Culturally Modified Trees
Culturally modified tree (aka CMT) is a term which describes the modification of a tree by indigenous people as part of their tradition. Their meaning for the indigenous cultures is relatively well known, but only from the beginning of the 1980s scientists have recognized that they are also important sources for the history of certain regions. Meanwhile they are even called CMT archives. Although a wide range of results has been produced, and progress has been made as far as methodology is concerned, the CMTs are still rather unknown to the public. Many old trees wearing blue belts with the words "culturally modified tree" in Stanley Park/Vancouver attracted considerable interest - and questions.
Read more about Culturally Modified Trees: Delimitation, Protection, Registration and Analysis of CMT-Archives, Beginnings of Examination, Frequent Species and Their Ways of Usage, Development and Results of Some Research Projects, Perspectives
Other articles related to "culturally modified trees, trees":
... In the Nagagamisis Provincial Park most trees found were between 80 and 110 years old, some probably more than 400 ... Garrick also found trees in the Great Bear Rainforest on the territory of the Gitga'at First Nation ... Even trees more than 200 years old were registered in Manitou Experimental Forest north of Woodland Park ...
... Society decided to invest a part of its US$7 million budget into a culturally modified trees project in the National Park ...
Famous quotes containing the words trees and/or modified:
“It is as when a migrating army of mice girdles a forest of pines. The chopper fells trees from the same motive that the mouse gnaws them,—to get his living. You tell me that he has a more interesting family than the mouse. That is as it happens.”
—Henry David Thoreau (1817–1862)
“Poetry presents indivisible wholes of human consciousness, modified and ordered by the stringent requirements of form. Prose, aiming at a definite and concrete goal, generally suppresses everything inessential to its purpose; poetry, existing only to exhibit itself as an aesthetic object, aims only at completeness and perfection of form.”
—Richard Harter Fogle, U.S. critic, educator. The Imagery of Keats and Shelley, ch. 1, University of North Carolina Press (1949)