Opportunistic Vistas

We just received an announcement for an exhibition of video work by Cynthia Hooper titled "Opportunistic Vistas", opening at the Center for Land Use Interpretation January 22. Hooper has done work with Simparch and at CLUI's Wendover Residency program.
CLUI's announcement:

Exhibit open January 22 - February 28, 2010
Cynthia Hooper creates short films that observe sites such as waste disposal landscapes, effluent pipes, and salt mines. This CLUI Independent Interpreter exhibit features seven of Hooper's films: CESPT, Cuyahoga, Bay Dredge, Cummings Road Landfill, Lazaro Cardenas Electrizada, Basura Quemada, and La Morita Enamorada.

Opening night event - Cynthia Hooper will talk about trans-border water issues in the Mexicali Valley of Mexico and the Imperial Valley of Southern California, and will screen her latest film, Meximperiali on Friday, January 22 at 8pm. Please arrive early - seating is limited.
We were particularly drawn to her video of the Cummings Road Landfill that slowly reveals the technology subtly, and not-so-subtly, manipulating the landscape. Both humorous and insightful, it presents squirting pumps as geysers and bubbling methane fields as geothermal springs.

Cummings Road Landfill from Cynthia Hooper on Vimeo.

Power Plants

Some folks working in the region generally referred to as the Midwest, under the name the Compass Group (including one of our own Travel Office agents), published a 2 sided map and quiz-card set that attempts to unpack the geography of corn and coal around the Great Lakes and Midwest. Coal-based utilities are identified by ownership type, and both coal mines and corn-based ethanol production facilities are located. Amidst this pretty overwhelming and depressing data are select organizations and communities who are exploring other forms of power generation. You can see a larger image of the map on Flickr and download the cards but if you'd like a paper copy of both the map and card, they're available this Winter at the Smart Museum in Chicago as part of the Heartland exhibition. The map is also available in the 9th issue of AREA Chicago: Peripheral Vision.
If you can't make it to Chicago, write us and we'll try to get one to you.

Retouching Colonialism

We just came across this advertisement for an art contest that is asking artists to repaint 17th century etchings depicting pre-European inhabitants of present day Florida. An initiative of the Public Trust Environmental Legal Institute of Florida, the contest is designed to promote the preservation of Florida's ecological and historical assets. The prints need to be repainted, they say, pointing to the obvious "errors" that are visible in the Theodor deBry etchings (supposedly based on observational paintings by French colonist Jacques Le Moyne), such as giant alligators with ears and European facial features on people who are not European.
The inspiration for the contest was apparently the work of another Theodore, a contemporary Floridian named Theodore Morris. He has embarked on a series of paintings of pre-European peoples of called "Florida Lost Tribes", in which he refers to current archaeological and anthropological knowledge to produce more "correct" visualizations. In a recent article on his work, Morris explains how he sees his project historically:

"I would like to create a body of work similar to George Catlin who painted early portraits of America's Western tribes," explains Morris. "My goal is to complete paintings that cover an entire community of people from each of the major tribes of Florida"

To get back to the art contest and its motivations, we are interested in the continued use of the ultimate Other - a people and culture that was exterminated almost 300 years ago - in the service of historical and ecological preservation. The Timucua and the European invasions that destroyed them were the narrative starting points for the eventual creation of the Timucuan Ecological and Historic Preserve in 1988, an effort that started in 1920s. And now that much of the "evidence" has lost its claims to truth (the Fort Caroline Exhibit and the Ribault Monument never had much of a claim to begin with and the images attributed to Jacques Le Moyne have been severely questioned since at least 2005), the record has to be corrected. But, what is interesting is that it's being corrected without much in the way of more "real" data. Le Moyne's original paintings have not been found, and certainly no one has uncovered a frozen Timucuan. The Timucua are being treated like dinosaurs, their images updated as our theories and ideas about them (and colonization) change. As a colleague once said of the ever changing depiction of dinosaurs, the pictures of the Timucua will always be more of a depiction of those creating them than they can be of the Timucua themselves.
Of course, such things are never about accuracy. The preserve preserves a story and the space in which that story takes place. What we have been trying to propose with our unsolicited consultations for the Timucuan Preserve is to address stories and places that connect other ecological and cultural concerns with the historic narrative already being offered. How can the policy-practice of preservation facilitate active protection of ecological and cultural networks without preserving the ideology of colonialism and violence, with its very material consequences? Practical approaches like "environmental preservation districts" seem promising, and what we would like to see advocated by organizations like the Public Trust.
Perhaps we should hold our own contest...

Touring With The Torch

The Olympic Flame really gets around. After it's ceremonial ignition in Athens, it gets a whole row of airline seats to itself, then it's onto a mountain bike, across frozen bays, some tundra, and even for a surf in the Northern Pacific. The expense of keeping this little chemical reaction going across thousands of miles and in deliberately ridiculous situations is fascinating and disturbing. We'd like to see this whole process somehow re-enacted... what would it take to convince an airline to let you bring on six burning lanterns?
Thanks to Mr. Hamilton for forwarding this.
Photos credits AP Photo/The Canadian Press, Jonathan Hayward

Parking Public: Second Edition DVD Available

We just got our second edition of the Parking Public DVD back from the printer/duplicator, so if you didn't get one from the first run, you can get one now!
It might make for an odd holiday gift for the parking enthusiast in your family.
We'll also be leading a Parking Public tour in Chicago in March, so look out for upcoming information on that.

Real, Desired & Recreated Geographies

Along with our recent proposal for the mMigration Recreation and Research Center to top the iHotel and Conference Center, we also produced a micro exhibit to occupy one wall of the Conference Center Lobby area. The space of the conference center and hotel is one conceived for consumer-users that are frequently mobile populations who occupy the space for very specific and short periods of time. Not unlike airports, conference center hotels are places designed for people who are assumed to be universally mobile and act as temporary, modular inhabitants. We don't agree with conceptions of such places as non-places, put forward by scholars like Marc Auge, however. While such ideas provide a way of understanding a form of architectural and relational instrumentalization and homogenization, they only deal with the space from the position of mobile consumption. The idea that such non-places are spaces in which "no lasting social relations are established" overlooks the production of these places in very basic material and human terms. Airports, subways and hotels are places of work for large numbers of people who are not temporary, transient inhabitants. The workers who produce these places, or at least keep them operating, create and maintain meaningful, interpersonal relationships as most of us do when we work with others. Our mini exhibit at the iHotel Conference center was one way for us to think through this reality. Below is a basic description.

A Study in Migration Through the Real, Desired & Recreated Geographies of 8 Employees is a commissioned exhibit for the iHotel & Conference Center in Champaign IL.

Although we have maps of the world that show us the forms of oceans, land masses, and political boundaries, such maps can only be aggregations of the experiences and hypotheses of specific social formations. The flattening of the globe requires projections.

This map, for example, charts the experience, both real and imaginary, of land by eight employees of the iHotel Conference Center in Champaign, IL. These employees responded to short surveys, answering questions about where they have lived, where they have visited and where they desire to go. Land masses not named, are not pictured. They also described valued souvenirs collected from these locations. Some of these souvenirs are on display in facsimile form - they are represented by approximations purchased from the online auction house Ebay. The origin of the described souvenirs, and the location from which their facsimiles were obtained, are also located on this map.

Touring a Year in the Life of a Shipping Container

For the last year, the BBC has been tracking a shipping container as it travels the world. As it traverses the sea and land, reports on its status were logged: "Economic hardship greets the box in LA"; "Scotch wiskey exports buck downturn". But tracking the box has not been without problems, as the GPS tracking device installed on it has had to be repaired and, even after repairs, its signal has been intermittent. The story that this journalism-cum-locative media project points to however, is an extremely interesting and overlooked area where the economic crisis and global commerce intersect, at least it was for us.
As the BBC reports:

After 53 years of annual growth, the volume of cargo carried by container ships may record a fall in 2009. The May figures for westbound Asia-Europe services were down by a fifth on the previous year - an indication of the severity of the slump. The problems for the industry have been compounded by a boom in building large new container ships.

We're reminded of our favorite precedent to locative-media projects, the critical documentary project of Alan Sekula, particularly his expansive Fish Story and Lottery of the Sea projects:

It struck me that Smith (speaking of Adam Smith's "Wealth of Nations") introduces the concept of risk entirely through examples drawn from seafaring and sea trade: the sailor who risks all for meager pay, incommensurate with his skills; the wealthy ship owner who "insures himself" against risk by funding a fleet large enough to offset the inevitable loss of individual vessels. The concept of risk emerges with a measure of human sympathy and understanding, based no doubt on Smith's own life-world at the edge of the North Sea, that is completely absent from the musings of our contemporary apostles of the free market.

As is the case in Fish Story, I follow a meandering path from ocean to ocean, and from ocean to sea, but with different landfalls and departures. The film begins in Japan, moves to Panama and concludes in Spain, stopping first on the oil-fouled Atlantic coast of Galicia, and ending with the redeveloped Mediterranean littoral of Barcelona. Along the way, there are a number of detours, to the ancient agora in Athens and to the port of Piraeus, to a "millionaires' fair" in Amsterdam, to a number of demonstrations in different cities against neoliberalism and then against the war in Iraq. In each of these contexts, "risk" takes on new meaning, is refracted differently by circumstances. The narration asks a question: "What does it mean to be a maritime nation, to harvest the sea, or to rule the waves?" This is posed for the inherently unstable power relations of the western Pacific, but applies less literally to choices faced in Panama and Spain, choices having to do with sovereignty and our fragile dominion over the sea.

From an interview in Bomb Magazine