robertogreco + shipping   43

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 
5 weeks ago by robertogreco
Freightened Film - The Real Price of Shipping
"THE FILM
FREIGHTENED – The Real Price of Shipping, reveals in an audacious investigation the mechanics and perils of cargo shipping; an all-but-visible industry that relentlessly supplies 7 billion humans and holds the key to our economy, our environment and the very model of our civilisation.

Synopsis
FREIGHTENED_documentary_polarstarfilms90% of the goods we consume in the West are manufactured in far-off lands and brought to us by ship. The cargo shipping industry is a key player in world economy and forms the basis of our very model of modern civilisation; without it, it would be impossible to fulfil the ever-increasing demands of our societies. Yet the functioning and regulations of this business remain largely obscure to many, and its hidden costs affect us all. Due to their size, freight ships no longer fit in traditional city harbours; they have moved out of the public’s eye, behind barriers and check points. The film answers questions such as: Who pulls the strings in this multi-billion dollar business? To what extent does the industry control our policy makers? How does it affect the environment above and below the water-line? And what’s life like for modern seafarers? Taking us on a journey over seas and oceans, FREIGHTENED reveals in an audacious investigation the many faces of world-wide freight shipping and sheds light on the consequences of an all-but-visible industry."
film  shipping  sustainability  civilization  economics  globalization  oceans  cargo  environment 
8 weeks ago by robertogreco
RWM - SON[I]A: #261 Jennifer Lucy Allan 01.06.2018 (46' 34'')
"#261
Jennifer Lucy Allan
01.06.2018 (46' 34'')

This podcast is part of Re-Imagine Europe, co-funded by the Creative Europe programme of the European Union.

Sound production commissioned to Tiago Pina. Editing by Matias Rossi.

The foghorn is a sonic marker used in conditions of low visibility to alert vessels of hidden navigational hazards. Part of the coastal landscape since its invention in the nineteenth century, foghorns became obsolete with the rise of automatic alert systems or simpler devices such as compressed air horns.

In 2013, the British writer and research Jennifer Lucy Allan, co-director of the record label Arc Light Editions, covered a performance of the 'Foghorn Requiem', a composition that marks the passing of the foghorn from the British coastal landscape. In her review she wrote: 'The foghorn symbolises the sound of industry, the hollering of an age of engines, machines and power, and also a sound that is intensely nostalgic. It suggests loneliness and isolation, but is simultaneously a wordless reassurance to those out at sea that there’s a human presence nearby.' The experience made such a strong impression on her that she ended up dedicating her doctoral thesis to researching the social and cultural history of foghorns, 'a sound that’s lost and not lost at the same time.'

In this podcast we talk to Jennifer Lucy Allan about metereology and aurality, about volumes, distance and communities, about sounds disconnected from their function, holes in YouTube and holes in official archives, and amateur archivists. And about the making of sensory records before the end of the twentieth century and how this archival memory can be interpreted.

Timeline
02:35 A 100-120 decibel steam powered horn on a coastline: how did that happen?
05:02 “Foghorn Requiem”, a starting point
08:45 A massive sound
13:32 Holes in official archives
21:01 Archivists: the invisible heroes
23:10 How it got foggy: the fallibility of archives, memory and sound
26:40 An individual character for every foghorn
28:28 Types of foghorns
30:26 A sound disconnected from its function
34:17 A sound that is lost and not lost at the same time
37:22 Meteorology and aurality
39:23 Music and foghorns: Ingram Marshall’s 'Fog Tropes'
40:39 Music and foghorns: Alvin Curran’s 'Maritime Rites'
43:34 Sensory experiences, language and documentation"
sound  audio  foghorns  podcasts  jenniferlucyallan  music  shipping  uk  aurality  2018  rwm 
july 2018 by robertogreco
Allan Sekula - Monoskop
[See also: http://www.documenta14.de/en/artists/7367/allan-sekula ]

"Allan Sekula (1951-2013) was an American photographer, writer, filmmaker, theorist and critic. From 1985 until his death, he taught at California Institute of the Arts.

From the early 1970s, Sekula’s works with photographic sequences, written texts, slide shows and sound recordings have traveled a path close to cinema, sometimes referring to specific films. However, with the exception of a few video works from the early 70s and early 80s, he has stayed away from the moving image. This changed in 2001, with the first work that Sekula was willing to call a film, Tsukiji, a “city symphony” set in Tokyo’s giant fish market.

His books range from the theory and history of photography to studies of family life in the grip of the military industrial complex, and in Fish Story, to explorations of the world maritime economy. (Source)

He began staging performances and creating installations in the early 1970s. Heavily influenced by the ports of San Pedro, Sekula’s works often focused on the shipping industry and ocean travel."
allansekula  art  photography  calarts  military  shipping  video  film  fishing  commercialfishing  economics  militaryindustrialcomplex 
january 2018 by robertogreco
From wartime manufacturing to public transportation, the legacy of SF’s Pier 70 Shipyard hasn’t sunk - by j_rodriguez - The San Francisco Examiner
"Since the city of San Francisco’s incorporation, mammoth ships frequented its foggy piers. On any given day, waterfront workers, the bustling human machinery of the maritime economy, hauled giant nets filled with goods off those vessels as fog horns blared in the distance.

Over the decades, that industry vanished like a broken wave.

Today, the most recognizable modern symbol of The City’s waterfront is a barking sea lion. The massive merchant vessels coasting under the Golden Gate Bridge now veer port-ward for Oakland, if they grace the San Francisco Bay at all.

And with the late-May closure of the biggest shipyard on the West Coast, the Pier 70 Shipyard, perhaps the last remnant of San Francisco’s working waterfront past will vanish, too.

More than 240 jobs, many of them union workers, are already gone. But there is one hope held by the Port of San Francisco, which owns the drydocks that were operated by BAE Systems until early this year: finding another shipyard company to revive the site.

It’s a tall order, as the aging shipyard needs more than $9 million in repairs, according to court filings.

“It’s not dead yet,” said Jasper Rubin, a former San Francisco city planner of 13 years, who is now a San Francisco State University professor and author of “A Negotiated Landscape,” which chronicles the history of San Francisco’s waterfront development.

Still, Rubin added, “If the Port can’t find a new operator, it’s a loss not just for the people who work there, but symbolically for The City.”

The shipyard has a storied history. Its fortunes boomed with the rise of both world wars, allowing it to help build San Francisco icons.

“People ask how the West was built. Well, San Francisco built it,” said Bill Perez, president of the Bethlehem Shipyard Museum. The Pier 70 shipyard, now property of the Port of San Francisco — and, by extension, The City’s taxpayers — was once the privately owned Bethlehem Shipyard, among other monikers.

Of course, like many parts of San Francisco, it began as Ohlone territory, according to historical accounts, and part of the pasturage of the still-standing Mission Dolores church.

That pasturage was largely peaceful until 1849. Gold, San Francisco’s original boom, changed everything.

Amid San Francisco’s famous Gold Rush arrived two Irish immigrant brothers, James and Peter Donahue, according to a historical account kept by the Bethlehem Shipyard Museum. The brothers soon soured on their thirst for gold. Instead, they lusted for iron.

Along with their brother Michael, the Donahues founded Union Iron Works.

The brothers built many a ship in the late 1800s, including the monitor-class Camanche, and even fashioned parts for San Francisco’s iconic cable cars.

Ralph Wilson, a history buff from Potrero Hill who maintains the website Pier70sf.org, noted that Irving Scott, an engineer recruited by Peter Donahue, moved Union Iron Works to Potrero Point, where the modern Pier 70 shipyard stands today.

Many of the ships built after the move served in the Spanish-American war, including the USS Olympia, which today sits in Philadelphia as a museum attraction.

But despite its success, Union Iron Works was sold in 1902 to the U.S. Shipbuilding Company, and again in 1905 to Charles M. Schwab for $1 million to become part of his Bethlehem Steel Corporation. It was sold at a public auction held on 20th Street, according to Wilson.

Enter the calamity of 1906.

San Francisco’s infamous earthquake shook the passenger vessel Columbia, which at the time was undergoing repairs, into the shipyard’s hydraulic-lift drydock. It was summarily destroyed.

But dollar signs were still in the eyes of the ship’s owners, who repaired it in time for World War I.
War prompted employment at the shipyard to soar to 16,000 workers, only rivaled by its further boom in World War II, when 72 ships were built, most of which were Navy combat vessels, and more than 2,500 naval craft were repaired.

Famously, the San Francisco Yard of Bethlehem Steel built a destroyer-escort in nearly 24 days, a record in 1944.

“It’s tragic,” said Wilson, “that it’s the wars that made [Bethlehem] bustle, and made it big.”

It’s that same ingenuity, however, that would help launch a historic expansion of regional transportation: the Bay Area Rapid Transit system.

At Pier 70’s shipyard, Bethlehem Steel built the BART Transbay Tube; construction started in 1964. Photos from the construction show workers in protective goggles and helmets, kneeling over steel, welding its seams as sparks shower like fountains.

“All the underwater portions” were built at Bethlehem, according to Perez. That’s 57 sections, roughly 325 feet long at a whopping 800 tons.

Meanwhile, it was a period of decline for San Francisco’s waterfront.

Rubin painted a picture of the time: San Francisco’s waterfront decline was complex, but one particular upheaval changed everything. In the 1960s, as San Francisco and Oakland vied for dominance of the local shipping industry, a new technology crept onto the scene: shipping containers. Cargo used to be hauled on pallets and in boxes, called “break bulk,” and lowered by crane from a ship. There was large netting involved and lots of labor to move goods, which was dangerous work.

Shipping containers brought uniformity, safety and speed.

“You could put containers up there with computers, in terms of impact on the world,” Rubin said. “That was, no pun intended, the wave of the future.”

But the Port of San Francisco surfed right past that wave and placed its bet on another technological innovation called “Lighter Aboard Ships,” or LASH, a barge-carrying ship with a large gantry crane running the length of the vessel.

That technology sunk. Oakland won the shipping arms race, and San Francisco’s waterfront withered.
Wilson characterized it bluntly: “It was kind of a backwater.”

Only in 1978 was the wharf somewhat revived with the creation of the tourist attraction Pier 39, but Rubin said for a long time after that “the waterfront was fallow.”

As for Bethlehem’s San Francisco Yard, though naval shipbuilding following World War II had declined, it built barges well into the ’70s, according to Wilson’s historical account. By 1979, shipbuilding had ceased as the shipping industry slipped into decline.

San Francisco bought the yard from Bethlehem, paying only a dollar.

In grand San Francisco tradition, it was an earthquake that opened up the withering waterfront. In 1989, the Loma Prieta temblor prompted The City to tear down the structurally damaged Embarcadero Freeway, allowing tourists and locals to broadly enjoy the Bay view.

Former Mayor Art Agnos, who was elected to office in 1988, said San Franciscans recognized the waterfront was deep into a systemic change.

“They saw it happening, they raised the questions and the answers came: Our Port is obsolete,” Agnos recalled.

“Particularly, when I decided to demolish the Embarcadero Freeway,” he added, and the growth of museums and restaurants along The Embarcadero, “it opened up a tremendous economic opportunity we’re still using.”

And with the boost in tourism came a boost in cruise ships — workers told the San Francisco Examiner tourists have been one of the few reliable clients of the Pier 70 Shipyard in recent years.

The lack of ship repair business led BAE Systems, a multinational corporation, to sell the rights to the shipyard to Washington-based Puglia Engineering — also for a dollar.

The drydock may have closed, but now a Forest City development is set to bring as many as 3,000 residential units there, drastically changing the landscape of a once blue-collar neighborhood. Some historic buildings from the 1800s survived at the drydock, too.

For now, San Francisco is adrift, waiting to see if its last shipyard will be revived once again."
history  sanfrancisco  classideas  2017  shipyards  bart  shipping  drydocks 
june 2017 by robertogreco
Sha Hwang - Humans, Labour and Technology - Video Archive - The Conference by Media Evolution
"Sha Hwang is an information designer whose work focuses on designing complex systems while staying human.

Sha is a cofounder of Nava, a team formed as a part of the efforts to fix HealthCare.gov that now works with government agencies to radically improve their services. In this talk he speaks about how tech companies enhance or subvert systemic abuse, who gets disrupted when disruption happens and how policy shapes technology, and vice versa"
shahwang  2016  organzation  civilrightsmovement  montgomerybusboycott  rosaparks  nava  technology  labor  displacement  unknownfieldsdivision  humans  policy  healthcare.gov  government  obamacare  governmentservices  systemsthinking  shipping  unions  containerization  malmo  theconference  lebbeuswoods  resistance  work 
august 2016 by robertogreco
Isthmus: On the Panama Canal Expansion
"The shockwave of Panama Canal expansion is reshaping cities throughout the Americas. We need to look through the lens of landscape, not logistics."



"In the United States, many designers and urbanists have lamented the end of the modern age of infrastructure-building. Some call for renewed investment in public works 57 while others advocate for hacks and tactics to fill the perceived void. 58 However, we may soon see a new wave of infrastructural expansion built not by nation-states but by private interests (e.g. the Nicaragua Canal project driven by HKND Group, a Chinese corporation) or city governments (e.g. coastal cities such as Tokyo, Miami, and New York preparing for rising seas). Whoever is orchestrating construction, it’s clear that there is a continuing appetite for large-scale infrastructural works.

While the phenomenon of bigness is a common historical condition in the Americas generally 59 and the Panamanian isthmus specifically, the operative role of logistics distinguishes the current reconfigurations from the preceding five centuries of commerce, excavation, and construction. 60 The neutral language of logistics occludes the true scale of the Panama Canal expansion. Instead of acknowledging earth moved and channels dug, logistics celebrates wait times shortened and profit margins eased. And because it is a positivistic framework, logistics obscures the political and social implications of its behavior. But the canal expansion puts the lie to the claim that logistics is politically neutral. The primary medium of logistics is territory, and territory is land which is politically divided, controlled, and administered. 61

Efficiency is necessarily measured within bounds; redraw the boundaries, either physical or conceptual, and the calculus changes significantly. 62 The excess generated by the Panama Canal expansion and its networked effects challenges the validity of the bounds drawn around infrastructural projects of this scope and scale. Here the bounds are drawn based on the relatively narrow values admitted by logistics. Thus, the sedimentary surplus of excavation is seen as a disposal expense, rather than a potential resource, because the value it could generate would accrue to residents, turtles, and fish, not to the ACP or the global shipping corporations it deals with. The uncertain fate of American port expansions challenges the elevation of efficiency as a primary goal, by demonstrating that it may be impossible to draw boundaries so small that they meaningfully predict the behavior of such large systems in the manner demanded by positivist logistics.

We are not arguing that logistics should or will lose its role in the organization of infrastructure projects that have global effects. (That would be unrealistic, if only because of the intimate intertwinement of logistics and contemporary capitalism. 63) Rather, we argue that landscapes, people, and others affected by these projects would benefit if logistics were augmented with other conceptual tools. At the scale of the Panama Canal expansion, logistics has produced unintended effects that harm local communities and environments. While these are sometimes justified as necessary casualties of economic development, that defense collapses when the presumed economic benefits fail to materialize. The legacy of canal expansion may be a constellation of overbuilt and underutilized infrastructure projects and degraded ecosystems — symbols of unfulfilled political and economic ambitions. If this is common to logistical infrastructures at very large scales, then we should not use logistics as the sole framework for their conceptualization.

We argue that analytic and design frameworks that take landscape as their primary object should be among the tools used to evaluate such infrastructures. We say this precisely because landscape, as a concept, works with a more complete range of values — material (as emphasized in this essay), social, political, ecological, cultural, and aesthetic. 64 While logistics elides these dimensions, we have shown that they are present in the expansion project and have been a part of the canal landscape since its inception. 65 As a medium, landscape integrates multiple processes, indicators, and design goals. Landscape has both analytical and experiential dimensions, which makes it ideally suited for synthesizing ideas across science, design, land management, and other practices. 66 While the logistician frames every situation as a technical problem to be solved, the landscape designer sees a cultural project, an opportunity to bring together competing value systems and forms of expertise. Landscape foregrounds the values that are contested in a given project, and it does not assume that economic gain and efficient distribution are the only goals that matter. This is all the more important given that logistics is often speculative; promised economic benefits doesn’t always materialize, even as social and environmental effects do.

Here our argument differs from that of other writers in the design disciplines who have engaged logistics and the landscapes that it produces. Charles Waldheim’s and Alan Berger’s “Logistics Landscape” makes a direct connection between the production of physical space through logistics and landscape as a conceptual framework, but the article focuses on articulating logistical landscapes as a manifestation of the current period of urban history and offering a set of logistical landscape typologies. 67 It closes by asserting that landscape architecture could play a role in the design and planning of logistics landscapes, but does not articulate how that role might develop or what inadequacies in a purely logistical approach might need to be ameliorated. Writers such as Clare Lyster and Jesse LeCavalier critically examine and unpack the workings of logistical flow with the intention of drawing methodological lessons that might inspire designers, planners, and other urbanists, but they do not attempt to carve out roles for designers within the territories governed by logistics. 68 All of these researchers share a common interest in explaining why other disciplines, primarily designers, should be interested in how logistics operates.

We have taken a different approach, describing gaps in the operations of logistics in order to convey the urgency of approaching large-scale infrastructural projects with landscape tools, methods, and frameworks. The discipline of landscape architecture, which we as authors call our own and which Waldheim and Berger assert the value of, possesses some of these characteristics, but it is not alone. Landscape ecology, geography, soil science, environmental studies, the nascent spatial humanities, and spatial planning are all examples of disciplines that take landscape as their medium. 69 Working with colleagues from these disciplines, designers who learn to grapple with logistical bigness might discover new formats for public works, approaches which neither retreat to the tactical nor valorize a bygone era, but instead produce augmented speculative frameworks, novel spatial practices, and material responses fit to contemporary conditions."
shipping  panamá  panamacanal  ports  2015  anthropocene  architecture  geology  cities  us  americas  northamerica  southamerica  panamax  logistics  landscape  losangeles  oakland  seattle  infrastructure  bigness  scale  briandavis  robholmes  brettmilligan 
december 2015 by robertogreco
Rhizome | How to See Infrastructure: A Guide for Seven Billion Primates
"If we lift up the manhole cover, lock-out the equipment, unscrew the housing, and break the word into components, infrastructure means, simply, below-structure. Like infrared, the below-red energy just outside of the reddish portion of the visible light section of the electromagnetic spectrum. Humans are not equipped to see infrared with our evolved eyes, but we sometimes feel it as radiated heat.

Infrastructure is drastically important to our way of life, and largely kept out of sight. It is the underground, the conduited, the containerized, the concreted, the shielded, the buried, the built up, the broadcast, the palletized, the addressed, the routed. It is the underneath, the chassis, the network, the hidden system, the combine, the conspiracy. There is something of a paranoiac, occult quality to it. James Tilly Matthews, one of the first documented cases of what we now call schizophrenia, spoke of a thematic style of hallucination described by many suffering from the condition, always rewritten in the technological language of the era. In Matthews' 18th Century description, there existed an invisible "air loom," an influencing machine harnessing rays, magnets, and gases, run by a secret cabal, able to control people for nefarious motives. Infrastructure's power, combined with its lack of visibility, is the stuff of our society's physical unconscious.

Perhaps because infrastructure wields great power and lacks visibility, it is of particular concern to artists and writers who bring the mysterious influencing machines into public discourse through their travels and research."
adamrothstein  infrastructure  cities  2015  allansekula  charmainechua  jamestillymatthews  unknownfieldsdivision  liamyoung  katedavies  timmaughan  danwilliams  shipping  centerforlanduseinterpretation  nicolatwilley  timmaly  emilyhorne  jeremybentham  jennyodell  landscape  donnaharaway  technology  ingridburrington  nataliejeremijenko  trevorpaglen  jamesbridle 
july 2015 by robertogreco
Primer0012 -Seeing Like A Supply Chain
"For the supply chain, overzealous security is a much clearer and more present danger than the Poor Man's ICBM."
emilyhrone  timmaly  2014  shipping  infrastructure  security  policy  economics  business  markets  supplychain  terrorism 
december 2014 by robertogreco
container
[via: “An Artist Residency Aboard a Cargo Ship”
http://hyperallergic.com/167446/an-artist-residency-inside-the-hidden-world-of-a-cargo-ship/ ]

"Project Outline:

Container is a unique artist residency that will invite artists to travel on commercial container carriers to worldwide destinations along existing shipping routes. The selected shipping line will host artists, providing them with a unique studio space in available cabins, as well as the exciting opportunity to travel internationally. Through a selective application process visual artists will encounter the maritime shipping industry firsthand, and create artwork that responds to this inspiring travel experience.

This proposal addresses shipping lines that are potential facilitators of the project and outlines a full calendar year as its first term. Each month a different artist will be a resident onboard a vessel (the details and length of stay to be determined in conjunction with the hosting company). At the end of the year, the artwork produced by the twelve artists will be presented in a final show accompanied by an exhibition catalogue, related events, screenings, and artist lectures. In addition, each guest artist will contribute one artwork to the facilitating company, and the rights for complete use of that image.


Contribution and Impact:

Through this special project, the enabling company will make an unprecedented contribution to contemporary art and culture worldwide as well as to its international public image. This should cost the company very little while garnering international intrigue and positive attention to the company within the world of contemporary art and its high profile network of collectors, curators, renowned artists, as well as the general public.

Artists require solitude, beauty, the natural sublime and global travel. They crave extended stretches of time, free of any interruption, in order to create new work. All of this can be found on a container ship. The shipping line easily has the potential, without much effort or expenditure, to give the world’s top artists the gift of “the world is your oyster”. This powerful gesture will provide artists with exceptional conditions to make artwork and will present a new perspective on artistic production within the broader global economy.

The global impact through this project could be enormous. Through this initiative, the brand can achieve positive presence at the world’s most important contemporary art and culture gatherings and institutions, like the Venice Biennial, Documenta and various museums and art venues across the globe.


Onboard Artist Residency: Ideas and Goals

The Container Residency takes place on a commercial freighter and offers a number of exciting and meaningful possibilities for the contemporary artist working within our global economy. Through its exceptional setting, Container challenges the traditional idea of studio residencies and invites artists to work within a unique, dynamic intersection of industry, culture and technology. The residency’s geographic location can only be defined in relation to the various international shipping routes and the nexus of destinations that is the backdrop of global trade. Anchored in a context yet without a fixed physical location, the residency foregrounds global commerce as the artist’s own immediate work environment.

Container grants the artist a journey behind the scenes of international commerce – a world as vast as the expanse of the ocean. This backstage pass is an opportunity for the artist to peer into the world of shipping, an encounter that presents both a personal and a professional challenge. The artist is required to adapt their creative practice to a non-traditional studio space in a ship’s cabin. Beyond this professional aspect, the temporary displacement challenges the artist’s familiar day-to-day experience by introducing them to a fascinating environment; a completely unfamiliar setting that is nonetheless the foundation of our global economy. The very setting of the residency calls attention to the fact that the shipping industry facilitates our economy, and in turn, contemporary art.


Today, artists are constantly confronted with an endless array of visual, cultural, and technological networks. Overwhelmed perhaps by the increasing digitalization of society, artists often create artworks that examine the various ways in which digital media influence our socio-economic conditions. It might stand to reason that the ever-expanding process of digitalization will bring about a reduction of physical objects in the world; however, a closer examination of this logic (onboard a freight ship) reveals a different reality. The proliferation of digital media and increasingly sophisticated digital technologies accelerates physical industries, in compliance with the growing demand for goods and commodities, which these new technological networks bring about.


Equally, much of retail and advertising’s appeal makes it difficult to trace products’ national origin, either as goods or as raw commodities. The contemporary artist with his or her unique status as producer (traditionally creating objects from the beginning to the end of the production line) must look beyond the horizon of retail and industry on the mainland and elsewhere, towards maritime and global shipment. The highly organized network of sea routes illustrates the connections between global markets on which production, distribution, and consumption are based. The Container Residency distils both global commodity transport and art, in a powerful juxtaposition of these two spheres. Container also highlights the fact that the artist is a producer, however small, and a valuable extension of this global network.


The multiple challenges that Container embodies are in fact the central challenges that face contemporary artists. If the artist's role is to process his or her experience within the world as a crystallization of a historic and cultural context, then Container underlines that larger economic forces dominantly shape the future of artistic production. A commercial shipping lines’s endorsement of artistic production in the specific context of Container demonstrates how economic and cultural spheres might interact, but more specifically suggests that contemporary artworks have a culturally significant role that should not be distinguished from other forms of productive labor and commodities.

In other words, Container encourages artists to consider their creative processes not simply as that of removed commentators, but as active producers. In order to promote this understanding, it is essential that a new context or setting emerge. Container introduces this approach to the larger art community and implements the approach by assisting individual artists in practical terms. Providing a platform for global exchange, the hosting company can perfectly render this perspective by inviting artists to bridge the gap between individual practices and vast global networks.

Container takes the maritime shipping industry to be the embodiment of the infrastructures on which contemporary art relies. In the 1960s Andy Warhol called his studio The Factory, and Claes Oldenburg named his studio The Store. Following this tradition, Container identifies the shipping industry as today’s dominant cultural-economic force, and invites artists to rethink their practice in these terms. Container’s objective is to ensure the fulfillment of the potential vitality of global artistic exchange and, ultimately, art’s potential to be a socially integrated practice."
residencies  containers  containterships  shipping  cargo  cargoships  2014  maayanstrauss 
december 2014 by robertogreco
Aboard a Cargo Colossus - NYTimes.com
"Earlier this year, the Nicaraguan government announced plans to build a new canal system, bankrolled by a Chinese billionaire, that would compete with Panama and be wide enough to accommodate the Triple-E. Such plans have been floated before and failed to materialize, but it is the kind of audacious project that only the Chinese might try.

No country more than China has spurred the containerization boom, a byproduct of moving the world’s factories thousands of miles from their biggest markets.

Maersk is deeply embedded in China, with more than 20,000 employees there. It operates container terminals at seven Chinese ports, has bought 118 Chinese-made ships worth $3.5 billion and owns two Chinese factories that build containers.

China is also exerting its influence on the industry. The country’s regulators recently blocked an attempt by Maersk and two European rivals to form a partnership, saying it would hinder competition. Maersk recently proposed a less ambitious alliance with a single rival, the Mediterranean Shipping Company. The proposed deals represent a concession that cargo volume is not rebounding as quickly, so shippers need to share costs and cargo space. Boats are typically full heading west to Europe and partly empty heading east to China. Cargo from Europe to Asia has grown about 30 percent in the last five years, in part because of rising demand from a growing Chinese middle class. But it has not nearly filled all the containers.

At the same time, some manufacturing is moving closer to local markets, a trend that contributes to slowing growth in container traffic. China, too, is trying to foster its own shipping lines. This year, China Shipping Container Lines ordered five ships that will each hold 19,000 containers, about 1,000 more than the Triple-E. They begin to arrive later this year.

But Jakob Stausholm, the chief strategy, finance and transformation officer at Maersk’s container shipping division, said that there was little room for ships to expand further."
maersk  shipping  marymaersk  2014  cargo  economics  china 
october 2014 by robertogreco
From A to B
"What happens when you send something by mail? What happens in between you sending it off and someone else receiving it? What people and processes are involved and how many steps does it take?
 
Those all were questions I was dealing with and wanted to find out. So instead of sitting back I started a simple project to actually see it myself. I put a small camera in a box, build a timer circuit using Arduino and shipped it.
 
That's as simple as it is. The timer circuit was set to make a 3 sec video every minute and make longer videos while the box was moving: to not miss on the 'interesting' parts."
shipping  systems  systemsthinking  timelapse  arduino  2014  cameras  mail  packages  distribution  via:alexismadrigal  rubenvandervleuten 
july 2014 by robertogreco
A Whole New World — Destroy All Software Talks
"This talk announces the most ambitious software project I've ever undertaken, then considers why its existence is so surprising (and in some cases frustrating) to people."
presentation  programming  software  speculativefiction  garybernhardt  strangeloop  infrastructure  slow  shipping  sethgodin  business  2013  howtolie  keynote  thinking  terminal 
april 2014 by robertogreco
Jim SKULDT / skuldt.com
"Jim SKULDT (b. 1970) is an American Visual Artist.

Skuldt received an MFA from Caliornia Institute of the Arts in 2005
and is based in Los Angeles where he is a professor of Skulpture at UCLA..

He is the recipient of grants by the Creative Capital Foundation (Muriel Pollia Awardee),
the Harpo Foundation, the California Community Foundation, the Durfee Foundation, and
the Center for Cultural Innovation.

His work has appeared in venues including Marlborough Chelsea (NY), Sculpture Center (NY),
LTD Los Angeles (LA), LACE (LA), MOCA (LA), Armory Center for the Arts (LA),, High Desert Test Sites (Joshua Tree, CA), Friche la Belle de Mai (Marseille, FR), Temporare Kunsthalle (Berlin, DE) and is part of the Skadden LA25 collection.

He has been awarded residencies by the Rauschenberg Foundation (Captiva, FL),
the Center for Art and Performance UCLA (Los Angeles), the Banff Centre (Alberta, CN),
AIR Antwerpen (Antwerp, BE) and the Tringle France (Marseille, FR), which he reached
via containership.

He is currently attempting to modify a standard shipping container in order to ship himself internationally via cargo ship, train, truck, or any other conceivable method of transport."

[See

Island Effects
http://www.skuldt.com/work/island_effects.htm

Iceland
http://www.skuldt.com/work/iceland.htm

CROP CIRCLE (Int'l) CAKE PLUG and COLOR FIELD REEF
http://www.skuldt.com/work/crop_circle.htm

NY as LA / LA as NY as LA
http://www.skuldt.com/work/swapping_NYasLA.htm

Wild Blue
http://www.skuldt.com/work/wild_blue.htm

In the Round (Cyclically Active & Dormant)
http://www.skuldt.com/work/in_the_round.htm ]
artists  jimskuldt  maps  mapping  shipping  california  losangeles  ucla  skulpture  sculpture  nyc  stealth  camouflage  visibility  via:lizettegreco 
july 2013 by robertogreco
Make That Thing | Don't Let That Thing Make You
"Make That Thing is a production agency for crowdfunded projects. We help artists and creators design, print, store, and ship this things they make — so you can focus on the art. We know that once your crowdfunding campaign is over, the real work has just begun. And we want to help make sure that your backers get what they pledged for in a reliable, professional, and timely manner.
To do that, we work with artists and creators who have an idea for a crowdfunded project. We help them conceptualize and figure out their project’s specs, as well as offer advice and a friendly ear to help figure out the best way to present the project to the world, including choosing backer tiers and designing stretch goals.

Once the project launches, we help promote it through our network of internet pals, and if the funding goal is met, we then swing into action, ordering the products needed, receiving them at our Massachusetts warehouse, and shipping them to backers all around the world.
Once that’s done, we place the product in our MADE THAT THING online store so anyone who missed the campaign can still buy it after the fact.

We don’t want artists to be limited in their ambitions by the fear of not having the space to receive product, or the time, workforce, or knowhow to ship it. That’s what we do – that’s all we do.
We’re a spinoff of TopatoCo, which has been producing and shipping merchandise for webcomics and other independent creators in some manner of another since 2003. We have two warehouses full of computers, equipment, and experienced people eager to help get your masterpiece out to the wonderful folks who pledged to your campaign.

We have UPS, Fedex, and USPS shipping capability. We have cardboard boxes and shelves and tape guns with all different kinds of tape. We have certificates and insurance and loading docks. We have a forklift that can do donuts.

Let’s MAKE THIS THING."
kickstarter  marketing  via:maxfenton  supportservices  shipping  crowdfunding  makethatthing 
june 2013 by robertogreco
The Oversaturation Project
"“The Oversaturation Project. Travel Under Late Globalization” is an initiative of the Network Architecture Lab at Columbia’s Graduate School of Architecture, Planning, and Preservation and Ralph Appelbaum Associates.

Our goal, which we will begin to explore in this research blog, is to investigate the changing landscape of travel at a crucial juncture in world history. It’s our hypothesis that globalization as a process has reached a new condition, akin to that reached by modernization in the 1950s. In using the term “late globalization,” we are referring to Ernst Mandel’s concept of late capitalism, the point when capitalism was everywhere, saturating the world. WIth the spread of the Internet and mobile telecommunicational devices the disconnected world of the past is now gone and is rapidly becoming unfamiliar to us, a past that recedes rapidly day by day. Soon, like the premodern world, the disconnected world will become unintelligible to us."
cross-bordercommunication  sustainability  peakoil  shipping  trade  gloabltrade  timventimiglia  leighadennis  peaktravel  urbanism  urban  architecture  modernization  latecapitalism  telecommunications  ernstmandel  jetage  globalization  networkarchitecturelab  networkarchitecture  kazysvarnelis  oversaturation 
february 2012 by robertogreco
Convenience store - WWW.THEDAILY.COM
"According to a source with knowledge of the project, the idea is simple: these nondescript boxes will be in 7-Eleven stores across the country and act as a sort of P.O. box for Amazon purchases. Once a customer makes a buy on Amazon’s website he can select a 7-Eleven close to work, or on the way home and have the package dropped off there.

When the package is actually delivered, the customer receives an email notification along with a bar code to his smartphone and heads to the 7-Eleven. There he’ll stand in front of the locker system, which looks like the offspring between an ATM machine and a safety deposit box. The machine will scan the bar code on his handset to receive a PIN number. He’ll punch that PIN number and retrieve the package."

[See also: http://en.wikipedia.org/wiki/Packstation ]
amazon  delivery  shipping  convenience  7-eleven  2011  from delicious
september 2011 by robertogreco
metacool: Intrinsic motivation, a killer input
"Bullshit is bullshit. Bullshitters don't ship, and they can't attract intrinsically motivated people to be on their teams in any sustainable, long-term way. Why? Because we all want to be around people with that gleam in their eyes which says "this is going to happen". Life is too short to waste your time working with people who are motivated by extrinsic factors, such as money, status, or grades. It's the intrinsically motivated folks who sweat the small stuff, grok the big picture, and -- dare I say it -- think different."<br />
<br />
"This is all a roundabout way of saying that intrinsic motivation is, in my opinion, a killer input. Meaning that it is one of several key factors which define a space within which talented people can collaborate with other similarly aligned people to make magic happen. I've said previously that trust is a killer app, but it's not an application, it's an input, just like intrinsic motivation. The output is wonderfulness."
diegorodriguez  design  making  shipping  whatmatters  glvo  tcsnmy  bullshitting  bullshitters  fakers  intrinsicmotivation  motivation  passion  curiosity  unschooling  deschooling  shinyakimura  lcproject  from delicious
august 2011 by robertogreco
Three cheers for Plumen: Design Of The Year – Blog – BERG
"Shipping atoms is hard.<br />
<br />
Shipping atoms when you are a small company is harder.<br />
<br />
Shipping populist, beautiful atoms at affordable prices that aim to change the world a little tiny bit is the hardest thing.<br />
<br />
But it’s not impossible now, and should always be applauded and recognised."
design  berg  berglondon  shipping  mattjones  making  doing  fabrication  manufacturing  2011  from delicious
march 2011 by robertogreco
Future Perfect » 10 Tips for International Relocation [The whole list & comments are worth the read. Some of the items quoted contain further details.]
"China is now the fifth country I’ll feel comfortable calling home...each time the process of relocating has become a little easier. Whilst each of the moves was under very different circumstances, life stages the following tips picked up on the way might help smooth your next relocation:

1. You don’t need a job or apartment lined up to make the leap. Sure it might mean sofa-surfing or taking career diversions – these are the tangents that reveal & shape the new you.

2. International relocation is the ultimate excuse to have a brutal clear-out...

3. Heart first, then wallet: first figure out where you want to go, the logistics & money to make it happen will stretch & contract to your budget.

4. Never apply for a single entry visa when multiple entry is an option. Any additional cost is easily outweighed by the flexibility it provides...

6. Keep a digital scan of all your important documents...

7. Backup your most important stuff to the cloud..."
janchipchase  international  howto  housing  moving  global  life  jobs  work  travel  tips  relocation  yearoff  cv  migration  logistics  advice  glvo  documents  dropbox  amazons3  s3  transmit  banking  shipping  purging  travellight  from delicious
august 2010 by robertogreco
Real Editors Ship (Ftrain.com)
"The web is just too big, & Google really only can handle a small part of it...Google is not really a media company as much as a medium company...The Semantic Web is basically the edited web, for some very nerdy take on editing...there's an insane glut of historical data, texts, and so forth, billions of human, historical, textual objects to come online from the millennia before the web. Plus a gaggle of history bloggers trying to contextualize it (the history bloggers are the best bloggers out there). Dealing with the glut will require all manner of editing, writing, commissioning, contextualizing, and searching..."
editors  editing  publishing  opendata  data  culture  media  google  semanticweb  shipping  contentstrategy  content  management  web  writing  journalism  business  information  2010  ftrain  paulford 
july 2010 by robertogreco
scraplab — You’ve Either Shipped or You Haven’t
"You’ve either shipped, or you haven’t. You’ve either poured weeks, months or even years of your life into bringing a product or a service into the world, or you haven’t.

If you have, you’ll know what I’m talking about. You’ll have flicked a switched, cap deploy‘d, or flipped your closed sign to open, and just waited – holding your breath for whatever happens next.

And at that moment everything that’s wrong with it suddenly comes into sharp focus...

So you wear your learning smile, step back a bit, have a think, and work out what to do next.

But whatever you do next, you’ve shipped. You’ve joined the club.

And the next time someone produces an antenna with a weak spot, or a sticky accelerator, you’re more likely to feel their pain, listen to their words and trust their actions than the braying media who have never shipped anything in their lives."
2010  learning  antennas  business  building  creativity  creation  entrepreneurship  apple  shipping  making  life  iphone  failure  experience  critics  culture  delivery  tcsnmy  lcproject  doing  do  make  via:migurski  empathy  startups  cv  controversy  complaints 
july 2010 by robertogreco
paolo w. tamburella at the venice art biennale preview
"djahazi boats have been for centuries the only means of transport for comorians, a way to communicate with the nearby countries in the mozambique channel and to create new commercial relations. in modern times these traditional vessels have been used to transport shipping containers from cargo boast to the capital moroni. in 2006, following the modernization of the port, the use of the djahazi was prohibited...in 2008 paolo w tamburella...discovered that the djahazis had been abandoned in the port and were sinking in the water. in 2009...the artist and the dockers focussed on the restoration process of one of the djahazi with the goal to ship it and presnt in the context of the la next biennale. the djahazi was split in half and placed in a 40ft container that is currently travelling to europe. the djahazi will be assembled. loaded with a shipping container to dock for all the duration of the biennale in the water at the main entrance to the giardini."
boats  shipping  shippingcontainers  ports  comoros  djahaziboats  venicebiennale  paolowtamburella 
may 2009 by robertogreco
Amazon.com: Help > Shipping & Delivery > Amazon Frustration-Free Packaging FAQs
"The Frustration-Free Package (on the left) is recyclable and comes without excess packaging materials such as hard plastic clamshell casings, plastic bindings, and wire ties. It's designed to be opened without the use of a box cutter or knife and will protect your product just as well as traditional packaging (on the right). Products with Frustration-Free Packaging can frequently be shipped in their own boxes, without an additional shipping box."
amazon  economics  consumption  unproduct  recycling  shipping  packaging  toys  design  environment  green  waste 
november 2008 by robertogreco
WorldChanging: Could Globalization Be Going In Reverse?
"For the first time in recent decades, it seems there are now real reasons to question the logic underlying the official future of ever-increasing global trade. The biggest, of course, is the rapidly mounting cost of transportation...But transportation costs are not the only reasons why globalization as we know it might be in for some rapid evolution. Consider: *Far-flung supply chains may drop costs (even with higher oil prices), but the multiply climate change emissions. *Manufacturers and others are already increasingly aware of, and worried about, supply chain diversity. *transparency activism has blown the cover of secrecy off [skirting labor and environmental laws by doing business in countries with high levels of political corruption]...*Globalization suffers from some big disruptive vulnerabilities"
climatechange  worldchanging  gamechanging  deglobalization  globalization  globalwarming  trends  sustainability  environment  economics  future  society  oil  peakoil  localization  local  localism  money  futurism  shipping  transportation 
august 2008 by robertogreco
Globalization death watch, Part I | Gristmill: The environmental news blog | Grist
"The current transportation infrastructure is based on cars, trucks, airplanes, and cargo ships, which together consume about 70 percent of the gasoline used in the United States. While the greatest focus has been on cars, trucking and airline companies are facing collapse."

[see Bruce Sterling commentary at: http://blog.wired.com/sterling/2008/08/globalization-d.html ]
future  economics  transportation  green  global  local  localism  globalization  oil  deglobalization  culture  politics  futurism  gamechanging  travel  airlines  shipping  peakoil  energy 
august 2008 by robertogreco
Globalization death watch | Beyond the Beyond from Wired.com
"Globalization was built on cheap oil. As that era draws to a close, so will the current phase of global integration, whether Thomas Friedman, Wal-Mart, and all those involved in intercontinental trade like it or not."..."(((It's gonna be an amazing world if you have to grow your own food next door, and you commute to work on a bicycle, but your best friends are still Long Tail anime fanatics from Buenos Aires that you met on Facebook.)))"

[quotes and points to: http://gristmill.grist.org/story/2008/6/2/83853/49947 ]
culture  politics  economics  transportation  green  global  futurism  brucesterling  future  local  gamechanging  travel  airlines  shipping  oil  peakoil  energy  globalization  deglobalization 
august 2008 by robertogreco
TrackThis: Track FedEx/UPS/USPS/DHL Packages using Twitter (or Email, IM or SMS)
"Just send a quick direct message to trackthis and we'll send you a direct message any time your package location changes."
twitter  spimes  ubicomp  tracking  ups  fedex  usps  dhl  shipping  shopping  microblogging 
may 2008 by robertogreco
Amazon Web Services Blog: Our Most Fulfilling Web Service Yet
"allows merchants to tap in to Amazon’s network of fulfillment centers and our expertise in logistics. Merchants can store their own products to our fulfillment centers and then, using a simple web service interface, fulfill orders for the products."
amazon  shipping  api  services  business  webservice  ecommerce  delivery 
march 2008 by robertogreco
High Tech Cowboys of the Deep Seas: The Race to Save the Cougar Ace
"S.O.S. When a massive freighter packed with a $103 million cargo tilts onto its side in the North Pacific, a team of deep-sea cowboys gets the call. Inside the epic struggle to save the Cougar Ace."
toread  ships  transportation  shipping  rescue 
february 2008 by robertogreco
Subtopia: Floating Prisons, and Other Miniature Prefabricated Islands of Carceral Territoriality
"The deeper I get into it, the more I realize an entire book could probably be written about the subject of floating prisons -– and who knows, maybe in another dream one day I’ll write it... but for now, let’s just settle for a quick and dirty Googl
activism  architecture  psychogeography  politics  prisons  colonialism  culture  transportation  water  shipping  ships  history  government  sea  borders  boats  landscape  economics  islands  justice  chile  esmeralda  military  future  ocean  discipline  floating 
january 2008 by robertogreco
Jan Chipchase - Future Perfect: Man Down
"The ability to track a person or thing is often mistaken for the ability to affect what happens to the tracked object."
tracking  privacy  security  theft  passports  travel  sousveillance  shipping  ups  identity  janchipchase 
december 2007 by robertogreco
Malacca Strait Pirates - Article Text, page 1 - National Geographic Magazine
"Modern pirates have long plagued Southeast Asia’s Strait of Malacca, robbing sailors, kidnapping crews, and stealing entire ships."
piracy  pirates  images  photography  oceans  crime  culture  shipping  ships  transportation  asia  international 
november 2007 by robertogreco
The Pirate Hunters
"Though buccaneering is back with a vengeance, stepped-up law enforcement and high-tech tools are helping protect shipping on the high seas"
pirates  africa  security  shipping  technology  law  enforcement  piracy 
july 2007 by robertogreco

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