robertogreco + atmosphere   9

crap futures — Back to nature
"We live on a remote island - mountainous, mid-Atlantic, still heavily forested and pretty wild - and for that reason nature sometimes sneaks into our otherwise technology-centred work. It is hard not to think local when you live in a place like this. We’re neither farmers nor pioneers - except in the sense that resident aliens on this island are few - but lately our reading has got us thinking about ancient paths and rural places. We’ll discuss the paths today and save most of the farm talk for a future post.

Paths v roads

In his 1969 essay ‘A Native Hill’, Wendell Berry - the American writer, farmer, activist, and ‘modern Thoreau’ - makes a useful distinction between paths and roads:
The difference between a path and a road is not only the obvious one. A path is little more than a habit that comes with knowledge of a place. It is a sort of ritual of familiarity. As a form, it is a form of contact with a known landscape. It is not destructive. It is the perfect adaptation, through experience and familiarity, of movement to place; it obeys the natural contours; such obstacles as it meets it goes around. A road, on the other hand … embodies a resistance against the landscape. Its reason is not simply the necessity for movement, but haste. Its wish is to avoid contact with the landscape. … It is destructive, seeking to remove or destroy all obstacles in its way.


Aside from conversation as usual, the reason we are talking about Berry is the arrival of a new film, Look & See, and a new collection of his writing, The World-Ending Fire, edited by Paul Kingsnorth of Dark Mountain Project fame. Berry and Kingsnorth, along with the economist Kate Raworth, were on BBC Radio 4’s Start the Week recently chatting about the coming apocalypse and how it might best be avoided. It is a fascinating interview: you can actually hear Berry’s rocking chair creaking and the crows cawing outside the window of his house in Port Royal, Kentucky.

The normally optimistic Berry agrees somewhat crankily to read ‘the poem that you asked me to read’ on the programme. ‘Sabbaths 1989’ describes roads to the future as going nowhere: ‘roads strung everywhere with humming wire. / Nowhere is there an end except in smoke. / This is the world that we have set on fire.’ Berry admits that this poem is about as gloomy as he gets (‘blessed are / The dead who died before this time began’). For the most part his writing is constructive: forming a sensual response to cold, atomised modernity; advocating for conviviality, community, the commonweal.

Paul Kingsnorth talks compellingly in the same programme about transforming protest into action, although in truth no one walks the walk like Berry. Kingsnorth says: ‘We’re all complicit in the things we oppose’ - and never were truer words spoken, from our iPhones to our energy use. In terms of design practice, there are worse goals than reducing our level of complicity in environmental harm and empty consumerism. Like Berry, Kingsnorth talks about paths and roads. He asks: ‘Why should we destroy an ancient forest to cut twelve minutes off a car journey from London to Southampton? Is that a good deal?’

It’s a fair question. It also illustrates perfectly what Berry was describing in the passage that started this post: the difference between paths that blend and coexist with the local landscape, preserving the knowledge and history of the land, and roads that cut straight through it. These roads are like a destructive and ill-fitting grid imposed from the centre onto the periphery, without attention to the local terrain or ecology or ways of doing things - both literally (in the case of energy) and figuratively.

Another book we read recently, Holloway, describes ancient paths - specifically the ‘holloways’ of South Dorset - in similar terms:
They are landmarks that speak of habit rather than of suddenness. Like creases in the hand, or the wear on the stone sill of a doorstep or stair, they are the result of repeated human actions. Their age chastens without crushing. They relate to other old paths & tracks in the landscape - ways that still connect place to place & person to person.


Holloways are paths sunk deep into the landscape and into the local history. Roads, in contrast, skip over the local - collapsing time as they move us from one place to the next without, as it were, touching the ground. They alienate us in our comfort.

Here in Madeira there are endless footpaths broken through the woods. Still more unique are the levadas, the irrigation channels that run for more than two thousand kilometres back and forth across the island, having been brought to Portugal from antecedents in Moorish aqueduct systems and adapted to the specific terrain and agricultural needs of Madeira starting in the sixteenth century.

Both the pathways through the ancient laurel forests and the centuries-old levadas (which, though engineered, were cut by hand and still follow the contours and logic of the landscape) contrast with the highways and tunnels that represent a newer feat of human engineering since the 1970s. During his controversial though undeniably successful reign from 1978 to 2015 - he was elected President of Madeira a remarkable ten times - Alberto João Jardim oversaw a massive infrastructure program that completely transformed the island. Places that used to be virtually unreachable became accessible by a short drive. His legacy, in part, is a culture of automobile dependency that is second to none. The American highway system inspired by Norman Bel Geddes’ (and General Motors’) Futurama exhibit at the 1939 New York World’s Fair almost pales in comparison to Jardim’s vision for the rapid modernisation of Madeira.

But when you walk the diesel-scented streets of the capital, or you drive through the holes bored deep into and out of towering volcanic mountains to reach the airport - and even when you think back in history and imagine those first settlers sitting in their ships as half the island’s forest burned, watching the dense smoke of the fires they lit to make Madeira favourable to human habitation - it’s hard not to think what a catastrophically invasive species are human beings.

Bespoke is a word we use a lot. In our vocabulary bespoke is not about luxury or excess - as it has been co-opted by consumer capitalism to suggest. Instead it is about tailored solutions, fitted to the contours of a particular body or landscape. Wendell Berry insists on the role of aesthetics and proportionality in his approach to environmentalism: the goal is not hillsides covered in rows of ugly solar panels, but an integrated and deep and loving relationship with the land. This insistence on aesthetics relates to the ‘reconfiguring’ principles that inform our newest work. The gravity batteries we’ve been building are an alternative not only to the imposed, top-down infrastructure of the grid, but also to the massive scale of such solutions and our desire to work with the terrain rather than against it.

Naomi Klein talked about renewable energy in these terms in an interview a couple of years ago:
If you go back and look at the way fossil fuels were marketed in the 1700s, when coal was first commercialized with the Watt steam engine, the great promise of coal was that it liberated humans from nature … And that was, it turns out, a lie. We never transcended nature, and that I think is what is so challenging about climate change, not just to capitalism but to our core civilizational myth. Because this is nature going, ‘You thought you were in charge? Actually all that coal you’ve been burning all these years has been building up in the atmosphere and trapping heat, and now comes the response.’ … Renewable energy puts us back in dialog with nature. We have to think about when the wind blows, we have to think about where the sun shines, we cannot pretend that place and space don’t matter. We are back in the world.


In a future post we will talk about the related subject of sustainable agriculture. But speaking of food - the time has come for our toast and coffee.
2017  crapfutures  wendellberry  paths  roads  madeira  bespoke  tailoring  audiencesofone  naomiklein  sustainability  earth  normanbelgeddes  albertojoãojardim  levadas  infrastructure  permanence  capitalism  energy  technology  technosolutionsism  1969  obstacles  destruction  habits  knowledge  place  placemaking  experience  familiarity  experientialeducation  kateraworth  paulkingsnorth  darkmountainproject  modernity  modernism  holloways  nature  landscape  cars  transportation  consumerism  consumercapitalism  reconfiguration  domination  atmosphere  environment  dialog  conviviality  community  commonweal  invasivespecies  excess  humans  futurama  ecology  canon  experientiallearning 
may 2017 by robertogreco
Science Studio
"The Weight of Mountains

Here’s a short film by a children’s book illustrator about “the processes by which mountains are created and eventually destroyed, based upon the work of British geographer L. Dudley Stamp.” It’s eye-meltingly gorgeous and starkly scientific. The tone is meditative and incantatory, turning geological terms into epic poetry. If you’ve ever wanted to read John McPhee’s “Annals of the Former World” but only have 11 minutes, watch this."

[Direct link to video: https://vimeo.com/87651855

"This is a short film about the processes by which mountains are created and eventually destroyed. It is based upon the work of British geographer L. Dudley Stamp, and was shot in Iceland.

Physical geography and geology is an enormous and fascinating subject, and this film only touches upon the surface of the discipline. For those who wish to further advance their knowledge in this field, additional reading and research is recommended.

The film was created as part of The Weight of Mountains filmmaker residency program. For more information please visit twom.is/

Animation courtesy of NASA/Goddard Space Flight Center Scientific Visualization Studio" ]
via:vruba  2014  johnpablus  ldudleystamp  mountains  earth  science  earthscience  landscape  geology  film  scale  height  geography  history  naturalhistory  oceans  atmosphere  platemovement  platetectonics  sun  frost  eathering  wind  weather  erosion  glaciers  ice  rain  water  denudation  nature  gravity  johnmcphee 
august 2014 by robertogreco
Warren Ellis: On real versus digital experiences (Wired UK)
"What we've discovered is that the physical experience still has meaning and, in fact, has become sharpened. Gigs are still attended not just because of the music, nor even for being in proximity to the human beings actually playing the music, but because they come with an atmosphere and shared sense of being there together. Even live albums or professional TV coverage won't give you that. I can't help feeling that watching a live stream of some distant gig you really want to be at would be somewhat saddening, if not deadening."
music  digital  online  warrenellis  experience  physical  physicality  live  performance  atmosphere  meaning  life  proximity  human  sharing  sharedexperience  camaraderie  from delicious
february 2011 by robertogreco
Dangers in the Air: Aerosol Architecture and Invisible Landscapes: Places: Design Observer
"Aerosolized pig brains [see first paragraph] and various forms of weaponized air suggest we have underestimated the presence of air, and what it can potentially do. Whatever the spur, we need to take seriously the materiality of air. And today, in fact, a growing number of artists and architects are engaging air in new ways. They are exploring air as a design component, studying how airborne particles can be manipulated into various textures, surfaces and spaces. They are transforming the scales at which architects typically work. And they are bringing the multiple temporalities of air into play through designs that actually collect and archive air from different times. This work could bring about a new consciousness and perhaps an expanded understanding of the meaning of a public architecture — an effort to reclaim the air from those who've attempted to control it in irresponsible and dangerous ways."
javierarbona  air  architecture  atmosphere  aerosol  aerosolarchitecture  history  design  smell  pollution  military  landscape  light  art  books  urban  urbanism  health  from delicious
november 2010 by robertogreco
HAARP [Look at the thing. Wow.]
"HAARP is a scientific endeavor aimed at studying the properties and behavior of the ionosphere, with particular emphasis on being able to understand and use it to enhance communications and surveillance systems for both civilian and defense purposes." [via: http://chriswoebken.tumblr.com/post/964066970/via-www-haarp-alaska-edu]
atmosphere  haarp  auroral  environment  military  space  science  research  radio  wireless  weather  aurora  physics  nature  technology  ionosphere  from delicious
august 2010 by robertogreco
Southern Exposure: Vapor featuring work by Amy Balkin, Futurefarmers, Natalie Jeremijenko, The Living, Eric Paulos, and Preemptive Media
"Vapor is a survey of new art, architecture and design that takes our declining air quality as the subject matter, medium and metaphor for creative work. Often inspired by forms of activism, the works react to the sources of climate change through the use
art  atmosphere  california  sustainability  pollution  urban  sanfrancisco  nataliejeremijenko  futurefarmers  amyfranceschini 
april 2008 by robertogreco
BLDGBLOG: Literary Atmospheres
"author "claimed to have become so intoxicated" by the fumes that "she was reduced to writing thrillers."
bldgblog  comments  law  environment  writing  literature  atmosphere  place  smells  fumes  culture  uk 
january 2008 by robertogreco

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