reuse   2358

« earlier    

[Letter from Haiti] Downstream | Harper's Magazine
In the past sixty years, the drive for efficiency unleashed by the advent of steel containers has propelled the global shipping industry into an arms race of bigger boats, deeper ports, and automated terminals, allowing more stuff to move in less time, with less fuel, and, above all, less labor. But this transformation has hardly registered on the Miami River, home to small, decades-old ships that serve Caribbean ports without container lifters or harbors deep enough to accommodate large vessels. The Miami River stands out as America’s last bastion of break-bulk shipping, a process by which cargo is moved piece by piece, as it was around the world before containers became standard.

Shipping here operates according to a different imperative. Where most shippers have tried to eliminate labor wherever possible, “this business,” Dubin explained, “is all labor”: labor to source the goods from flea markets and dumpsters, to sort and repackage them for export; labor to carry cargo to the docks, or to sell it to a stevedore with a side hustle; labor to price and classify each item accepted on board; and labor to write out carbon-paper receipts in longhand. The waterway’s five-and-a-half-mile course weaves between scrapyards and boat repair shops before slipping downtown and out into Biscayne Bay. A river of secondhand goods follows the same route, out of South Florida’s sprawl into the Caribbean. As one Coast Guard commander told me, the Miami River is essentially “the thrift shop of the maritime industry.”
supply_chain  logistics  reuse  recycling 
22 days ago by shannon_mattern
SAIL Databank - The Secure Anonymised Information Linkage Databank
Engagement with the public is a fundamental part of the management and future of the SAIL Databank. The general public are involved in all levels of the management of SAIL Databank. Members of the public provide advice, give recommendations on safeguarding and ethical approval.
public  engagement  data  trust  governance  open  reuse  repository 
5 weeks ago by juliantait
Check out all the wonderful projects nominated for the Awards 2019 that celebrate innovative of…
reuse  from twitter
6 weeks ago by verwinv
How can promote their collections and make them for without violating…
audiovisual  reuse  archives  accessible  from twitter
7 weeks ago by verwinv
Earth Day 2019: Fashion industry's carbon impact is bigger than airline industry's - CBS News
"• The apparel and footwear industries together account for more than 8 percent of global climate impact, greater than all international airline flights and maritime shipping trips combined.

• The challenge to reduce carbon emissions offers the fashion industry an opportunity for its players do what they do best -- be creative.

• Eco-friendly fashion pioneers from Stella McCartney to Rent the Runway to the RealReal are creating new reuse and resale models of doing business."
fashion  climate  climatechange  carbonemissions  emissions  2019  clothing  reuse  resale  shipping 
8 weeks ago by robertogreco
RT : Interested in of ? just launched a new contest "Making a Story…
creative  archives  reuse  audiovisual  from twitter
9 weeks ago by verwinv
How to archival footage for ? and just launched an online platform E-Classe t…
education  reuse  from twitter
10 weeks ago by verwinv
Agnès Varda's Ecological Conscience
"“Existence isn’t a solitary matter,” says the shepherd to the wanderer in Agnès Varda’s 1985 film, Vagabond. This vision of collectivity, the belief that we are all in it together, recurs throughout Varda’s films, from her early, proto–New Wave La Pointe Courte (1954) to her acclaimed Cléo from 5 to 7 (1961) to her most recent film, Faces Places (2017), made in collaboration with the young French street artist JR. (Filmmaking isn’t a solitary matter, either.) “This movie is about togetherness,” she told New York Magazine. Watching Faces Places, I couldn’t help thinking about Varda’s 2000 film, The Gleaners & I. Both are road-trip movies in which Varda interviews the kinds of people we don’t often see in movies—farmers, miners, dockworkers, and their wives. Both films proceed by chance, gleaning whatever they happen upon. But though The Gleaners is now seventeen years old, old enough to drive a car and almost old enough to vote, it’s feeling as fresh and relevant as if it had been made in parallel to Faces Places. It rewards rewatching.

The Gleaners & I is a documentary about the time-honored act of gathering what other people have abandoned or thrown away. Gleaning is most often associated with what’s been left behind after a harvest; think of that famous Millet painting, The Gleaners (1857), which you can find in the Musée d’Orsay. The women—gleaners used to be mainly women—bend over to collect the bits of wheat the harvesters have left on the ground; they gather what they find in their aprons. It looks like back-breaking work. “It’s always the same humble gesture,” Varda comments in voice-over: to stoop, to glean.

Today, they tell Varda, harvesting is more efficient because it’s done by machines, leaving less for gleaners to pick up. In her film, Varda interviews present-day glâneurs; some glean to survive, some out of principle (“Salvaging is a matter of ethics with me,” says a man who’s eaten mostly garbage for ten years), others just for fun. One woman Varda interviews demonstrates how they used to do it: with a sweeping extension of her torso she gathers ears of corn into her apron. It was a social occasion, when all the women in the neighborhood would get together and, afterward, go back to the house for a coffee and a laugh.

Varda enlarges the concept of the glâneur to include people like the artist Louis Pons, whose work is assembled from trash, from forgotten things, from pens, empty spools, wires, cans, cages, bits of boats, cars, musical instruments: “He composes,” Varda says, “with chance.” Or to Bodan Litnianski, the Ukrainian retired brickmason-turned-artist who built his house (which he calls “Le palais idéal”) from scraps he found in dumps—dolls, many dolls, and toy trucks and trains and hoses and baskets and plastic fronds—effectively brickmasoned into place. “C’est solide, eh.” Litnianski died in 2005, but there’s a corresponding figure in Faces Places who made me sit up in recognition.

All of the gleaners Varda speaks with are appalled at the amount of waste our culture produces—especially food waste. “People are so stupid!” says a gleaner who strides around his village in Wellies, going through the garbage for food, freegan-style. “They see an expiration date and think, Oh I mustn’t eat that, I’ll get sick! I’ve been eating garbage for ten years and I’ve never been sick.” Back in Paris, Varda interviews people who come around after the market’s been through, to save money. “You should see what they get rid of,” one says. “Fruit … vegetables … cheese, but that’s rare.” His entire diet, it seems, comes from eating the castoffs from the market and the boulangeries. Varda, intrigued by him, follows him back to the shelter where he lives and volunteers as a French teacher to immigrants.

The urban gleaner has often gone by another name: the chiffonnier, or rag picker. Until the 1960s, you could still hear his cry in the streets of Paris: “chiiiiiiiiiffonnier!” Baudelaire, in Les fleurs du mal, sees them “bent under piles of rubbish, jumbled scrap,” collecting “the dregs that monster Paris vomits up.” The rag picker moves through the city on foot, like the flaneur, collecting what it has cast off. Other cities have long had this tradition—the raddi-wallah in India, for instance (which can refer to both the scrap collector or the place where the scraps are brought). In Paris, the chiffonniers, like self-employed sanitation workers, went through the trash, separating out what was useful from what was not, collecting rags, rabbit skins, bits of metal, scraps of paper, bones, glass, yarn, fabric, old clothes, all manner of chemical compounds, anything that could be repurposed, reused, repackaged, or transformed into something else. “Very little went to waste, in Baudelaire’s Paris,” notes the scholar Antoine Compagnon in his recent book on the chiffonnier. Georges Lacombe’s 1928 short silent film, La zone, shows the process of rag picking and what happens to the detritus they collect. They would drag this in bags or in wheelbarrows to a collection point, of which there were many in the city; the rue Mouffetard, on the Left Bank, was the center of this reselling (side note: Varda made a short film about this street, 1958’s Opera Mouffe). The metal, of course, would be taken to factories where it was melted down and turned into other things made of metal. How many lives has metal had, how many shapes has it taken? How many more lives does any object have before it eventually finds its way to some landfill?

Today, this canny recycling spirit lives on in the brocantes, which you can find around town on any weekend afternoon. In among the real antique dealers, you can find people selling all the bits and bobs of things they don’t want or they found in their basements, laid out on tables or blankets. They are “objets that can be found nowhere else: old-fashioned, broken, useless, almost incomprehensible, almost perverse,” as André Breton writes in Nadja, visiting the flea market at Clignancourt. How many different people have made use of the same cast-off calculator, the little porcelain dish, the copy of a minor album by Renaud?

The threat to the environment posed by waste is incredibly pressing; the need to recycle is a question of ethics. If we must consume, let us consume each other’s castoffs. “All these old things,” Baudelaire noticed back in 1857, “have a moral value.” This is the ethos of The Gleaners. Yet it’s difficult to watch the film at times, to be reminded that others are living off what some of us throw away so carelessly, something Varda’s literary kindred spirit, Virginie Despentes, has also managed to do in her recent masterpiece, Vernon Subutex. But neither Varda nor Despentes sentimentalizes this cycle; the gleaners Varda interviews are gleeful. If there’s anyone to pity here, it’s us, paying retail, paying anything: we’re the suckers. Varda helps us see the hyperactive cycle of our materialism and, through the act of glanage, shows us a way to consume less and to engage with our environments more.

Before I watched the film, my suburban ways clung to me. Everything had to be new, of course. I’d never gotten out of the car to pick up some apples from the ground, or brought in a piece of furniture from the street. (I think of Patti Smith in Just Kids, scrubbing with baking soda the mattress she and Robert Mapplethorpe found in the street. She had that pluck and resourcefulness.) Even after it, I’m not sure I would go rummaging through the garbage after the market had finished. But Varda helped me see myself as not only a consumer but a participant in some greater cycle of custodianship. As Varda films people recuperating the copper coils from inside television sets that have been abandoned, or finding old refrigerators and repairing them, or turning them into very chic bookshelves, she seems to be asking us not to limit ourselves to accepting products as they’re offered to us commercially but that we take them apart, turn them into other things, that we imagine new uses for them, even, and especially, when they seem to be useless."
2017  agnèsvarda  environment  sustainability  film  laurenelkin  gleaners  waste  documentary  observation  noticing  women  gender  glâneurs  scraps  scavenging  chiffonnier  recycling  reuse  classideas 
11 weeks ago by robertogreco

« earlier    

related tags

!course-topics  &  (2fa)  (mfa)  2017  2018  2019  3  5rs  accept  access  accessible  advice  agile  agnèsvarda  agriculture  alternatives  amia2018  architecture  archives  art  article  artist  audiovisual  authentication  auto  awareness  aws  bag  bangkok  belgium  bi  bind  biometric  blinding  burning  business  cafe  calendar  calendars  california+farm+bureau  california  can  carbonemissions  cc0  certification  chickens  chiffonnier  chunks  classideas  cleaning  client  climate  climatechange  clippings  clothing  coat  code  coding  community  component  components  compromised  conservation  consumer+rights  consumerism  containers  content  cooking  copyright  cradle  creative  crossover  cultural-heritage  d8  data  database  debris  design  development  digitalrights  display  diy  documentary  donate  donation  dpla  drupal  dryerase  duplicate  education  ehr  electronics  emissions  energy  engagement  engineering  england  entremise  environment  environmental  esb  estate  europe  europeana  events  farming  fashion  fat  film  filter  firefighter  fix  flanders  food  fraud  freedom  frugality  frying  furniture  gender  getrichslowly  gleaners  glâneurs  go  golang  governance  gravity  green  greenit  groceries  grocery  guide  guidelines  gvim  hampshire  hardware  harvest  homedepot  homestead  howto  hub  hydroelectric  identity  ifixit  import  incinerqation  innovation  instructables  integration  intellectual+property  ios  ip  iphone  it  itp  javascript  jhu  john+deere  js  junk  lambda  land  laptop  laurenelkin  law  lcd  libraries  linux  listen  listeners  local  logistics  louisvuitton  makers  makerspaces  management  markdown  marketing  material  mend  metadata  microservices  microsoft  mine  mirror  modular  module  montreal  multifactor  multiple  mvim  newsletter  nike  nonprofit  norms  not-a-bad-idea  noticing  notlego  npm  number  observation  oil  online  oo  open  openaccess  opensource  option  organization  oriented  package  package_manager  packaging  paintchips  panels  parts  password  passwords  perfume  piston  pit  plastic  polyhierarchy  pophealth  port  potential  power  powerpoint  presentations  prevention  produce  product  program  programming  programs  protection  public  pumped  purchase  purse  pv  pyrolysis  r  rather-odd  read-later-from-instapaper-during-gdpr-mess  real  recommended  recycle  recycled  recycling  reduce  refactoring  refill  refurbished  refuse  rent  repair  repository  repurpose  repurposed  resale  research  reusable  reusableproducts  right+to+repair  rights  rs  rubbish  samchasan  scavenging  scraps  screen  secondaryuse  secondhand  security  seriouseats  share  sharepoint  shipping  shop  shop:online  shopping  slides  so_linger  so_reuseaddr  so_reuseport  social  socialenterprise  socialnetworking  society  socket  software-engineering  softwarearchitecture  solar  southampton  space  spoke  standards  storage  stores  sunpower  supercharge  supply_chain  sustainability  tcp  technology  thesis  time-wait  time_wait  to-write-about  to  toaster  tocheck  todo  tools  trust  tutorial  two-factor  two  uk  united+states  upcycling  us  usa  v-model  video  vim  vimer  vinyl  vue  vuejs  warranty  waste  wastepolicy  waterfall  ways  weather  webdev  weee  westford  whereto  whiteboard  windows  wishlist  women  wood  work  world  wrapper  wuppertal  xcode  your  zerowaste 

Copy this bookmark: