The Turbulence Biennial

While I’m on the subject of events, I’ll be speaking at the University of Pennsylvania School of Design this coming Monday, November 16; I’m giving a talk called The Turbulence Biennial. It’s free and open to the public, and it starts at 6pm in Room B1 of Meyerson Hall.

[Image: A map of pilot-reported turbulence above the U.S. east coast].

The basic idea will be to revisit and extend some of the material from the climate change/weather control chapter of The BLDGBLOG Book—looking at everything from John Constable and the Cloud Appreciation Society to urban weather-engineering and airplane turbulence as a kind of invisible landscape in the sky.

So if the sky is a geography, how can we both map and design it?

If you’re near Philadelphia, definitely come by; I’d love to see you there, and it should be a fun night.

World of Giving

Jeffrey Inaba and C-LAB will be hosting a book launch this evening—Thursday, November 12—at the New Museum in New York. The party kicks off at 6:30pm, lasts two hours, and it’s free and open to the public—but you have to RSVP. Just send a quick note to dthiem@newmuseum.org; tell them you read about it on BLDGBLOG.

[Images: From World of Giving, published by Lars Müller, the New Museum, and Columbia University].

The book, called World of Giving, explores the financial infrastructure—and the resultant networks of social capital, or what Inaba calls Aid Capital—that arise in global philanthropy. But this is not just the expected cultural gift-giving of building opera houses in developed cities, funding commerically-unattractive graduate research, or opening new hospitals halfway around the world; it is also a darker philanthropy, we might say, of money-laundered financing for terrorism, arms deals, and more—the terrain of mobile capital and secret bank accounts that Loretta Napoleoni explores in her book Terror Incorporated: Tracing the Dollars Behind the Terror Networks. The World of Giving, in this sense, is not just a Hallmark world in which generosity rules, but an entire shadow economy of often unpredictable impulses and results.

The book itself, meanwhile, is basically a translation of C-LAB’s installation at the New Museum, Donor Hall. Donor Hall is, the museum writes, “a bold, immersive graphic environment that identifies and quantifies public and private philanthropy around the world. The presentation is based on research on dozens of organizations—from sports, media, politics, education, religion, finance, paramilitary, and non-governmental organizations—and tracks the amounts of money various organizations donate to culture.”

Until Proven Safe: An Interview with Krista Maglen

[Image: Airfield at Guantanamo Bay converted for the quarantine of 10,000 Haitian migrants; via Wikimedia].

Krista Maglen is Assistant Professor of History at Indiana University, where her research explores the nature of infectious disease prevention, including quarantine, during the latter part of the 19th century and beginning of the 20th century.

In her published work, which includes “‘In This Miserable Spot Called Quarantine’: The Healthy and Unhealthy in 19th Century Australian and Pacific Quarantine Stations” and “‘The First Line of Defense’: British Quarantine and the Port Sanitary Authorities in the 19th Century,” she focuses on the interrelationships between quarantine defenses, economic traditions, and medical restrictions on immigration.

As part of our ongoing series of quarantine-themed interviews, Nicola Twilley of Edible Geography and I spoke to Maglen about the ways in which different economic and cultural forces have shaped the practice of quarantine in Australia, the U.K., and the U.S.A. In this wide-ranging interview, we discuss the absence of a design philosophy for quarantine, quarantine’s potential for political misuse, and the differences between quarantine and other forms of incarceration.

• • •

Edible Geography: What led to your interest in quarantine?

Krista Maglen: My original interest was immigration, and I was looking at the way that immigrants had been restricted from coming into Britain for medical reasons. I had some assumptions about how that process occurred, but I realized it wasn’t as straightforward as in the U.S.A. or in Australia. When I looked a bit more deeply, I realized that this was because of the relationship that Britain had towards quarantine.

There is a long-standing opposition to quarantine in Britain, which meant that when Britain started to enact restrictions on immigration and immigrants, it was quite difficult, because those restrictions use many of the same mechanisms and much of the same language as quarantine. Both of them are designed to exclude certain groups of people, and they’re very closely interrelated.

That intersection between immigration and quarantine was where I began—and then I started to see all these amazing things about quarantine. It doesn’t only relate to medical and public health policy, or even just to immigration policy—it’s also very bound up with economic and political policy, as well. It is both shaped by, and a tool of, these larger geopolitical forces.

[Image: Map of the Australian Quarantine Service].

BLDGBLOG: I’m interested in your understanding of the relationship between quarantine and the construction of national borders.

Maglen: Quarantine differs very much depending on where a country is in relation to a disease source or perceived disease source. Australia, for example, has actually historically had one of the strictest quarantine policies, even though it’s so far away. Quarantine became a very big deal there. First of all, there’s a perceived proximity to Asia, which in the West has traditionally been seen as this great source of disease—the “Yellow Peril.” Quarantine is also a way to draw a line around White Australia, racially, just as much as it is to draw a line around the notion of a virgin territory that doesn’t have the diseases of the rest of the world.

Britain has a different relationship to quarantine because its borders are much more fluid. It can’t have borders as rigid as somewhere like Australia, for lots of different reasons: because of its empire; because it relies on maintaining open borders to let trade flow; and because Britain is itself quite undefined, in a way. It’s a composite of England, Ireland, Scotland, and Wales. The borders of Britain are much more fluid, so quarantine takes a different form there and has a very different history.

Edible Geography: You’re now based in the States, where I would assume quarantine is different again?

Maglen: Yes, exactly. Quarantine is closely tied to immigration in the United States: Ellis Island was a quarantine processing site, as well as an immigration processing site. Until the 1920s, immigrants arriving into the United States came into facilities that were also quarantine stations, and also places where you could isolate people for disease control reasons. Part of the processing of who can and can’t get into the United States is always about quarantine—what bodies are seen to be diseased and undesirable.

[Images: Asian immigrants arriving at the Angel Island immigration station, San Francisco, and a man quarantined at Ellis Island; courtesy of the National Library of Medicine].

Edible Geography: That raises an interesting question: By looking at a particular country’s quarantine regulations, can you construct in reverse what that country wishes it could be, or imagines it is?

Maglen: I think you can. Quarantine borders—just like national borders—are seeking to draw a line between us and them, inside and outside, desirable and undesirable, and so on. The United States is interesting because it has land borders as well as sea borders. The defining of a biological border, and its role in defining a national border, becomes more complex on land.

Edible Geography: Could you discuss the design of quarantine facilities and the way that also varied from country to country?

Maglen: When you’re thinking about quarantine, one really important thing to keep in mind is that there is a distinction between quarantine and isolation. Quarantine is a word that’s used quite freely. The way it’s used quite often now is to refer to the isolation of sick and infected people. But quarantine more accurately refers to the isolation of anyone who’s deemed to be a risk. That means that you can have perfectly healthy people in quarantine—and being held in quarantine for quite a long time.

One difference is that, in Australia, the quarantine facilities are designed to house all quarantined people—people who are sick and people who are healthy, but have either been in contact with an infected person or have come from somewhere that’s perceived to be an infected place. Australian quarantine stations have an isolation hospital—which is separated, but still part of the main facility—and then they have a big dormitory for all the healthy people who are having to be quarantined as well.

In Britain, the facilities that are set up are almost exclusively for the reception of sick and infected people. They’re really isolation facilities rather than quarantine facilities. Britain has a long history of taking the stance that quarantine is completely unnecessary, because you’re perfectly able to look after healthy people who may have been in contact with an infection if you have a public health system within the country, and that system works properly. From the 1870s or so onwards, Britain says that they’ve got the best sanitary system in the world, so they don’t need to worry about quarantine. Even today, there’s an argument made in Britain along very similar lines, which says that people arriving into Britain potentially carrying tuberculosis shouldn’t be excluded from the country or put into any type of isolation—they just need to be monitored within the National Health Service (NHS). The NHS, in this argument, has everything that is needed to control the spread of tuberculosis from immigrants to the population of Britain, so you don’t need to exclude immigrants on a medical basis.

[Image: “Testing an Asian immigrant” at the Angel Island immigration station, San Francisco; courtesy of the National Library of Medicine].

BLDGBLOG: Does some of the difference in attitudes towards quarantine stem from different national political traditions and notions of individual human rights? For example, do the British have a stronger history of arguing for the right to resist involuntary government-imposed detention?

Maglen: It’s an interesting question but, in my research, I haven’t found much of that. Quarantine is much more closely tied to economic political traditions. Britain has a tradition of economic liberalism and free trade, which requires, to a great extent, open borders. Trade requires ships to come in and out, and those ships carry people.

Of course, discussions about human rights and individual liberty are a little bit beyond my period—but everywhere, even now, the argument is made that there are times and instances where individual liberty has to be given over to the greater good. Quarantine, in that argument, is just one of these instances where an individual’s liberty has to be curtailed in order to protect the broader community.

Something that was talked about a lot in the nineteenth century, and still now, is the difference between quarantine and other sorts of incarceration. Quarantined people might be perfectly healthy—they’re not necessarily physically or mentally ill—and they don’t really fit into the normal categories of people with reasons to be incarcerated.

What’s interesting about quarantine is that it assumes that people have the potential to cause harm without having to prove it; it presupposes guilt, in a way.

There’s a quotation from the Australasian Sanitary Conference in 1884 that I think captures a very important aspect of quarantine. It says, “Quarantine differs from a measure of criminal police in this respect: That it assumes every person to be capable of spreading disease until he has proven his incapacity; whereas the law assumes moral innocence until guilt is proven.”

Quarantine is really one of the singular instances in a liberal democracy where it’s possible for the state to incarcerate somebody without proven guilt. It’s a complete inversion.

What I’ve found in my research—which is focused on the nineteenth-century and early twentieth-century, so I can’t speak for today—is that most people who were quarantined agreed in principle with their incarceration and with quarantine. They believed that it was a just thing for them to be quarantined—in principle. They often talk about that at the very beginning of their period of quarantine. Once they’ve been placed into quarantine, it all seems quite different.

So, in theory, people believe in quarantine—but when you’ve been sitting for two months in a facility that often isn’t very well-equipped for people to live there, because they’re set up just for the occasions they might be needed, and often they’re not very nice or comfortable places to be, things seem very different.

One of the things that comes across consistently in people’s quarantine experiences is boredom. They complain about the accommodation and the food, and they get sick of the people they’re quarantined with—all those very normal human responses.

[Image: Medical inspection station at Ellis Island. The 1891 U.S. immigration law called for the exclusion of “all idiots, insane persons, paupers or persons likely to become public charges, persons suffering from a loathsome or dangerous contagious disease,” as well as criminals. Courtesy of the National Library of Medicine].

Edible Geography: Following on from that, I’m interested in hearing more about your research into the experiences of the quarantined, but also about the experiences of those who were doing the quarantining. Are there recurring similarities or differences between those two points of view? And are there changes in the perception of their experience over time, or residual stigma, post-quarantine?

Maglen: The question about residual stigma is really interesting. My research hasn’t uncovered anything that reveals anything about that. If there was residual stigma, people aren’t talking about it. Not that I can find, in any case.

As I argue in my article, “In This Miserable Spot Called Quarantine,” it seems that quarantine is set up to deal with the singular problem of keeping people who are a potential risk away from the rest of the community. How that then works itself out in practice is really an afterthought. You put in place a facility, whether it’s on an island, a remote peninsula, or a huge moored boat, and you put in place the regulations that govern how a long a ship or people are supposed to stay in quarantine—but that’s about it. People are put there and forgotten about until it’s time for them to be released. Something that people who are being quarantined and people who work in quarantine both have in common is that most of them express great frustration at this.

It’s a “What do we now?” kind of thing: we’ve all got to sit around and wait, but there’s probably not sufficient accommodation for people, and we’ve been given these really crappy rations, and there’s no way of getting away from the other people held there.

[Image: Isolation Section, Sydney Quarantine Station].

Edible Geography: It’s as though the only design philosophy that exists for quarantine is keeping people away. You get a community that isn’t designed to function; it’s simply designed to contain. It’s a place that’s not designed as a place. It’s designed as a non-place.

Maglen: Exactly—that’s a perfect description. It’s designed as somewhere to deposit people temporarily—although, in some cases, that meant several months–but that’s about it. We just shut the doors and leave.

That’s what’s really great about reading the personal sources and stories of people who were in quarantine, because none of the official sources or government agencies see quarantine as anything other than a way to solve a problem. They don’t see it as individuals with their liberty being curtailed and their economic autonomy being frozen. They don’t see any of these problems; they’re just looking at the larger public health issue. It’s more of a macro view of disease control rather than a micro view of individual people’s lives.

[Image: A “Quarantine Act” banner from the Torrens Island Quarantine Station collection, held by the National Museum of Australia, Canberra].

BLDGBLOG: Talking about quarantine stations as a place simply to dump people reminds me of a bit of the architectural criticism of refugee camps. Refugee camps are often criticized as being nothing but utilitarian: built with no concern for community, culture, or how people will live once they’re placed there. Have you found other spatial types that are similar to quarantine facilities—whether that’s refugee camps or supermax prisons—where the same types of psychological and cultural issues emerge?

Maglen: Absolutely. The places I have studied that are similar are detention centers for asylum seekers in Australia.

There was a policy of mandatory detention for asylum seekers who arrived in Australia; they were put in horrible camps out in the middle of the desert until they could be processed. There was an assumption that if you were a “proper” refugee, you would have stayed in the refugee camps, in wherever it was that you were from, and waited until your application had been processed. You would have been given a visa saying that you were a refugee, and then you would have come to Australia on a plane and gone through the immigration line with the requisite stamp in your passport. This is obviously ridiculous—the life of a refugee doesn’t usually work that smoothly.

In any case, people who arrived in boats—or any way they could—in Australia and who didn’t have a refugee stamp in their passport—or a passport at all—were put in detention centers for long periods of time, sometimes years. The psychological problems that occurred amongst people who were isolated and detained in these places for that long were enormous. Not only were many of the people already psychologically damaged by the experiences that had led them to become asylum seekers and refugees, but they were then put into these temporary camps and isolated in the middle of nowhere.

The difference, however, between that example and people who have been put in quarantine, or people who are put in solitary confinement in prisons and so on, is that quarantine has a time limit. It’s limited, by definition—although, of course, it can be continued and extended. In fact, one of the problems of not setting quarantine facilities up properly is that you then get situations where poor design can lead to unnecessary extensions to the period of incarceration. So, for example, if I have been in quarantine for 15 days of a 20 day quarantine incarceration—with only 5 days left until I am released—and then you are newly placed in quarantine with me, if we are not adequately separated, I will have to start the 20 day quarantine period all over again—making my total quarantine 35 days. This is because I have been freshly exposed to a suspected disease source—you—and so my previous quarantine is rendered useless.

Quarantine facilities, therefore, need to be able to separate instances of exposure in order to avoid compounding the duration of incarceration. However, poor design of quarantine facilities—created essentially, as we said before, only to keep people away from the broader community and with little thought given to internal structures—has, at times, resulted in quarantines that have, unnecessarily, lasted for months.

Even so, there is always a limit with quarantine. First of all, epidemics only have a limited lifespan. Secondly, quarantine periods often have something to do with incubation periods, although the relationship is not as direct as you might think.

So, to speak to your question, I haven’t seen any long-term residual damage inflicted by quarantine, strictly as quarantine. When quarantine is strictly about disease, it doesn’t have the same kind of psychological effects, because you know that, in two months or so, you’re going to be let out. When quarantine is tied to other ideas, or when it becomes a way of keeping a particular class or race—or whatever category of people—outside, it quickly shades into something else.

[Image: View through the perimeter fence at Port Hedland Immigration Reception and Processing Centre in Western Australia, June 2002, from the Australian Human Rights Commission].

Edible Geography: If quarantine has an end date, then surely it doesn’t actually function to exclude people from a country. In that case, is the point to use quarantine as a way of reinforcing prejudice and social hierarchies, so that people know their place, as it were, before they even come in the door?

Maglen: Quarantine can do that. It can also be designed as a way to dissuade people from wanting to try to come to your country in the first place. Quarantine is also very much about reaffirming models and stereotypes within the community: to create a feeling that “everybody knows that people from a particular country or region are dangerous, because look, the government has to quarantine everybody from there.” It gives a seemingly scientific backing for ethnic or racial prejudice.

An example of that is people from Haiti being quarantined by the United States at Guantanamo Bay, because of the risk of HIV and AIDS. You can read much more about this in Howard Markel’s book, When Germs Travel. There’s a really interesting chapter in there called “No One’s Idea of a Tropical Paradise: Haitian Immigrants and AIDS.” In it, Markel talks about how Haitian immigrants were being quarantined off-shore because they might be HIV-positive, and how that just re-confirmed—and put a government stamp on—prejudices against Haitians as being a dangerous and untrustworthy people.

That raises another very interesting point about quarantine: it can manipulate the public’s understanding of a particular disease. A disease might not be transmissible person-to-person, or it might not be highly contagious, but the imposition of quarantine automatically implies that there’s a person-to-person mode of infection (in the sense that, if I was sick and I stood in the same room and breathed on you, you would get sick). Quarantining people with HIV/AIDS implies that just coming into contact with them will expose you to infection.

Edible Geography: It seems, then, by virtue of being a practice of detention, quarantine can be misused very easily.

Maglen: Absolutely. It’s not just because it’s a practice of detention, but because quarantine, unlike isolation, is about keeping people who are deemed to pose a risk to public health separate. They’re not known to be a danger, but they’re judged to be a risk—and it’s that idea of risk that can be very easily manipulated. Risk could mean that they’re carrying a pathogen, or it could be that the place that person has come from is deemed to be diseased. It’s a very loose and dangerous term.

Edible Geography: What direction is your research taking now? Are you still exploring aspects of quarantine, or has it led you on to somewhere else?

Maglen: At the moment, I’m working on a book to develop my work on quarantine in Britain. I’m particularly looking at the border, and the idea of British ports being in-between spaces—spaces that are much more fluid than their American or Australian equivalents. I’m using that idea to examine the reasons behind the difficult relationship the British have with quarantine and immigration control, and also to explore how Britain sees itself within the United Kingdom and its former empire. I’m hoping to show how looking at immigration and quarantine can help us understand what’s happening in Britain as a nation and why it behaves as it does, both internally and internationally.

In the future, I want to continue looking at quarantine, but I want to move back to looking at Australia, and in particular, the Western Pacific. The French, British, and German imperial forces came in and tried to divide the islands up between them, even though the island populations had a long history of moving around in completely different patterns. I want to look at how disease control and quarantine were then used by the imperial powers as a way to control that movement of people.

• • •

This autumn in New York City, Edible Geography and BLDGBLOG have teamed up to lead an 8-week design studio focusing on the spatial implications of quarantine; you can read more about it here. For our studio participants, we have been assembling a coursepack full of original content and interviews—but we decided that we should make this material available to everyone so that even those people who are not in New York City, and not enrolled in the quarantine studio, can follow along, offer commentary, and even be inspired to pursue projects of their own.

For other interviews in our quarantine series, check out One Million Years of Isolation: An Interview with Abraham Van Luik, Isolation or Quarantine: An Interview with Dr. Georges Benjamin, Extraordinary Engineering Controls: An Interview with Jonathan Richmond, On the Other Side of Arrival: An Interview with David Barnes, The Last Town on Earth: An Interview with Thomas Mullen, and Biology at the Border: An Interview with Alison Bashford.

More interviews are forthcoming.

Bomb Grid


[Image: The Key Lake uranium mine].

I’m in the process of finishing Tom Zoellner’s new book Uranium, and I’m finding it extremely hard to put down. A beautifully written history of the radioactive mineral used in nuclear weapons, it includes some amazing anecdotes and descriptions.

What’s particularly interesting about the book, however, as least for me, is that it very firmly locates nuclear weapons as geological devices. That is, atomic bombs are both of and from rocks—they are mineralogy pursued to its most explosive ends, metals transformed into “mammoth amounts of energy,” able to level cities and mountains both.

Indeed, uranium, Zoellner writes, is “the mineral of apocalypse.” There is “a fearsome animal caged in this exotic metal,” he writes, “hot as the sun, but one whose instabilities could be accurately charted and precisely aimed.”


[Image: The uranium-powered Fat Man bomb].

There is a moment in John Milton’s Paradise Lost, which I mention in The BLDGBLOG Book, where Milton—writing in the 1600s—describes mineral weaponry pulled from the surface of the earth by Satan’s minions as they launch an insurrectionary terrorist assault on God. It is geological siege-warfare, we might say.

Milton describes, in Book Six, “materials dark and crude” located “deep under ground”; they “shoot forth / So beauteous, opening to the ambient light” when illuminated by “Heaven’s ray.” These crude materials, Milton writes, are then rammed down into cannons to form long-range weaponry:

These in their dark nativity the deep
Shall yield us, pregnant with infernal flame;
Which, into hollow engines, long and round,
Thick rammed, at the other bore with touch of fire
Dilated and infuriate, shall send forth
From far, with thundering noise, among our foes
Such implements of mischief, as shall dash
To pieces, and o’erwhelm whatever stands
Adverse, that they shall fear we have disarmed
The Thunderer of his only dreaded bolt.

While I’m aware that this is simply a poetic extrapolation from existing technologies of the time—i.e. the “dilated and infuriate” energy of gunpowder—Paradise Lost has the often uncanny feeling of being a description of militararized uranium three centuries in advance of the Manhattan Project.

At one point, Zoellner himself refers to uranium as “a mineral demon,” bringing to mind Milton’s Pandemonium—that is, the place of all demons.


[Image: The weaponization of geology in the form of the Little Boy atomic bomb].

In any case, Zoellner’s book is full of incredible descriptions. For instance, “Testing [uranium-fueled nuclear weapons] at the Nevada Proving Ground has revealed that a nuclear bomb buried in a deep shaft underneath a mountain would vaporize the surrounding rock and make a huge cathedral-like space inside the earth, ablaze with radioactivity.”

Or take Zoellner’s short history of something called Project GNOME, which experimentally deployed a small atomic bomb underground in New Mexico in order to see if its detonation could flash-vaporize groundwater, providing steam for a subterranean power plant.


[Image: Inside the underground chamber created by the Project GNOME explosion].

The “muffled bang” of this experiment produced an extraordinary false geology:

When workers tunneled in more than half a year later to inspect the damage, they found a hollow chamber about the size of the U.S. Capitol dome. The rock walls were colored brilliant shades of blue, green, and purple and bore an angry surface temperature of 140 degrees Fahrenheit. Drilling at the site is prohibited today; the radiation still poses a danger.

Architectural metaphors come easily to Zoellner, and he makes good, illustrative use of specific buildings; who knew the Monadnock Building in Chicago could serve as a metaphor for the structure of uranium?

The Monadnock was stone and mortar, and sixteen stories was the breaking point with those materials. Any higher and the whole thing would fall into a pile of rubble, or require walls so big and windows so small that the rooms would have resembled dungeon cells… The building is so obese with masonry that it sank nearly two feet into Chicago’s lakefront soil after it opened. It is still the tallest building in the world without a steel frame, and it represents a monument of sorts: the very brink of physical possibility…

There is a similar invisible limitation inside atoms, and uranium is the groaning stone skyscraper among them, pushing the limits of what the universe can tolerate and tossing away its bricks in order to forestall a total collapse. This is radioactivity.

There is one more longish quotation I want to draw attention to. The middle-third of the book is about the uranium rush that erupted in the American southwest in the 1950s; uranium, far from being rare in nature, was found at a wide range of sites, including near the town of Moab, Utah.


[Image: Yellowcake uranium].

In the Book of Zephaniah, Zoellner points out, no less a figure than God refers to a settlement called Moab, saying it is “a place of weeds and salt pits, a wasteland forever.” That a town in Utah might name itself this is either self-deprecation at its most extraordinary or an unfortunate error (indeed, Zoellner mentioned that the town tried, unsuccessfully, to rename itself for several decades).


[Image: Pitchblende, via Wikipedia].

What’s fascinating, though, is that uranium was not hard to come by out there; indeed, one could often find these chromosome-mutating, highly radioactive rocks literally just sitting on the surface of the desert, sometimes shining yellow in the arid sunlight. I was thus blown away by a passing comment Zoellner makes when he describes the scabbed desert cliffs, canyons, and hills within which American uranium was found:

In the shaded alcoves of some of the cliffs, a race of Indians called the Anasazi had left paintings of gazelles and misshapen humans: the people themselves had vanished in the thirteenth century.

Pictures of misshapen humans. This is clearly something for anthropologists and art historians to discuss, but how absolutely extraordinary to consider the possibility that depictions of humanoid forms in Anasazi rock art were not, in fact, fantastic depictions of mythological figures or a creative exploration of the human anatomy—a desert Demoiselles d’Avignon six hundred years before Picasso—but realistic depictions of people mutated by the rocks around them.

I could go on at great length; Uranium is a fascinating book, and, as I mentioned, it takes several steps in the direction of what I might call a geological history of the atomic bomb (something I would love to read or write).


[Image: Abandoned pit of the Mary Kathleen uranium mine, Queensland, Australia; via Wikipedia].

But I was also specifically reminded of the book when I read last night that 10% of the U.S. power grid is fueled by dismantled nuclear warheads—including many purchased from the former Soviet Union.

“Salvaged bomb material now generates about 10 percent of electricity in the United States,” the New York Times reports; “by comparison, hydropower generates about 6 percent and solar, biomass, wind and geothermal together account for 3 percent. Utilities have been loath to publicize the Russian bomb supply line for fear of spooking consumers: the fuel from missiles that may have once been aimed at your home may now be lighting it.” As one consultant interviewed in the article quips: “‘You can look at it like a couple of very large uranium mines,’ he said of the fissile material that would result from the program.”

Known officially as the Megatons to Megawatts program, it comes with the poetic implication that any forensic dissection of the U.S. national power grid would eventually come up against mineral remnants of Cold War Soviet weaponry. Ticking away somewhere inside the infrastructure of the United States is the radioactive dust of an undeclared nuclear war.

It also makes one wonder what John Milton might do with the U.S. electrical grid—what mythic scenes of electrical warfare, fueled by repurposed missiles and clouds of fallout, he would describe being unleashed upon the scarred bedrock of continents.

But, even at its most mundane, this is stunning: it’s as if, on the one hand, we have Hoover Dam, spinning its turbines and sending power to the people of the American southwest, and, on the other, we have an unlocked stockpile of old weapons, like some strange archaeological site, fizzing down somewhere in a power plant, generating light for our cities.

The Fourth Plinth: London Planetarium

[Image: London’s Fourth Plinth, via Google Image search].

In an odd coincidence with the previous post, I actually saw a show at the American Museum of Natural History’s planetarium yesterday—an experience which reminded me not only how much I love planetaria, and that planetaria should be built all over the city, inside subway cars (and subway tunnels and subway stations), and inside children’s bedrooms, and in the back rooms of bookshops, in public buses, in bars, in department stores, in regular cinemas everywhere, in every city’s opera house, but I was reminded of the ongoing Fourth Plinth project in London.

The Fourth Plinth is the only plinth in Trafalgar Square without a statue; as such, it has been the site of (not always successful) public art installations for the past decade. But what if the Fourth Plinth, in tandem with London’s cloudy skies, could take on a more astronomical bent?

[Image: Planetarium projection equipment].

A rain-proof planetarium machine could be installed in public, anchored to the plinth indefinitely. Lurking over the square with its strange insectile geometries, the high-tech projector would rotate, dip, light up, and turn its bowed head to shine the lights of stars onto overcast skies above. Tourists in Covent Garden see Orion’s Belt on the all-enveloping stratus clouds—even a family out in Surrey spies a veil of illuminated nebulae in the sky.

The Milky Way rolls over Downing Street. Videos explaining starbirth color the air above Pall Mall and St. Martin in the Fields goes quiet as ringed orbits of planets are diagrammed in space half a mile above its steeple.

[Image: From a review of David Wright’s The Tenth Planet].

The sky becomes a writing board for astronomical imagery: planets rise and fall, constellations form, and the death of the universe is animated down to its slowest moment of heat-death. New shows are developed specifically for the London Planetarium, as Trafalgar Square is grudgingly called, and speakers installed in the nearby Pret A Manger allow customers to listen in while eating their evening sandwiches.

Eventually the idea is exported to other cloudy cities around the world. Astronomers in San Francisco’s Mission District project roiling animations of solar magnetism onto the fogbanks above Tank Hill.

Grilling Octopi in a Flooded New York

[Image: A flood strikes Manhattan; image via New York magazine]/.

Jace Clayton, aka DJ /rupture, who is interviewed in The BLDGBLOG Book, has a new album out with Matt Shadetek—and he’s suddenly everywhere. The newest issue of New York magazine, for instance, has a short feature in which Rupture describes their new album; called Solar Life Raft, it comes with its own architectural premise. The mix “paints a picture,” we read, “of New York 40 years in the future, where the water line is at the fourth story of buildings and the rich people are dry in the Catskills. Kids are making music on their cell phones and grilling octopi. So, it’s postapocalyptic, but not necessarily grim.” Flavorwire has also just run a list of /rupture’s favorite pairings: cities twinned with music.

And on Friday, November 13, from 9pm to 1am, the album will be premiered at no less a site than the planetarium at the American Museum of Natural History; BLDGBLOG and Edible Geography will both be there, and there are still a few tickets left. Attendees apparently get a free show at the planetarium! Hope to see some of you there.

Editing the Shadow Volume

[Image: The multiple-shadow casting cube by Niloy Mitra and Mark Pauly].

Spotted via New Scientist is an amazing new computer model that allows designers to create objects based on the multiple and highly specific shadows that those objects will cast when lit from different angles.

Seen above is one, relatively mundane example of the technology, by Niloy Mitra and Mark Pauly: three paintings by Andy Warhol are being cast from the same object. “Their computer model can calculate the object shape needed to cast up to three distinct shadows simultaneously,” New Scientist explains. The designers call it “editing the shadow volume.”

Niloy’s and Pauly’s accompanying video is amazing:


But what if we could do this with a glass tower in midtown Manhattan? Or if there was an elevator moving upward through an all-glass shaft, and as the lights in the lobby around it switch on and off, different—often wildly unexpected—shadows are cast within the building?

What are the architectural possibilities of multiple-shadow casting design?

You hook this modeling software up to huge CNC-milling machines, and then you attach the whole assembly to a warehouse-sized block of plywood. You come back one week later to find a sprawling labyrinth of immersive three-dimensional shapes carved directly and seamlessly into the wood, like the mathematical spires of some alien cathedral—it’s an extraordinarily beautiful landscape of precision-cut wood—but it’s only when the lights go off above you and a wall of klieg lamps on the northern wall switch on that you see the jaw-dropping shadows this wooden landscape can cast. But then those lights turn off, and the eastern wall lights up—and more, incredible, seemingly contradictory shadows appear. Then the west wall.

Each time, an impossibly unique scene of shadows is displayed, often too complex to be believed. It is Wayang Kulit for an age of semi-intelligent milling machines and theatrical light.

Or perhaps someday the perfect, cinematic object will be designed: it rotates in all directions amidst a battery of programmed lights, and the shadows that it casts are narrative, moving scenes in a two-hour film, displayed on the walls around it.

Instead of DVDs, we will store our movies in the cuts and grooves of milled wooden objects. Mahogany harddrives. Spirit-objects brought to animate life by angled light.

Of swarms, media, and design education

Architect and filmmaker Ed Keller has organized a fantastic day-long conference next weekend here in New York City about multi-agent systems, cities, swarms, media, hives, collectives, outbreaks, disruptions, and more. The idea is to look at how momentary but extremely consequential losses of equilibrium can affect, offer metaphors for, and even physically instigate new design processes.

After all, if there are “unanticipated forms of public space, communication, and subjectivity” emerging in the contemporary metropolis, as Keller suggests, then this conference is an opportunity to discuss how and under what circumstances such things might more frequently appear.

[Image: A British Airways jet swarmed by birds; photographer and location unknown].

Participants include Benjamin Bratton, Katherine Von Jan, Jamer Hunt, Roland Snooks, Cameron Tonkinwise, Mark Leiter, myself, Warren Neidich, and others.

Called Shockwave Riders: Collective Intelligence & TransDisciplinary Pedagogy, the symposium goes from noon to 7pm on Saturday, November 14th; it’s free, open to the public, and hosted by Parsons, The New School for Design, at 560 Seventh Avenue. Here’s a map.

While the overarching conversation will look at multiply-authored systems, from natural processes to global stock markets, the final point is to discuss how all of this might change design education:

This symposium marks a continuation of the School of Design Strategies’ work to map out the ways in which emerging forms of social media, global information exchange and new models of pedagogy meet, and it brings together thought leaders from architecture and urban design, the business world, new media entrepreneurs, and media / culture theorists, to discuss and dispute the consequences of technological change in the next decade and outline strategies for developing a design and design-education models that can meet the challenges ahead.

It lasts all afternoon, and will be well worth stopping by. Check the symposium website for more info, including, as we get a bit closer, the actual timetable for the speakers.

1984–2001

[Image: From 2001, directed by Stanley Kubrick].

I’m participating in a panel discussion later today (Sunday), over in Brooklyn at a place called Smack Mellon. The topic is 1984–2001, and it’s a look at utopian and dystopian visions in science fiction—with, in my case, a specific focus on architecture. The other participants are Ed Halter, Carrie Hintz, Brian Francis Slattery, and Deborah Taylor; Matt Borruso will moderate.

[Image: From the film 1984, directed by Michael Radford].

Here’s an excerpt from the day’s description:

George Orwell’s 1984 was written during the Second World War and Stanley Kubrick’s 2001 was released in 1968. That these moments of cultural upheaval produced two such extreme visions of the future is hardly a surprise; sometimes referred to as speculative fiction, science fiction is premised on a radical re-imagining of the cultural moment. Whether optimistic or cautionary, any representation of a set of social conditions that differs from the author’s own are bound to that author’s aspirations for the present, making science fiction a genre often read for its political import.

It starts at 3pm, and is free and open to the public. Here’s a map.

Aqueous

[Image: From Amphibious Architecture; photo by Chris Woebken].

New York architects The Living, mentioned in an earlier post, are behind another noteworthy project: Amphibious Architecture.

This one, completed in collaboration with xClinic, Natalie Jeremijenko, and many others, and commissioned by the Architectural League for the recent exhibition Toward the Sentient City, is an environmental monitoring station—a subtle filigree of colored lights—floating in the rivers of New York.

[Image: From Amphibious Architecture; photo by Chris Woebken].

As such, it is more or less a direct outgrowth of their earlier project River Glow.

Amphibious Architecture is a floating installation in New York’s waterways that glows and blinks to provide an interface between life above water and life below… Two networks of floating interactive tubes, installed at sites in the East River and the Bronx River, house a range of sensors below water and an array of lights above water. The sensors monitor water quality, presence of fish, and human interest in the river ecosystem. The lights respond to the sensors and create feedback loops between humans, fish, and their shared environment. An SMS interface allows citizens to text-message the fish, to receive real-time information about the river, and to contribute to a display of collective interest in the environment.

The idea of text-messaging fish adds a dream-logic to this project that I find intensely enjoyable. A man lost somewhere in the middle of the Atlantic Ocean who retains his sanity only by texting Leviathan. Screenplay by Ernest Hemingway.

[Image: From Amphibious Architecture; photo by Chris Woebken].

Check out more of The Living’s work on their website—and spend a few moments, while you’re at it, with the decisively trans-species design work of their collaborator, Chris Woebken. Woebken’s well-known Animal Superpowers project is particularly fantastic.