.

BORN TO shows her unusual and close relationship with the sea and its underwater inhabitants.

Diana Nyad has been chasing her goal for 40 years: The long-distance swimmer wants to be the first person to swim non-stop from Cuba to Florida without the use of shark cage.

After four failed attempts and at the age of 64, Nyad gives her life goal one final try. In her interview she talks about hallucinations during the swim, her long road to success and the nature of the human spirit.

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VIEW FROM A BLUE MOON

TUNNEL VISION John John Florence, the wunderkind of the international surfing scene, is viewed by many as one of the world’s most progressive surfers.

He is considered the successor to the great Kelly Slater and the two of them not only share a love of waves, but they also share backyards.

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VIEW FROM A BLUE MOON

Haleiwa HAWAII O'AHU Honolulu

It took breaking his arm for John John not to paddle out to sea every day. He used the forced time away from surfing to get his pilot’s license.

Before his driver’s license. As a resident of an island, you never really get too far by car. That’s why John John prefers to fly. The native-born Hawaiian does not go to university, he goes surfing. Every day, for up to 10 hours and often into the night, he rides his board. Luckily, home is not too far. John John's beach house on the north shore of Oahu, Hawaii's main island, has direct access to the ocean. In the unlikely event that he needs a change from surfing, he can always set sail on his boat or fly circles over the island.

the waves on the north shore better than anyone else.”

The world is calling and the 23-year-old John John is answering the call. In VIEW FROM A BLUE MOON, he sets off to discover new surf spots around the globe—from the beaches of Rio de Janeiro to the unexplored bays of South Africa. For the film, John John teamed up with a strong ally—the filming goldsmith Brain Farm.

With The Art Of Flight and We Are Blood, Brain Farm has already delivered movies that, like Florence, are in a league of their own. Using state of the art filming equipment, they created something that truly deserves the label ”highly recommended” and the sublime soundtrack and stunning imagery do justice to the protagonist’s talent. VIEW FROM A BLUE MOON is a tribute to the surfer lifestyle and a declaration of love to life on the ocean.

Photos: View From A Blue Moon / Brainfarm, Kanoa Zimmerman, Chris Gurney

John John’s living every surfer’s dream of a laidback beach lifestyle, but he also has what it takes to conquer the top of the international surfing scene. 11-time world champion Kelly Slater says, ”At some point, he’s going to know

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SONIC SEA

With his film SONIC SEA Daniel Hinerfeld brings attention to an issue, which has been largely neglected: The acoustic pollution of the oceans.

Sonic pollution Human kind is likely responsible for these mass strandings. Military sonar experiments, seismic probings, and the noise of marine vessels have drastically transformed the acoustic underwater environment.

Ocean noise has multiplied in the last few decades, putting whales under incessant stress, disturbing their communication, and impairing their hearing.

Stranded These giants of the deep fought for their lives, but in the end not a single one of them survived. In February 2016, eight emaciated sperm whale beached on the coast of the North Sea, which is no place for a twelve-meter-long whale weighing 15 tons.

In a similar scenario just a few weeks earlier, 15 sperm whale beached on the coasts of Germany, Great Britain, and the Netherlands. Politicians, scientists, and the media speculate—was it collective suicide, a disturbed sense of orientation, or did they simply take the wrong turn into the North Sea where food is scarce?

As SONIC SEA illuminates, these mass beachings are not freak accidents. In 1996, 12 Cuvier's beaked whales were found dead in Greece shortly after marine maneuvers were conducted in the area. Four years later, 16 marine mammals were stranded in the Bahamas. The same situation occurred in the Canary Islands (2002), on the Australian coast (2005), and the Scottish coast (2009).

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Illustration: Daniel Hinerfeld

1. Sonar sources ”The sonar systems have killed these whales,” says Ken Balcomb, a former US Navy Officer. He saw the stranding of 17 whales in the Bahamas 16 years ago. At that time, the US Navy lead sonar tests in these waters. Low Frequency Active Sonar (LFAS) was developed by the Navy to send sonar waves to detect and locate hostile submarines. These sonar waves have a sound volume of 230 decibels. In comparison, at one meter’s distance, a jet generates a sound pressure of 140 decibels.

In the Bahamas, some of these stranded whales had brain and inner ear hemorrhages. According to Greenpeace, the Navy admitted that the sonar system had caused the strandings, but denied that the technology posed a general threat to whales. Since these events, Ken Balcomb has become an advocate for the cause, trying to substantiate the lethality of these sonar devices.

SONIC SEA

2. Resources Seismic explosions are a common method used to localize oil and gas under the seabed in order to discover new sources of fossil fuel. Underwater seismic canons fire sonic waves into the ground under the sea.

Greenpeace released evidence that whales in a specific probing area had stopped communicating after the explosions, even whales 200 kilometers away from the blasts.

Whales move away from the detonations, leaving their habitat and sources of food behind.

Communication between the animals Sea life adapts to its surroundings. Eyesight decreases, and the sense of hearing improves. Whales have developed an acute sense of hearing that allows them to communicate across several hundred kilometers.

Toothed whales, such as dolphins, porpoises, and sperm whales, communicate and orientate through sound, making clicking noises and detect obstacles and prey through echolocation.

But the noise caused by humans has drowned out almost all other sounds in the ocean.

3. Traffic Shipping routes are more frequented than ever. The constant stress shipping vessels pose for whales and other sea life might be the cause for increasing deafness among whales.

In the Canary Islands collisions between ship vessels and whales have occurred again and again because whales in the surrounding area were effectively deaf and unable to detect the approaching ships. When a newborn fin whale was washed ashore on the coast of California in 2003, scientists discovered that sonic waves had injured his brain.

The film For years scientists and environmental activists such as Ken Balcomb, Christopher Clark, Jean-Michel Cousteau, and Sylvia Earle have been fighting against ocean noise pollution.

Improving ship propellers, insulating motors, and regular engine testing are just a few possible solutions to reduce noise, and these are easy to attain. Moreover, silent ships have proven to be more efficient, save money, and reduce air pollution.

The people behind SONIC SEA have filed a petition to decrease sonic pollution and they need your help. Go to www.sonicsea.org/take-action to sign the petition and find out how you can take action to help reduce the impacts of ocean noise.

The ocean has never been a quiet place, but now almost all of it's natural acoustics have been drowned out by the sound of ships’ engines and seismic probing.

The documentary SONIC SEA scrutinizes the devastating consequences sound pollution has on ocean dwellers and shows how we can create a noise-efficient future.

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K een

A U N E E K P erspective Keen-Ambassador Laura Kennington

For as long as I can remember, I have always loved being around water. From diving in to freezing cold glacial lakes, steadily paddling down rivers and once sailing home across oceans�countless adventures, both as a child and as an adult, have been centered around exploring the bodies of water on this planet. In recent years I have combined my love of exploring water with a curiosity for exploring the limits of the human body. My next challenge will involve swimming five unrelenting miles around the island of Sark in the Channel Islands�a feat that hasn’t been completed since 1999. Although many people will travel to Sark, few will ever see this island from my UNEEK perspective�I will earn every mile, celebrate each milestone of the coastline. I am not just a passive observer of the sea, I am effected by every wave, by every knot of current, by the force of the

wind. When I finally complete the circumnavigation of this island, it won’t just be a holiday destination I remember fondly�it will be an achievement I will have fought for. To support the unique lifestyle I live, KEEN introduced the UNEEK, which is a great fit for me and my adventures. But my adventures are just an example; you don’t need to live my life to be unique. Because you are.

The pull of the ocean is irresistible to many of us and it’s always where I go when I need to reconnect with the things that matter. The ocean is unforgiving; it cannot be tamed and by taking on a challenge in such a wild environment you are faced with your own raw human nature�your strengths and weaknesses exposed. As E.E Cummings said; ”… whatever we lose (like a you or a me) it’s always ourselves we find in the sea.”

Photo: KEEN

For more information about Laura and UNEEK—visit www.lauraexplorer.com and www.keenfootwear.com

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the other shore

Diana Nyad is a force of nature. The swimmer specialized in long distances at an early age and set her goal to swim from Cuba to Florida in her twenties. At the age of 64, and after four failed attempts, she reached her goal with the world watching. In our interview she explains the nature of the human will and what it took to achieve her lifelong dream.

USA Gulf of Mexico GOAL Key West START Havana

Florida Keys 103 miles

CUBA

TIDES OF WILL

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the other shore

of hours, you are in the interior of your mind. And once you start hallucinating, you can’t get a grip on it. My method was to sing a song in my mind and count the times I sing it with great discipline. When I have sung Janis Joplin’s ”Me and Bobby McGee” a thousand times, I’m exactly at 9 hours and 45 minutes.

You were hallucinating on your swim.

How do you handle that?

You’re already hallucinating on an 18-hour swim on a rough day. Whenever the mind is caught in a deep sensory deprivation, you can’t see, you can’t hear. After the first couple

The director of THE OTHER SHORE manages to depict your story in a very personal manner, giving the viewer a sense of intimacy.

What is your connection to Timothy Wheeler?

Timothy is my nephew. As the story of my swim got to be rather big in the news and grew over the years, a number of pedigreed documentary filmmakers approached me about doing the film. Not only had I already promised Tim the rights to do the film and my story, but he had a vision. Any project he works on, he’s an intensely passionate and devoted filmmaker who wants to do right by his subject matter. He captured the emotions, the dark ocean, the suffering without a word. I think the film is genius and I’m extremely proud of him­�it doesn’t matter if he’s my nephew. We didn’t know that this would be a big worldwide story. Then it grew and all of a sudden CNN was covering it.

The film is all about the journey and in the end isn’t that what all our lives are about�the journey? You may never reach the destination but if you have put your courage and

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Photos: Karen Christensen

Can you take us through the phases of the mental and physical exhaustion of a 53-hour swim?

The 53-hour swim and what you have to handle during that time is nothing compared to the training. If you go out one day and do a 17-hour swim and you’re lying in the fetus position on the bathroom floor vomiting because it’s been such a whimpy hard day and you’re not in shape yet, you have to have the resolve to somehow find any ounce of strength you have left to get up the next day and do an 18-hour swim. I was doing these for four years. Once you get in shape it’s not all suffering, sometimes you’re out swimming with a pod of fifty dolphins, sometimes the sea calms down and you have an unreal sense of swimming over the curvature of the earth. It’s not all dark tragic suffering, it’s elevating.

You don’t seem to be intimidated by all of this.

Not by the hallucinations and the exhaustion.

What is the source of your stamina?

That’s will. This is what the human will is all about. When I’m standing on the shore for the swim, I say to myself, ”You’ve put on a will”. No matter what comes, no matter if you are so exhausted that you are vomiting and hallucinating, your will underneath has been set and nothing will detract you from bringing the left arm up again and the right arm up again. In 2011, I was stung by box jellyfish, the most potent venom on all of earth and I would never wish that on my worst enemy.

I thought my spinal cord was paralyzed; I felt like my body had been dipped into hot burning wax. Ninety percent of the people stung by box jellyfish die. I didn’t die. Why? Because the will had been set. You can do all the mathematical computations of what happens with my body on a physical level, but give me the measurement of the power of the human spirit. None of us knows what the human spirit is capable of and I refuse to demean what that power is.

the other shore

your best self forward, you can look back with no regrets and the journey is all worthwhile with the lessons you’ve learned.

You call Bonnie your ”handler”.

What makes her the one who can handle you?

We have known each other for 35 years, so there is an element of tremendous sensitivity. When I was shivering and stopped swimming, when I didn’t know where I was anymore, Bonnie had a way of coming up with one word, one look, one hand signal to find that last drop of courage that she knew I still had in me. Two hours before the end of my final attempt, I said to my team, ”Listen, I’m probably going to stumble up on that beach�finally. And I guess somebody

is going to take my picture, but don’t you ever forget that WE did this. We did this together. We made history.”

How you describe your connection to the ocean?

When I was younger, I didn’t appreciate the blue jewel planet we live on. But now I truly am in love with the ocean. I see pictures of the earth from space and I see that we do live on a blue planet, it’s not a green planet, it’s blue. It breaks my heart to that we are polluting the ocean. And on a personal note: An athlete spends a couple of decades and sacrifices their life to be the best at their sport. They have a fondness, an emotion, towards the environment where they played.

For me it was the ocean. What a fortunate thing, to have the ocean be the place where I learned all my life lessons.

“ W e don ’ t know what we are capable of , until we try.”

Diana Nyad

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Timothy Wheeler is not only an Emmy-nominated cinematographer and filmmaker but also Diana Nyad’s nephew.

For THE OTHER SHORE, he had to find new ways to portray a woman who seems to be invulnerable.

peeling back the layers

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How did you come on board for this project?

I had just been nominated for my first Emmy for a series I worked on for the Discovery Channel, when we embarked on this project. I went to the Berkeley Graduate School of Journalism and focused on documentary film, several years before Diana started her swim. I put everything else on hold.

That was in March 2010. At that time, in March 2010, it was supposed to be a one-year journey. (laughs) What was the most challenging part of documenting the journey?

The entire journey was challenging. This project had just so many variables, the swim in itself and the filming. You have weather to deal with, boats are an incredible challenge to shot on, and expense-wise, it was not a cheap documentary to make. It was also very challenging to see a loved one suffering out there. Seeing that someone nearly die from box jellyfish and being unable to do anything about it was very hard.

What were you looking for as a filmmaker?

Photos: Karen Christensen

My passion is to tell human stories. That is what I enjoy as a filmmaker in general— to give the audience a glimpse at someone or something that they wouldn’t be able to see otherwise. But Diana is not only this unbelievable swimmer, she’s also a journalist and used to sculpting her own story. So I said to her from the beginning that the only way I would be involved in this, would be if she is not involved creatively; so that I can really show the full picture, that I can get intimate even at times that are uncomfortable. To her credit, she allowed exposure to talking about the past and to be completely vulnerable

when she was just physically beaten down. My relationship with her helped with that. She would have been challenged in trusting someone external.

What did Diana bring to the film as a protagonist?

You can imagine anybody who is going to put themselves through that type of grueling feat, a historic swim that has never been done before, is going to be a very intense personality. It was a challenge to peel back the layers. I had to come up with ways of accessing a different side of Diana.

For me, her best friend and trainer Bonnie Stoll is the voice of the audience. I arranged for them to view the footage of the box jellyfish attacking Diana and that elicited a lot of raw emotion. It brought up a conversation that allowed for a completely different Diana to show than the Diana you see when she sits down for an interview.

You and your team didn’t come along on Diana’s final attempt of the swim. But you filmed her arrival at the beach. How did you manage to tell the story anyway?

At that point we had already premiered the film on South

by Southwest and sold the film to a broadcaster. For me, the film was all about the journey. And after she had almost died of the box jellyfish I asked myself, how could it get more vivid and surreal?

Honestly, I didn’t think she was going to do it. The funds had dwindled and I had other projects, but I tracked her last attempt and when I realized that this might actually happen, I got on a plane and rushed over there to join the team on the boat. I filmed the grand finale on the shore and rushed back to the editing room because the delivery to the broadcaster was that same week.

Timothy Wheeler lives in Los Angeles and works on projects worldwide.

He is also an adjunct professor at the Chapman University’s Dodge College of Film in California.

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M Y O W N P R I VAT E M O N S T E R

How did you get into windsurfing?

My dad used to windsurf a lot. He started teaching me and my stepbrother when I was thirteen when we still lived in Queensland. Then we moved down to Melbourne, which is in a big bay with no waves. So windsurfing made a lot more sense there. If it’s not windy I go surfing and if it’s windy I go windsurfing. Either way I’m surfing.

What was your first experience catching a wave between Eddystone and Pedra Branca?

That was pretty scary. The wind was really low. It made it very hard to catch waves, because the waves are moving so fast and the low winds had me moving very slowly. I was just on the edge of the wave when I fell. I was just far enough out to not be swallowed by the wave. I was really lucky. You don’t really know what a wave like that would do to you. Especially in Pedra Branca and Eddystone—it’s in the middle of the ocean and you’re a long way from help.

What was going through your head when you fell?

When I started falling, I braced myself because I knew something bad was about to happen. It felt like going into survival mode and I had to focus on the next 30 seconds and I thought, ”If you can survive the next 30 seconds, you’ll be ok.”

What made you go back in after this first close call?

I was really frustrated that the wind was so low, up to point where I just had to catch a wave. We’ve been planning this trip for so long. The adrenaline rush of going from thinking that you will get really hurt to being back in the water, really got me fired up to catch a proper wave.

With windsurfing you have to manage two elements, water and wind. Can you explain the ins and outs of catching a wave?

You need a specific wind direction in order to surf a wave.

On the wave face the wind accelerates. The wind will blow your equipment away from you, so if you get hit by your own equipment, you mistimed the wave. Sometimes you just get hit in the face—I broke my nose twice. (laughs)

The Australian Alastair McLeod is the first windsurfer to test the waters at Pedra Branca. 26 kilometres off the Tasmanian coast the sea is rough, the waves are monstrous and the adrenaline tide is high.

OF MONSTERS AND MEN

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Do you think you can windsurf a barrel?

No one has ever really done that. You probably could but there are very few waves on the planet that would allow you to do that. Windsurfing is more suited for Big Wally kind of waves. Riding the face is much like snowboarding down a face. You have a lot more speed in windsurfing. You can kind of outrun the wave and you have a little bit more maneuverability. If you catch the wrong wave and you know it, you can race out of the wave and get in front of it, while in surfing you cannot develop that kind of speed.

Any idols?

When I was growing up, Jason Polakow was the main guy.

And I thought he was going to windsurf Pedra Branca but he didn’t. I haven’t talked to him since I surfed Pedra Branca (laughs). I’m the first person to windsurf there, showing that you can actually do it.

What made you feel ready for it?

To me it’s really important to challenge yourself. I got injured along the way, slowing the process down, but I focused on training my lungs, working on my lung capacity and carbon dioxide tolerance. Building up over several months, I was able to hold my breath for three minutes. This gave me the confidence to pull it off.

Is this still your OWN PRIVATE MONSTER? Well, I’d say it’s really Marti Paradisis' own private monster, because he was the guy who found it. He lives down in Tasmania and if it wasn’t for Marti, this project never would have been made. I was lucky that he helped. But concerning future projects, I’d like to find some big perfect waves.

Cloudbreak, Fiji, Pe'ahi, Hawaii—waves in those places get really big and they are also perfect waves. At Pedra Branca, you can't just focus on the wave because the whole place is so intimidating and hardcore, so I’d like to go places where you can just focus on the wave—for once. (laughs) Pedra Branca was more about survival.

TAS M A N I E N Hobart

Photos: Chris Carey

Pedra Branca / Eddystone

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O C E A N A N D C U LT U R E

SOUND OF THE OCEAN ABBY – Hush

With “Hush” the Berlin-based formation aBBY brought us the perfect soundtrack for our official trailer.

Light and dark, soft and rough—the textures of “Hush” encapsulate all facettes of the ocean, lending its throbbing beat to seven stories of the seven seas. aBBY’s latest album, named “Hexagon”, is a testament to their musical versatility: acoustic textures merge with electronic. The vocals of singer Filou shifts from serene choirs to hypnotic verses and follow the rich patterns of interwoven sounds and beats, that make the sound of aBBY so recognizable and unique. With all band members playing multiple intruments the soundscapes of Hexagon are ever-changing and enthralling, leaving the listener with the desire to return to the beginning once the last song has played out.

More about ABBY at www.searchingforabby.com

OZEANEUM STRALSUND

Photos: Delius Klasing, Johannes-Maria Schlorke, Uli Kunz

Experience the ocean

The oZeaneUM offers a unique journey through the underwater world with 50 impressive aquariums of northern sea habitats and five interactive exhibits. a special treat is the 2.6-million-liter pool open atlantic with a sand tiger shark named “niki”, a variety of marine rays, and schools of mackerel. in europe’s largest Baltic Sea exhibition, visitors gain exciting insights into our oceans and its inhabitants. The whale exhibition has life-size replicas of the sea giants, including a 15-meter-long sperm whale fighting a giant squid.

The penguins are fed daily at 11:30 a.m. on the roof terrace, where you can enjoy a panoramic view of the historic old town of Stralsund. The theme of the year 2016 is “octopus & co”.

To find out more, visit www.ozeaneum.com

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L ast P icture

A rcheologist of the present The photographer and artist Mandy Barker conveys her conservationist message through aesthetic allure

With each excavation, archeology offers us insights into our ancestors. Relicts of earlier species cast light into our past and help us understand where we came from. What is our legacy? What are the artifacts that will tell our story to future generations? The photographer and artist Mandy Barker collects flotsam and arranges the individual pieces into fascinating omnium gatherum. But the first impression of these colorful assortments soon yields to the bittersweet realization that none of this belongs in the

ocean. With this contradiction between aesthetic allure and an urgency for conservation, Mandy Barker wants to instill an emotional reaction to her pieces and a sense of awareness of plastic pollution. It takes 450 years for a plastic bottle to completely biodegrade, so this is what will remain and inform future archeologists of our present. It is Mandy Barker's hope that we will take immediate action so that, in the future, these relicts will be a reminder of a bygone era.

Imprint: The International OCEAN FILM TOUR is a production of Moving Adventures Medien GmbH | Head executives: Thomas Witt and Joachim Hellinger | www.moving-adventures.com | Editors: Paula Flach, Benedikt Saalfrank, Rabea Zßhlke | Art director: Birthe Steinbeck | Graphics: Claudia Wolff | V.i.S.d.P. Thomas Witt | Š 2016, Moving Adventures Medien GmbH, 80337 Munich, Germany

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I nternational O cean F ilm T our volume 3

klimaneutral

Photo: Mandy Barker

More information at www.mandy-barker.com

YOU DON’T HAVE TO BE THE KING OF THE FOREST TO BRANCH OUT A BIT