Catmospheres

Visitors to Ephemerata Gardens inevitably ask, “So just how many cats do you have?” For years, Delphi was our official greeter and Mia did her hoop jump at the end of the Museum of Ephemerata tour. Cats lounge everywhere, throwing together temporary forts and bedding out of whatever's handy. Laps and bathroom sinks serve as improvised hammocks. The shed roof provides the perfect patio lookout. In the winter they seek warmth, discovering accidental passive solar junkitecture like Perlita’s greenhouse, a broken window leaned against a wall. There are also cats you don’t see who sneek away from the clutter of other felines to enjoy solitary catnaps, like PT’s burrow under the kitchen sink where we used to save plastic grocery bags.

The yard came with strays  – a tatter-eared tom, a soon pregnant golden tabby kitten, and six or seven other felines who depended on scraps from the butcher two doors down. Every day an employee fed them in the alley, calling out “Here babies!” to summon the clutter. The colony was growing fast thanks to steady food and no sterilization. Over the years we “fixed” more than two-dozen (as if their reproductive capacity was something broken).

Our second winter at the house, the tomcat lost his left eye. As the cold came on he stopped roaming the yard and just lay there, missing eye suppurating a clotted yellow flow. We were letting him waste away. My stepmom, also an animal person, asked, “Shouldn’t you just put him to sleep?” Instead we used holiday gift money to take him to the vet. Tricked into a cat carrier with wet food, he was neutered, vaccinated, eye sewn up, body purged of parasites, gently “interpellated into the modern biopolitical state” under the aegis of love and care.* For three days he healed in our bathroom, saturating it with litter box smells and a polecat stench of spray from his oily coat.

The missing eye healed well, stitched skin dimpling into a little bowl of fur. We called him One-Eye. He became the guardian of our TNR (Trap-Neuter-Release) colony. He even began to purr. His territorial aggression to male cat strangers dwindled, but he still sprayed everything and fought off dogs by leaping on their backs despite his partial blindness. Then one cold November night we heard a dog growling in the yard and One-Eye went missing. He just vanished from our vulnerable cat preserve.

Cat characters like One-Eye saturate spaces with their presence. Cat fur finds its way everywhere. Purrs resonate bodies with healing frequencies.** Hints of spray or urine linger in the air for months, marking objects with pheromone messages about an animal’s sex, age, and health that humans, lacking vomeronasal sensory organs, can’t comprehend. It is an affective writing that is smelt and felt, not seen and read. Becoming a part of these atmospheres by caring for cats involves daily feeding rituals, close contact with wounds, suffering, and feces, and crime scenes: dead roaches, anoles, bird feathers, the occasional baby possum or squirrel. Sadly, caring for mortals inevitably involves burying dead cats or wondering if missing ones will ever return. Worrying about cats, slowing down and enjoying their company on your lap, stressing out over vet bills, being annoyed by nagging midnight meows or stepping in puke – a welter of feelings spins out of our self-imposed responsibilities to the felines. And you can’t care for an animal without caring for its life-support habitat. Like any form of life, cats need a certain kind of atmosphere in order to survive, but also emanate an atmosphere of their own. We cohabit that territory, a catmosphere crossed by little weather patterns of feline love, need, and aggression.

For cats, love, aggression, territory, and smells are not linguistic or symbolic statements, but relational atmospheres expressed through layered sensory patterns of purrs, meows and hisses, touches, bites, scratching, and phermones. As Gregory Bateson puts it, “the cat does not say ‘milk’; she simply acts out (or is) her end of an interchange, the pattern of which we in language would call ‘dependency.’ But to act or be one end of a pattern of interaction is to propose the other end. A context is set for a certain class of response.”*** Developing his cyber-ecological model of identities, Bateson argues that relationships between self/other or self/environment

are, in fact, the subject matter of what are called “feelings” – love, hate, fear, confidence, anxiety, hostility, etc. It is unfortunate that these abstractions referring to patterns of relationship have received names, which are usually handled in ways that assume that the “feelings” are mainly characterized by quantity rather than by precise pattern.****

Feelings are not strictly internal events, but waver somewhere in between individuals, saturating a common atmosphere through repeated relational experiences. Each kitten's features, mewls, and purrs tug at something in us that wants to care for them, to become responsible for their lives.

Catmospheres are inflated with feeling responsible for other life forms, but it is unclear where catmospheres and feeling responsible begin and end. The intimate little catmosphere balloons out to problematic landscapes of open pit bentonite and clay mines that become kitty litter, and landfills where bagged animal feces and litter make up around 4% of municipal waste. At the urban scale, ornithologists are concerned that feral and pet cat populations turn cities into “sinks” that suck bird species diversity out of the atmosphere.***** The American Bird Conservancy blames cats for 500 million bird deaths a year, arguing against TNR colonies as bottomless bellies.****** Cats are atmospherically judged as far surpassing wind turbines in their deadly impact on bird populations, while still falling significantly behind windows.******* Feeling responsible floats out of control. We want to do something for all the strays, but they can’t all live inside with us, and that makes us accomplices in the ecological crimes of our “subsidized predators.”********

We became crazy cat people. One winter freeze we had over a dozen cats inside, with temporary barricades to keep the eight indoor cats separated from the outdoor ones, each with their own food, water, and litter boxes. Every year we weatherize the back porch with sheet metal and plastic bags and set up a heat lamp bulb to warm them. Catering to the cats and their litters can become overwhelming and take over our lives, like the eight kittens one spring that all needed sterilization. Or chores back up, dried poop on the litter box room floor with empty 10 pound food bags (saved for some reason) falling over on top. Scenes that tire me with the recognition that I have hours of work to do.

A special voyeuristic fascination is reserved for people whose atmospheres become glutted with life forms, who can’t say “no” to animals or objects in need. Building on the morbid popularity of A&E’s Hoarders, Animal Planet’s Confessions: Animal Hoarding adopts the soundtracks and gritty aesthetics of horror movies. Shaky cameras maneuver houses swarming with cats or dogs or both, stacked floor to ceiling with animal cages and aquaria of captive life forms. We see catmospheres layered with scratch marks, walls browned knee-high with wreaking phermone graffiti. Cats give up on the moldy, overflowing litter boxes and use beds, couches, and piles of clothes. Feelings of nurturing, saving, and rescuing animals in need have tipped over into scenes of excess, transforming houses and people into overwhelmed life support systems. Watching these scenes, a sense of disbelief and the humor of excess mingle with pity and disgust. Something familiar and ordinary has taken an extreme trajectory, without the atmosphere’s inhabitants quite noticing.

Once we had two kids, the patterns of our relationship with the cats quickly changed. All the indoor cats now stay outside in the front yard. Our oldest cat Mia and three-legged Lacy get to come in for rainstorms and extreme temperatures. It wasn’t the occasional scratch, but the constant sweeping up of fur, one too many meows that woke the baby. Our son likes to eat the cat food and tip the moat that keeps out ants. He thinks the litter box is a sandbox. Maybe we were unfairly treating the cats as surrogate babies. Now we are a little hardened to the cats' neediness. Why change the litter box when they have the whole yard?

2013

* Donna Haraway, When Species Meet, Minneapolis: University of Minnesota Press (2008), 281.
** Elizabeth von Muggenthaler of the Fauna Communications Research Institute in North Carolina studies the healing qualities of cat purrs. She patented a therapy device based on findings that frequencies from 25 to 50 Hertz – the cat purr range – help heal torn muscles and broken bones (von Muggenthaler 2009). Her research dovetails with claims that pet owners make fewer doctor visits and have lower stress levels. In a 2008 study, researchers found that cat people’s risk of suffering fatal heart attacks are 40% lower than those without cats (BBC News 2008).
***Gregory Bateson, Steps to an Ecology of Mind, 2d ed., Chicago and London: The University of Chicago Press, (2000), 275.
****Ibid., 140-1.
***** Anne L. Balogh, Thomas B. Ryder, and Peter P. Marra (2011), “Population demography of Gray Catbirds in the suburban matrix: sources, sinks and domestic cats,” Journal of Ornithology, 152(3):717-726.
****** http://www.abcbirds.org/newsandreports/releases/120329.html
******* http://www.sibleyguides.com/conservation/causes-of-bird-mortality/
********Balogh, Ryder, and Marra, 724.

Biomortar

Ephemerata Garden’s back wall mosaic grotto is starting to crumble, and I can’t find any mortar. We used up the last of the half-ton I bought three years ago from a bankrupt construction company to repair the Garbage Gyre mosaic and patch up the greenhouse bottle wall. Sinking foundation on the grotto’s left side is causing the façade to crack, and a Chinaberry seedling that got in the crack on the alley side of the wall is speeding the process.

Given cement scarcity since last year, I’ve been making do by bolting parts of the façade to the substrate. Limestone and clay mining operations are at a slow dig with their limited solar energy rations, and the coal kilns used in the calcination process work within strict carbon emission regulations. All available cement is first allocated to government agencies for infrastructure repair, and to public sector institutions like hospitals and schools.

In Philadelphia, the Magic Gardens’ caretakers are experimenting with bacterial biocement using castoff concrete chunks pulverized with sledgehammers. Following Ginger Dosier’s method,* they mix the powder with Bacillus pasteurii and urine to make a very slow setting mortar suitable for repair work. The nonprofit Philadelphia’s Magic Gardens, instituted in 2002 in response to the art environment’s threatened demolition, preserves Isaiah Zagar’s mural works around South Street and organizes events focused on folk and self-taught art.

I was encroaching on somebody else’s land and we had to buy it. The owner came back and wanted to sell it. He didn’t care about the land, just about the money, so we paid him three hundred thousand – where you gonna get that kind of money? So Lawyers for the Arts made me into a nonprofit organization and raised the money. It became a wonderful thing for me. It scares the shit outta me too, now I got some kind of responsibility. We’ve been very lucky about code. [When Zagar started Magic Gardens] the area was a derelict area so there wasn’t a big problem. But now, nobody could do anything now. It would be impossible to do now. He bought it for 70K and sold for 300K in ten years – maybe because of art. Maybe art has that power.

When I first talked with Zagar by phone a dozen years ago, he was busy repairing one of his mosaics with a volunteer. He had become an ant at the center of the hectic nonprofit nest.

Everything is vulnerable to the weather. Any kind of thing like this has got to be eventually taken over by an entity to preserve it. To actually pay people to preserve it. Preservation is the key – but you can’t always do this. Vandalism is a big thing. People will feel that what you’re doing is ungodly. “Squash it, kill it, kill it!” But I’ve certainly been very lucky… In the nonprofit there are administrators, I have an executive director, someone for education, for outreach, a daily manager, garden guides, people who tell my story to 35-40 people on a tour. It’s very mysterious to an artist who is still living. 

Art is a collaborative social-economic venture that can inflate an excess nonprofit value within a rarified atmosphere assembled by aesthetic practices themselves. Aesthetics and cement can hold together bits of broken ceramics, cast-off glass bottles, bent bike wheels, sensations of unity, and derelict urban areas, but these borderless compositions are materially fragile and in a sense require undervalue or abandonment to firm up. Some other form of wealth rises up out of conditions of poverty or making do. Preserving fragile art environments often depends on unpaid volunteer labor at the same time it makes jobs for a few administrators and skilled restoration workers. But when cement prices inflate, mosaics struggle to take shape or stay in good shape. Philadelphia's seasonal heating and freezing has its toll on the Magic Gardens' mortar. And there are vandals who kill someone else's sense of beauty for cruel fun or righteousness.

This mortality makes evident that mosaics, junkitecture, and other urban forms in the City of Living Garbage only survive through aesthetic behavior or the relationship of care and repair between artistic characters and landscape patches. Agencies and institutions are epiphenomena that mysteriously redistribute the behaviors, supplies and moneys, and affective attachments required for preservation; their support and continuity is itself vulnerable. When the 1994 Northridge earthquake severely damaged Grandma Prisbrey's Bottle Village in Simi Valley, California, the Federal Emergency Management Agency (FEMA) pledged close to a half million dollars in restoration funds (while the Watts Towers, another self-taught architectural art environment on the National Historic Register with the Bottle Village, received nine hundred thousand). FEMA responded to controversies surrounding the worth of the Bottle Village, including a petition to block the funds introduced by City Councilwoman Sandi Webb, by rescinding the restoration money, claiming that it was inappropriate as the Bottle Village had not been regularly open to the public for years.** Webb was joined by Representative Elton Gallegly in the call to bulldoze the Bottle Village, “an eyesore 25 or 30 years ago that has gone downhill dramatically ever since … How in the world can we spend half a million dollars on something no one wants” when so many real world problems need money thrown their way?***

Grandma Prisbrey wanted and needed her luminous Bottle Village where she lived with her collection of 17,000 pencils. Volunteers with the nonprofit Preserve Bottle Village continue to give occasional tours, organize events like weeding parties, and rally small injections of money from individuals and private foundations. Their mode of survival is more about preserving Bottle Village by asking people to help physically create it, more than by donating cash. In 2010, Disneyland offered support by including the Bottle Village in its “Give-a-Day, Get-a-Day” program whereby volunteers earned a free day at the theme park by donating a day of work to a nonprofit, including Prisbrey’s DIYsneyland. A group from the Anthropologie store took a tour as part of its “Inspiration Day” for drumming up design ideas. By 2016, the Bottle Village had still not received enough funding for a major restoration, and Philadelphia’s Magic Gardens stepped in to help with preservation efforts—sixty years after Grandma Prisbrey started building. By 2020 masons and mosaicists had repaired the remaining 14 structures, just in time for the 8.2 magnitude earthquake that hit, like the weaker 6.7 magnitude quake in 1994, only eight miles form Bottle Village. Rebuilding is still underway, but five of the buildings are large piles of glass shards and masonry that the engineering assessment deemed “beyond repair.”

To Isaiah Zagar, the five destroyed structures are mosaic shards for a new composition. His team plans to pulverize Prisbrey’s old hand-mixed mortar to use as the grit for biobricks. The broken glass from bottles dating back to the 50s and 60s**** will be used to mosaic the bricks’ outer sides, and a new building will be constructed out of the resulting modules. They are learning to cultivate their own B. pasteurii colonies to make the restoration project more independent of money; the other main ingredients are our everyday urine stream and worthless cement chunks like highways after earthquakes. Zagar talks about how things like mosaics, mushrooms, and  B. pasteurii spread as spores with roots in particular cultural landscapes, something that's "in the air, they spread in the air ... For the mural projects in Mexico, the roots are all in the Renaissance. Diego Rivera – he loved to see the murals and mosaics in the churches. He dug it. ‘I can do this thing, I can do it. I can give it a twist,’ and then others followed him." The roots of preservation and reconstruction are more ecological, with the model of a landscape that never stops making itself out of its own life forms. The roots are also biotechnical, and artists and self-taught biologists are saying "I can do this thing" and giving their own twist on scientific bioengineering.

If you have any B. pasteurii or know how to culture them, please get in touch so we can repair Ephemerata Garden’s back grotto. The Cathedra of Junk could also put the biocement technique to work in its constantly growing amoeba of mortar, bottles, and junk.

2024

*Mike Larson, "Professor Uses Bacteria to Make Eco-friendly Bricks,"  Engineering News-Record online, July 7, 2010, http://enr.construction.com/products/materials/2010/0707-EcoFriendlyBricks.asp 

**FEMA eventually dedicates close to 20K for an architectural engineering assessment for rebuilding and preservation. 

 *** Quoted in Patricia Leigh Brown, “Reading the Message in the Bottles, New York Times, February 6, 1997, http://www.nytimes.com/1997/02/06/garden/reading-the-message-in-the-bottles.html
****See wonderful letter to Grandma about bottles at http://www.myspace.com/bottlevillage/blog: "Nowadays, most of the bottles are plastic and they are EVERYWHERE! ... We have these big gray 'Recycle Cans' and I know you'd get arrested for messing around with those cans... Well Grandma, all that stuff and all those bottles you got from the dump; it's hard to find today, except maybe on eBay."